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The Indianapolis Colts Suffer Another Huge Blow on Offense
by William Ricks twitter facebook linkedin on January 21, 2021
When the Indianapolis Colts' season ended courtesy of the Buffalo Bills, they knew they were entering an offseason with many questions. They have a lot of decisions to make in terms of contracts, draft prep, and personnel. Indy has become one of the better front offices in football, so it is expected they planned for this offseason to be a big one.
What they expected to be a big offseason has grown into a huge one. The Colts' offense will be under the microscope, as they have to fill some big holes on that side of the ball. One of those being the quarterback position with Philip Rivers retiring. They just suffered another significant loss, giving them another hole to fill this offseason.
Colts OC Nick Sirianni is now a head coach
Eagles are hiring Colts' OC Nick Sirianni as their head coach, sources tell ESPN. Sirianni spent three seasons as a Chiefs' assistant coach, five seasons with the Chargers, and the past three with the Colts. Now the 39-year-old Sirianni becomes the lead man in Philadelphia.
— Adam Schefter (@AdamSchefter) January 21, 2021
The evolution of Indianapolis' offense could be credited to their offensive coordinator, Nick Sirianni. He joined Indy's coaching staff when Frank Reich was named the head coach. Reich brought him along as the offensive coordinator. He's turned the Colts offensive into a run-heavy offense that runs opponents into the ground.
Sirianni won't be calling plays for Indy any longer. The Eagles have hired him to be their head coach, per Adam Schefter. Sirianni and the Eagles have had extensive conversations about the head coaching opening starting on Tuesday. He and New England Patriots coordinator Josh McDaniels were the final two candidates for the Eagles' head coach job.
Sirianni will be replacing former Eagle's coach Doug Pederson. Pederson was fired in early January after he and ownership couldn't agree on a vision for the team. This season was Pederson's worst, going 4-11-1 and having the Carson Wentz drama over the team's head for the entire season. Sirianni will be inheriting Wentz and his $128 million contract.
The work Sirianni has done for the Indianapolis Colts is quite remarkable. He has given the team a run-first identity, something that has never been associated with Indy. His departure is a big blow to the Colts, leaving their offense with many questions going forwards.
The Indianapolis Colts have questions on offense
RELATED: The Indianapolis Colts Just Suffered a Brutal Retirement Blow
With their offensive coordinator now gone, the Indianapolis Colts' offense has a lot of questions with very few answers. What is the team going to do at quarterback is one of them. They will have only one quarterback on the roster, and that is a second-year player who has no NFL experience. Finding out who the signal-caller will be should be one of Indy's top priorities.
Finding a new offensive coordinator is now a new item on the Colts offseason list. With the news of Sirianni leaving, Indy will have to conduct a search to find their new OC. They don't have to hire one if they don't want to, however. Reich has experience calling plays, doing so with the Eagles before he came to Indianapolis. He might have his hand in playcalling already, so giving him full control could be a good idea.
Besides quarterback and offensive coordinator, the Colts have other question marks on offense. What is going to happen to T.Y. Hilton? His contract has expired, and he could test out the free-agent market. He had a rough start in 2020 but found his stride down the stretch. Would Indy franchise tag him so he doesn't leave and they can work out a deal? How should the team go about replacing Anthony Castonzo, who also retired?
Indy must fill holes on win-now roster
The Indianapolis Colts were an 11-5 team last season with Philip Rivers at quarterback and Nick Sirianni calling the plays. Their offense was an above-average unit, scoring 28.2 points per game, tenth in the league per ESPN. Their 378.1 yards per game average was the tenth most in the NFL. If Indy wants to have similar or even more success than they had in 2020, they must fill the offensive holes on their roster.
Replacing Castonzo at left tackle won't be easy. They could use the No. 21 overall draft pick to obtain one. The free-agent market for tackles isn't deep, but some good players could become available. The rest of their line is solid, so getting an elite talent would make this line a dominant group. Finding a new OC will take some time, but Frank Reich being there makes this a little less of a worry.
The Colts have endless options at quarterback. It would be smart if they establish an offensive coordinator before deciding on a quarterback. The coordinator should have a hand in picking the man who will be under center. Nevertheless, Indy needs to get an above-average quarterback to go with this elite defense and superior O-line.
Nick Sirianni is leaving the Indianapolis Colts for a new opportunity with the Eagles. His departure gives the Colts another hole fill in what will be a busy offseason. Who knows how the Colts will go about hiring a new OC, but losing Sirianni is a massive blow to Indy's offense going into the offseason.
Stats courtesy of ESPN
Tags:Indianapolis Colts NFL Coaches


The costs of college can be staggering—more than $50,000 per year at a private residential school. However, if a family demonstrates financial need, there is money available to help pay for college. According to the colleges and to the financial aid advisors, cost should never be a deterrent to attending a particular college. A workshop on college financial aid is held at MA each fall.
Traditionally, the admission decision and the financial aid decision have been two processes; because the admission decision is made first, there hasn't been a great need to worry that an application for financial aid will influence those evaluating your application for admission. As financial pressures on colleges have increased, however, some colleges will consider the financial situation of applicants. Students applying for aid should consult with your college counselor about these issues and concerns.
College Cost - Family Contributions = Need.
Since the resources of a family do not change in this formula, the assessment of need will go up and down only with the cost of the college. In other words, the more expensive a college, the more aid will be made available to the student. Every college now has a net price calculator on its website. This tool will help you figure out what your cost may be.
Grants: These are gifts from the college or the federal or state government that do not need to be repaid. Generally, the higher the need, the higher the grant will be in the individual package.
Loans: Money is loaned to the student from the college, a private institution or the federal or state government. Payment of these loans is usually deferred until the student is out of school. Interest for these loans varies, but can be considerably lower than other types of loans. Some banks are making special loan programs available for parents. The advantage of such programs is that they are not based on the need.
Work Study: Colleges will expect students to contribute to the cost. In addition to work during the summer, students will be asked to work during the year on campus or with a campus related employer. For students who have financial need, the college will guarantee a job that will insure that the student is able to earn money while attending school.
In addition to money provided on the basis of financial need, there are local scholarships and programs that provide money based on merit or need. For example, some companies provide scholarships for sons or daughters of employees, organizations such as the Elks Lodge sponsor scholarship competitions, or nonprofits such as 10,000 Degrees or Bridge the Gap. Scholarships such as these are advertised at school and on the college counseling website. In addition, those interested should check with the groups with whom they are associated to find out if such programs are available.
Merit based scholarships are available, but are often for the student with exceptional talent, such as athletic, musical, or academic achievement. Most of these types of scholarships are made available through the colleges themselves.
To qualify for all federal aid programs, families are required to complete the Free Application for Federal Student Aid (FAFSA). Families cannot submit the FAFSA before January 1 of the senior year but should file by February 1. Aid is usually denied to late applicants.
Many private colleges will also require families to complete a form called the CSS Profile, a personalized financial assessment which is specific for each family and each college. Students should begin the Profile application process in October of the senior year by visiting the College Board website. If applying early to a school, very often this form is required early.
Students applying to California schools who might be eligible for a Cal Grant should submit a GPA release form to the College Counseling Office.
Families with detailed financial aid questions should attend one of the workshops sponsored by 10,000 Degrees. They are an excellent source of information. Or you can call any financial aid office at a college your son or daughter may be interested in.
Families should also contact the Financial Aid Offices where the student applied to get great support for their questions.


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The Force Awakens SCORE Discussion (Film Spoilers Allowed)
The Force Awakens The Force Awakens SCORE Discussion (Film Spoilers Allowed)
By Thor, December 15, 2015 in JOHN WILLIAMS
Location:Oslo, Norway
OK, back from the film and some general comments on the music:
First of all, I was a BIT disappointed by the score. The keyword here, I think, is "whimsical". There's a LOT of rhytmic and energetic stuff with all the usual Williams trademarks, but if you want thematic setpieces like a "The Asteroid Field" or "The Forest Battle" or whatever, you won't find it. In fact, the most striking theme was the "rebel" theme (also in the way it appeared in the film). In that case, it has a lot in common with INDY 4.
Rey's theme had some nice renditions -- especially of the more pastoral kind (an extension of what you heard in the TV spot) when she is first introduced.
Finn's theme and Kylo Ren's theme are more motivic than thematic, IMO.
A big treat was the appearance of the original themes -- they're almost used more extensively than in the first six films. The "Force" theme appearances were undoubtedly those that made the biggest impression.
There is dark choral music for one particular scene, but it's not in the big, overt "Duel of the Fates" kind. More like the choral music for Palpatine in REVENGE OF THE SITH.
To be fair, I think the music will fare much better on album. At least I hope so. It's mixed fairly high in the film, but there's still a lot getting lost in the sound mix.
anironwaffle and Bespin reacted to this
Jay 13473
I'm No Longer a Wizard, I Am a Stranger, Wandering The Mountain
Location:Massachusetts
Did you stay in the theater and listen to the entire end credits? If so, what is your impression of the music there?
SteveMc 1926
Resident Nice Guy
Location:A Land of Confusion
I will keep Thor's assessment in mind.
Alexcremers 1839
I love Williams in whimsical mode!
To be fair, I think this "whimsicality" (is that even a word?) was more engaging here than in INDY 4. But we are clearly hearing a more contemporary Williams here who isnt' exactly the same as in 1977.
Quintus 4377
Sharkin'
Definitely no thematic set-piece cues in there then, Thor?
Jilal 419
As expected!
Lewya 279
Were there any Imperial March references?
Damien F 696
Reading this and waiting for the OST is painful...I want to form my own opinion!
SteveMc reacted to this
mrbellamy 3957
The Custard Pie Appreciation Consortium
Did you notice the Abrams/Miranda cantina song at all, Thor? What's that like?
Also were these details from last summer true or BS? Mainly curious if there's anything like the "cantilena" and "jazzy/big band" pieces they described: http://www.jwfan.com/forums/index.php?showtopic=25417
King Mark 2223
Supreme Priestmaster of JWfan
Location:The Ethereal Plain of Shadows
yeah I want to know about the Cellar Song that will be wasting 4 minutes of the OSt
Keep an open mind, my friend.
So Rey's theme is as we heard it in the ABC TV spot?
Oh yeah KM, forgot about that.
How close is this arrangement to what's actually in the score?
Yes, a couple. The "rebel" theme, in particular.
One. You've already seen the scene in the trailer.
Yes, but it goes on a bit longer.
Matt C 282
The talk about the score actually has me excited for it.
There's no tracked-in music in TFA, right?
Incanus 5065
The One True John Williams Believer, Keeper of the Faith
Location:Finland the fierce land of polar bears and penguins
Do you mean from the previous 6 films?
Gruesome Son of a Bitch 5073
Party Man
Location:Gotham City. Always brings a smile to my face.
So how does it compare to Michael Giacchino's Star Trek?
Ah, the song. Yes, it appears in a cantina scene (as everyone knows), and it's a nod to the cantina music that Williams wrote for the first film, with some of the same type of instruments. But not as memorable. And it's far more in the background for most of the scene. Nothing to write home about, IMO.
BloodBoal 7509
Alas important enough to be put on the album.
Will Tasker reacted to this
I think it has the potential to break up some of the intense action music on album. Unless it's the last track, of course (I forgot the track title sequence).
01. Main Title and the Attack on the Jakku Village (6:25)
02. The Scavenger (3:39)
03. I Can Fly Anything (3:11)
04. Rey Meets BB-8 (1:31)
05. Follow Me (2:54)
06. Rey's Theme (3:11)
07. The Falcon (3:32)
08. That Girl With The Staff (1:58)
09. The Rathtars! (4:05)
10. Finn's Confession (2:08)
11. Maz's Counsel (3:07)
12. The Starkiller (1:51)
13. Kylo Ren Arrives At The Battle (2:01)
14. The Abduction (2:25)
15. Han And Leia (4:41)
16. March of the Resistance (2:35)
17. Snoke (2:03)
18. On the Inside (2:05)
19. Torn Apart (4:19)
20. The Ways Of The Force (3:14)
21. Scherzo For X-Wings (2:32)
22. Farewell And The Trip (4:55)
23. The Jedi Steps And Finale (8:51)
it must be The Rathars, one of the longest tracks on the c.d.
Hlao-roo 388
Rank Sentimentalist
So is the stuff in reel 7 as good as Williams hoped it would be?
As I've said before, I'm sure its only a PORTION of the Rathtars track, like the IJKOCS Peru source music.
Will Tasker 21
Tempted to buy this, track by track as a digital release and skip over that cantina track, solely to keep money out of JJ's pocket!
How was the choral stuff? Is there more choral material than the Sanskrit stuff for Snoke? Also: How prominent are the new themes in comparison to the old ones? Surely most of it is new? Or can we count out an Oscar nomination here due to too much use of old material. What do you think Thor? Maybe it is hard to say?
obirch23 4
If it is action driven, what we heard in the short clip released a few weeks ago was pretty good.
Not Mr. Big reacted to this
RedBard 70
One score is all it takes
Location:On a hillside with snow
"Scherzo for X-Wings"?
Is it anything like "Scherzo for Motorcycle and Orchestra" from IJTLC?
The latter includes orchestra.
mstrox and Boom Tss reacted to this
Totally forgot about the scherzo, what's that one like?
We've pretty much heard it.
mstrox reacted to this
No, not more choral music than the Snoke stuff (which sounds like that choral music that plays as Palpatine and Anakin discuss things at the theater or whatever it is).
It's hard to say anything about the balance between new and old stuff. The old themes appeared in fragments throughout the whole film (for relevant moments). The album will give us a clue.
Looking at the track titles that Jay posted, I'd say the "Scherzo for X-Wings" is a definite highlight. And the last track.
Oh, and there's a FUGUE here too, I forgot that. But it's in the middle of an action sequence. "Abduction", maybe?
Lewya reacted to this
So Snoke's music sounds like Palpatine's Teachings.
(ugh)
Yeah, but I think it would be funny to see an X-Wing parked inside a concert hall ready to play its solo part for the track (along with the rest of the orchestra, of course).
This is sounding not good.
So the Lucasfilm logo really just plays SILENTLY, with no music at all?
Then why the F did Disney put that horrid ESB End Credits edit underneath it for the digital versions of the old films?
AND WHY DIDN'T DISNEY ASK JOHN WILLIAMS TO WRITE A BRAND NEW PIECE FOR THE LUCASFILM LOGO TO PREMIERE WITH THIS FILM??
I think it will be very well liked, hopefully including myself, and I think the album will give us a much better overview of the score. This is just first impressions from watching the film once (from one guy).
I'm sure we'll be scrambling for the unreleased music the minute the OST is released
I've never seen a Williams-scored film where I didn't notice something cool in the score that wasn't on the album
Yeah, and then we'd get one by JJ Baby and Lin-Manuel Miranda because Williams would rather do the score.
What about Saving Private Ryan?
Hey that might be the one exception!
Amistad?
Never seen it.
Romão 1018
Benfiquista
Location:Espinho, Portugal
There's cool unreleased stuff in Amistad

redpajama_set_name: RedPajamaCommonCrawl


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You are here: Home > Recent articles > Flying High - JAL faces today's challenges Sunday 17 January 2021
Flying High - JAL faces today's challenges
interview with Yuji Okada, CEO EMEA Japan Airlines
Yuji Okada, Chief Executive of Japan Airlines for Europe the Middle East and Africa talks to Roger Prentis about JAL�s business and the effects of changes in the world travel market, as well as environmental issues.
q: JAL, like many of the big airlines, has experienced some fluctuations in business over recent years. What are the main reasons for these fluctuations?
a: There have been a number of issues. A succession of major events in the world has taken place over recent years which have affected JAL and, of course, the industry in general.
I think there are six that I would highlight: the first is 9/11 and the second the war in Iraq. The third is particularly important to Japan Airlines in Asia and that is the SARS virus. Terrorism in Bali has also had a significant effect as it is a major destination for us in the leisure market. The Indonesian earthquake and tsunami have also had a detrimental effect, as did the anti-Japanese demonstrations in China back in 2005. It has taken longer for Japan to recover than it has other countries because Japanese people are highly influenced by such negative events.
q: This must have affected your competitors as well?
a: Yes, but we have more than three times the international traffic compared with our main Japanese competitor. In the local Japanese market we are more-or-less the same size, but adverse international events will affect us much more seriously.
The other effect of being stronger internationally is the impact of rising fuel prices. Of course, international flights generally use much more fuel than domestic, so there is more impact on JAL. You can see this very clearly from the change in fuel costs as a proportion of overall revenue. In 2002, fuel accounted for some 15% of operating expenses, but in 2006 that has risen to 23%.
Another issue that we overcame was a series of safety-related operational incidents back in 2005. These unfortunately dented our image in the eyes of the Japanese public and it has taken us time to regain lost ground and lost revenue as result.
q: JAL is very popular, like most national airlines, with customers from your home market. Will this change in the future?
a: Of course, all our passengers are very important to JAL. We are trying to attract more international customers by offering a good international route network. But we want to retain our Unique Selling Proposition, USP, which is considered to be a combination of our good hospitality, customer service and Japanese culture.
In attracting more international customers we also want to retain our Japanese customers who are equally important to us. The proportion of our domestic / international business has changed recently with the merger between JAL and JAS. Before that, about 70% of our revenue was from international operations, but now it is more like a 50:50 split with domestic. This has enabled us to compete more strongly with our main competitor and it has allowed JAL to secure a more well-balanced revenue structure.
q: How is JAL approaching the future in terms of corporate development?
a: We have established a special top-level committee to help improve our corporate culture. This is looking at improving communications within the business and encouraging staff to take more initiative. The organisational infrastructure itself is not changing, but communications are being developed to encourage both top-down and bottom-up so that important information flows freely.
JAL has adopted a kaizen (continuous improvement) approach to business and we are also applying the Toyota production system (TPS) to help us improve our business in many ways.
A culture of praise and commendation is developing within the business which is very important to help us promote and improve JAL�s customer service and hospitality.
q: JAL has a mix of premium and lower-overhead subsidiaries in the group. How will the balance between the two change in coming years?
a: As a company, we have to make a profit to satisfy our stakeholders. We are therefore increasing the low-overhead side of the market, but we are definitely not switching from a premium service to achieve this. The low-cost subsidiaries operate mainly on the leisure routes such as to Hawaii and South East Asia.
Top quality service has always been the hallmark of JAL's reputation and we will continue to attract the premium class passengers as our main target. We pride ourselves for being at the leading edge when it comes to the products and services we offer both in the air and on the ground.
The business routes, such as those between UK and Japan, remain critical to JAL and we are planning to continue to develop them in our mid-term plan. Demand for First and Business Class travel between Japan and other parts of the world has seen a sharp increase in recent years, boosted by the rapidly growing markets in the region.
Between 2006 and 2010 we will be investing some 100 billion Yen in our development programme to further improve our service offering � and that excludes the cost of new aircraft.
For example, we are developing Premium Economy Class � already in London, Paris and Frankfurt � and also new First and Business Class seats later this year. In addition, we are renovating our airport lounges � in Narita (Tokyo) for example the development is complete and our customers are giving us excellent feedback already. The renovation of other lounges is being planned � and Heathrow will be one.
Many of our customers use our domestic routes to connect internationally so we have introduced First Class on domestic flights. This started between Tokyo and Osaka and is being enlarged to Fukuoka and it has proved to be extremely popular.
q: JAL has always had good occupancy rates, but do you see that changing in the future as competition develops further?
a: Competition is always quite severe in the airline business. In the future, however, there are some good business opportunities. The construction of a new runway at Haneda airport and the enlargement of the capacity of Narita will give us a big chance.
At the same time, we will be introducing new aircraft � particularly the Boeing 787 � that are mid-sized and offer long-haul capability. We will also be introducing newly-designed aircraft that have a high fuel efficiency which will help us to reduce the cost of operations � as well as being environmentally important.
Similarly, on some routes we are reducing the size of the aircraft used which will improve efficiency and also offer us the possibility to increase flight frequencies in the future maybe. In addition, JAL�s sales at the moment are very strong and that will further help us improve our business.
q: Some growth has been from code sharing with your oneworld alliance partners. Will this be a major strategy for further growth in the future?
a: Being a member of the oneworld alliance is important to JAL � it enables our customers to get convenient connections to the domestic network at their destination. In London, for example, connecting to the British Airways network is very convenient for our passengers and it also enables them to collect mileage points for all of their journey. Code Sharing is a bilateral agreement so there is also the direct benefit to JAL of customers arriving in Japan transferring to our domestic network.
Whilst Code Sharing is important, our main business is, and will remain, operating our own network. We are currently restructuring it and focusing our resources mainly on the high-profit and high-growth routes. The London routes continue to be very important to us and one of the main growth areas is between Japan and China.
q: Will the UK remain an important destination in your strategic planning?
a: Yes. JAL has been flying to the UK for over 45 years � since 1961, in fact. We fly twice daily between Japan and London and the UK remains extremely important to our European operations � some 30% of our European revenue is from the UK.
The UK remains an attractive place for Japanese companies to do business and invest. As an example of how important we consider the UK, we introduced our new Premium Economy offering on the Tokyo � London route. This has always been the case � when we upgraded our cabin service some years ago we also did that on the London route.
q: The UK CAA has just announced a hike in the fees for using Heathrow and Gatwick � more than 20% - will that affect JAL particularly?
a: Of course, airport costs are very important and have a very real effect on our business. We will have no choice but to overcome such increases in costs � the costs in Japan are also high. They will no doubt affect such as the leisure market quite significantly. The problem arises when there is a cheaper alternative available, but we will have to overcome this challenge here.
q: How do you see air travel changing in the short- and medium-term?
a: We expect that demand for air travel will continue to increase. In Asia particularly, we see strong growth both now and into the future. Our Asia � Europe traffic is important, but Asia is our main area of activity as we are Asia�s largest Carrier � and we see that continuing to increase significantly.
There are about 17 million passengers travelling internationally from Japan each year which is around 15% of the population. This is not as high as in other countries so I also think there is room to expand that part of our market too. Of course, our population is reducing in size and also ageing, so the only slight concern is that this might affect things in the future, but we do not really expect any significant change even in the long-term.
The Yokoso! Japan programme from our Government has been very successful in attracting visitors from other countries � particularly in China and Asia. Last year there was a growth rate of some 14% as a result of this programme.
q: Airports both in Japan and the UK are increasing capacity. Is this the right thing to be doing now � with environmental and business factors in mind?
a: Airport expansion is always made as a result of projected future demand. Air travel is very popular for both business and leisure, as well as freight. Japan is the third largest economy in the world and there is still a huge potential for growth. To satisfy this, airport expansion is critical. Environmental issues must be taken into account in conjunction with the expansion and we are introducing more efficient aircraft, increasing efficiency, making better environmentally-friendly buildings, recycling etc. to take this into account.
q: Air travel is often cited as a major issue in environmental considerations. Whilst it is important, it is not as significant as the press would make out. However, what is JAL doing with regard to environmental improvements?
a: I have already mentioned the introduction of new more efficient aircraft and making routes more efficient in terms of passengers carried as well as the development of our on-ground approach. We have actually been working on this for over 15 years already � back in 1990 we stated that we would reduce fuel consumption by 20% before 2010 and this clearly has a huge impact on our carbon footprint in terms of CO2.
Originally, the only way to fly long-haul was to use larger aircraft such as the Boeing 747, but with the introduction of mid-sized aircraft such as the 787, it will enable us to develop different markets and to become more efficient with a positive environmental impact.
We currently have some 272 aircraft of which 78 (over a quarter) are less than five years old. We have withdrawn many of the older less-efficient aircraft such as the Airbus A300 and MD87 and we have a further 86 aircraft on order. These include the Boeing 787 which I have already mentioned and the Embraer 170 which will be used mainly on domestic routes.
We are not only focusing on the big issues such as aircraft, but also on small ones. For example, we are looking at reducing the weight of spoons used in our catering by 2g and replacing the crockery with some that is 20% lighter.
More significant is the weight of cargo containers � we are changing to lighter ones that save some 26kg per unit. If we can reduce just one kilo of weight on, for example, a 777-300ER aircraft flying from Japan to Europe, we can cut fuel consumption by around 0.4kg so that means a saving of over 10kg of fuel per container with this initiative alone.
Our pilots are also being trained in simulators in order to facilitate an improvement in our fuel efficiency and we are also doing many things landside in terms of recycling, energy use etc. This includes reducing the use of air conditioning at our Head Office � so all our staff can work with no jackets or neck ties in the hot summers.
q: What do you notice about the business and social environment in the UK?
a: Coming to London is a great pleasure for me. There are some common points between Japan and the UK and some differences, of course.
For business, many of our customers are Japanese, but there are also many UK and European customers. Japanese people are generally much more focused on details � both in business and in their everyday lives. They are also very concerned about other people�s view � particularly those of other Japanese people. Non-Japanese people are more �individual� in their outlook. Because of that, decisions are often made more quickly which has both positive and not-so-positive results.
I deal with Europe in total and of course there are differences between the UK and mainland Europe. However, there are many common points between the UK and Japan. Both nations are located at the end of their continents � the UK at the western end of Europe and Japan at the eastern end of Asia. We both have our own very individual and strong cultures, but have also been influenced by the neighbouring continents.
In Japan, like the UK, we value our traditions and values very much so we are both very polite and courteous. On the other hand, I was surprised when I first walked in Oxford Street in London. I had never experienced such a �universal street� before � not even in the United States. There is a mix of people from almost every culture and country walking there every day. The same is true of Heathrow of course � a big difference from Narita where it is mostly Asian people.
I realise that this is a very key issue for us as a Japanese company � it is important for our future business development. We should make our society in Japan more �universal� and encourage people to visit us more � through such programmes as Yokoso! Japan, for example.
These are big issues � but, on a personal level, there were some surprises also on a smaller scale. In my apartment, for example, there was no television initially and no internet connection when I arrived. Also, my telephone line was cut off twice since I arrived, as well as the water supply. The infrastructure and maintenance level in Japan is very superior in these aspects. On the other hand, the diversity of culture and the proximity of the countryside and places of interest to London is very nice and I am pleased to say that I like London very much indeed
For more information: www.jal.com/en.
Or in the UK you can telephone:
0845-7 747 777 (Japanese Language: Reservations & Information) or
0845-7 747 700 (English Language: Reservations & Information).


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From the front lines of the culture wars
Hollywood's 2017 sex scandals exposed what liberal men really think of women
2017 will go down as the year the Hollywood sex scandals exposed liberal, pro-feminist men to be complete frauds.
Tue Jan 2, 2018 - 12:19 pm EST
Harvey Weinstein shutterstock.com
By Jonathon Van Maren
Follow Jonathon
January 2, 2018 (LifeSiteNews) – The year 2017 was, without doubt, the Year of the Male Feminist—or more specifically, the year "male feminism" was exposed for the trite fraud it is. It began when the New York Times broke the story that Planned Parenthood donor, Clinton supporter, and film magnate Harvey Weinstein was a serial rapist who had been cutting a sordid swathe through Hollywood's women for decades. Not even Weinstein realized how big the tsunami was when the story first broke, until he found himself forced from his own company and under criminal investigation. Then, the dominoes began to fall. One after another, the celebrities of Hollywood and the media found themselves outed as petty sexual predators.
Gallons of ink have been spilled attempting to explain why it was the Weinstein story that finally began the male feminist implosion. It's been pointed out that the decision of progressives to give Bill Clinton a pass on credible rape allegations may have emboldened dozens of predators everywhere, since it gave them a simple, toxic message: If you hold the right positions on progressive issues, then you can do whatever you want. One feminist famously said that as long as Clinton kept abortion legal, women everywhere owed him fellatio. A lot of male feminists apparently thought that virtue-signaling on feticide was a small price to pay to exploit the women around them for sexual satisfaction.
It should scarcely have surprised anyone that the entertainment industry was so steeped in sexual depravity. These are the writers, producers, directors, and actors who create grotesque horror films infused with sexuality and carnage and television shows depicting the near-constant rape and degradation of young girls and women. These are the comedians who create sitcoms which regularly feature "daddy issues" and lovable playboys preying on vulnerable girls as punchlines. And this is the industry, of course, that has been knowingly tolerating and covering up such behavior for decades.
Back in 2011 already, actresses were coming forward with horror stories about the men of Hollywood. Megan Fox reported being heartbroken at the number of prestigious directors who offered to boost her career in exchange for sexual favors. Gwyneth Paltrow recalled the same thing. Worse, Hollywood-based career strategist Suzannah Garland warned the media that she was hearing "horror stories" from top actresses who wouldn't speak out publicly for fear of their careers being torched. These actresses confided to her that they had been raped by major male stars and other Hollywood heavyweights. It would be another seven years before people began to take the rumors seriously—and considering what we now know about many top media figures, that's not so surprising.
The simple fact is that the film industry treats beautiful women, for the most part, like commodities—and only a few of them become powerful enough to reveal the compromises that were demanded of them if they were to "make it" in Hollywood. Salma Hayek wrote in the New York Times that her "monster" Harvey Weinstein was always demanding "more skin…more sex" in his films, and threatened to spike a film she'd been working on unless she agreed "to do a sex scene with…full frontal nudity." Hayek had a nervous breakdown before the scene, shaking uncontrollably and sobbing "as if I were throwing up tears."
Oscar-winning actress Jennifer Lawrence tells similarly revolting stories, recounting how women and girls are examined like livestock for physical attractiveness. "A female producer had me do a nude line-up with about five women who were much, much thinner than me," she told Elle. "We stood side-by side with only tape covering our privates. After that degrading and humiliating line-up, the female producer told me I should use the naked photos of myself as an inspiration for my diet." A male producer assured her that she shouldn't worry—she was "perfectly f***able." Lawrence said she felt "trapped" because she "let myself be treated a certain way because I felt I had to for my career."
The humiliating and degrading experiences of being a female in Hollywood, it turned out, were just par for the course. In order to shoot her first sex scene (with married man Chris Pratt), Lawrence revealed that she had to get "really, really drunk. But that led to more anxiety when I got home, because I was like, 'What have I done? I don't know. And he was married. And it was going to be my first time kissing a married man, and guilt is the worst feeling in my stomach." She was told it was okay but, she said, she "couldn't tell my stomach that." If only audiences realized what was being done to create the films they purchase.
The only evidence needed to prove that the Hollywood entertainment industry was willing to cover for their own—specifically, members of their clique with power, talent, and "progressive" principles—is the case of Roman Polanski, who fled the United States as a young director in 1978 after drugging, sodomizing, and raping thirteen-year-old Samantha Geimer. Since then, he has been accused of sexually assaulting a ten-year-old girl and four other children. Polanski has written openly of going to bed with young teen girls—under the age of sixteen—as a full-grown man, and does so unapologetically. Even so, when he won the Oscar for Best Director in 2003, Meryl Streep led a standing ovation for the child-rapist, and Harrison Ford personally delivered the fugitive his Oscar. When he was arrested in 2009 in Switzerland and the US demanded his extradition for his sex crimes against children, Hollywood celebrities demanded his release, including Penelope Cruz, Natalie Portman, Martin Scorsese, Darren Aronofsky, Harrison Ford, and many others. As Whoopi Goldberg callously commented, Polanski's raping of a thirteen-year-old was statutory rape, not "rape-rape."
Meryl Streep and others are angry and offended when people point out that it is nearly impossible that they didn't know about serial rapist Harvey Weinstein, who now appears to have been some sort of grotesque Hollywood inside-joke. But they defended Polanski—who pleaded guilty—because he was a member of their set. Polanski was so pro-choice he reportedly demanded his young wife Sharon Tate—who was murdered by the Manson maniacs when she was eight and a half months pregnant—get an abortion, after forcing her to participate in unwanted sexual activities. None of this, apparently, was enough to get him condemned by the celebrity set.
The list of Hollywood celebrities and media luminaries who used their impeccable progressive credentials to prey on women and girls stretches for miles. Ben Affleck, a vocal liberal who is now facing multiple accusations of groping (including one instance he apologized for because it happened to get caught on tape), has bragged about raising his daughters as feminists, joking that "they're a little young for a Gloria Steinem doctoral thesis" but that he's doing his best anyway. (Presumably by protecting them from the news reports.)
Renowned TV anchor Charlie Rose held solemn roundtables with prominent feminist thinkers who gushed over his willingness to host such discussions as he nodded along gravely. In the meantime, of course, he was attempting to use his power and celebrity to harass young women into sleeping with him. Matt Lauer, who went after disgraced FOX News host Bill O'Reilly with ferocity, was outed as a serial predator who aggressively propositioned colleagues, had a button under his desk that automatically locked his office door, and came onto young women in an extraordinarily rapey way. Everyone pretended to be shocked—but reports of Friar's Club roast of Lauer from nearly a decade ago, which included nearly every big name in the media, revealed that Lauer's behavior was common knowledge.
Comedian Louis CK has spent much time talking about how awful men are and trumpeting feminism, even talking about how women have the right to abortion even though it "definitely kills a whole baby." And then, of course he was caught sexually harassing women—although his calling Sarah Palin a "c***" among other things had done nothing to budge his popularity among feminist progressives before this.
Former comedian Al Franken, who stole a Senate seat in 2008, was a male feminist and even called himself a "champion" of women, and supported the abortion industry in gusty, sanctimonious tones—the tones of a man who simply cannot fathom the Neanderthals who do not support the rights of women. Then women began to come forward to accuse him of sexual harassment and inappropriate behavior—including one instance with photographic evidence. He has now said he'll resign, although he seems somewhat bewildered that everyone is making such a big deal about everything. He, like many others, apparently thinks male feminists are entitled to a few free gropes as long as they remain loud backers of Big Abortion.
None of these male feminists, when the year 2017 began, could have suspected that their careers would implode overnight. Many more are certainly beginning 2018 wondering when it will be their turn to be outed, and frantically thinking of ways to fend off the exposure of their fraudulent feminism. The old tricks—trumpeting the right causes—didn't work for predators this time, and that means men who took advantage of abortion culture and progressive credentials to prey on girls and women will no longer be able to rely on the conspiracy of silence that enabled them for so long. Harvey Weinstein's last, desperate attempt to virtue-signal came in the form of his promise to go to war against the NRA, and Kevin Spacey responded to revelations that he sexually assaulted young boys by belatedly coming out as gay. Weinstein was met with scorn, and Spacey was berated by gay rights groups. The old rules are no longer in effect.
Of course, the rules before the old rules, which demanded sexual fidelity, chastity, and chivalry, were mocked as restrictive and misogynist. They were trashed to make way for the Sexual Revolution and feminism, which — conveniently for men who wanted to sleep with dozens of beautiful women — showed up right around the same time. These men loudly supported the tenets of feminism while quietly practicing the more nefarious tenets — take what you can get, it's free! — of the Sexual Revolution. And the abortion industry was right there to take care of any unfortunate offspring that showed up. As our society relitigates the Sexual Revolution and strains about for some way to force people to behave, perhaps we could give the rules we abandoned a second look.
harvey weinstein, hollywood, hollywood liberals, sexual abuse
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Jonathon Van Maren is a public speaker, writer, and pro-life activist. His commentary has been translated into more than eight languages and published widely online as well as print newspapers such as the Jewish Independent, the National Post, the Hamilton Spectator and others. He has received an award for combating anti-Semitism in print from the Jewish organization B'nai Brith. His commentary has been featured on CTV Primetime, Global News, EWTN, and the CBC as well as dozens of radio stations and news outlets in Canada and the United States.
He speaks on a wide variety of cultural topics across North America at universities, high schools, churches, and other functions. Some of these topics include abortion, pornography, the Sexual Revolution, and euthanasia. Jonathon holds a Bachelor of Arts Degree in history from Simon Fraser University, and is the communications director for the Canadian Centre for Bio-Ethical Reform.
Jonathon's first book, The Culture War, was released in 2016.
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Harry Potter and the Order of the Phoenix mistake picture
Forever Knight (1992)
34 continuity mistakes
Starring: Catherine Disher, Geraint Wyn Davies, John Kapelos, Nigel Bennett
Genres: Crime, Drama, Horror, Mystery
All mistakes1 character mistake34 continuity mistakes1 deliberate mistake24 factual errors1 other mistake18 plot holes11 revealing mistakes3 visible crew/equipment mistakesOrder by popularityOrder chronologicallyAll seasonsNo specific seasonSeason 1Season 2Season 3Titles starting with F
Dark Knight: The Second Chapter (2) - S1-E3
Continuity mistake: The blood stains on Nick's white turtleneck are lighter, then darker, then lighter again, and migrate to different positions, both during his fight with LaCroix in the abattoir, and throughout the hospital scenes afterward. (00:10:15 - 00:19:30)
Partners of the Month - S2-E18
Continuity mistake: While he's talking to Janette at the Raven, the level of fluid in Schanke's cocktail changes all by itself from several inches down to nearly full again, even though he's been sipping at it throughout their conversation. (00:34:55)
Dying to Know You - S1-E6
Continuity mistake: Schanke calls Nick to tell him they've found Mrs. Hedges' body, and says, "They cut her throat, man." We even see a brief shot of the bloodied corpse. But later in the morgue, Nick says, "She was asphyxiated, right?" and Nat agrees. The corpse on the autopsy table now appears to have an intact throat. So, which way did Mrs. Hedges die? (00:22:15 - 00:38:10)
Spin Doctor - S1-E15
Continuity mistake: Nick takes to the air wearing a blue windbreaker, but lands wearing a long black duster coat. (00:14:05)
Hunters - S1-E12
Continuity mistake: Nick's beard is fully grown in the beginning of this episode, but it changes, disappearing entirely more than once and then reappearing in various stages of growth, even in sequences supposedly occurring on the same night.
Amateur Night - S2-E12
Continuity mistake: It's 9:10 a.m. outside the police precinct station, and after a 4-minute interview scene with no time lapses, it's 2:55 p.m. inside. (00:21:50 - 00:25:10)
For I Have Sinned - S1-E4
Continuity mistake: While he's in the confessional, Schanke's raincoat collar is turned up. When he rushes out to confront Nick, it's folded neatly down again. (00:37:40)
I Will Repay - S1-E10
Continuity mistake: Elizabeth the leper is wearing a dirty gray dress under her black cloak - until Nick makes her a vampire, when suddenly there's a beautiful, spotlessly clean white gown under her cloak. (00:09:30 - 00:26:30)
Black Buddha (1) - S3-E1
Continuity mistake: Nick and Tracy find a crying but uninjured baby, the only mortal survivor of the plane crash, in the wreckage. Yet in part 2, Nick tells Urs that Vachon was the only survivor. (00:10:45)
Continuity mistake: When he's rescuing Tracy at the end, Vachon bites Vudu. But when Nick arrives and props up the dying man, there are no marks and no blood on his neck. (00:39:45)
The Fix - S2-E14
Continuity mistake: Although they never reverse their direction, when Nick and Schanke are walking down the Toronto city street, they pass the same bright yellow discount store sign twice.
Be My Valentine - S2-E15
Continuity mistake: In the flashback to 1228, Nick's just-awakened sister Fleur has her hair down over her ears, and is wearing a white night dress that covers her to the neck. Cut to a close-up and her hair is pulled back to reveal pierced earrings (unlikely in 1228, and did she sleep with them on?), and she's suddenly in a bare-shouldered gown instead of her night dress. (00:08:35)
Queen of Harps - S2-E19
Continuity mistake: Nick and Schanke are interrogating a murder suspect and disagreeing about whether or not she did the deed. They leave the interview room together, and Nick's hair completely changes styles as he walks out of the room. On the inside of the door, it's combed down over his forehead and rather "fluffy." The minute he exits on the other side of the door, it's brushed back and slicked down. (00:25:55)
Fever - S3-E13
Continuity mistake: When Cal falls against the canister in the lab and accidentally releases the poison gas, the position of the big yellow lever on the gas pipe shifts back and forth by 90 degrees between takes. (00:34:25)
The Human Factor - S3-E16
Continuity mistake: Twice in this episode, Janette refers to having been a vampire for 800 years. Previous episodes established that while Nick was 800 years old, Janette was 1000. (00:14:45 - 00:33:00)
Night in Question - S3-E10
Continuity mistake: The actor playing the bad guy apparently didn't stick to the script. What he says on the phone, telling Tracy where to meet him, and what she writes down for Nick to find later, don't match at all. (00:35:00)
Blood Money - S2-E17
Continuity mistake: When Sean sneaks back into the night club owner's office, we can see as he enters that there is no one in the left-hand side of the room. Yet, as Sean sits down at the desk, Walken somehow emerges from the left corner, which we have just seen was empty a moment before. (00:39:15)
Continuity mistake: The blood stain on Tracy's lapel changes its shape several times between takes. (00:08:15)
Continuity mistake: When Nick and Schanke begin interrogating Sean, the tape recorder on the desk isn't running. It's going a few shots later, though, even though no one's touched it to turn it on. (00:30:30)
Father's Day - S2-E7
Continuity mistake: During his fight with Constantine's henchmen, the bullet holes in the back of Nick's vest disappear and reappear several times between shots. (00:23:30)
More for Forever Knight
Forward into the Past - S2-E4
Factual error: Nick tells fellow vampire Aristotle, "You still owe me for that time at the Battle of Hastings." Nick was brought across in 1228, or so the intro told us every week. The Battle of Hastings, as any British school kid knows, was fought in 1066, over 100 years before Nick's mortal birth. (00:29:30)
More mistakes in Forever Knight
Tracy: Now that I've expressly told you I don't need your help... I need your help.
More quotes from Forever Knight
Curiouser & Curiouser - S2-E22
Trivia: All the sets in the dream sequence, particularly Nick's loft, are filled with props referencing Lewis Carroll's Alice in Wonderland books. They include white rabbits, flamingos, walruses, a squeaky-toy caterpillar - even a half-eaten piece of cake in Nick's fridge. The episode also has several background extras in Wonderland-style costumes, and numerous other references to the books, such as Nick literally falling through the looking glass at the end.
More trivia for Forever Knight
Mistake & trivia booksMost popular pagesBest movie mistakesBest mistake picturesBest comedy movie quotesMovies with the most mistakesNew this monthThe Wizard of Oz mistakesLizzie McGuire mistake pictureThe Andy Griffith Show mistakesSecret Window endingFriends questionsSex and the City triviaSuper Troopers quotesThe Notebook plotJason Statham movies & TV showsThe 15 biggest mistakes in The Wizard of OzStar Wars mistake videoMore for Forever Knight
Nick tells fellow vampire Aristotle, "You still owe me for that time at the Battle of Hastings." Nick was brought across in 1228, or so the intro told us every week. The Battle of Hastings, as any British school kid knows, was fought in 1066, over 100 years before Nick's mortal birth.
All the sets in the dream sequence, particularly Nick's loft, are filled with props referencing Lewis Carroll's Alice in Wonderland books. They include white rabbits, flamingos, walruses, a squeaky-toy caterpillar - even a half-eaten piece of cake in Nick's fridge. The episode also has several background extras in Wonderland-style costumes, and numerous other references to the books, such as Nick literally falling through the looking glass at the end.


For the Epic Conclusion of this series, we have this stunning self-portrait, with Andy Exley in the background, taken in the middle of the fifth day on the Steven's Canyon trip when I got desperate and decided to jump into the pothole to swim/wash my hair. This is trust or foolishness, you know that right? Putting a picture of this on the interwebs. That is how much I care about you all and your well being/happiness.


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Company Trade Marks
Amy Cunliffe-Rowe
For companies doing business in the UK, it is important to think about what intellectual property you own. Intellectual property can be a very valuable asset and so it is important to think about what steps you can take to protect it. Most, if not all businesses will use a trade mark of some kind and even if you have a registered trade mark in one country you should make sure that it is protected in all countries in which you do business.
A trade mark is a sign (such as a name, logo or brand) which enables customers to identify the source of goods or services and which can be represented graphically. This not only includes words and logos but it can also include other signs such as shapes, colours and images.
Why should you register a trade mark?
Registering a trade mark gives you the exclusive right to use the mark in relation to the goods or services for which it is registered. If your mark is used by anyone else without your permission, it is easier and less costly to enforce your rights than if the mark was not registered. In addition, it is usual for businesses to undertake searches of the trade mark register before they start using a new brand or name and so they will be alerted to registered marks. This means that it is less likely that your mark will be infringed.
Should a trade mark be registered in the UK or the EU?
It is very important to think about the territories you will register your trade mark in as you will only have protection in territories in which your mark is registered. You should consider which jurisdictions you currently use your trade mark in and where you are likely to use it in the future. This includes not only your own use but also where you intend to assign or licence rights to third parties. If you plan to use your trade mark in the UK and elsewhere in the EU, a single EU trade mark will cover all EU member states.
How do you register a trade mark?
Before an application is made to register your mark, it is necessary to consider if the mark is capable of registration and also whether registration may infringe another party's intellectual property rights. This involves undertaking a review of the mark to make sure that, for example, it is distinctive and that it is not just a description of the goods and services to which it relates. Detailed clearance searches and reviews of registers will also have to be done.
An application can then be made to register the mark and you will have to identify which classes to use – this means identifying the goods and services you wish to use the mark for.
When should you register a trade mark and how long will it take to complete the registration?
A mark can be registered as soon as you have an actual intention to use the mark - the sooner the mark is registered, the sooner you will have protection. If there are no objections, registration can be completed within four months but if objections are raised it can take up to 12 months (and sometimes longer in certain cases) to register the mark.
If you would like further advice in relation to this issue or further information about our services please contact our 3CS Commercial Law team which can advise accordingly.


text:
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Contentmart Review: Creative Edition
Introduction to Contentmart
Getting Started with Contentmart
Landing a Job at Contentmart
How Contentmart Works
Working at Contentmart
Getting Paid by Contentmart
Reviews of Contentmart
Pros and Cons of Contentmart
Recommending Contentmart
Website: Contentmart.com
Contentmart says it bridges great writers with those that want content. Nothing new there.
What's different is the international flair. This India-based site delivers content in more than 20 languages, which lends a touch of grandiose. The site further backs this concept with data:
135,224 clients
311,087 writers
75,312 successfully completed orders
So it's a big site with lots of jobs done. From the first-impression point of view, Contentmart looks like a good place to find paying work for freelance writers. And it's based in India, which is new to me.
So, I begin my freelance tourism.
And did I get work? Yes. But does being an English-speaking and English-writing native give me an advantage? Not really.
This screenshot shows the button interested writers must "hit" in order to sign up as a freelance writer at Contentmart, an India-based provider of content.
Those looking to write for Contentmart must scroll to the bottom of the opening page. A "Register As A Copywriter" button rests below a statement saying copywriters have thousands of orders to choose from "daily!"
Hitting this link brings prospective writers to a sign-up page. It asks for name, email, birthday and whether you are in the market for content or are a writer. Humorously, you can select "client," which assumes you need content, or "writer," which you can choose because you "need money." (Well yeah, that's an accurate description.)
Completing the initial sign-up form brings you to a profile page. There are five rather lengthy steps asking for a decent clip of information that describes your writing ability. We're talking clips, tests, areas of expertise, that sort of thing. It took about an hour to fill in all the information adequately.
There were some interesting aspects to the exercise that is new to me:
Phone number – They send a verification text to your cell phone. A landline won't work for this, which was an issue for me because I live in an area with no reception. But, I managed.
Tests – The English test measured my understanding of how the language is used in the United States. Included in the three-part exam (beginner, intermediate, and advanced) were a number of questions dealing with rhymes, common clichés, and word usage. They were pretty simple for a native speaker. A U.S. citizen who watches a couple hours of television a week and picks up a book once in a while will be OK. My guess is that you can't handle these questions, then you are not fit for work here, thus cutting down on writers who are not that familiar with English. There were tests in the more than 20 languages, so if English is not a writer's strong suit then…
Time – It took a while to get everything done, about an hour – and I had everything ready to copy and paste into the requisite areas.
But the time was worth it.
After completing 100 percent of my profile, an item Contentmart measures, I was immediately accepted into the crew of writers.
The queue of open orders was available to me.
Though, I couldn't apply for any of those jobs until my account was activated. It took a weekend and a message to the staff to get things going.
After gaining access to the bid system, I played my cards on a couple of projects hoping my native English skills would be an advantage. Many of the messages left by other freelancers, the majority Indian, had poor grammar and syntax errors.
This graphic from Contentmart shows the path freelance writers face to get paid by the Indian-based content mill.
Bidding is the backbone of Contentmart. Freelance writers bid on projects, competing against a number of writers.
Once selecting a project from the more than 10-plus pages of projects, freelance writers hit the "Bid on Order" button. This takes writers to a page where they can place a bid and a message to the client. There are also more details of the project here, such as pay rate, project description, SEO requirements.
You can also see other bids on the project. Most of those are from freelancers from other countries, mostly from India. One of the reasons I liked this site is that I may have an advantage as a U.S. resident and native-English speaker.
All work goes through a spell check, plagiarism check, and an SEO analysis based on client needs. These tools do provide useful information, though some of the results from the AI checkers are questionable.
This is the "My Orders" page in Contentmart. It contains all the projects a freelancer applies for as well as the freelancer was selected or not for a project.
Having worked for this site for a couple of weeks, I did have the following experiences. For one thing, the functionality of the site is not up to the standards of what I've seen with U.S.-based content mills. For instance, I could not:
Search by client
Accept a project on my profile. Instead, I needed to go into my email, accept a project, which brought me to section where I could complete the work.
Cash out until I earned $50.
Find too many decent-paying jobs.
With regard to this last item, there were a lot of projects that paid about .007 cents a word. This means writing a thousand-word article for about $7. Also, mixed into the queue were a bunch of gibberish proposals.
On the plus side, there were lots of proposals to choose from. And among those were some decent-paying projects that were worth a shot. I found a couple clients that were indeed interested in me because I'm from the United States.
I would receive messages from them to apply for work when the projects were available. But the time difference often made it difficult for me to promptly bid for the proposals, which is a problem because there is a lot of competition.
Contentmart takes 20 percent of the cut paid to writers.
Unlike many other sites, there is a pretty high monetary threshold to meet before you see money from Contentmart. A writer has to earn $50 or more before funds can be transferred to a bank or PayPal account. Also, there were directions for Indian-based writers, which included a rupee threshold.
This is a pretty tough goal since getting high-paying work is difficult. There is plenty of low-paying work, but it takes a lot of time to reach $50 threshold.
Many reviews of Contentmart are from Indian-based writers, who very politely complain about the same things U.S.-based reviewers complain about – pay. They say projects don't pay enough and that working full time is the only way to make this a good option.
And there were also many reviews praising Contentmart, saying the site is among the top companies of its kind in the country. There was also a fair amount of brown nosing.
Reviews from U.S.-based writers were pleased with the ease of the site. They were happy with the sign-up process, immediate acceptance, and decent pricing. Though, none of them followed through with information about how and whether they get paid.
Above are the three "certification" symbols seen on many of the pages of Contentmart., a site providing paying work to freelance writers.
And there were a couple of things I noticed:
Proof that this is a foreign company, which wasn't immediately apparent, can be found here. There are three tiny round emblems on most pages that are meant to advocate safety and guarantees. But a closer look at shows no affiliated link to companies like the Better Business Bureau. The emblems say things like "100% Guarantee" and light up when you mouse over them. But these images are not linked to a certification.
This site seems venerable. According to reviews and press, Contentmart is among the top content sites in India.
And, in my opinion, these pros are well earned.
Signing up was easy, though a bit time-consuming.
The pay is low to fair and vary depending on the project.
May have advantage over non-native English speakers.
Immediate acceptance to Contentmart is a plus.
Well-designed site is simple to use.
Their blog page contains a lot of useful information about writing for online clients.
Only competitive bidding process for projects, which could eat up time looking for work.
Not all projects are lucrative. In fact, many are not.
Detailed instructions from clients are hit or miss.
A few questionable items like the three emblems.
One still has to bid on repeat work from a client. Thus, a repeat client may or may not choose you again making it hard to establish relationships.
Contentmart, in my opinion, is definitely worth a look.
Every step of the way was simple and I was able to start bidding on jobs after a few days.
And, I felt like I had an advantage over other freelance writers. Others looking for work used bad English in their messages to clients, which made me feel like I could make a better first impression. My theory was only heightened by more successful writers on the site, who put more effort into this initial message.
And I think I was right, at least to a point. There were a few clients to Contentmart interested in my skills because I live in the United States, but I couldn't say my origins were a huge advantage.
But, I imagine I stood out as I think I saw only one other writer from the U.S.
I have to admit, I was hesitant about going to a non-U.S. based company. My experience writing for foreign clients has always ended with me chasing clients for money, one of them never paying.
But, Contentmart has my confidence. The company spent a lot of time making a user-friendly site and the content queue is full. This latter idea makes me feel they've been doing things right.
I would recommend this site for newbies to freelance writing because of the volume of jobs. Seasoned writers could do OK here, but finding decent jobs could take a while.
As a writer, you have an in-demand talent that can be used to earn you TONS of money online. You can earn money freelance writing, for sure, but it's still just trading dollars for hours. Personally, I recommend starting your own website! Information is the currency of the internet, so why not leverage your talents to build yourself a serious online income! Learn how to create your own blog-style website and make money through advertising.
Nathaniell
What's up ladies and dudes! Great to finally meet you, and I hope you enjoyed this post. My name is Nathaniell and I'm the owner of One More Cup of Coffee. I started my first online business in 2010 promoting computer software and now I help newbies start their own businesses. Sign up for my #1 recommended training course and learn how to start your business for FREE!
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Premium Extension to display custom EMI option details in product view page via popup.
Whether it is to buy a car, home or washing machine, Loans have become a modern day system to achieve things in life. However, when we talk about loans, EMI is the important term associated with loans. EMI is abbreviated for equated monthly installments. Calculating EMI with a mathematical formula and coding it on website is quite a time consuming and tough task. For this purpose, EMI calculators prove to be a useful thing. With EMI Calculation Pro extension you have the ability to easily highlight EMI options and its calculation for each product on your store hassle free. The extension functionality allows you to define different Bank's EMI options, so it will be more convenient for client to compare multiple banks EMI offe rs. Now-a-days many e-commerce have started selling various things like mobiles, clothes or home decor things on EMI. If your store owner is too offering EMI options, then this extension is a must have feature for your website.
EMI Calculation Pro helps store visitor for their financial planning to make decision for purchase of product on EMI with their budget.
Manage general setting options to enable/disable the extension, link text, popup message and other configurations.
Save the settings and check the product page that will display EMI options on it.
Very user friendly interface. Display EMI Option link on each product detail page to popup details.
With Rich Configuration Options, It is easily manageable from admin side.
Allows the admin to add and display general terms & conditions.
Users can get rid of the need for manual calculations.
It will help to compare loan offers from various organizations and choosing the best one.
Provides aid in choosing terms such as the loan tenure.


The Reading and Writing Workbook offers plenty of practice of letters and early literacy with strong visual support from illustrations and photos.
The Little Big Book contains a variety of literary genres including photo stories, nonfiction, fables, and songs. There are comprehension and critical thinking activities for children to do before, during, and after each of the selections.
The Digital eBook includes the complete student book in digital format along with an activity CD-Rom with theme-based learning activities and games for more practice.
The Longman Texas Cornerstone website (www.longmancornerstone.com) hosts the online version of the Student Digital eBook and contains additional activities for extension and enrichment.
ELPS-based lessons are presented in an easy-to-follow step-by-step approach and allow teachers to deliver explicit instruction and teach skills to mastery. The specific ELPS that are the focus of instruction are clearly identified on every page.
A set of one hundred picture cards, with photos, provide fun ways to practice basic and expanded vocabulary.
Full-size color posters featuring unit themes (Big Questions) with blackline masters on reverse for theme-related activities. There are three additional posters with grammar and writing rules and strategies.
The Audio CD has original songs, chants, traditional children's songs, Big Book songs, vocabulary, conversations, phonics, and Assessment Book listening activities.
The Video DVD program will entertain as it educates. It included two familiar fairy tales for students to view: "The Little Red Hen" and "Goldilocks and the Three Bears".
Six large big books, with illustrations and photographs, help expand on the program themes through stories, songs, folktales, and more.
Photocopiable resources include phonemic awareness activities, vocabulary cards, fairy tale character masks, alphabet and sentence cards, math cards and worksheets, story starters, and writing practice.
The Assessment Book has a unit-by-unit check of students', listening, speaking, reading, and writing progress.
The Student Digital eBook includes the complete teacher book in digital format.
The Teacher Digital eBook includes the complete student book in digital format along with an activity CD-Rom with theme-based learning activities and games for more practice.
The Jolly Giraffe Puppet mascot is a perfect classroom companion for modeling language. The giraffe character visits each lesson and helps engage students in productive language activities.
The MY ABC Storybook pack complements Pockets Kindergarten program by providing additional support with vocabulary development and phonemic awareness. Each alphabet letter is accompanied by a two-page color illustration and supporting vocabulary words to reinforce the targeted letter. This pack includes a student book, workbook, audio, posters, and picture cards.
This dictionary for young learners uses a variety of drawings, songs, and chants to illustrate 280 words to help children describe the world as they see it. Organized into 26 themes with toys, animals, and fairy-tale characters, this dictionary helps to make learning fun. In addition, the audio CD includes recordings of all vocabulary, dialogues, and chants.
The activity resource book includes fifty-two graded activity sheets, photocopiable flashcards, and illustrated song and chant actions to support teaching with the Longman Young Children's Picture Dictionary.
The Texas Practice Book offers additional practice and extension activities for each skill taught in the Student Edition. This consumable component gives students more opportunities to master the ELPS through independent, self-directed tasks. Point-of-use references for every workbook activity appear on the Student Edition pages.
The Student Edition and Workbook are presented in their entirety on this CD-ROM in an easy-to-use format. The eBook also includes the complete Audio and Video programs and extensive interactive activities to reinforce the skills taught in the Student Edition. To ensure that students master the TEKS taught in each lesson, the eBook provides links to the Longman Cornerstone website (www.LongmanCornerstone.com) where additional worksheets can be accessed. These worksheets, an integral part of the Texas Skill Builders section of each unit, give students extra practice in social language skills, media Literacy, reading, and writing. Other features include hyperlinks to web resources, and a "Read and Record" feature that allows students to practice their reading and speaking fluency.
ELPS-based lessons are presented in an easy-to-follow step-by-step approach (Introduce, Teach, Practice), allowing teachers to deliver explicit instruction and teach skills to mastery. The specific ELPS that are the focus of instruction are clearly identified on every left-hand page. Strategies for differentiated instruction as well as tools to accelerate language development are found on the right-hand pages. Visual Literacy activities help teachers launch each unit by telling them how to use the photos on the opener as conversation prompts, giving students practice using theme-related vocabulary and discussing theme-related content.
24" X 36" posters feature unit vocabulary to build students' skills with theme related word families. There are three additional posters per level with grammar and writing rules and strategies.
The Texas Audio CD includes recordings of each of the readings. It also includes recordings of all the literary terms, key vocabulary words, and academic words, with sample sentences to provide context.
The Texas Video DVDs provide a brief segment of background-building information on the theme or topic of each unit. These video segments provide a visual entrée to each unit and give students practice listening actively. The Texas Skill Builders section includes a listening comprehension activity that includes questions about the DVD segment.
The Phonics and Word Analysis Kit builds the foundational phonics, phonemic awareness, and vocabulary skills for emerging readers, English learners, students with interrupted formal education, and other learners with severely limited reading abilities.
Teacher's Guide to each phonics concept with step-by-step lesson plans. The Audio CD provides pronunciation of phonemes and words to build phonemic awareness and vocabulary.
Flashcards help students practice and master sound/symbol combinations.
High-interest readings with highly controlled vocabulary to help learners decode text and build reading confidence.
The Teacher's Resource Book offers daily lesson plans correlated to the Texas Essential Knowledge and Skills. It also includes blackline masters for graphic organizers, answer keys for the Workbook, and reading summaries in English and five foreign languages. In addition, it provides newcomer worksheets for beginning students and letters home in both English and Spanish, so students' families know what their children will be studying in each unit.
The Texas Assessment Book offers ELPS-based tests for every reading selection, including summative unit tests. It also includes a diagnostic pretest (given during the first week of school), a midterm test, and a posttest (given during the last week of school) so that teachers can measure student progress effectively throughout the year.
8"x10" picture cards feature unit story words and offer visual reinforcement for learning targeted vocabulary. There are images on one side of the card and the printed word on the other side.
The Texas Transparencies book includes daily language practice (Do Now) exercises: contextualized error-correction activities for every day of instruction. In addition, it includes transparencies of the graphic organizers and the student writing models from the Student Edition, which the teacher can use to highlight specific writing skills or linguistic structures during writing lessons.
An additional copy of the Texas Student Digital eBook CD-ROM (see description above) is provided to each teacher for their reference.
This electronic Teacher's Edition provides the entire content of the print Teacher's Edition together with the electronic files of all the print teaching resources (lesson plans, answer keys, etc.). In addition, the built-in ExamView Test Generator provides a powerful, easy-to-use tool for TEKS-based assessment and reporting.
The Frog Puppet mascot is a perfect classroom companion for modeling language. The frog character visits each lesson and helps teachers engage students in productive language activities.
The program includes a collection of Penguin leveled readers that relate to the unit themes and provide opportunities for independent reading. Each of the Penguin Readers is adapted from popular tales and stories and uses controlled vocabulary that is appropriate for lower-proficiency readers.
The program includes a collection of DK leveled readers that relate to the unit themes and provide opportunities for independent reading. Each of the DK Readers is leveled to meet the needs of lower-proficiency readers.
This dictionary for young learners uses a variety of drawings, songs, and chants to illustrate 800 words and phrases designed to appeal to young learners. Categorized into 50 themes with supporting dialogues, songs, and chants, this dictionary helps to make learning fun. In addition, the audio CD includes recordings of all vocabulary, dialogues, songs, and chants.
The Teacher's Resource Book contains lesson plans, game boards, and 800 photocopiable flashcards to keep lessons engaging.
The workbook provides controlled practice of the vocabulary presented in the dictionary.
ELPS-based lessons are presented in an easy-to-follow step-by-step approach (Introduce, Teach, Practice), allowing teachers to deliver explicit instruction and teach skills to mastery. The specific ELPS that are the focus of instruction are clearly identified on every left-hand page. Strategies for differentiated instruction as well as tools to accelerate language development are found on the right-hand pages. Visual Literacy activities help teachers launch each unit by telling them how to use the photos on the opener as conversation prompts, giving students practice using theme-related vocabulary and discussing theme-related content. Each reading is accompanied by a Reading Summary, scaffolding suggestions, and instructions for how to model the reading strategy, Study Skills activities to help students use academic materials, and answers to the questions in the Student Edition.
The program includes a collection of readers from the various series published by Dorling Kindersley. These content-based readers have a highly pictorial reading scheme, with lively illustrations and engaging stories to encourage reading. These readers use simple sentences, limited vocabulary, word repetition, picture dictionary boxes and large type to support reluctant readers.
This learner dictionary is a classroom tool that provides students with support learning new vocabulary through the use of illustrations, photos, accessible definitions, example sentences, embedded picture dictionary and thesaurus, along with word family, word origin, and word building boxes to build word knowledge.
This research-based guide offers practical and highly effective instructional routines giving teacher's clear guidance on how to use the dictionary as a powerful instructional tool. The guide includes twenty-two reproducible worksheets that help young learners practice using the Longman Elementary Dictionary and Thesaurus. Activities include finding definitions, understanding multiple-meaning words, learning about word families, and learning new words using prefixes and suffixes.
The Texas Student Workbook offers additional practice and extension activities for each skill taught in the Student Edition. This consumable component gives students more opportunities to master the TEKS through independent, self-directed tasks. Point-of-use references for every workbook activity appear on the Student Edition pages.
The Student Edition, Workbook, and Reader's Companion are presented in their entirety on this CD-ROM in an easy-to-use format. The eBook also includes the complete Audio and Video programs and extensive interactive activities to reinforce the skills taught in the Student Edition. To ensure that students master the ELPS taught in each lesson, the eBook provides links to the Longman Keystone website (www.LongmanKeystone.com) where additional worksheets can be accessed. These worksheets, an integral part of the Focus on Texas section of each unit, give students extra practice in social language skills, media Literacy, reading, and writing. Other features include hyperlinks to web resources, and a "Read and Record" feature that allows students to practice their reading and speaking fluency.
The Longman Texas Keystone website (www.longmankeystone.com) hosts the online version of the Student Digital eBook and contains additional activities for extension and enrichment.
ELPS-based lessons are presented in an easy-to-follow step-by-step approach (Introduce, Teach, Practice), allowing teachers to deliver explicit instruction and teach skills to mastery. The specific ELPS that are the focus of instruction are clearly identified on every left-hand page. Strategies for differentiated instruction as well as tools to accelerate language development are found on the right-hand pages. Visual Literacy activities help teachers launch each unit by telling them how to use the photos on the opener as conversation prompts, giving students practice using theme-related vocabulary and discussing theme-related content. Each reading is accompanied by a Reading Summary, scaffolding suggestions, instructions for how to model the reading strategy, Study Skills activities to help students use academic materials, and answers to the questions in the Student Edition.
The Texas Video DVDs provide a brief segment of background-building information on the theme or topic of each unit. These video segments provide a visual entrée to each unit and give students practice listening actively. The Focus on Texas section includes a listening comprehension activity that includes questions about the DVD segment.
The Teacher's Resource Book offers daily lesson plans correlated to the Texas English Language Proficiency Standards. It also includes blackline masters for graphic organizers, answer keys for the Workbook and Reader's Companion, and reading summaries in English and five other languages. In addition, it provides newcomer worksheets for beginning students and letters home in both English and Spanish, so students' families know what their children will be studying in each unit.
This electronic Teacher's Edition provides the entire content of the print Teacher's Edition together with the electronic files of all the print teaching resources (lesson plans, answer keys, etc.). In addition, the built-in ExamView Test Generator provides a powerful, easy-to-use tool for ELPS-based assessment and reporting.
The Reader's Companion includes reprinted informational texts from the Student Edition. It promotes active reading skills by encouraging students to interact with the texts by marking them up (circling words, underlining sentences, etc.), answering comprehension questions, and applying the skills and strategies they learned in the Student Edition.
The Longman Study Dictionary of American English is a valuable resource for students that accelerates vocabulary development by highlighting academic vocabulary and content-area vocabulary across.


"What are the differing needs between pre-collegiate students and college/grad school students, and how do you approach these age groups differently?"
We threw Jessie's question over to Associate Professor of Violin at the University of Michigan School of Music, Ms Danielle Belen.
"One of the great joys of teaching very young students is having time—time for scales, etudes, double-stops, short character pieces, vibrato exercises, and endless detailed work. And instead of feeling pressured to rush into a Sibelius or Brahms concerto, with young students we have the time to tackle Viotti, Vieuxtemps, Conus, Sarasate. These essential student pieces build the technique, artistry, character, and set the foundation for the aforementioned warhorses later to come. It is so much fun to work this way when we as teachers see our influence, our fingerprints on one's development so clearly.
Naturally, it's easy to assume that with older students, those of college and graduate level, the time needed to dedicate to all of the fundamental work outlined above simply doesn't exist. As a result, older students can often find themselves chomping through the most sophisticated repertoire, no matter what their technical level actually is. So rather than dwelling on all of the differences between teaching pre-college and college-aged students, I find that at the heart of it, we should work with them quite similarly.
Last week in my violin studio technique class at the University of Michigan, I had each student stand up and play the first three lines from Dont etude No.8, the one in double-stop thirds. The average age in the room was probably twenty years old. Near the end of the session, we were interrupted—BANG! BOOM! BOOM!—as if an angry troll with a sledgehammer waited outside my studio for a violin lesson. I opened the door revealing my student, a tiny ten-year-old girl, and I smiled to myself as if there should have ever been a doubt as to the identity of the knocker—her personality is as big as her stature is small. After my college students left with a chuckle or two, the ten-year-old opened her case, tuned, and the first thing she played for me was that same Dont etude No.8. My standard for her and my standard for the college students were not at all different, and that is a testament to the respect I hold for both.
Great musicianship can always be traced back to the basics of technique. Any professional teacher knows that the simple act of drawing healthy sound out of the instrument with the bow is not simple at all, at any age. And just as young students have that twinkle in their eye when we assign them their first real concerto, I see college students breathe a sigh of relief when we take time off big rep to focus on technique, like the control and health of their vibrato, for example. (Unlike a bottle of wine that naturally gets better with age, an underdeveloped and under-taught vibrato does not!) The bottom line here is that individual student needs are infinitely more important than the age of the student, and teachers and parents who forget this perform a great disservice and are missing the potential for magic to happen.
All of this may sound good on paper, but many will argue that in reality, with older students, the time to spend on the essential nitty-gritty simply does not exist. With college students, now is the time to pound out rep, get audition excerpts ready, and get their lives going already! But the real truth is this: with many young kids, time is sometimes the only thing on their side. Motivated older students will amaze – AMAZE! – their teachers and colleagues with enormous progress if there is the same focus given to their basic technique as would be given to a young budding prodigy. If teachers and students care deeply about improving the big-picture-items and don't just crave the quick, sugary fun of learning a new piece of music, then they will find a way to create more of that ever-elusive character, time, to do just that.


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Samantha Boshnack's Seismic Belt-Live in Santa Monica
The trumpeter and composer Samantha Boshnack isn't a geologist by trade, but she certainly thinks a lot about earthquakes and volcanoes. Over the past 15 years, while living in her adopted hometown of Seattle, Boshnack has hiked the environs of Washington's Mount Rainier and Mount St. Helens with a kind of unnerved fascination. During her travels in places like Mexico and Indonesia, she's made a point to visit the storied volcanic sites. Throughout her journeys, a couple of questions have persisted: What causes these astounding landscapes and events, and how are they all connected? And how can these vistas be so unspeakably beautiful yet also harbor such a profound potential for catastrophe?
Boshnack's inquiries led her to an exhaustive study of the Ring of Fire, the horseshoe-shaped region surrounding the Pacific that contains the majority of the world's volcanoes and experiences about 90 percent of its earthquakes. Her answers, from the purely emotional to the surprisingly scientific, can be found on Live in Santa Monica, the new Orenda Records release by Samantha Boshnack's Seismic Belt. With Boshnack on trumpet and flugelhorn, Ryan Parrish on tenor and baritone saxophones, Paul Cornish on piano, Nashir Janmohamed on double bass and Dan Schnelle on drums, Seismic Belt is given added dimension through string players Lauren Elizabeth Baba and violinist Paris Hurley. It's the ideal ensemble to tackle these vital, sometimes volatile compositions, and it allows Boshnack to explore the median between the charms of her two primary vehicles as a bandleader up to this point— the 14-piece B'shnorkestra, with its touches of symphonic grandeur, and the small-group avant-jazz dynamism of the Sam Boshnack Quintet.
Boshnack's eight labyrinthine works are filled with creative allegories, and Seismic Belt uses textures and strategies from both experimental chamber music and the bop-rooted jazz avant-garde to conjure up these natural marvels. Her research also comprised the cultures inhabiting the various locales within the Ring, and Boshnack's unit interprets these world-music facets in rousing ways.???????
Live in Santa Monica "examines our relationship with the Earth," Boshnack writes in her liner notes, "including the elements of risk and faith in that uneasy cohabitation." With some serendipity, Boshnack's visionary new project was birthed in a town of many fault lines, Los Angeles. As the 2018 recipient of the 18th Street Arts Center's prestigious Make Jazz Fellowship, an honor sponsored by the Herb Alpert Foundation, Boshnack was able to work on her commissioned piece within an engaging, multidisciplinary arts community over a three-month period (or, rather, a community within a community, as Boshnack also became immersed in L.A.'s jazz, improv and arts scenes during her stay). The 18th Street Arts Center lists among the top 20 artist-residency programs in the U.S., and the alumni of the Make Jazz Fellowship stand as some of improvised music's most important young artists, including trumpeter Marquis Hill, cellist Tomeka Reid and saxophonist Matana Roberts.
To say that Boshnack took her commission seriously would be a gross understatement; in fact, few composers have been as committed to the musical expression of an extramusical concept as she is to illustrate the wonders of the Ring of Fire. Boshnack sees Seismic Belt as an ongoing project whose concept could easily spark new work. "I feel a lot more music could be written about the Ring in Fire," she explains. "There are so many more places that are affected, and I want to find out more about the myths and stories and coping methods by those who've lived in these places."
Biography: Samantha Boshnack has toured extensively in the zany, postmodern Reptet and performed or recorded with such artists as Wayne Horvitz, Butch Morris, Eyvind Kang, Jessica Lurie, Bobby Previte, Amy Denio, Jim Black, David Byrne, Terry Riley, and Robin Holcomb.
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