text:
Q: eclipse re-installation I'm using eclipse 3.6.2 for the past 6 months. Now i tried to install "eclipse-jee-indigo-SR1-win32". After clicking "eclipse.exe", it is showing "An error has occured.See the log file.F:\eclipse-jee-indigo-SR1-win32\eclipse\configuration\1323256879573.log". Log file shows the following
!SESSION 2011-12-07 05:21:18.478 -----------------------------------------------
eclipse.buildId=M20110909-1335
java.version=1.6.0_29
java.vendor=Sun Microsystems Inc.
BootLoader constants: OS=win32, ARCH=x86, WS=win32, NL=en_US
Framework arguments:  -product org.eclipse.epp.package.jee.product
Command-line arguments:  -os win32 -ws win32 -arch x86 -product org.eclipse.epp.package.jee.product

!ENTRY org.eclipse.equinox.p2.core 4 0 2011-12-07 05:21:20.833
!MESSAGE Provisioning exception
!STACK 1
org.eclipse.equinox.p2.core.ProvisionException: Unknown repository type at file:/F:/eclipse-jee-indigo-SR1-win32/eclipse/configuration/org.eclipse.osgi/bundles/290/data/listener_1925729951/.
    at org.eclipse.equinox.internal.p2.repository.helpers.AbstractRepositoryManager.fail(AbstractRepositoryManager.java:393)
    at org.eclipse.equinox.internal.p2.repository.helpers.AbstractRepositoryManager.doCreateRepository(AbstractRepositoryManager.java:282)
    at org.eclipse.equinox.internal.p2.metadata.repository.MetadataRepositoryManager.createRepository(MetadataRepositoryManager.java:41)
    at org.eclipse.equinox.internal.provisional.p2.directorywatcher.RepositoryListener.initializeMetadataRepository(RepositoryListener.java:109)
    at org.eclipse.equinox.internal.provisional.p2.directorywatcher.RepositoryListener.<init>(RepositoryListener.java:59)
    at org.eclipse.equinox.internal.p2.reconciler.dropins.DropinsRepositoryListener.<init>(DropinsRepositoryListener.java:82)
    at org.eclipse.equinox.internal.p2.reconciler.dropins.Activator.watchDropins(Activator.java:532)
    at org.eclipse.equinox.internal.p2.reconciler.dropins.Activator.start(Activator.java:172)
    at org.eclipse.osgi.framework.internal.core.BundleContextImpl$1.run(BundleContextImpl.java:711)
    at java.security.AccessController.doPrivileged(Native Method)
    at org.eclipse.osgi.framework.internal.core.BundleContextImpl.startActivator(BundleContextImpl.java:702)
    at org.eclipse.osgi.framework.internal.core.BundleContextImpl.start(BundleContextImpl.java:683)
    at org.eclipse.osgi.framework.internal.core.BundleHost.startWorker(BundleHost.java:381)
    at org.eclipse.osgi.framework.internal.core.AbstractBundle.resume(AbstractBundle.java:389)
    at org.eclipse.osgi.framework.internal.core.Framework.resumeBundle(Framework.java:1131)
    at org.eclipse.osgi.framework.internal.core.StartLevelManager.resumeBundles(StartLevelManager.java:559)
    at org.eclipse.osgi.framework.internal.core.StartLevelManager.resumeBundles(StartLevelManager.java:544)
    at org.eclipse.osgi.framework.internal.core.StartLevelManager.incFWSL(StartLevelManager.java:457)
    at org.eclipse.osgi.framework.internal.core.StartLevelManager.doSetStartLevel(StartLevelManager.java:243)
    at org.eclipse.osgi.framework.internal.core.StartLevelManager.dispatchEvent(StartLevelManager.java:438)
    at org.eclipse.osgi.framework.internal.core.StartLevelManager.dispatchEvent(StartLevelManager.java:1)
    at org.eclipse.osgi.framework.eventmgr.EventManager.dispatchEvent(EventManager.java:230)
    at org.eclipse.osgi.framework.eventmgr.EventManager$EventThread.run(EventManager.java:340)
!SUBENTRY 1 org.eclipse.equinox.p2.metadata.repository 4 1005 2011-12-07 05:21:20.834
!MESSAGE Unknown repository type at file:/F:/eclipse-jee-indigo-SR1-win32/eclipse/configuration/org.eclipse.osgi/bundles/290/data/listener_1925729951/.

!ENTRY org.eclipse.equinox.p2.reconciler.dropins 4 0 2011-12-07 05:21:20.839
!MESSAGE FrameworkEvent ERROR
!STACK 0
org.osgi.framework.BundleException: Exception in org.eclipse.equinox.internal.p2.reconciler.dropins.Activator.start() of bundle org.eclipse.equinox.p2.reconciler.dropins.
    at org.eclipse.osgi.framework.internal.core.BundleContextImpl.startActivator(BundleContextImpl.java:734)
    at org.eclipse.osgi.framework.internal.core.BundleContextImpl.start(BundleContextImpl.java:683)
    at org.eclipse.osgi.framework.internal.core.BundleHost.startWorker(BundleHost.java:381)
    at org.eclipse.osgi.framework.internal.core.AbstractBundle.resume(AbstractBundle.java:389)
    at org.eclipse.osgi.framework.internal.core.Framework.resumeBundle(Framework.java:1131)
    at org.eclipse.osgi.framework.internal.core.StartLevelManager.resumeBundles(StartLevelManager.java:559)
    at org.eclipse.osgi.framework.internal.core.StartLevelManager.resumeBundles(StartLevelManager.java:544)
    at org.eclipse.osgi.framework.internal.core.StartLevelManager.incFWSL(StartLevelManager.java:457)
    at org.eclipse.osgi.framework.internal.core.StartLevelManager.doSetStartLevel(StartLevelManager.java:243)
    at org.eclipse.osgi.framework.internal.core.StartLevelManager.dispatchEvent(StartLevelManager.java:438)
    at org.eclipse.osgi.framework.internal.core.StartLevelManager.dispatchEvent(StartLevelManager.java:1)
    at org.eclipse.osgi.framework.eventmgr.EventManager.dispatchEvent(EventManager.java:230)
    at org.eclipse.osgi.framework.eventmgr.EventManager$EventThread.run(EventManager.java:340)
Caused by: java.lang.IllegalStateException: Could not create metadata repository for: file:/F:/eclipse-jee-indigo-SR1-win32/eclipse/configuration/org.eclipse.osgi/bundles/290/data/listener_1925729951/
    at org.eclipse.equinox.internal.provisional.p2.directorywatcher.RepositoryListener.initializeMetadataRepository(RepositoryListener.java:112)
    at org.eclipse.equinox.internal.provisional.p2.directorywatcher.RepositoryListener.<init>(RepositoryListener.java:59)
    at org.eclipse.equinox.internal.p2.reconciler.dropins.DropinsRepositoryListener.<init>(DropinsRepositoryListener.java:82)
    at org.eclipse.equinox.internal.p2.reconciler.dropins.Activator.watchDropins(Activator.java:532)
    at org.eclipse.equinox.internal.p2.reconciler.dropins.Activator.start(Activator.java:172)
    at org.eclipse.osgi.framework.internal.core.BundleContextImpl$1.run(BundleContextImpl.java:711)
    at java.security.AccessController.doPrivileged(Native Method)
    at org.eclipse.osgi.framework.internal.core.BundleContextImpl.startActivator(BundleContextImpl.java:702)
    ... 12 more
Root exception:
java.lang.IllegalStateException: Could not create metadata repository for: file:/F:/eclipse-jee-indigo-SR1-win32/eclipse/configuration/org.eclipse.osgi/bundles/290/data/listener_1925729951/
    at org.eclipse.equinox.internal.provisional.p2.directorywatcher.RepositoryListener.initializeMetadataRepository(RepositoryListener.java:112)
    at org.eclipse.equinox.internal.provisional.p2.directorywatcher.RepositoryListener.<init>(RepositoryListener.java:59)
    at org.eclipse.equinox.internal.p2.reconciler.dropins.DropinsRepositoryListener.<init>(DropinsRepositoryListener.java:82)
    at org.eclipse.equinox.internal.p2.reconciler.dropins.Activator.watchDropins(Activator.java:532)
    at org.eclipse.equinox.internal.p2.reconciler.dropins.Activator.start(Activator.java:172)
    at org.eclipse.osgi.framework.internal.core.BundleContextImpl$1.run(BundleContextImpl.java:711)
    at java.security.AccessController.doPrivileged(Native Method)
    at org.eclipse.osgi.framework.internal.core.BundleContextImpl.startActivator(BundleContextImpl.java:702)
    at org.eclipse.osgi.framework.internal.core.BundleContextImpl.start(BundleContextImpl.java:683)
    at org.eclipse.osgi.framework.internal.core.BundleHost.startWorker(BundleHost.java:381)
    at org.eclipse.osgi.framework.internal.core.AbstractBundle.resume(AbstractBundle.java:389)
    at org.eclipse.osgi.framework.internal.core.Framework.resumeBundle(Framework.java:1131)
    at org.eclipse.osgi.framework.internal.core.StartLevelManager.resumeBundles(StartLevelManager.java:559)
    at org.eclipse.osgi.framework.internal.core.StartLevelManager.resumeBundles(StartLevelManager.java:544)
    at org.eclipse.osgi.framework.internal.core.StartLevelManager.incFWSL(StartLevelManager.java:457)
    at org.eclipse.osgi.framework.internal.core.StartLevelManager.doSetStartLevel(StartLevelManager.java:243)
    at org.eclipse.osgi.framework.internal.core.StartLevelManager.dispatchEvent(StartLevelManager.java:438)
    at org.eclipse.osgi.framework.internal.core.StartLevelManager.dispatchEvent(StartLevelManager.java:1)
    at org.eclipse.osgi.framework.eventmgr.EventManager.dispatchEvent(EventManager.java:230)
    at org.eclipse.osgi.framework.eventmgr.EventManager$EventThread.run(EventManager.java:340)

!ENTRY org.eclipse.osgi 4 0 2011-12-07 05:21:21.235
!MESSAGE Application error
!STACK 1
org.osgi.service.application.ApplicationException: No application id has been found.
    at org.eclipse.equinox.internal.app.EclipseAppContainer.startDefaultApp(EclipseAppContainer.java:262)
    at org.eclipse.equinox.internal.app.MainApplicationLauncher.run(MainApplicationLauncher.java:29)
    at org.eclipse.core.runtime.internal.adaptor.EclipseAppLauncher.runApplication(EclipseAppLauncher.java:110)
    at org.eclipse.core.runtime.internal.adaptor.EclipseAppLauncher.start(EclipseAppLauncher.java:79)
"

How to get rid of this problem?

A: *

*Make sure you aren't reusing the same workspace, but a new one (or at least a copy of the existing one) in order to avoid any conflict.

*If you need to reuse an existing workspace, check if one of the solutions mentioned in bug 318046 applies to your case.


text:
Off the rails -Peter Day (New Zealand /UK)
Logline
Rikke Brewer and best friend Aiden Knox, 'failing' working-class teenagers, hone their spectacular UrbEx stunts and gravity-defying Parkour skills, hoping that millions of 'likes' will be their ticket out of boring Guildford. But the trauma of a close friend's death triggers darker stories, of broken families and fragile mental health, threatening to send them both Off The Rails.
Rikke Brewer & Aiden Knox struggle with the death of their best friend Nye Newman, and subsequent mental health issues, in very different ways. Rikke seeks the dangerous thrill of UrbEx stunts, in pursuit of 15million clicks of YouTube-fame and money as a way to numb his loss and pain. Aiden seeks solace in Parkour, while working menial jobs to pay for his increasing alcoholism.
We follow Rikke's attempts to become a famous UrbExer on YouTube, as he posts ever more dangerous stunts. We interweave both Rikke and Aiden's stories, as they struggle to move from adolescence into adulthood. As we follow their difficult journeys we meet their friends and family battling to keep Rikke and Aiden from going Off the Rails.
We meet Rikke and Aiden, in the present day, revealing their close friendship. We explore the history behind their friendship, delving into their rich user generated archive, as kids, starting out in a Parkour crew Brewman. We reveal the tragic death of their best friend Nye Newman, and witness Rikke & Aiden's differing reactions to this traumatic event in their young lives.
Rikke's increasingly dangerous stunts alarm his mother, Mary, a hard-working domestic cleaner, who describes them as a form of self-harm. We see Rikke face judgement in the UK courts, potential imprisonment, and the demonetisation of his YouTube channel for posting his illegal stunts.
We see how Rikke's 'job' and legal problems sour his relationship with his first love Amber. We join Rikke in Paris & Berlin as he embarks on a European tour of YouTube 'madnesses' and watch as he and his friends almost die trainsurfing in Berlin. Back in London, Decision-Day at the Courts awaits .
In contrast to Rikke, Aiden has a more sombre obviously traumatized response to Nye's death; Nye died in Aiden's arms. When Aiden's Mother dies of cancer, this second huge blow provokes Aiden's descent into alcoholism. Alan, Aiden's Dad, struggles to impose discipline, to keep him from drinking. Finally, we observe Aiden's increasing anxiety, after Alan announces he'll be selling their family home. Aiden must move out, grow up and live elsewhere on his own.
Covid lockdown causes major change. Rikke moves from reckless law-breaking daredevil, in denial of his grief, to a more self-aware, emotionally mature, and spiritually awakened young man. Aiden initially descends into alcoholism and homelessness, but finally re-emerges, more responsible, independent, determined to confront his problems.
Off the Rails (OTR) is a coming of age film focusing on two working class young men; Rikke Brewer and Aiden Knox. I have been working with these extraordinary young men for the past 4 years. I first met them whilst directing the short film, Parkour Changed Our Lives for the BBC, it was set in the world of Parkour and was aimed at a youthful BBC3 audience.
In Off the Rails, I follow Rikke Brewer struggling to escape his volatile past, as he forges a career in the dangerous world of UrbEx via YouTube, despite warnings of his best friend and family. Some viral train surfing videos have already got Rikke worldwide attention. But dangerous stunts come at a high cost. We will see the emotional price Rikke has to pay.
As a young man, I was drawn to dangerous and extreme sports. Not all of my friends made it. This profound personal experience is what connects me to the two protagonists in OTR. I have made a lot of work that focuses on people who are often considered 'outsiders' – ranging from rebel surfers to prostitutes, football hooligans to tv fraudsters; Imams to urban explorers. Some of the subjects have been involved in illegal activity most haven't but all in some ways live a life that is in some way socially not acceptable. I like the characters to tell their stories for this reason I like to draw on a cinema verité or observational style. I want the audience to feel that they are privileged participants in the world that the subjects inhabit.
I have developed a close relationship with Rikke Brewer and his best friend Aiden Knox over several years. Their relationship becomes key. Observational scenes will follow the maxim get in late leave early. The audience will feel that they are privileged participants in the world that Rikke and Aiden inhabit. As the film un-folds we see that their relationship is like a Janus coin; where Rikke is out going; Aiden is inward looking; Rikke achieves 'success'; Aiden struggles with 'failure'; Rikke claims to make memories of an exciting present; Aiden lives in memories of a more innocent time.
Aiden doesn't condone but can't bring himself to condemn Rikke. He becomes Rikke's conscience. Thus Aiden becomes the moral centre of the film. Aiden believes that madness will be the death of Rikke but Parkour will be the salvation of Aiden and could be for Rikke too.
Off the Rails is a coming of age film shot in an obs doc style with extensive use of User Generated Content (UGC). My aim is to get under the skin of my principle characters to reveal the psychology of why they pursue online fame doing extremely dangerous stunts. In so doing I hope to reveal something of the complexities, confusion and fun of the first generation brought up in an online world.
I have developed a close relationship with Rikke Brewer and his best friend Aiden Knox over several years. Their relationship becomes key. Observational scenes will follow the maxim get in late leave early. The audience will feel that they are privileged participants in the world that Rikke and Aiden inhabit.
One ambition is to change the experience of the UGC, normally they are viewed privately on a 5 inch screen, we will experience them collectively on a 30 foot screen. The 'madnesses' also serve a dual purpose; they become symbols of darker motivations for his behaviour; depression, mental illness and self-harm. Mary, his mother describes them as '…like cuts all over your body, you just can't see them'; the film investigates this premise.
Rikke and Aiden have both given access to their UGC. Some of this material exists online in their Instagram and YouTube accounts and some of it is 'out takes'. The material explores the spaces between the private and the public. Another layer of meaning is added from the text and chat feedback they receive on their stunts; the 'likes' and the 'dislikes'. These texts displayed graphically will provide an ironic counterpoint to Rikke's stunts. I am interested in exploring the sense that generation z are always online. How do they deal with that?
In addition to the 'action archive' they have been filming since they were 12 years old, there is material that Rikke and Aiden have never shared online. In this digital treasure trove of out-takes and off-cuts, I will find the emotional glue to bind the film together. Revelations of fear, excitement, joy and despair.
Sound will be used to heighten tension and create drama. Rikke's stunts require control of fear. There are occasional glimpses of how terrified some of the practitioners are, with exclamations off-mike and camera. SFX will amplify the thud of landing a great jump, the metallic rip of a roof giving way.
Director/Producer's Profile
I have produced and directed award winning television series and theatrical docs. I have made a lot of work that focuses on people who are often considered 'outsiders' – ranging from rebel surfers to prostitutes, football hooligans to tv fraudsters; Imams to urban explorers. Some of the subjects have been involved in illegal activity most haven't but all in some ways live a life that is socially not acceptable. I try to find the humanity and the humour in the subjects to reveal a life less ordinary.
Production Plan
We have a 90 minute rough cut, edited in 2020. This cut is two acts and we are in need of a final act. We anticipate that we could finish the film in a concerted 5 month block. We have concluded principal photography and anticipate a few more shoots to conclude the film. The final filming, we would be master interviews and final observational scenes as we seek to round out the narrative arcs of our central characters.
The graphic elements of the film are indicative, the music is in transition, the edit needs a few more passes. Settling on a compelling and grabby graphic style is a major task of the post production process. This is going to be time consuming to nail. We will need to do several passes of the film to fully unlock its potential.
Our two principal characters have moved on substantially in the lockdown period. They have had time to reflect on their lives and have matured in ways that I did not think likely when I first started filming with them. These changes will make for a good conclusion to the film.
Budget: USD 371,742
Our strategy has been to raise core finance through our own markets and co-production partners. We are at advanced rough cut stage seeking completion funding.
With filming in England, edit in Wales and Post in Scotland. Faction Films (England) as delegate lead producer will raise funds from the BFI and UK broadcast. We secured a non-recoupable grant from BFI of £14k.
Rob Alexander, through company Perfectmotion, has secured £10,000 Welsh development funding via the Film Cymru Wales development fund. Grant Keir of Faction North is Scottish based and matched this £10,000 funding through Creative Scotland, with the intention to raise more from the Scottish and Welsh regions.
We have taken the project to market at Sheffield MeetMarket 2019, IDFA 2019 MediMed 2020 and DocEdge NZ. We have received strong interest from international broadcasters, platforms who are currently tracking the project. We are in the process of negotiating a MG for £20,000 with a British-based distributor. This strong show of market interest we hope will help trigger further funding from film Wales and Creative Scotland.
Email: peter@factionfilms.co.uk
Operation Rambu! -Steve Austin / Rajneel Singh (New Zealand /Indonesia)
Cult movie fan Steve Austin explores forgotten Kiwi action hero Peter O'Brian – 'The Indonesian Rambo' – and attempts to help him return to acting after 25 years away from the screen.
In 1986, ex-heroin smuggler PETER WILSON packed up his window cleaning business and headed off on a world trip. Originally hailing from Tauranga, Peter is rearing to enjoy an international adventure, not knowing that destiny has other plans for him.
Days later, in the humid streets of Jakarta, Indonesia, Peter notices he's being tailed by a van full of men. It turns out Peter bears an uncanny resemblance to SYLVESTER STALLONE and has caught the eye of a local movie producer RAAM PUNJABI who offers him the lead role of 'Alex "Rambu" Trambuan' in their Indonesian rip-off of Rambo entitled "The Intruder".
Now with the stage-name PETER O'BRIAN, he spends the next decade in Indonesia starring in a series of low budget, action-movies and living the life of a South-East Asian movie star. And then, in 1998 following the death of his mother in New Zealand and finding a new calling in service to Jesus Christ, Peter O'Brian abruptly vanished from the world of movies.
Cut to 21 years later: Auckland filmmaker, cult-movie fanatic and actor Steve Austin wonders "Whatever happened to Peter O'Brian?" Discovering that Peter is still alive and now a retirement-age family man in small-town Tauranga, Steve realizes, for the sake of cinema, that he must make a documentary about 'the greatest action-hero you've probably never heard of'. Putting together a crew, he interviews the man and learns of his incredible exploits as a criminal, a movie-star, and as a Christian fundamentalist convert. He also learns that Peter desperately wants to return to acting and furthermore believes God has sent Steve to make that dream come true.
Curious to see whether the aged actor still has it in him, Steve puts Peter through his paces: devising an actor's bootcamp with a drama coach, introducing him to the local film industry and getting renowned Kiwi actors' and filmmakers' perspectives on where Peter can go from here.
Their shared goal boils down to a simple target: an actor's showreel. No longer the Indonesian stunt-man turned action movie star, but an older, world-weary character actor who may have more to offer in the world of drama. All of this culminates in the film's finale where Peter is offered a role in a movie; a role perfectly suited to his skillset, created thanks to Steve's enthusiasm and Peter's reputation finally paying him back for the years of entertainment he has provided.
Director's Statement:
OPERATION: RAMBU! the feature length documentary aims to be a funny, nostalgic, feel-good and sometimes uncomfortable journey into a forgotten celebrity's past. It features several strings pulled together to form a cohesive whole: filmmaker Steve Austin's journey to learn about Peter's extraordinary life and to teach the world about cult-films, his journey to immerse himself in the world of 1980's Indonesian cinema and Peter's attempts to return to the world of acting and become a movie star again. All of which will be spiced with hilarious, dramatized recreations of moments in Peter's life set to pounding 80's music and low-budget action-movie aesthetics.
The film's narrative is about Peter O'Brian, but experienced through the eyes of Steve Austin – fanboy and filmmaker – who optimistically has charged himself with a mission to make Peter famous again, adding his own commentary and context to events, filling in Peter's blanks, calling him out on his obviously tall-tales, voicing his feelings about how their mission is going. He is our host, narrator and audience-perspective character. It is through this lens of fanboy dealing with obscure movie star that we will use to build the emotional heart of our story; described through interviews, archival materials, copious film clips, reenactments of moments in Peter's life and, tying it all together.
Nostalgia for the 1980's and exploration of sub-fandoms has never been greater than now. We want to tap into and introduce a wider audience to what has been seen as a niche part of cult cinema fandom and spread a newfound appreciation for Peter O'Brian's films. The journey of OPERATION: RAMBU! is to acknowledge common humanity in all of us – the identification of a Rambo-esque hero and to reflect that character within one's own context.
We feel that the audience will see themselves in Peter's story: his warmth, humour, desire for approval, questionable past and other foibles. This documentary will be accessible and irreverent; opening the story out to a wider receptive audience, and to those who may have previously laughed AT rather than WITH these films. In its own right, Peter's life story is a kind of extraordinarily human B-movie – from surreal heights, to ordinary, humble existence; forever pushing forward on a road towards redemption. It is time for us to peel back the skin of a part of world cinema, often dismissed, to reveal a beating human heart.
Our intention is to build the film along two plot strands (A and B):
The A-story will be Peter O'Brian recounting his many incredible anecdotes in an interview fashion while we deep-dive into those tales via film clips (from Peter's incredibly strange movies) or via stylish re-enactments of those moments.
Meanwhile the film's B-story, in a more traditional ob-doc fashion, will depict Steve and Peter's quest to reunite him virtually with the Indonesian filmmakers he worked with, as well as follow Steve's journey to help Peter return to the world of acting via training, networking and producing a actor's showreel.
The re-enactment sequences are not just mere glimpses of Peter's memories, but rather are ensconced in the mythic visual style of the over-the-top 1980's action-movies that his fans associate him with. Re-enactments will be shot as deliberately heightened expressions of Peter's epic story; cast across a tapestry of polished motorcycles, leather jackets, aviator sunglasses, neon street-signs, colonial architecture, steamy South-East Asian jungles and tropical sunsets. Think Refn's DRIVE and Mann's THIEF, set to blasting retro-wave/synth-pop music from underground artists and you're in the ball-park. It's not how the 1980's actually were…it's how everyone wants to remember it.
These sequences – the most cinematic parts of our film – will be shot in a virtual production studio process utilizing giant LED screen backdrops behind a very staged, DOGVILLE-style, aesthetic for props and set-dressing. This collision of styles is about honouring and playing in the constructed nature of memories. This way Peter will virtually visit his old cell in Fremantle Prison and we will create a nuanced representation of Indonesia in the 1980's; ranging from the bowels of Indonesian movie-theaters and studio back lots to its steamy streets and jungles.
We also intend to use the LED virtual production studio process to virtually reunite Peter with some of these people from his past, essentially conducting a life Zoom session but where his colleagues appear on the gigantic walls of the volume-space and Peter is dwarfed by them on the stage.
The B-story will also be balanced out with Peter's quest to return to acting and the trials and tribulations of preparing to film his professional acting reel. We will feature acting celebrities and take Peter through a series of training sessions to hone his craft, giving the audience an insight into the world that Peter wants to return to.
RAJNEEL SINGH is co-director of OPERATION: RAMBU! He has over 15 years experience in the industry as a director for New Zealand television shows and editor of documentary content for New Zealand and International platforms.
STEVE AUSTIN has over thirty years experience in the Performing Arts, working as a professional maker and commentator of film, TV & theatre, a casting agent and drama tutor. Operation: RAMBU! marks Steve's feature debut as a director, following up the success of his short film for the LoadingDocs platform.
OPERATION: RAMBU! unfolds across two production periods – the first being a master interview with Peter O'Brian and then the second being a follow-up interview, post further research, and then documenting his work to re-enter the film industry.
This second period will also include the filming of re-enactments in the Virtual Production Studio and also second-unit interviews and B-roll to be shot in Indonesia (COVID permitting).
There is already a team of fixers deployed in Jakarta seeking out Indonesian interview subjects as well as establishing connections to obtain the best quality versions of Peter's films and supplementary and promotional material.
Projected budget: $500,000 USD
The project is currently in development with the New Zealand Film Commission and seeking to enter production before the end of this year with the aim to deliver the project mid-2022.
Email: rajneel.singh@gmail.com
Ratman and the Whales -Kim Webby (New Zealand)
Māori Eco-Warrior Hori Parata, harvests dead, beached whales and saves native rats. But at 77, he is racing to teach a new generation, ancient ways.
Whales strand on a New Zealand beach and people rush to save them.
If they die Hori Parata will mobilise a team of volunteer whale harvesters to revive a traditional, sacred practice, banned more than forty years ago, but now permitted. Hori teaches a new generation how to harvest whale bone and oil.
He is also called Ratman for his efforts to save native rats and other endangered wildlife and plants.
Now Hori must pass on his knowledge and his son has abandoned university to learn from his father. But learning from his Dad is difficult.
Te Kaurinui struggles with what he calls, "Dad's ego." He wants to follow in his father's footsteps, but not be his father.
His father is an activist and academic, doing his PhD on inter-generational trauma caused by colonisation and he doesn't mind telling people about that, in no uncertain terms.
Hori wants to pass on his knowledge, to ensure Māori sovereignty over native species, culture and traditions.
We journey with father and son as they reinvigorate a culture, one whale bone at a time.
Whale of a Tale Ltd, 2021
I first stumbled across this story at a local marae during a whale harvest. For the first time ever, I saw 40 pilot whale heads around the perimeter fence and a whale harvest underway. As I entered a hidden world, a documentary idea was born.
In Hori Parata, I discovered a sometimes grumpy old man with a heart of gold, and at 77-years-old, time is running out to tell his story. The film is visually epic, towering cliffs, huge ocean mammals, big landscapes and a visceral depiction of the hunter-gatherer beneath our modern, sophisticated veneer.
The deeper theme is reclaiming Māori customs and sovereignty, a recurring theme of my work over the last twenty years. Ratman and the Whales is also an intimate story about a father and son relationship, a universal theme which resonates widely.
Other topics that drew me in, include conservation and environmental protection. How mankind's hunt for oil and gas, can harm and even kill whales. And how climate changes creates an acidic ocean, upsetting the delicate balance of the whales' habitat.
This film shows the dignity in living off what nature provides. That which begins in blood and entrails, ends with beautiful carved tāonga and healing oils. What's more, the practice revives a culture and reinvigorates the people.
This documentary is a character driven, anthropological study of Māori cultural practices pertaining to whales. As such, it gives an insider's a peek into the little known world of 'whale harvesters'. It takes an observational documentary approach to filming but also includes strong, character driven interviews for clarity and to delve deeper into topics.
Our key character is Hori Parata along with his son Te Kaurinui who are as different as chalk and cheese. Hori is a feisty activist, not afraid to offend. He is doing his PhD on intergenerational trauma caused by colonization.
Te Kaurinui is just as passionate about Māori causes, but takes a softer approach. He is a deep thinker who was doing a double degree in philosophy and political science when he quit to return to Whangārei and learn from his father. He has a casual quirkiness akin to Johnny Depp's character in Scissorhands.
Together they make a fascinating odd couple with an important purpose.
Tone/Ahuatanga
The Whales, the Rat and the Kauri is also a personal and intimate story of one man's drive to retain tradition and nurture the natural world. Hori and his young volunteers camp out on an offshore island, and monitor native wildlife to fulfil their traditional, tribal role as kaitiaki (guardians) of the natural world. Around the camp-fire or under the stars, Hori has time to pass on his knowledge, relaxed and affable. The colour palette is warm and the setting idyllic. A hand-held camera maintains the intimacy of conversation and camaraderie.
In this film, we show the dignity that comes from living off what nature provides. That which begins in blood and entrails, ends with the creation of beautiful carved tāonga (treasures) and healing oils. But even more importantly, the practice revives a culture and reinvigorates the people.
Ratman and the Whales looks through the lens of insiders, who are part of this world, both in front and behind the camera.
Co-Director & Instigatior, Kim Webby's first feature documentary, The Price of Peace, received four international awards including Best Documentary at ImagineNATIVE in Canada, and screened at festivals in North America, Asia and Europe. With 25 years' experience as a director and producer, her documentary and factual projects have screened on New Zealand television, BBC4 and Al Jazeera. Documentaries include October 15, Ngā Tamatoa, Victoria Crossed, Ta Moko, About Face, Coming Home, and Dope: Behind the Smoke. She began her career as a broadcast journalist at TVNZ. She is drawn to character driven indigenous, social justice and environmental stories.
Development: In final stages. Funding from NZ Film Commission.
Principal Photography: Begun 2019.
Seeking further funding once a distributor or sales agent has been secured.
Production: Feb 2022
Post Production Sept 2022
First release – Cinematic / Film Festivals May 20223
Broadcast Television (Māori Television, NZ) After cinematic release
Total Budget: USD 242,946
Budget is still being worked on.
Ratman and the Whales is in Advanced Development with assistance from the NZ Film Commission and we are currently looking for market interest in the film from distributors, sales agents and broadcasters.
To date, we have received NZ$30,000 in development funding from the NZFC in three tranches. We filmed interviews with Hori Parata, our key talent, and the recovery of sperm whale bones from a rocky remote beach as a proof of concept which enabled us to create our screener.
We are ready to start Principal Photography once we have secured market attachments and equity investment from the NZFC.
Hori Parata has written a support letter for the documentary and is involved in our planning and research.
Email: kwebby@xtra.co.nz
Richard and the Windmill -Pete Ireland (Australia)
Richard Jones is homeless and bankrupt, living in a 25 year old caravan on public land. Fourteen years of self-representation in court battles, against the car companies that destroyed him for challenging their near-fatal negligence, has taken its toll. But Richard refuses to die, especially when, for the first time in 14 years, he has a chance at victory.
Richard Jones is a seemingly unremarkable "country bumpkin" in his sixties. Having grown up in rural Australia, and after building a successful life in the big city, Richard returned to the simple pleasures of the country for his semi-retirement, except for one indulgence: a new four-wheel drive. His latest, a brand new Series 3 Range Rover was meant to be his last "new" car. Unfortunately, he was right.
One rainy night in 2004, when Richard was driving home in the pitch black of the countryside, the electrics in the car completely failed – a one-tonne missile, travelling 90km/hr towards a severe right-hand turn with Richard hanging on for dear life. Miraculously, Richard forced the car around the corner and expertly brought it to a stop before collapsing, shaking and in tears.
Sadly, this was just the beginning. Richard's mission to get the vehicle repaired turned into an all-out legal assault against him by the car dealership, lasting years. Ultimately, despite proving the car dealership's negligence in court, legal costs were shockingly ruled against Richard, eventually leading to his bankruptcy on spurious grounds. Even worse, the stress of the ordeal had left him with PTSD, and two massive heart attacks.
Despite his ill-fortune and "homespun" looks, however, Richard is actually a genius; who has taught himself the law and perseveres as a "self-represented litigant". And it's working – Richard now has a glimmer of hard-fought hope in this "David vs Goliath" fight. A last court battle that could overturn the entire bankruptcy and put justice back on course.
At the core of our civilization is a simple guiding principle: the social contract. We follow the norms of society, in the understanding that those norms protect us when we are wronged. But what are we to believe when observing a person being injured by the negligence of another, only to discover that the system is not there to protect them; and by extension not there to protect any of us? The context of RICHARD AND THE WINDMILL is an Australian legal battle, where a man who was nearly killed by the proven negligence of others, had the legal system weaponized against him and his pursuit of restitution. While this may seem small, Richard's battle as a "self-represented litigant" against deep-pocketed antagonists is emblematic of a universal issue. Around the world, the treatment of those without power and resources by the legal system is increasingly becoming a human rights concern; and Richard's struggle is one shared by the most vulnerable people in our courts.
I want to tell this story because, as well as being a friend to Richard, my previous work blends social awareness with unique personal narratives. But, most importantly, I believe Richard Jones deserves justice.
Richard is a seemingly unremarkable man in his sixties, with a long, tangled beard and half of his top row of teeth missing. As we sit in the rundown front room of his farmhouse, he blinks with a nervous energy, but is also quick to flash a cheeky smile. He takes a deep breath, before launching into his tale.
Having grown up in the Australian rural town of Dorrigo, Richard built a successful life and career in Sydney, owning multiple properties, before returning to the country life he missed for his twilight years. Working on the land, and running a small fish farm, one of the few luxuries Richard brought back from the city was his Range Rover.
From the 1970's to the early 2000's, Richard bought Range Rovers. They were his sanctuary for epic journeys across the Australian landscape. Unfortunately, as the years crept on and technology changed, the reliability of his beloved vehicle began to suffer.
Until one rainy night in 2004, when Richard was driving home in the pitch black of the countryside near the Dorrigo Mountain. He was crossing a low bridge, in his brand new Series 3 Range Rover, when the electrics in the car completely failed. No power steering. No engine. No headlights. And worst of all, no assisted braking. Just a one-tonne missile on wheels, travelling 90km an hour towards a severe right hand turn with Richard hanging on for dear life. With only seconds to assess the life-and-death situation, Richard opened his door and hung out of the driver side for visibility. Up ahead, closing in at terrifying speed, was a rock wall, with only the hairpin turn for escape. Through sheer force of will, Richard managed to force the car around the turn and bring it to a gradual stop. Shaking, Richard collapsed to the ground, only gathering himself when a nearby resident came to check on him. When Richard called for roadside assistance from a nearby telephone booth, he burst into tears from the panic of nearly losing his life on an anonymous road in the middle of nowhere.
Sadly, this was just the beginning of his ordeal.
Seeking redress for the car failure, Richard communicated with the car companies involved who refused to accept responsibility. Ultimately, the case ended up in the courts and Richard was forced to return to the city where he now felt out of place, and under siege. Over the next six years, Richard would stand his ground against the nefarious tactics of the car companies and their lawyers. The legal system itself seemed surprised that the case had not been resolved, with several judges questioning over years why the case had not settled. At one early stage, during a court ordered mediation, Richard was snarled at across the table by one of the car companies representatives: "You may win, but you'll get nothing."
At another court ordered sit-down, when Richard had offered a settlement, the answer came back from the opposing side's lawyer:
"My client doesn't think Mr Jones has suffered enough."
This would be a grim prediction of what was to come.
In 2010, despite proving negligence against the car companies, a mistake made by Richard's lawyer meant he received only $100 in damages; while the car companies he was pursuing were awarded costs. Seeing their opportunity to make an example of Richard, for being so brazen as to challenge their negligence which nearly killed him, the car companies used their resources to questionably freeze Richard's assets and deliberately bankrupt him.
Richard's entire life's work, everything he had built over sixty years, was taken from him. Banished to a thirty year-old caravan, propped inside a giant shed full of hay bales on his land in Dorrigo. But even this sanctuary would be short lived – Richard received notification, hammered with steel nails into the door of his caravan, that the bad guys were coming to claim this land too. Even worse, the stress of the near-accident and the legal battles had left him diagnosed with post-traumatic stress disorder, and accelerated two massive heart attacks. Richard was broken, all because he sought justice.
But appearances deceive. Despite his scruffy attire, missing teeth and an unkempt bushman's beard, Richard is a genius level intellect. The international consultancy career and University lecturing positions that Richard earned were on subjects that were largely self-taught. And now, despite being bankrupt and with deteriorating health, Richard had a new project: teaching himself the law.
What followed, was something the "bad guys" could never have predicted. Richard has kept fighting. In the District Court. In the Federal Circuit Court. In the full Federal Court. Richard even contemplated an appeal to the highest court in Australia at one stage, with that cheeky grin – but even he has limits.
Make no mistake, representing himself across numerous court skirmishes has not been easy. What Richard has learned, despite research showing the ever growing number of self-represented litigants across the world's courtrooms, is that the law is not built for people. The legal system is a cottage industry, created for lawyers and judges, with opaque customs and practices designed to keep regular people out. The immense pressure on Richard has also continued to diminish his health. In the last two years alone, Richard has collapsed in court and been taken to hospital; receiving the news that the strain on his heart is pushing him towards another deadly heart attack.
But the stubborn bastard just won't give up.
Despite the size of the wall he is trying to climb, Richard now has a glimmer of hard-fought hope. A last court battle that could overturn the entire bankruptcy and put justice back on course. And, if there is a chance at finally getting justice despite the odds, Richard is willing to take it. Because, as Richard says, as he chews a long blade of grass while staring at the nearby tree line as the sun slowly sets:
"I won't die, because if I die, they win".
Pete Ireland is an award-winning producer, writer and director. His films have been selected for Australian-Academy (AACTA), FIAPF, and Oscar- accredited film festivals in Australia and overseas; and broadcast in Australia and Europe. In 2015, Pete's documentary 'CHIP' won the Independent Category of AACTA's Social Shorts, and he was selected for ScreenNSW's Emerging Producer Scheme. In 2019 Pete was selected for the Berlinale Talents program. Pete is also a professional member of AACTA and SPA.
James Crisp is an award-winning writer, director and producer from Invercargill, New Zealand.
We have covered the key aspects of Richard's court battles since 2016, and now need to assembly edit the observational footage, before planning a targeted shooting period to complete the film and fill in any coverage gaps. Then we'll officially move into post and finish the film.
This assembly edit process (including paper/development edit, additional research and planning for the targeted production that will complete the film), concurrently with the last coverage of the upcoming critical court case can be completed in 4 months. From there, the final edit and mastering, including any pickups could be completed in an additional 4-6 months.
Estimated budget: USD 265,165
Richard and the Windmill is a feature documentary film in active development/production. We have covered the key aspects of Richard's court battles since 2016, including contemporaneous observational coverage and regular interviews with Richard on the rural farmland he adores. Richard is now in the late stages of his last possible legal recourse, meaning we will be able to conclude the court case coverage and progress with shaping the film.
Email: contactus@openingactfilms.com
Sanguma: Islands of Fear -Paul Wolffram (New Zealand /Pacific)
Among communities ruled by fear, a single woman, Evelyn, rescues those accused of witchcraft from torture and murder at great personal risk in the rapidly changing societies of Papua New Guinea.
In the isolated communities and towns of the Papua New Guinea Highlands, people live in fear of sanguma – witches and sorcery. Fear of sanguma has spread like a virus in recent years, creeping through the highlands and infecting almost everyone it touches. Women and men are frequently tortured, cut, and burnt alive as accused witches. Although a recently introduced idea, the fear of sanguma is real for those who live in the highlands. The fear of accusation and violence haunts everyone, especially the society's most vulnerable, women and children. In the midst of this fear one woman fights the swelling tide of sorcery killings and accusations with the only resource she has, love. Living in a makeshift house built with her own hands among the slums on the outskirts of Goroka town, Evelyn Kunda rescues women who somehow escape the violence in the villages and end up on Goroka's streets. Evelyn gives everything she can to support, house and rehabilitate the often traumatized survivors that she takes under her wing. Her work is dangerous, unfunded and desperately needed. 'Sanguma' is a story of what happens when traditional belief systems are corrupted by capitalist notions of development. 'Sanguma' is a story of rapid social change in a society where violence against women is endemic. 'Sanguma' is also about the power of an individual to make change and a tale of love overcoming fear.
In parts of PNG the belief in Sanguma – witches, and sorcery, is ubiquitous.
I first travelled to Papua New Guinea in 2001 when I lived with a rainforest community for two years. I developed deep understandings of the spiritualities and worldviews of my Melanesian hosts and have since collaborated with these communities on several award-winning films.
In the last three years I have begun working in the urban Highland interiors where I've recorded horrendous first-hand accounts of sorcery related violence. This was completely counter to the respectful and welcoming communities that I knew previously. I returned in 2018 and 2019 determined to help by highlighting these issues internationally and bring about positive change for these communities that I feel deeply connected with.
To tell this story, I am collaborating with co-director and activist Evelyn Kunda. Evelyn takes a hands-on approach to confronting these problems. She houses, cares for and counsels the traumatized survivors of sorcery-related violence.
Her story and the story of those who suffer sorcery-related violence needs to be told. I am fortunate enough to be in the unique position of having the skills, determination and network to help Evelyn tell this compelling true struggle between love and fear.
The film will be shot primarily through interviews, B-roll footage and re-enactments with the support of our co-creator and protagonist Evelyn Kunda. The film will heavily feature her narrative arc – a close look of the precarious life she leads in the slums of Goroka, as she carries out her rescue and activism work. This will be interwoven with reenactments and depictions of the situations women in PNG often find themselves in – how one generally goes from living in village, to sorcery accusation related violence, to escaping (if they're lucky), and finally to rehabilitation. These reenactments are carefully planned out with Evelyn's help as to not re-traumatised survivors of such events.
We have additional footage of interviews with perpetrators and authority figures who provide another perspective on the phenomenon and how it has become more and more widespread in the recent years. This will contrast sharply with Evelyn's attitude towards sorcery accusation related violence, and provide a grounds for further understanding of the cultural context of Sanguma.
The film will also feature heavily the landscape of Papua New Guinea through wide shots and drone shots, of the highlands, Goroka town, and the other areas that Evelyn works in.
Finally, we plan to also feature some footage of life in Papua New Guinea, between the villages and the town, and contrast tradition (such as the dances) with modernity (shots of concrete buildings, large trucks and UTEs driving through a market).
Dr Paul Wolffram is an award-winning director and producer, whose work seeks to push the boundaries of traditional documentary and explore the way we understand the world around us.
Paul has spent the last 20 years working with the communities in Papua New Guinea as well as New Zealand. His work is highly collaborative and involves creative engagement with traditional mythologies, indigenous music and dance, and spiritual practices.
2018 – 2020 Shoot and compile preliminary footage and interviews with a wide range of subjects in Goroka and in the villages and communities throughout the Eastern Highlands Province in Papua New Guinea.
2021 – Production halted due to Covid-19. Building impact campaign team and building out the website for the film, and to enable a platform for donations towards Evelyn
2022 – Complete Production in PNG
2023 – Complete Post-production by end of year
Budget : USD 159,295
Secured fund: USD 81,240
We have already captured 50% of the required footage of this film in 2018-2020. Due to Covid-19 we have had to push out the remainder of our production until the borders are opened between PNG and NZ again.
At this stage we are aiming for the following:
Complete the production phase of the film – Shooting in PNG in the next 18 months
Post-production beginning in 2023
Post-production finishing in 2024
Email: paul.wolffram@vuw.ac.nz

redpajama_set_name: RedPajamaCommonCrawl


It's a very common issue for many: male and female pattern hair loss. Dermatologists, being experts in skin, hair, and nails, treat hair loss and thinning hair daily. Current treatment options include topical minoxidil (Rogaine), vitamin supplements that contain biotin (we carry Viviscal at Premier Dermatology, MD), prescription oral medications such as finasteride, and surgical hair transplants. We are now pleased to offer platelet rich plasma (PRP) therapy at Premier Dermatology, MD as an additional, non-surgical option for patients who require stimulation of hair growth.
Human blood contains stem cells and growth factors that assist in tissue regeneration and healing. Published medical literature from Europe and the United States confirms the safety and use of PRP therapy in other areas of medicine. It has been used for over two decades for skin and wound healing. PRP therapy has established itself to be effective as a medical treatment in the specialty fields of oral surgery, plastic and cosmetic surgery, sports medicine and orthopedics. Evidence in the literature supports PRP therapy as a promising treatment option to promote hair growth. It is not currently an FDA-approved treatment for hair growth and is not meant to replace current FDA-approved therapies.
Blood is drawn in our office and then is spun in a centrifuge. The PRP, which contains platelets and growth factors, is separated and removed from the rest of the blood. The highly concentrated PRP is then injected into the scalp. There is no sedation and patients can drive themselves to and from the office. Generally, the treatments are performed monthly for four months, and then once every six months for maintenance.
PRP contains special cells called platelets and multiple growth factors that can theoretically cause growth of the hair follicles by stimulating the stem cells and other cells in the hair follicle. The primary purpose of using PRP is to stimulate inactive hair follicles into an active growth phase.
Individual results vary with each patient. No guarantees of success can be made but PRP preliminary studies and case reports indicate patients can respond to PRP therapy. PRP is a potential emerging, natural, non-surgical based therapy for hair follicle stimulation in thinning hair.
In summary, PRP therapy offers the opportunity for an additional treatment option for those patients who are not candidates for surgery, those wanting a more aggressive non-surgical approach to treatment or to supplement currently FDA-approved treatments. To learn more about PRP therapy, schedule your consultation with Dr. Bilu Martin by calling (305) 521-8971.


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Ab-Soul Announces New Album "Herbert" With "Gang'Nem" Video
By Kyle Eustice for RAPstation.com — 11/18/2022
Top Dawg Entertainment's Ab-Soul has announced a new album called "Herbert," a reference to his real name, Herbert Anthony Stevens IV. To coincide with the announcement, the 35-year-old MC has dropped a video for "Gang'Nem" featuring Fre$h, the second single from the project. Over a dark, emotive beat produced by Sounwave, Ab-Soul raps about his come-up in Carson, California, the realities of street culture and some of the challenges he's encountered along the way.
"'Herbert' is a deliberately intimate portrait of the man behind Ab-Soul going back to his foundation, as noted by the name of the record, leaving the conspiracy theories he's known for behind while emphasizing his musicality," the press release describes. "After suffering through a series of unspeakable tragedies, Stevens completed the album as a changed man with a new sense of purpose."
"Herbert" is expected to arrive on December 16. Until then, check out the "Gang'Nem" video below.


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Urban Wire What do immigrants cost state and local governments?
Kim S. Rueben, Sarah Gault
Heated debates about travel bans and border walls seem to dominate the news cycle, but what do we really know about the effects of immigration?
Earlier this year, Urban Institute researchers contributed to a comprehensive National Academies of Science study examining the fiscal and economic impacts of immigrants and refuting many common misperceptions about immigration.
Immigrants have roughly the same pattern of government spending and funds received as native-born Americans, with differences largely related to differences in demographic characteristics. But in general, immigrants tend to be more of a burden on state and local government budgets than on federal coffers, though it varies by state.
Why are states spending more on immigrants? And will their investments pay off?
Although immigrants are costlier to state and local budgets…
A new brief examines differences in what taxes are paid and services used by immigrants and native-born people across the 50 states. How these costs vary depends, in part, on how we allocate them. Some spending, such as education and health care, increase with each additional person. Others, such as national defense, do not. The latter are considered public goods. Should immigrants be partly responsible for the costs of these public goods that don't change?
The brief shows that if the costs of government spending, including public goods, are allocated to all people equally, immigrant adults are costlier to state and local budgets than native adults, with almost $3,000 more spent per adult (when the costs of children are assigned to their parents). If immigrants are not assigned a share of these costs, the gap drops to $450.
However, these patterns vary by state. The maps below show the range of immigrants' fiscal impacts for an average (they are assigned a share of public goods) and marginal (they are not given a share) cost allocation.
But keep in mind that some states, like West Virginia and Montana, have very small immigrant populations, so these numbers are based on few observations and may be less precise. And the differences across states in taxes paid and services received depends on decisions states make on tax structures and spending levels.
…it's mostly because they have more children who need education resources.
So why are immigrants costlier for state and local budgets than the native population? Because they tend to have more children than their native-born counterparts (0.52 dependent children versus 0.36 dependent children per adult), who need state and local education resources. We assign the value of this spending to parents.
Education is often the largest portion of state and local annual spending, so whether native or immigrant, adults with children end up being net recipients of state and local spending while adults without children contribute more in taxes than they receive in services.
Investing in children's education will pay off in the long run. With the aging US population, immigrants and their children are the workforce of tomorrow, contributing not just the labor, but the taxes that will shape our nation's fiscal health.
With respect to government finances, the National Academies' report shows that the adult children of immigrants contribute the most on average to federal and state and local coffers. So while public education is expensive to state and local governments, making sure all children—with native and immigrant parents alike—are equipped for tomorrow's jobs is critical for the country's future.
Research Areas Immigrants and immigration State and local finance
Tags Immigrant access to the safety net Immigrant children, families, and communities State and local tax issues


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Platypalpus bivittatus är en tvåvingeart som först beskrevs av Macquart 1827.  Platypalpus bivittatus ingår i släktet Platypalpus och familjen puckeldansflugor.

Artens utbredningsområde är Frankrike. Inga underarter finns listade i Catalogue of Life.

Källor

Puckeldansflugor
bivittatus

redpajama_set_name: RedPajamaWikipedia


No taglines, actor, director or studio. Just the title of the movie and/or edition (rated/unrated not allowed).
A limit of 4 logos per movie per user. This can be any combination of Language. No Exceptions.
Movie Posters are images of a movie depicting its media cover or optionally a custom textless version depicting the movie.
Only high quality images will be accepted. No Exceptions.
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Images must be in png format sized 1000x1000 pixels, no exceptions.
A limit of 4 cdART per movie per user. No Exceptions.
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Image: Tankiso Makhetha Ekurhuleni mayor Mzwandile Masina, along with Gauteng Premier, David and Makhura and the Provincial MEC for Human Settlements hand over a title deed to Abraham Molefe. Molefe is a one of 2000 to receive a serviced stand as part of the provincial government's Rapid Land Release Programme.
The Gauteng government will not disclose land identified for expropriation without compensation as part of its rapid land release programme, premier David Makhura said on Friday at the launch of the programme in Palm Ridge Extension 10, Ekurhuleni.
The programme prioritises the release of land by identifying parcels of unused land and distributing it for people to build houses.
He said those who have expressed a willingness to work with the provincial government have shown interest in seeing transformation taking place in the country.
Makhura explained that releasing land will provide the provincial government with an opportunity to transform its economy to include small businesses in all sectors, including urban agriculture.
Image: Tankiso Makhetha Serviced stands in Palm Ridge Extension 10.
Human settlements MEC Uhuru Moiloa said as of 2016, about 1.2-million people were still in the waiting list for an RDP house in Gauteng.
"This programme will make sure that the burden on that list is eased because people will now be able to receive land and build their own homes at their own pace," said Moiloa.
Sibongile Simelane, one of the beneficiaries of the stands, said she was overjoyed and proud to finally own a piece of land on which she would build a home.
"I applied for an RDP house 18 years ago, until today I'm still on the waiting list. I'm grateful that I will be able to raise my children in a home they can call theirs," said Simelane.


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Princess Sela (active  400–420 A.D.) was a Norwegian pirate and one of the first known female pirates. Sela was a princess of Norway and the sister of the King Koller of Norway. The Danish historian Saxo Grammaticus described Sela as a "skilled warrior and experienced in rowing."

Stories say that Sela and her brother hated each other and when Koller became King, Sela decided to become a pirate. She attacked many ships in the North Atlantic ocean, amassing a reputation and a substantial amount of treasure.

Princess Sela's brother King Koller, decided that his rival, Horwendill, the former King of Jutland who turned to piracy, was receiving too much glory and had to be killed. Koller led his fleet into battle with Horwendil. Horwendil then killed Koller, and then later had to kill Sela, to end the war.

Princess Sela was active as a pirate from 400 A.D. to 420 A.D.

See also

 Women in piracy

References

Female sailors
Norwegian pirates
Norwegian princesses
Norwegian female pirates
Women in medieval European warfare


These are the healthy food trends in 2016 that we're most excited about!
While everyone is talking about resolutions this time of year, we're excited to be looking ahead at the food trends for 2016.
These are the food trends for 2016 that we're most excited about!
Most of the 2016 food trends we're seeing involve improving our food system and eating healthier foods, all of which we can get behind in a big way!
Food waste is a big, expensive problem. Ongoing research shows that our terrible food waste habits are bad for farmers, bad for our budget, and bad even for the planet.
Learning to reduce food waste at home is a big part of the picture, but it's also important for restaurants and food stores to make reducing food waste a priority. It seems that 2016 is going to be the turning point when it comes to reducing our food waste, and NPR reports that the food waste issue is going to be big this year for both private sector and government.
The UN Food and Agriculture Organization just named 2016 the Year of the Pulses. Pulses– another name for legumes– include beans, peas, and lentils, and it makes us so happy to see such a sustainable, affordable plant-based protein take the world stage.
Choosing the Food of the Year encourages research and development into farming methods, encourages growth of these foods, and helps raise awareness of how awesome these superfoods can be.
Most reports note the rise in traditional, fermented foods like sauerkraut, kim chi and pickles. Not only are these foods super healthy for you, they can help with our food waste issue. "Whether shoppers are seeking gut health or go-for-it flavor, fermented foods and probiotics are growing like good bacteria – and they're not just for hippies anymore," explains Whole Foods.
Long considered a healing herb in Chinese, Hawaiian, and Ayurvedic medicine, the rest of the world is finally catching on to the amazing health benefits of this bright orange root. Turmeric, related to ginger, is fragrant, colorful, and delicious, giving curry its signature orange color and boosting the health of your meal. Most notably, turmeric is known for its powerful anti-inflammatory properties.
Whole Foods says that heirloom ingredients are finally popping up outside the produce aisles and in packaged goods. Heirloom fruits and vegetables are great for increasing our food diversity, and bringing back unique and nutritious foods of years past.
Following on the food waste trend, restaurants and chefs are choosing to use all parts of the veggies: carrot tops, apple cores, and more. Root-to-stem eating allows us to reduce our food waste, but also enjoy a whole range of awesomeness from veggies. I've made homemade vegetable broth from scraps, carrot top pesto, beets and greens stir-fries and so much more. Learning to use the whole fruit and vegetable saves money and reduces your waste.
Also on the food waste trend, Alter-Net reports that the quest for perfect produce has increased the amount of food waste across the board. But, "twisted tubers and bent broccoli taste the same and provide the same nutrients as perfectly shaped versions." Chefs, restaurants, farmers, and grocery stores are making changes to buy the uglies to reduce food waste and make farming more profitable because ugly produce can do beautiful things!
Part New Year's resolution, part detox, Dry January– or Drynuary– encourage eaters and drinkers to take a month off from drinking alcohol to soothe the body, save some cash, and learn new ways to socialize. Bon Appetit says this trend is visible in restaurants and bars around the country as they are offering shrubs, mocktails and more delicious, virgin ways to imbibe.
10. Plant-Based is Taking Over!
Almost every single article I've read about food trends for 2016 points to the fact that plant-based is IN in a big way. As it becomes increasingly clear that a plant-based diet is best for your health and best for the planet, and as plant-based foods become more available and insanely more diverse and delicious, it makes so much sense that veganism is a growing movement. And we couldn't be more excited. Read more stats about why plant-based foods are taking over here on Ecorazzi.


This one exhortation is a more than sufficient program on which to base our response, as Carmelites, to this wonderful Jubilee Year of Mercy, when we can come into the Presence of Jesus in the Eucharist, the Fount of Mercy. The mention of "prolonged contemplation", of "being at the side of Jesus", the experience of an " intimate friendship with him" the promise of meaning and fulfillment found in him alone – these are very rich and characteristic resonances of Carmelite spirituality.
Carmelite life, composed as it is essentially of exercises of faith, prayer and mortification, orientates us toward a vibrant and continual contact with God who lives within us and who is present in the Holy Eucharist. We are to be his good and faithful friends, longing for his companionship and willing to forfeit everything to obtain it and to make spousal love for him our abiding state of soul.
If the Church "draws her life from the Eucharist" then certainly so will we who strive to be "daughters of the Church" after the example of St. Teresa. The Eucharist, the memorial of the Lord's sacrifice, is the heart of our community, just as it is the heart of the Church. It fashions from within the daily renewed offering of our very existence; it ensures the unity of the sisters; it furnishes strength for our apostolate of prayer and sacrifice.
Jesus in the Eucharist is the love of our lives. He is everything to us: Savior, companion, treasure, teacher, the nourishment and Manna for our souls, truly the "meaning and fulfillment of our lives." It is an immense joy to know that his Eucharistic presence among us will be the focus of so many projects to honor him during this special Year. It is an immense privilege to unite with all in the Church as we endeavor to encounter and experience Jesus in the Eucharist so as to live in communion with him. And it is also a vast responsibility to respond generously to the call of Pope Francis to make the Year one of deep conversion and intense commitment to spreading the good news of the merciful love of Jesus, especially as we encounter Him in the Eucharist. This encounter should be one of transformation, so that we in turn can reflect His mercy in our lives.
With the Church, who, "like the woman who anointed Jesus in Bethany, has feared no 'extravagance'" in regard to his Eucharistic presence, but rather has continually "devoted the best of her resources to expressing her wonder and adoration before the unsurpassable gift of the Eucharist"(EE 48) we want to live this Year in gratitude and unbounded love. Nourished by Jesus in the Eucharist we hope to nourish others by our concern, our help and our prayer. And, as Carmelites, we know all this will only be possible if we are deeply and trustingly united with Our Blessed Mother, the Woman of the Eucharist, the Mother of Mercy, the Model of the Church and the Queen-Beauty of Carmel.


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Who is the highest paid anchor?
Megyn Kelly is one of the highest paid newswomen in the industry. Her net worth is $30 million but that may grow after this year. Megyn Kelly reportedly signed a contract with NBC for $18 million a year.
Accordingly, How much is George Stephanopoulos worth?
George Stephanopoulos Net Worth: $40 Million
According to CelebrityNetWorth, George Stephanopoulos earns a whopping $15 million a year in salary.
Moreover, Who is the richest Fox news anchor?
#71 Sean Hannity
He remains the highest-paid star on Fox, however, banking $25 million each year from the network.
Also What is Hoda Kotb's net worth?
Hoda Kotb Net Worth and Salary: Hoda Kotb is an Egyptian-American TV news anchor and host who has a net worth of $30 million. Hoda Kotb is perhaps best known for her role as main co-anchor on NBC's news morning show, Today.
What is Ryan Seacrest worth?
Ryan Seacrest's net worth stands at a whopping $450 million, which he's earned from hosting Live With Kelly & Ryan, Idol, his very own radio show, and of course, producing countless television series, including his biggest moneymaker yet, Keeping Up With The Kardashians.
Who is the most beautiful news anchor?
Who is the highest paid female anchor on Fox News?
Who is the highest paid on MSNBC?
What is Carson Daly's salary?
What's Jenna Bush's net worth?
What was Matt Lauer's salary?
What is Ryan Seacrest salary on Kelly and Ryan?
Who is the most famous news anchor?
Do news anchors read teleprompters?
How much money do newscasters make a year?
What is Megyn Kelly's net worth?
What is Hoda Kotb salary?
What is Al Roker's yearly salary?
How much does Blake Shelton get paid for The Voice?
How much is Katie Couric worth?
How much is Al Roker salary?
What is Jenna Bush Hager's annual salary?
Why was Matt Lauer paid so much?
How much is Jesse Watters salary?
Scroll down to see our list of top 10 most beautiful female news anchors in the world 2020:-
Sara Carbonero.
Robin Meade.
Brooke Baldwin.
Michelle Kosinski.
Megyn Kelly.
Courtney Friel.
Jenna Lee.
Mélissa Theuriau.
Megyn Kelly – $15M
She started her broadcasting career as a political commentator on Fox News, where she worked from 2004-2017. In 2017, she switched over to NBC News where she worked until 2019 on her show, Sunday Nights With Megyn Kelly.
Rachel Maddow got her start with MSNBC as a political analyst and launched her eponymous show on the network in 2008. She has gone on to become one of the highest–paid TV stars, with a multimillion-dollar salary.
According to Celebrity Net Worth, Carson Daly is worth $40 million, pulling in an estimated $10 million yearly. The huge sum comes from his current gigs: with The Voice, Carson Daly earns a reported salary of $5 million per year. Plus, he gets a reported $5 million per year for his work on The Today Show.
Hager has a combined reported net worth of over $10million with Jenna. Jenna's salary as co-host of the Today Show is approximately $4million.
Lauer became co-anchor of Today in January 1997 after three years as the program's newsreader. Last year, he signed a new deal with the show that reportedly guaranteed him a salary of $28 million a year.
According to Celebrity Net Worth, Ryan's annual salary is a whopping $75 million. Based on that, his net worth rings in at a bold $430 million. Ryan, who's arguably one of the busiest men in Hollywood, makes his money a few different ways.
The most and least trusted news anchors in the US, including a close race between Rachel Maddow and Sean Hannity
David Muir (ABC) — 28% MediaBistro/ABC News.
Anderson Cooper (CNN) — 29% …
Lester Holt (NBC) — 32% …
Don Lemon (CNN) — 25% …
Rachel Maddow (MSNBC) — 26% …
Sean Hannity (Fox News) — 30%
It depends on the station and the size of the city it's in, but it's generally a myth that anchors mainly read the teleprompter. Most anchors in small and medium-sized cities are also out there daily, reporting on stories. And even in major markets, many anchors also do some reporting.
News anchors make an average of $38,647 per year in the United States. The typical salary range for news anchors starts at $14,000 per year and extends to $95,000 per year. Experience level and location are two of the biggest factors that affect news anchors' earning potential.
Megyn Kelly has a net worth of $45 million.
According to Celebrity Net Worth, Hoda Kotb earns $8 million, in salary, annually. On the hand, her net worth is estimated to be $30 million as of 2021.
The outlet reports Roker's NBC salary stands at $10million annually. His most recent contract is a five-year $50million deal that covers his duties on both The Today Show and The Weather Channel.
Given that NBC always airs two seasons of The Voice per year, Blake Shelton makes $26 million a year to appear on the show.
What is Katie Couric's net worth? According to the Sun, Katie Couric has reportedly a net value of $100 million. At the beginning of her career at ABC, her salary was about $7 million.
Al Roker Contract and Salary: Al's NBC salary is $10 million per year. His most recent contract is a 5-year, $50 million deal. That deal covers his duties on both The Today Show and The Weather Channel.
According to Celebrity Net Worth, the 36-year-old's yearly salary is an estimated $4 million. And her net worth? A whopping $10 million. "I love to tell people's stories," Jenna said in February 2018.
Today show host Matt Lauer has been fired for "inappropriate sexual behavior in the workplace" by NBC News—the company that made him one of the richest men in television, paying him in excess of at least $100 million over his career.
Salary: For his work on Fox, Jesse earns an annual salary of $2 million.
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Is Magnolia a masterpiece?
Who is the blind professional wrestler?


The International Wine Challenge (IWC) is now in its 32nd year. The IWC is accepted as one of the world's finest and most meticulously judged wine competition which assesses every wine blind and judges each for its faithfulness to style, region and vintage.
Throughout the rigorous judging processes, each medal-winning wine is tasted on three separate occasions by at least 10 different judges and awards include medals (Trophy, Gold, Silver, Bronze) and Commended and Great Value awards.


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Die Gash-Gruppe ist eine neolithische Kultur, die im Osten des Sudan und im Westen des angrenzenden Eritrea von etwa 3000 bis 1800 v. Chr. blühte. Die Fundorte liegen am Fluss Gash in der Umgebung von Kassala. Die Gash-Gruppe folgte in diesen Regionen der Butana-Gruppe.

Die typische, meist mit einfachen Ritzverzierungen dekorierte Keramik dieser Kultur fand sich an diversen Fundorten. Die Keramik hat Ähnlichkeiten mit der von Kerma und mit der Keramik der Pfannengräberkultur.

Der bisher am besten ausgegrabene Ort ist Mahal Teglinos. Hier fanden sich Reste von runden Hütten aus Stroh und einfachen Materialien, aber auch einige rechteckige Lehmziegelbauten, bei denen es sich um die südlichsten dieser Art von Bauten in Afrika zu dieser Zeit handelt. Neben der Keramik fanden sich viele Steinwerkzeuge. Siegel und Siegelabdrücke deuten auf eine entstehende Verwaltung von Gütern. Es fanden sich ägyptische Keramik und Fayenceperlen, die wohl auch aus Ägypten stammen. Pflanzliche und tierische Reste deuten eine Mischung von Ackerbau und Viehhaltung als Existenzgrundlage an. Bei der Siedlung fanden sich auch zwei große Friedhöfe. Bis auf Schmuck waren die meisten Gräber beigabenlos. Einige von ihnen waren an der Oberfläche mit großen, undekorierten Stelen markiert.

Auf die Gash-Gruppe folgte die Jebel-Mokram-Gruppe.

Literatur
 Andrea Manzo: Eastern Sudan in its Setting, The archaeology of a region far from the Nile Valley. Archaeopress, Oxford 2017, ISBN 9781784915582, S. 22–50
 Andrea Manzo: Eastern Sudan in the 3rd and 2nd Millenia BC. In: Dietrich Raue (Hrsg.): Handbook of Ancient Nubia. (De Gruyter Reference) De Gruyter, Berlin 2019, S. 335–365
 Donatella Usai: Work in progress: the Gash Group Lithic Industry. In: Archeologie du Nil Moyen, Band 9, 2002, S. 183–193

Einzelnachweise

Archäologische Kultur (Afrika)
Vor- und Frühgeschichte Nordafrikas
Jungsteinzeit (Nordafrika)
Geschichte (Eritrea)
Geschichte (Sudan)


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Pexopsylla cercocarpi är en insektsart som beskrevs av Jensen 1957. Pexopsylla cercocarpi ingår i släktet Pexopsylla och familjen rundbladloppor. Inga underarter finns listade i Catalogue of Life.

Källor

Rundbladloppor
cercocarpi


This is a humanitarian dental mission in Xela , Guatemala from 10/23 -10/30/2015.
There were 24 dentists including myself from all over the world . We saw 900 patients in 4 days , helped out the people of Xela, who could not afford dental cares. We all volunteered our time and effort . It was an amazing experience . People came in as families. Thank You to Septodont for the donations we really needed.
The Lions Club is a rotary club provided the dental center. We set up the clinic. They advertised to the community that we were coming and were offering free dental treatments . Look at the huge amount of bagged instruments ! We had suctions and first class patients chairs! We used hand held x-rays devices to diagnose dental diseases.
The patients of Xela were thankful and appreciative of our work .


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India not to walk out of RCEP negotiations
India's trade deficit with the RCEP nations taken together is $105 billion, with the lion's share being accounted for by China.
For representational purposes (File Photo | PTI)
By Jayanta Roy Chowdhury
NEW DELHI: The government has taken a policy decision that it will not walk out of the RCEP negotiations, which are supposed to be finalised later this week. Paradoxically, this decision could place it in a tougher bargaining position as other RCEP nations — China, ASEAN nations and Australia — are sticking to their guns on getting India to agree to deep tariff cuts in a host of areas including sensitive sectors such as textiles.
"We had suggested an early trigger mechanism, which could allow us to raise tariff substantially in case of a surge in imports of a particular line. However, neither the domestic industry nor our trading partners are showing much interest. The domestic industry said it is not a suitable mechanism, while partner countries say it is too late to introduce the clause," said commerce ministry officials. The commerce minister is expected to lead a team to Bangkok later this week to put final touches to the Regional Comprehensive Economic Partnership (RCEP) pact being negotiated among 10 ASEAN members and their six trading partners including China, Japan, India and Australia.
Several Indian industries including textile and dairy have warned against opening up their sectors. India's trade deficit with the RCEP nations taken together is $105 billion, with the lion's share being accounted for by China. India has free trade pacts with ASEAN nations, Japan and South Korea and its experienced industry bodies have pointed out that an increase in the volume of exports by these countries to be the detriment of India.
The most crucial negotiations on market opening up with China remains stuck mainly on account of India's fears that its trade deficit with China will go up and Commerce Minister Piyush Goyal and his team are expected to try and sew this up.
However, attempts to stall the opening up of Indian textile and dairy markets, which Indian negotiators thought would be acceptable to other RCEP members seems unlikely as informal sounding with negotiators from these countries show that they are not in the mood to concede to all of India's demands.
RCEP nations India


Combine this product with our corresponding Human MAGE-A3 Products: Dextramers®, PepMix™ Peptide Pools, Antigen Peptides, Universal T Cell Assay Standard TERS™ Kit and RepliTope™ Peptide Microarrays.
Collection of 6 carefully selected melanoma specific MHC I Dextramers (+ 1 control), for sensitive and specific detection of antigen-specific T cells using flow cytometry. Delivery of two aliquots/antigen with different fluorescent labels (PE and APC).
MHC class I Dextramers combine a dextran polymer backbone with a high number of MHC and fluorochrome molecules providing mulitple binding domains for antigen-specific T cell receptor binding. This enhances their staining intensity and increases resolution as well as signal-to-noise ratio with minimal background staining. In addition, the dextran backbone stabilizes the MHC-peptide complexes and fluorochromes. The Melanoma set is useful for enumeration of melanoma-specific CD8+ T cells, to detect or isolate melanoma-specific CD8+ T cells, e.g. during cancer vaccine and immunotherapeutic development. Each Dextramer is provided both as a PE- and APC conjugate, allowing for double staining of each cell sample to better resolve positive from negative cell populations.


I am all about lyrics. I believe that lyrics make the song and not the beat. Live and Forever by The Afters brings substance lyrically and musically. It all start with the song Shadows. With lyrics like "Wake up the statues, Breathe out the dust, Shock of a heartbeat, Rush of the blood, Breaking into my skin, Feel the burning again, I can't escape it, Its time to rise up from the shadows" this is a song / album that will get any Christian hyped. Battles is the song that everyone knows and that is not bad. Anytime a song says that God "is fighting my battles" is always a good thing. Want a song that will just get you up and ready for the day…listen to Time of my Life. Their set during the 2016 Love Riot tour was all about that bass and boom with drums and drums galore. Everyone was hitting a drum and trust me you can feel it in the arena. It was a sight to behold. One of the drums was hit so hard it actually fell on the floor (It was red and yes i saw it…lol) but the group continued without missing a beat. The families favorite part of the whole set was the performance of Live on Forever. If you have never heard of it (which would completely shock me), you need to listen to it right now.
On a side note, this guys are probably the coolest group of artist you will meet. The patience to take all those pictures and to take time to talk to everyone is amazing and a blessing. Keep up the good work guys in spreading the word of God thru music.
Follow them on Twitter @theafters ….we need to support groups like this.
You can find the review on Graham Saber here. Look out for reviews on Ryan Stephenson and Newsboys.
Let's be honest, my family (im sure pretty much everyone in the arena) was waiting for one song and its been a song that has been taking the country by storm. Eye of the storm comes from Ryan's 2015 album Fresh Start and since the release of the song, it has reached number one on the Billboard Christian Charts and the Billboard Christian Airplay charts. To put into perspective the power of the song, it is STILL number one on the TOP SONGS list at K-LOVE (10/19016) and number still number two on the Billbloard Hot Christian charts (as of 10/19/16). Eye of the storm is one of those song that will not only pull on your heart strings but also lead you to WANTING that conversation with the Holy Spirit. I have been inspired by this song on good times and I have been uplifted by this song during times of difficulty. I was singing the song to myself just now to find a line or two from the song that can sum up the feelings the song brings and its been a challenge. In the end, the ways "I find my peace in Jesus' name" says it all. As a Christian living in a place we believe is temporary until we are called, the peace from Jesus is all that we have in this time of uncertainty. I thank you lord for that. The album Fresh Start is an album worth listening to with songs life Fresh Start, Mercy Changes Everything, and Not Forgotten giving you quality music with powerful messages.
The set itself was AMAZING!!!! Some of the loudest moments of the night was during Eye of the Storm. I turned to my girls and saw them jumping and waving their hands and singing back to Ryan. Eye of the Storm is just one of those songs that has/is leading so many people to Christ. We are blessed that the Holy Spirit has inspired Ryan to write such a powerful song.
On a side note, after the concert as we were heading out we saw Ryan trying to gather his stuff and head out. The girls shouted "Dad's its Ryan, can we ask for a picture?" I tried to explain that i am sure he is tired and just trying to get back home but they insisted. I shamefully asked if he had time for one more pic and he said of course. With a smile and a few nice words to my daughters, he took a picture with them and made them fans for life. God Bless You for than Ryan!
You can find my review on Graham Saber here, and The Afters here. Next up, the main act…NEWSBOYS!!!


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The great majority of institutions (particularly the most choosy) still necessitate standardized testing for admission consideration, even though there has been the adoption of some "test-optional" policies at a few American universities. The exam is given to more than 1.7 million upper-secondary students yearly, making the SAT a vital investment in preparation, time, and energy. The SAT went through one of its major revisions in 2016, containing a three-section structure. Verbal skills are assessed by the Evidence-Based Reading and Writing (EBRW) as well as optional Essay sections, while quantitative abilities are tested on the Math portion. Manhattan Review uses test-taker statistics and diagnostic evaluations to cultivate personalized SAT learning plans that facilitate individual SAT strengths and weaknesses. Our students hone their skills in all areas of test content, and they additionally learn how to devise effective individual study curricula and how to use the most promising test-taking strategies. To learn more about Manhattan Review's SAT classes, SAT private coaching, and SAT practice tests email, phone, or contact our Himayatnagar office today.
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Manhattan Review first published the Turbocharge Your SAT series to provide students thorough and highly effective SAT preparation, and the most recent version of the guides carries on this tradition. Countless Indian students in many other countries around the globe have greatly broadened their test scores and possibilities for university admittance by studying with Manhattan Review's SAT prep books. This revised and updated publication is intended for the most recent version of the SAT, and the full series is architected to facilitate SAT students with detail-oriented and current SAT instruction that does not take away from the bigger picture. Manhattan Review's SAT guides exactly focus on each SAT exercise and section, breaking down test content in a way that is accessible to all types of SAT students. Test-takers who work through the full series assimilate all that they need to know to significantly enhance their scores. With comprehensive coverage of verbal and math skills from the most fundamental through the most advanced levels, the Turbocharge Your SAT Series is the optimal study guide for every part of the SAT preparation process.
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Q: Adding Yii 1.1.x as dependency to yii based app, with composer? While this path is ok for dev env:
1) PHP -> Composer -> Yii -> Yii app
When deploying I want to use:
2) PHP -> Composer -> Yii app requirements -> Downloading and Installing all the dependencies Yii included.
So:
How to set up Yii framework as just dependency - second path (and not some franken monster that will be used to create empty app...)
Any clean Yii framework packages out there (that do not contain, demos, examplary apps, templates, docs, and any other things You DO NOT want on production?)

A: Just wanted to say, that Yii 1.1.x is not natively compatible with composer.
Composer is neat piece of software, that is why Yii 2 has full support for composer and packages. Check it out, alpha version is already out there!

redpajama_set_name: RedPajamaStackExchange


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Home > Press Releases > How Can a New Logo Help You Catch More Fish?
How Can a New Logo Help You Catch More Fish?
For over four decades, Mister Twister® has been a leader in the soft plastic fishing lure business. Today, Mister Twister® is proud to unveil a modern logo that will represent the future of the company and uphold the history of the iconic brand and family of products.
"The Mister Twister® Curly Tail® Grub silhouette in our logo has been, and will continue to be, an icon for fishing. We recognize the heritage behind the original logo so our goal was to connect to the past but also include elements of an evolution," said Mister Twister® General Manager, Chuck Byrd. "Think of it this way–this logo represents our company's renewed excitement about our products and our dedication to innovation. It's about continuous improvement and striving to be the best we can be. In the end, producing the best products increases our customer's chances to catch more fish!"
"While we've never lost sight of them, we really want to re-focus and re-connect with the bass fishing men and women in our sport. Our new logo depicts the excitement we feel for this growing, evolving segment of the industry," explained National Sales Manager, Darryl Laurent. "I can't wait for everyone to see the great new products we've got coming out this year!"
The new logos include the iconic Curly Tail® Grub silhouette and original lime-green and yellow colors, along with a new, bold, dynamic font that includes a Curly Tail® Grub cutout at the top of each capital-I. In addition, the Curly Tail® Grub icon will be used as a stand-alone representation of the brand. All the logos and marks were created in a way to help keep a consistent look for Mister Twister® in print, packaging, displays and apparel.
"Logos are the foundation of a company's brand identity. Our goal was to design logos that would create awareness, represent our past and our future, and resonate with our customers," said Mister Twister® Communications Director, Kurt Mazurek. "As an enthusiast of the history of this sport, and specifically this brand, I wanted to make sure any changes we made stayed true to the company's foundation. The new family of logos allows us to maintain the integrity of this historic company, while giving us an update that matches our enthusiasm for the future."
To see the entire lineup of Mister Twister® products, or receive a current Mister Twister® Tackle Catalog, visit our web site at www.mistertwister.com or call 800-344-6331. Mister Twister, PO Drawer 1152, Minden, LA 71058-1152.
Return to All Press Releases


Setup School Calendars – Eduphoria!
The first step in Management is to create a school calendar. The information required in the calendar depends on the applications you have purchased as the calendar is used in several of our applications including Aware, Forethought, and Strive.
Click on School Calendars in the left pane.
You will see the current month displayed with options in the top tool bar. Select Create a New Calendar in the bottom left of the screen to begin.
You will now see your new calendar under Reporting Year Layouts on the left, and instructional days connected to each date within that calendar will appear on the right. If you are going to be using Aware and/or Forethought, more setup is needed. For the application Strive, no further setup is needed.
Click the plus sign beside your calendar under Reporting Year Layouts and click on your Reporting Year (Two Term – Six Week Cycles/Two Term – Nine Week Cycles depending on what you selected above). You will need to adjust the cycle start and end dates to match your district's dates. When finished, click Save.
Update 2018 Summer: The Reporting Calendar works a bit differently with relation to roster imports. Now, if active rosters are being imported outside of the Reporting Calendar start and end date, the roster tool automatically sets the term to 1. This now allows teachers to see incoming students once the roster data for the new school year begins importing AND to continue to see rostered students after the end of school. The Reporting Calendar still determines when terms change to the 2nd and/or 3rd term and for summer school.
You will need to select each day within the calendar that will be a student/staff holiday and choose the appropriate option on the right. Once chosen, click Update Day Information for each day you change. Repeat this process for all holidays, etc.
Note: If you add holidays, these days will not count against technician statistics for requests being open in Helpdesk.
The appraisal dates for reporting pull from the first instructional day and last instructional day in the calendar setup. When you archive appraisals in Strive, the dates for archiving also honor these dates.