You need a licence from the council to provide late night refreshments and regulated entertainment.
See a summary of the regulation relating to this licence on the Office of Public Sector Information website.
Applications must be sent to the licensing authority for the area in which the premises are located.
A notice advertising the application must be displayed for a period of no less than 28 consecutive days, starting on the day after the day on which the application was given to the relevant licensing authority.
A notice must also be published in a local newspaper on at least one occasion during the period of ten working days, starting on the day after the day on which the application was given to the licensing authority.
The responsible authorities and all the interested parties will have a period of 28 consecutive days to make representations regarding a premises licence application (grant or variation) to the licensing authority.
If the licensing authority considers that a representation is relevant, a hearing will be held to consider these representations (unless all parties agree that a hearing is unnecessary).
The licensing authority will serve a notice of its decision on the applicant, any person who has made relevant representations (such as those not deemed frivolous or vexatious) and the chief of police.
Other applications that can be made are those for an interim authority notice following the death, incapacity or insolvency of a licence holder or for review applications.
Yes. This means that you will be able to act as though your application is granted if no representations have been received within 28 days of submitting your application.
In the first instance, please contact Waltham Forest Direct on 020 8496 3000 and ask for the licensing team.
The chief police officer for the police area where the premises are located can apply to the licensing authority for a review of the licence if the premises are licensed to sell alcohol by retail. If a senior officer has given a certificate that they are of the opinion that the premises are associated with either serious crime or disorder or both, a hearing will be held and the licence holder and other interested parties may make representations.
A chief police officer can give a notice to the licensing authority if they believe that the transfer of a licence to another - under a variation application - could undermine crime prevention objectives. Such a notice must be given within 14 days of receiving notification of the application.
A chief police officer may make representations to the licensing authority for a review of the licence, if the premises are licensed to sell alcohol by retail and a senior member of the force has given a certificate to state that in their opinion the premises are associated with serious crime, disorder or both.
An interested party or relevant authority that made relevant representations may appeal against the granting of a licence or against any condition, variation, licensable activity or premises supervisor decisions.
All representations must be received in writing (via post or email), before the end of the consultation period. The last date representations can be received for these applications is indicated next to the application to which it relates.
The Licensing Act 2003 requires licensing authorities to determine and to publish, every five years, a Statement of Licensing Policy. The policy details the principles to be applied when determining applications under the Act for the sale and supply of alcohol, provision of regulated entertainment and late night refreshment (licensable activities).
In January 2005, the London Borough of Waltham Forest published its Statement of Licensing Policy under the Licensing Act 2003. The policy details the principles to be applied when determining applications under the Act for the sale and supply of alcohol, and the provision of regulated entertainment and late-night refreshment (licensable activities)".
"It is a requirement of the Act that the council must review and re-publish its policy, in accordance with the Act (currently every five years).
In delivering our statutory functions of checking and ensuring businesses comply with the relevant legislation; we will act in accordance with the Regulators' Code and our own enforcement policy. Please click here for our service standards.


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TV, Film & Movies
Daily Ladness
LAD Files
Simon Cowell Left BGT Auditions When Man Painted Portrait Using His Penis
Coronavirus Is 'Mutating And Adapting' After Leaving Nine Dead In China
Footage Emerges Of Mutant Goat With Human-Like Face
Who Is Chiune Sugihara? Google Doodle Celebrates Japanese Diplomat
Mark Cunliffe in Entertainment
Last updated 9:52 AM, Monday July 29 2019 GMT+1
Today, Google has paid homage to respected Japanese diplomat, Chiune Sugihara in the form of a stunning doodle. But who is Chiune Sugihara and what's the doodle all about? Here's everything you need to know.
If this is the first time you've ever heard of Chiune Sugihara, then don't worry, he's a little-known Japanese diplomat with a big story. He saved thousands of Jews during the Second World War. Known to be a humble and quiet man, Mr Sugihara was vice-consul at the Japanese consulate in Kaunas, Lithuania in 1939, which was when the conflict started to break out.
Chiune Sugihara saved thousands of people by writing illegal visas Credit: Wikicommons
He teamed up with a Dutch diplomat to concoct an escape route. The plan was for Jews to travel on the Trans-Siberian Railway through the Soviet Union, then into Japan before finding safety in the Dutch colony of Curacao in the Carribbean. Despite asking his superiors in Tokyo to grant the visas the refugees needed three times, he continually got rejected.
He was told: "Absolutely not to be issued any traveller not holding firm end visa with guaranteed departure ex Japan.
"No exceptions."
Chiune Sugihara didn't let this stop him and, against the wishes of his own government, he began writing visas.
He told the Ministry of Foreign Affairs that it was a matter of humanity and said: "I did not care if I lost my job."
Google's celebration of Chiune Sugihara Credit: Google
His mission had a deadline too as his consulate was due to shut down. Against the clock, the wrote as many as 6,000 visas by hand in just over six weeks, working from dusk until dawn. Reportedly, his wife who back his decision massaged his calloused hands each night so he could try and get some sleep in between days. Now that's a power couple right there.
When Chiune Sugihara was forced to leave Lithuania, he reportedly continued to write visas on the train as it was about to leave, throwing them into a crowd of Jews on the platform.
Thanks to the visas, thousands of Polish and Lithuanian Jews arrived safely in Japan.
Just a year later, the Nazis occupied Lithuania and murdered over 120,000 people.
It took until 1984 for Chiune Sugihara to get recognised by Israel's Yad Vashem Holocaust museum as "Righteous Among the Nation," which is a title given to non-Jews who saved Jews from Nazi extermination.
What a hero Credit: Youtube/World Jewish Congress
When asked why he helped thousands of refugees, Chiune Sugihara said: "People in Tokyo were not united. I felt it silly to deal with them. So, I made up my mind not to wait for their reply.
"I knew that somebody would surely complain about me in the future. But, I myself thought this would be the right thing to do. There is nothing wrong in saving many people's lives."
What a hero.
Featured Image Credit: Google
Topics: Google, World War 2, World News, Interesting, History, Feels, politics
Mark Cunliffe
Mark is a writer at LADbible with a creative writing background and a history working at some of Manchester's biggest agencies. He loves football and music that screams a lot.
Follow @mark_cunliffe
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redpajama_set_name: RedPajamaCommonCrawl


text:
Taye Diggs Photos
Taye Diggs info
Born: 2 January, 1971
Birth Name: Scott L. Diggs
Spouse: Idina Menzel (11 January 2003 – present) 1 child
Awards: 6 wins & 12 nominations
Known for: Rent , Chicago , The Way of the Gun , Basic , Equilibrium and more.
Watch movies with Taye Diggs online
Equilibrium 2002
Dead of Night 2010
The Best Man Holiday 2013
The Trials of Cate McCall 2014
Taye Diggs biography
This block contains the information about Taye Diggs and provides an insight into the life of the celebrity. From here you can also learn when, how and why the profession of an actor was chosen. Some interesting facts are waiting for you here.
Taye Diggs was born in the beginning of January 1971 in New Jersey. He is the son of an actress who grew up in Rochester. Taye was studying in the School of Arts, and was the elder of the five children in the family (the actor has two brothers and two sisters). He became bachelor of performing arts in a musical theater if the Syracuse University. He appeared not once in the staff of the popular summer theater in New Hampshire. His debut on the Broadway was in 1994 when he became the member of the musical "Roller Coaster". In 1996 the actor performed a land lord's role in a play on the Broadway stage. Also he appeared in the famous Chicago musical. Later Diggs changed the destination place, and started performing in a soap opera on the television. In 1998 he debut in the cinema in the melodrama by Rodney Sullivan "Stella's adventure". This role became the most significant in his carrier. The next year he started playing the role of Tantric Sex God in a criminal comedy. Taye participated in the reality show about models in America. He became famous after appearing in the TV show "Private Practice" where he played the role of Naomi's husband; also he performed in "Private Practice" which is a linked show.
Where Taye Diggs born?
With the help of the Google satellite map you can find the place where Taye Diggs was born. By zooming in and out you can see the place itself and the area it is situated in and nearby. Find out where Taye Diggs was born. Now you can see the place itself even not traveling.
Taye Diggs filmography
Here you can learn about the movies Taye Diggs acted in. You can see the names of the movies, their budget, years of release and the money gained from the screening of the certain movie. It is always interesting to know.
Basic - Pike $50M 2003 $11.5M $26.5M
Chicago - Bandleader, Soundtrack (performer: "Overture/And All That Jazz" (1975)) $45M 2002 $2.07M $171M
Rent - Benjamin Coffin III, Soundtrack (performer: "Seasons of Love", "Rent", "You'll See", "La Vie Boheme", "Goodbye Love", "Seasons of Love B (Reprise)", "La Vie Boheme B (Reprise)", "I'll $40M 2005 $10M $29.1M
The Way of the Gun - Jeffers $21M 2000 $2.15M $6.05M
Equilibrium - Brandt $20M 2002 $542K $1.19M
How Stella Got Her Groove Back - Winston Shakespeare $20M 1998 $11.3M $37.7M
Dylan Dog: Dead of Night - Vargas $20M 2010
House on Haunted Hill - Eddie Baker $19M 1999 $15.9M $40.8M
Malibu's Most Wanted - Sean James $16M 2003 $12.6M $34.3M
Slow Burn - Jeffrey Sykes $15.5M 2005 $778K $1.18M
The Best Man - Harper Stewart $9M 1999 $9.03M $34.1M
Brown Sugar - Andre Romulus 'Dre' Ellis $8M 2002 $10.7M $27.4M
Go - Marcus $6.5M 1999 $4.71M $16.8M
The Wood - Roland $6M 1999 $8.52M $25M
Straight Forward (short) - Special Thanks $2M 2005
Drum - Henry Nxumalo $3.6K 2004
Our Family Wedding - Whipped Friend (uncredited) 2010 $7.63M $20.2M
30 Days - Jamal Boy 2006
High Art - Thanks 1998 $47.5K $1.93M
Just a Kiss - Andre (uncredited) 2002 $7.24K $63.8K
Jessica Biel ready to be a mother
According to a source close to the couple, Justin Timberlake and Jessica Biel are seriously thinking about expanding their family in the near future. However, Jessica is a bit worried for her sexy
Charlie Sheen furious at Brooke Mueller
It seems like Brooke Mueller doesn't take her rehab seriously. Charlie Sheen's ex-wife has moved out of the plush sober living house in San Juan Capistrano and rented a beach house in San Clemente in
Hugh Jackman's research for 'Prisoners'
In order to prepare for his role in a new movie Prisoners, Hugh Jackman did some research as he studied real accounts of child abductions from desperate fathers. The actor, who plays a parent
Red Lake, Ontario, Canada
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If you have never been to see a chiropractor and are nervous, don't be. They will do an evaluation of your back. This is likely going to include X-rays and a physical manipulation, with their hands, to feel your alignment. Depending on the needs of each patient, many Montana chiropractors have specialized equipment that helps to decompress the spine. Compression can be caused by being on feet a lot, being overweight, and sometimes just as a byproduct of aging. You may genetically prone to some of these issues, for example.
Your Montana chiropractor will likely prescribe some exercises that they want you to do. This is to help build your core muscles back up to help any aligning that they do to stay that way. If your muscles are not pulling correctly, no aligning that they do on you will stay that way. So, part of your treatment path will likely include some exercises to be done like physical therapy.
Spinal manipulation generally results in some cracking and popping. For most patients, this feels good. As bones move, blood flow can get back into the spaces between the vertebra. This blood brings in oxygen and other important cells. When blood flow is restored, the body can now begin to repair itself in most cases. The plasma, which is a component of your blood, brings with it the tools necessary to make repairs to the body and fight infection and inflammation. Your Montana chiropractor is helping your body get back to the best position to help itself. It's a noninvasive way of being treated for most people.


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Q: R: how to use lapply or for to loop over all values of multiple strings I have a dataset with one variable categorized according to 200 alphabetic codes code1<-c("AAA","BBB","DDD","EEE","FFF"), 2 alphabetic codes code2<-c("Yyy","Zzzzz"), and 41 numeric codes code3<-seq(1970,2011,1).
I have a function that produces a 8-number vector from each subset of the data according to unique values of code1,code2,code3. So, I would like to run a few lines of code on each subset of these data.
The complete list is imported as a data frame data, and I currently work by extracting each subset of the data from the data frame, analyzing it, and then saving the output
The problem is that it would be cumbersome to loop through all the values of code1 and code2 and code3 according to this scheme, and it would be much better to produce a single output data frame as well, with the 8 numbers saved alongside the unique values of code1, code2, and code3 which produced them.
I'm sure that this could be done without resorting to loops over values of code1-code3 and assign(), but being a neophyte I'm afraid I can't quite put it together.
Thanks -- E
Additional data:
This is what the output vector from the function I am running looks like, manually subset for one series:
output1<-fxn(data$input,[which(data$code1=='AAA'&data$code2=='Yyy'&data$code3==1990)])
output2<-fxn2(output1)
str(output2$out[,2]): num [1:8] 0.009 0.648 0.304 0.004 0.445 ...
output2$out[,2]: [1] 0.009 0.648 0.304 0.004 0.445 36.720 0.000 1.103

Additional data:
In response to requests, this faked output dataset approximates what I'm looking for-- each row of the file is from one completed run of the function fxn2. The first 8 columns are output by the function; the last 3 columns are added to distinguish unique values of code1,code2,code3:
> head(data)
   X.x1    x2    x3    x4    x5     x6 x7    x8 code3 code2 code1
1 0.008 0.595 0.185 0.005 0.173 36.744  0 1.102 1970  male  BGR
2 0.004 0.242 0.276 0.005 0.348 46.017  0 1.108 1971  male  BGR
3 0.002 0.553 0.242 0.005 0.247 35.424  0 1.107 1972  male  BGR
4 0.005 0.593 0.270 0.004 0.312 43.701  0 1.105 1973  male  BGR
5 0.009 0.660 0.217 0.005 0.266 37.955  0 1.103 1974  male  BGR
6 0.006 0.347 0.297 0.005 0.411 50.959  0 1.108 1975  male  BGR
> dput(head(data))
structure(list(X.x1 = c(0.008, 0.004, 0.002, 0.005, 0.009, 0.006
), x2 = c(0.595, 0.242, 0.553, 0.593, 0.66, 0.347), x3 = c(0.185,
0.276, 0.242, 0.27, 0.217, 0.297), x4 = c(0.005, 0.005, 0.005,
0.004, 0.005, 0.005), x5 = c(0.173, 0.348, 0.247, 0.312, 0.266,
0.411), x6 = c(36.744, 46.017, 35.424, 43.701, 37.955, 50.959
), x7 = c(0, 0, 0, 0, 0, 0), x8 = c(1.102, 1.108, 1.107, 1.105,
1.103, 1.108), year = 1970:1975, sex = structure(c(1L, 1L, 1L,
1L, 1L, 1L), .Label = "male", class = "factor"), iso3 = structure(c(1L,
1L, 1L, 1L, 1L, 1L), .Label = "BGR", class = "factor")), .Names = c("X.x1",
"x2", "x3", "x4", "x5", "x6", "x7", "x8", "year", "sex", "iso3"
), row.names = c(NA, 6L), class = "data.frame")

A: I think you can simplify your code by doing this. If you give more details about desired output, I will update the answer accordingly.
code1<-c("AAA","BBB","DDD","EEE","FFF")
code2<-c("Yyy","Zzzzz")
code3<-seq(1970,2011,1)
params <- expand.grid(code1, code2, code3)
names(params) <- c('code1', 'code2', 'code3')

myFunc <- function(code1, code2, code3) {
    ##add your function code here.
  ...
  ...
  return(output2$out[,2])
}

    LL <- mapply(FUN=myFunc, code1 = params$code1, code2 = params$code2, code3 = params$code3)
    result <- split(LL, rep(1:ncol(LL), each = nrow(LL)))
    result <- do.call(rbind, result)
    result <- cbind(result, params)         result <- cbind(result, params)

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Sheet metal parts often include small forms such as tabs or embosses. These forms are often created prior to the part being punched or blanked from the sheet metal. How can you perform a blanking operation without deforming or destroying these small forms in the finished part?
for a part or an area specific to a particular form.
Inform your Mate Customer Service representative that the tooling will be used for blanking.
The slug is the final product, so tooling should be ordered with this in mind.
The die (including clearance) should be the part size. The punch dimensions will then be calculated based on the die size.
Reduce the die clearance by 5% (a Mate Applications Specialist can help you with calculations based on material type and thickness). The reduced die clearance helps to increase the burnish area and minimize the dimensional difference between the top and bottom of the blanked part.
Provide Mate with an accurate reference drawing of the part. Critical information will include the height of the forms, as well as length, width and location on the final part.
Punches should be flat faced if possible.
Inspect tools frequently for wear. With reduced die clearances, frequent inspection and sharpening is required.


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Another day. Another victim of Unley's hazard-ridden footpaths.
An elderly visitor on her way today to a doctor's surgery at the notorious Arkaba corner comes a nasty cropper on Kenilworth Road alongside Parkside Primary School's playground.
As a wide-ranging pedestrian I can attest to virtually every Unley street I venture along providing numerous hazards. Broken pavers. Missing ditto . Sunken or raised service points. Treacherous accumulations of Queensland Box seed pods.Etc. Etc.
I can think of only one footpath free of hazards…the wide, winding, attractive pathway along Parkside's Windsor Street linear park. Which has been in place for a couple of decades without the need of attention.
No. I'm not referring to the brick re-paving…just the free media publicity being accorded Unley's commercial showpiece.
One can only hope that the headline hype is matched by the eventual revitalisation of the shopping strip and a return to it's premier place in Adelaide's commercial world. Of late there have been far too many "vacancy" signs around, which is attributed in some quarters to unrealistic rental demands.
At the risk of repeating myself, I would dearly love to see some measures introduced to reduce through traffic and return our icon to a destination, not a short-cut created by the unwise alteration many years ago to the nearby traffic light sequences on Cross Road. A boon for commuters but a blight to KWR.
It's little wonder that the general public is not exactly enamoured of third-tier governance when they are fed a daily dose of dissent wracking the halls of power on King William Street.
It's many a moon since Grumpy was close to the Adelaide City Council action ….as part of the public relations department. But in those days there was a general sense of decorum both in the Council chamber and out there in the real world. Personal differences abounded, of course, but were handled discreetly, not hung out on the Hills Hoist.
The unedifying disunity and downright disgraceful exchanges emanating from the present ward incumbents is irresponsible, embarrassing and has to stop.
Another day. Another five victims. This time in India.
The toll now stands (after just a handful of suitable …sort of..climbing days) as Himalayas 13, mountains nil. With several climbers still unaccounted for.
The news from Nepal's capital of Kathmandu will, of course, be shrugged off by the government, which is too busy in it's treasury… totting up the huge contribution that the country's fatal attraction contributes to the tourist income.
By a piece of inspired absenteeism, Grumpy was able to avoid all the angst of the recent selection of those to lead us from the hallowed halls of Canberra.
Sadly the infighting will continue on both sides of the political spectrum.
Meanwhile, in the kindergarten sector of the State's not-so-august ruling bodies, Adelaide City Council is busily making itself the laughing stock of Local Government with spiteful spats and name calling that shows our third-tier rulers in a VERY bad light.
Kathmandu farewell
Sadly, all good things must come to an end…even my 40-year love affair with the chaotic city of Kathmandu, capital of my adopted second home of Nepal.
Four bomb blasts in the suburbs. A one-day national strike (I didn't notice any difference to anything…the streets were their usual dicing with death from motor-cycles). Two mass murders that claimed a mere 15 lives and rated a few paragraphs on the two English-speaking newspapers. A simmering 45degrees in the southern tourist destinations.
Not to mention, of course, the huge traffic jam of Mount Everest's egotists which claimed a mere eight lives.
Safer school stroll.
Students at Parkside Primary School will soon benefit from safety measures approved by Unley Council after extensive investigations tackling the increased use of streets to the south by morning "rat-run" commuters.
In a three-part recommendation from Council's transport and traffic division, children's crossings will be installed in Young and Robsart Streets, while there will be kerb extensions along Castle Street at its intersection with Robsart Street.
The treatments align with Council's strategic objectives of improving walking and cycling within Unley.
The need for the programme comes mainly, in my opinion at least, from city-bound commuters trying to avoid the notorious Fullarton/Glen Osmond Road intersection. My frequent calls for peak-hour "No left turn" signs into north Parkside from Fullarton Road have been regularly quashed/ignored, but someday, perhaps, those in higher-level command of our destiny will see the light…
All of the above brings back vivid memories of the days when Parkside Primary, now bursting at the seams with more than 400 pupils, was facing extinction— and disruption for its 100 students. The protest meetings were frequent, fiery and (thankfully, of course) successful.


Lawdragon™ has named Motley Rice co-founding member Ronald L. Motley to its 2011 Lawdragon™ 500 Leading Lawyers in America list for the sixth time since the list's inception. Motley Rice member Jodi Westbrook Flowers was also named, the second time she has been selected to receive this honor.
Recognition in The Lawdragon™ 500 list is the result of an extensive selection process that combines peer review and editorial research to evaluate more than 25,000 lawyers throughout the country who, according to Lawdragon, Inc., "embody the best of lawyering ... intellect, passion, judgment, dedication and extraordinary achievement."
Motley began his career in the legal profession nearly four decades ago, garnering global recognition for groundbreaking litigation against such corporate giants as the asbestos and tobacco industries. He has since committed his career to passionately advocating for the rights of those harmed by wrongdoing and negligence and has continued to pursue complex civil litigation against daunting opponents, including alleged terrorist financiers in a lawsuit filed nearly ten years ago by more than 6,500 survivors, family members and those who lost their lives in the Sept. 11, 2001, terrorist attacks.
The co-leader of Motley Rice's Anti-Terrorism and Human Rights practice group, Flowers began her career in the legal profession supporting the historic litigation against Big Tobacco. She has managed a variety of complex litigation crossing numerous practice areas but has focused on litigation involving state sponsorship of international terrorism and violations of international law and human rights abuses. In addition to serving on the Plaintiffs' Executive Committee for In re Terrorist Attacks on September 11, 2001 anti-terrorism litigation, she also served as an integral member of the aviation security litigation team seeking accountability and change in aviation security following the attacks, and as Motley Rice's lead negotiator in the last hold-out of the individual cases against Libya for the notorious Lockerbie bombing of Pan Am Flight 103.


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Home > Film > Pride
Posted by: Edo in Film April 6, 2015	0
Director: Matthew Warchus
Writer: Stephen Beresford
Cast: Bill Nighy, Imelda Staunton, Dominic West
In the civil rights movement of the modern age, the struggle for equality spanning gender, race, religion, class and sexuality can often be a divided one. Mark Stanton, a young gay activist in the Eighties recognized that this divide and conquer approach was a big part of what helps the establishment maintain the status quo.
During a rally for gay rights which draws a small, indifferent audience and close to non-existent police presence, Stanton realizes its because the national spotlight has shifted to miners who are on strike. Rather than compete for attention, Stanton decides the right thing to do would be to help their cause.
Pride is a feel good film told about what he did next. It's based on a true story in which a London based Gay and Lesbian community (Lesbians and Gays Support the Miners) reached out to miners in Wales who were on strike during the Margaret Thatcher era and fund-raised a record sum of money for their cause and their families. Although the mining families were initially reluctant to accept the support of the group, the relationship was eventually a success and lead to the recognition of LGBT rights in the Labor Party's charter.
Pride is told in the style of Billy Elliott or The Full Monty, a fish-out-of-water tale in which a conservative pint-sized Welsh village is confronted by and comes to accept the support of an unlikely ally. The film uses a well worn formula but does so with such gusto, enthusiasm and love for its subject matter that it won me over. It's an effective, populist style of film making that purposefully keeps the darker and unseemly elements of the story off-screen to make it suitable for the broadest possible audience. Of course, this didn't stop the conservative arm of the British Board of Film Classification from giving the film an 'M' rating and the Motion Picture Association of America rating the film 'R'.
Pride is a such a delightfully put together film and its come from a very unlikely source. Director Matthew Warchus is not a man that has a prolific body of work. Pride is just his third feature in fifteen years. And yet he clearly has the calibre to rival many more celebrated and recognized names out of the UK as he draws fine performances out of his cast – both the fresh new faces like George McKay and Ben Schnezter, as well as the old favourites such as Bill Nighy and Imelda Staunton.
When it comes to civil rights films, there are films that can invoke anger and outrage at the treatment of the persecuted. Most recently Ava DeVerna's Selma was one such polemic that shined a harsh light on the police force in Alabama. Pride is the opposite end of the spectrum. It is a celebratory film about what people have done to combat persecution. There isn't much of the film that dwells on acts of bigotry. Instead it prefers to look at how the miners and the LGBT community came to form a bond together.
In some ways, this type of film making can be a trickier proposition, as you risk giving off a sensation of 'white-washing' the harsh realities that the people faced. Fortunately, Pride strikes all the right notes. It avoids feeling facile and its sunny disposition doesn't stand in the way of opportunities to inform, educate and open the eyes of the audience as to what Mark Stanton and his friends were able to accomplish.
Feel good films aren't exactly in vogue nowadays. Maybe it's a sign of the times. But Pride is a feel good film that is easy to recommend. It celebrates the life of some brave, young activists that not only risked persecution and hardships for their own cause, but had the compassion and courage to support the cause of others as well.
A young group of gay and lesbian activists begin to fundraise for miners striking against Margaret Thatcher.
Summary : A crowd-pleasing film that shines a light on the amazing true story of the fundraising group "Lesbians and Gays Support The Miners" and the legacy they left
Bill Nighy Dominic West Imelda Staunton Pride	2015-04-06
Tagged with: Bill Nighy Dominic West Imelda Staunton Pride
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Long live the radio tonite


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Georgia Department of Transportation Says State's Bridges Are Safe
Georgia Construction Accident Attorneys Ready to Hold Parties Responsible for Mishaps
Tragedy can strike anywhere and at any time. The people who died in the Florida pedestrian bridge collapse would never have known anythingwas wrong as they passed under the span. The bridge crushed several vehicles and killed six people instantly. The incident remains under investigation by federal and state authorities in Florida. The senseless loss of life raised the question in Georgia, and every other state in the Union, as to whether the bridges we use every day will remain upright. Unequivocally, the Georgia Department of Transportation steadfastly maintains that the state's bridges and overpasses are safe.
At Montlick & Associates, Attorneys at Law, our firm has acquired decades of experience aggressively seeking damages for people injured or killed by faulty construction work. When a construction accident occurs, it is imperative that the incident receives a thorough investigation. Our Atlanta construction injury and wrongful death attorneys have substantial skill and experience, coupled with an unwavering desire to recover compensation that allows those affected by tragedy feel some sense of justice.
For over 36 years, Montlick & Associates, Attorneys at Law, have proudly represented thousands of people injured or killed in construction accidents and other types of personal injury claims. In addition, Montlick & Associates collected over $1 billion for their clients.
Are Georgia's Bridges Actually Safe?
The pedestrian bridge that collapsed in Miami was built on an accelerated schedule. Engineers fabricated and assembled most of the bridge off-site, then hauled it in and assembled it where the bridge ultimately fell. The Georgia Department of Transportation employed those same techniques, called accelerated bridge construction when building several bridges in the state.
Georgia Department of Transportation's general contractor on the I-85 reconstruction used the same technique while rebuilding the part of the bridge that collapsed due to fire in the spring of 2017. Experts credit using that bridge-building technique to replace the burned sections of I-85 with reopening the Interstate approximately one month ahead of schedule. Workers replaced the 700-foot sectionof steel, rebar, and concrete in an amazing six weeks.
Department of Transportation officials standby the construction methods used by their general contractors on the I-85 bridge and other bridges and overpasses across the state. Department of Transportation officials arguethat building a bridge away from the area and putting it in place is a technique successfully used around the world on numerous occasions. Accelerated bridge construction asa method of bridge building is a popular technique because it limits the amount of time needed to shut down highways and interstates. The bridges get fitted quickly with limited interruption of people's daily lives.
Other Bridges In Georgia that Were Built Using Accelerated Techniques
The Georgia Department of Transportation used accelerated building to construct other bridge around that state in addition to the I-85 bridge. Those other bridges include:
Georgia State Route 299 over I-24 (which was built in substantially the same way as the doomed Florida bridge,
Courtland Street Bridge in Atlanta, and
Two bridges on I-285.
In the end, transportation authorities express confidence in their ability to oversee projects to ensure the safety of the public.
If you have been injured in any type of accident caused by someone else's negligence, or if you have been injured at work, call Montlick & Associates, Attorneys at Law for your free consultation today. Montlick & Associates, Attorneys at Law has been representing those who suffer serious injuries throughout all of Georgia and in the Southeast for over 36 years, including but not limited to Albany, Athens, Atlanta, Augusta, Columbus, Gainesville, Macon, Marietta, Rome, Roswell, Savannah, Smyrna, Valdosta, Warner Robins and all smaller cities and rural areas in the state.
No matter where you are located our attorneys are just a phone call away, and we will even come to you. Call us 24 hours day/7 days a week for your Free Consultation at 1-800-LAW-NEED (1-800-529-6333). You can also visit us online at Montlick.com and use our Free Case Evaluation Form or 24-hour live chat.
https://www.myajc.com/news/local-govt--politics/florida-bridge-collapse-gdot-says-georgia-bridges-are-safe/j4ymPOzkdC6jF1xdOEe6aP/


TORONTO (PRWEB) AUGUST 10, 2018 A creative out-of-home campaign in Toronto brought the screens to the people rather than trying to reach people through their personal devices. It was a tactic that best weaved digital with out-of-home marketing.
This Canada Day, July 1, 2018, the Bitcoin Cash Fund (BCF) a global organization promoting the use of Bitcoin Cash, ran an experiential campaign in Toronto. This was part of a global digital campaign wherein visitors to BCF's http://www.bitcoincashers.org could win Bitcoin cash. Undoubtedly, the tactic used in Toronto was the most unique one. A digital (video) truck live-streamed the online competition for the crowds, out to celebrate the Canada Day. The digital truck drove to predetermined festivity-filled areas and attracted people to participate through bitcoincashers' website.
"As a disruptive industry, coming up with fresh ideas happens more easily," says Paul Wasensteiner, Executive Director of the BCF. 'We frequently carry out social marketing campaigns to raise awareness about this legendary cryptocurrency but we feel that even the digital (online) space is getting crowded especially in North America. We came up with this unique idea with the simple goal to stand out. And it worked. We are thankful that Wild On Media could offer this advanced digital truck which had large LED screens and streaming option," adds Wasensteiner.
BCF was able to measure the number of views or participants from Toronto market instantly as the digital truck reached different parts of the city.
"We acknowledge the huge growth of digital marketing as out-of-home's biggest competitor. But rather than fighting with it we are adapting and growing with it," says George Christidis. He adds, "We probably have the only Digital Ad Truck in the country which is capable of a seamless live stream. This opens up tremendous options for advertisers to create new kind of experiential campaigns. The whole campaign was carried out by a client sitting in Germany in this case." For years now, brands have been trying to create social media activities around experiential campaigns by simply creating hashtags or offering discount coupons.
In efforts to keep up evolving needs of the industry Wild On Media also launched country's first digital taxi tops. Comparing with traditional taxi tops, the digital ones allow the advertisers to change the creatives on the fly and choose area and time to run those ads.
Wild On Media (https://www.wildonmedia.com) is a national leader in non-traditional outdoor advertising mediums from 17 years. Its unique offerings include Walking Billboards, Adbikes, Digital LED (video) Trucks, Aerial Advertising, Laser and Video Wall Projections, Sailboat Ads and now Static and Digital Taxi Tops.


The Toyota Cowboys have arrived in Sydney with a squad of 19 players ahead of Friday night's NRL elimination final against the Sydney Roosters at Allianz Stadium.
As well as the 17 named by coach Paul Green, prop forward Sam Hoare and winger Curtis Rona have made the trip south as shadow players.
"We've got cover in the backs and cover in the forwards. You just don't know what's going to happen in the warm-up," assistant coach Terry Matterson said.
A passionate group of Cowboys members and supporters farewelled their team at Townsville Airport at lunchtime as North Queensland try to make it through to the preliminary final for the first time since 2007.
"We've had a really good week of training," Matterson said.
"It was a short week but we have performed pretty well off short weeks previously.
"Now it's down to the boys. We can't do a hell of a lot more now.
"It's about them getting into the right mental state.
Matterson said he expects the Roosters, who won the minor premiership, to be hurting from both their one-point loss to Penrith that cost them the direct path to next week's preliminary final and their round 10 defeat against the Cowboys in Townsville.
"You don't forget those sort of things," he said.


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UT sophomore Jordan Windle's teammates react to one of his dives during the 2019 NCAA Division I Men's Swimming and Diving Championships on Saturday March 30, 2019, at the Lee and Joe Jamail Texas Swimming Center at UT. [STEVE LEWIS for STATESMAN]
BEVO BEAT Swimming & Diving
Texas men's and women's swimming and diving teams sweep SMU
Posted February 7th, 2020
Cat Vasquez American-Statesman Staff
@AAS_Cat
Both Texas men's and women's swimming and diving teams took victories over SMU on Friday in Dallas.
The No. 1 men's team took a 194-101 win to finish the regular season undefeated. The Longhorns set 11 pool records at the Robson & Lindley Aquatics Center.
The women's team, ranked No. 10, won 159-132 as Alison Gibson set a pool record with her win in the 3-meter diving event.
Jordan Windle won the men's 1-meter diving event with a score of 370.35. He also took second in the 3-meter event while Grayson Campbell took the win. Campbell finished with 414.08 points.
Gibson won the women's 3-meter event with 343.88 points. Paola Pineda broke the old record, too, but finished behind Gibson with 329.03 points.
Texas opened the meet with a win in the 200-medley relay. Chris Staka, Caspar Corbeau, Alvin Jiang and Peter Larson teamed up to set the pool record at 1 minute, 25.11 seconds. On the women's side, Claire Adams, Evie Pfeifer, Kelly Pash and Bridget Semenuk won with a time of 1:40.91.
Pash also won the 200 freestyle and the 100 breaststroke. Semenuk also won the 50 freestyle in 22.44 while Adams took the 100 fly in 56.09.
Jack Collins set the pool record in the 1,000 meters with a time of 8:57.53. For the women, Logan Shiller won in 10:10.45.
Drew Kibler finished the 200 freestyle with a time of 1:33.15 for another pool record. Jiang also set a pool record in the 100 fly with a time of 46.14.
Alex Zettle set the pool record in the 500 freestyle with a time of 4:18.35.
Staka, Maxime Rooney, Austin Katz and Daniel Krueger set another pool record in the 200 freestyle relay with a time of 1:18.15.
Up next for both teams is the Big 12 Championships, coming up Feb. 26-29. Competition will take place at West Virginia.
Next story: Longhorns softball team adds another run-rule win
Texas men's golf falls to second place after two rounds
Longhorns softball team adds another run-rule win


ROME (Reuters) - Italy's economy contracted in the third quarter for the first time in four years, data showed on Friday, and employers' lobby Confindustria said the country may already be heading into recession.
The grim figures came as the government negotiates with the European Commission which has rejected its big-spending 2019 budget, saying Italy should focus on cutting the deficit rather than fiscal expansion.
Gross domestic product (GDP) in the euro zone's third largest economy fell by 0.1 percent in July-September due to weaker domestic demand, statistics bureau ISTAT said, the first decline since the second quarter of 2014.
On a year-on-year basis, GDP rose 0.7 percent. Both figures were revised down from ISTAT's preliminary estimate last month which pointed to a flat reading quarter-on-quarter and a 0.8 percent annual increase.
"It's a worrying figure that could lead us to technical recession in the last quarter of the year," said Andrea Montanino, Confindustria's chief economist of employers.
Recession is defined by economists as two consecutive quarters of falling GDP.
"We are forecasting a flat fourth quarter with downside risks due to falling confidence indices," Montanino said.
The opposition blamed the data on the government that took office in June, made up of the anti-establishment 5-Star Movement and the right-wing League.
Deputy Prime Minister Matteo Salvini said his government's center-left predecessors were responsible. "In 2019, with our budget based on more jobs and lower taxes, Italy will return to growth," said Salvini, who is the League's leader.
The economy has been slowing steadily for the last 18 months. Second quarter growth was unrevised at 0.2 percent on the quarter and 1.2 percent year-on-year.
The government says its expansionary budget, which targets the deficit to rise to 2.4 percent of GDP in 2019 from 1.8 percent this year, is needed to prevent the chronically sluggish economy slipping into another recession.
The European Commission says it breaks the promises of the previous administration and is calling for lower spending from highly-indebted Italy.
Negotiations between the government and the Commission are continuing but the two sides still seem far apart.
In the third quarter, the economy was held back by weak domestic demand, with consumer spending falling 0.1 percent from the previous quarter and investments down by 1.1 percent.
Domestic demand subtracted 0.3 percent from growth, while trade flows contributed positively by a marginal 0.1 percent.
Last month the government cut its full-year 2018 GDP growth forecast to 1.2 percent from a 1.5 percent projection made in April by the previous government. Achieving even the revised target would need a strong acceleration at the end of the year.
Separate data on Friday showed the jobless rate rose in October to 10.6 percent from 10.3 percent the month before.
However, employment levels remained stable and more permanent jobs were created instead of temporary ones, which the government has made a major aim of its labor policies.


Your veterinarian has just given your cat a diabetes diagnosis. You probably feel overwhelmed, confused and nervous. You might be afraid for your cat's health and happiness, and afraid that he will hate you for giving him injections. You might also be worried about the impact on your wallet from the prescriptions.
Relax. Many people have been in the same situation, and they survived. In many cases, owners of cats with diabetes actually end up having a stronger bond with their beloved pet because of the close relationship that develops through feeding, injections and monitoring. Your cat won't hate you; he will still love you and will be healthier for the treatment.
Your cat's diabetes diagnosis is not a death sentence! Many cats with diabetes live long and happy lives.
The first step in coming to terms with the diabetes diagnosis is to find a reliable source of information. Congratulations! You've already accomplished that by finding this website. Next, read as much information as you can find. Read accounts of how other people and their pets developed a routine for treatment. Ask questions, and don't feel silly for asking.
Treatment of cat diabetes may require a lifestyle change for you and your kitty. Perhaps you'll need to transition him from being free-fed to being meal-fed, or transition him from kibble to canned food. And you'll most likely need to learn how to give insulin injections. But take a deep breath. Your cat's diabetes probably took at least a few weeks to develop, so you can safely take a few weeks to gradually transition your cat's lifestyle and figure out the details of treatment.
You do need to be aware that a cat with diabetes will generally need life-long treatment, and will need a consistent daily schedule. It's possible your cat might go into remission and not require insulin injections, but he'll still need special feeding and monitoring. You can rest assured that in many cases, diabetes does not shorten your cat's lifespan. Your furry friend can still be a beloved family member for many years after the initial diagnosis.
Usually, learning how to give insulin injections is the scariest part of learning about cats and diabetes. Have your veterinarian or their nurse show you how to draw up the insulin into the syringe. Practice until you feel comfortable. Don't worry that your vet will be annoyed by you practicing; she wants you to succeed. Also, ask your veterinarian to shave a few patches of fur on your cat. Your cat will have a funny-looking hairdo until the fur regrows, but being able to see the skin makes it easier to give the injection when you're just learning.
You can practice giving injections to your cat with sterile saline. Another option is to practice giving the injections into an orange.
If you are worried about the financial impact of treatment, discuss your concerns with your veterinarian. She may be able to recommend less-expensive over-the-counter foods, or prescribe a cheaper type of insulin. Also, ask about learning how to perform monitoring and test for diabetes at home; this may save money in the long run.
You can do this! Your cat will thank you for it.


Some years back our hospital ran an ad for their treatment program featuring the medical director with the message that 'You don't have to get drunk to be an alcoholic.' The ad went on to describe drinkers who were high-functioning and yet unable to stop drinking for any length of time without experiencing withdrawal.
This pattern, sometimes called maintenance drinking, was described by EM Jellinek in his 1960 book The Disease Concept of Alcoholism. Maintenance drinkers have an elevated adaptive tolerance that protects them from showing signs of obvious intoxication, but have to consume unusually large amounts of alcohol to stave off the pain of withdrawal symptoms. Those symptoms begin as the blood level falls past a certain point, which may be well before 0.00. Drinking is intended to maintain the level above that point.
Where daytime drinking isn't possible, some drinkers substitute a benzodiazepine or other cross-tolerant medication to suppress withdrawal until it's safe to switch back to alcohol.
Jellinek noted that maintenance drinkers seemed to be less common among AA members, probably because they weren't experiencing the loss of control, life problems, and impaired function that normally drive alcoholics to 12 Step fellowships. For many, only age and health issues, or an unanticipated dip in that protective tolerance, were enough to finally motivate them to seek help.


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Un accord signé entre ECA et Vestdavit
ECA and Vestdavit are proud to announce that, on the occasion of Euronaval, they have signed a cooperation agreement to develop the next generation of Launch and Recovery systems for Unmanned Maritime Systems.
The use of Unmanned Maritime Systems ("UMS"), Remotely Operated Vehicles ("ROV"), Autonomous Underwater Vehicles ("AUV") as well as Unmanned Surface Vehicles ("USV") by Navies but also by O&G, Scientific and other customers, requires their operation from various types of ships, even in high sea states. In addition, when a combination of different types of vehicles are used from the same vessel, they need to be managed, stored and handled onboard taking into account, launch and recovery of course, but also their support (e.g. battery charging, maintenance, repair…).
ECA and Vestdavit have therefore decided to combine their expertise and capabilities to develop the next generation of launch and recovery systems for UMS.
As part of this agreement ECA will bring its 50 years of experience in developing and providing over 2,000 unmanned underwater and surface vehicles worldwide as well as its knowledge in operating them and in particular its technology and patents regarding the launch and recovery of AUVs.
On its side, Vestdavit will bring its 40 years of experience and over 1,900 davits and side and stern launch systems provided worldwide for all types of customers as well as its mission bay concept.
The solution that will be provided under this agreement will incorporate the latest technologies and innovation developed by both companies, enabling ECA to propose the best Launch and Recovery solution for its UMS customers allowing them to operate their systems safely even in the most demanding environments.
Communiqué d'ECA et Vestdavit, 20/10/2016


text:
Gornji Lapac – wieś w Chorwacji, w żupanii licko-seńskiej, w gminie Donji Lapac. W 2011 roku liczyła 57 mieszkańców.

Przypisy

Miejscowości w żupanii licko-seńskiej

redpajama_set_name: RedPajamaWikipedia


Do you prospect on Linkedin? If not, you're missing out on a treasure trove of potential customers and valuable connections.
Not only does Linkedin give you access to a lot of promising contacts, but it also gives you numerous chances to put yourself in front of them. Instead of having to introduce yourself as a total stranger, you can organically build relationships with people and eventually bring up your product in conversations.
Here are some of the most effective methods to find your next 1000 customers.
Note: This strategy requires participation from both sales and marketing, but it can be highly effective.
Pop each keyword into search and select Groups on the sidebar. Join large groups and scroll back a few pages to find smaller ones. A bigger group gives you access to the equivalent of a stadium of people. A smaller group gives you a better chance of being noticed and remembered.
Now this is where the cardinal rule of relationship building and lead nurturing comes into play: give, give, give before expecting and asking for anything in return.
First check out who the group manager is. This is the first person you want to leave a good impression with since they have yay/nay power over any future content you contribute. Find and add them on all their social media so when they ask a question or ask for advice, you can swoop in with valuable help. Repeat exposure to you will help them remember who you are.
Next up, you want to make a name for yourself. This involves asking thought-provoking questions and providing valuable insights. What is thought-provoking and valuable? Strategies, mindsets and methods that not too many people know about (you can test this: does it appear in the first three pages of Google results?) or challenges prevailing practices or beliefs.
Review the group's previous discussions to get an idea of which ones attract the most comments – Linkedin automatically sorts discussions by popularity.
After you build a sterling reputation for yourself and forge a relationship with the group manager, ask him or her ahead of time if you can submit one piece of your own content to this group. Most online community groups these days shun spammy self-promotion so getting a green light from the moderators mean your content won't get deleted before it gets a chance to prove itself.
The type of content that performs well these days is comprehensive, step-by-step guides to achieve a specific result. It also helps to give away compelling extras like worksheets, checklists and templates. If your company is already producing content in this style, great! If not, find 3-5 great examples they can reference as a guide.
Create a topic and style guideline so your content team can whip up something suitable for your Linkedin group. You listen to your prospects' problems day in and day out so you know best what they want to learn.
Once the draft is done, if they're not already writing in it, ask your content team to paste the text into Google Docs. Review it to make sure the content, images and tone of voice is a good match for your Linkedin group. Recommend edits where necessary until you finesse it into a can't-stop-reading piece of content.
Once the content is a-ok, it's time to pass the baton to your web design team. You want them to create an email capture squeeze page for your ebook guide where the reader submits their email address and gets redirected to the PDF download.
Connect your design team with your marketing team. You want your signup form to feed email addresses to a separate list in your email marketing service. This way, your marketing team can set up a drip email campaign that gets triggered whenever someone sign ups through this specific form.
A drip email campaign involves pre-writing a series of emails and setting a schedule for when you want them to be sent out. Once someone signs up with their email, the service starts "dripping" the email sequence to them per the preset schedule.
Again, since you deal directly with your company's prospects and customers every day, you know best what problems they want solved or what topics they want to learn about. Work with your marketing team to decide what topic each email should cover. Focus on teaching your prospects one tactic per email. The purpose of this educational drip campaign is to slowly familiarize your prospect with your company, earn their trust and establish your company's know-how in this field.
Post a link to your squeeze page to your Linkedin group with a teaser description. Remember to ask a thought-provoking question related to your topic to kick off a discussion. The more comments your post attracts, the higher it will rise per Linkedin's popularity ranking.
Next, ask your marketing team to give you regular updates on the email campaign's stats. Who's opening the emails? Who's re-opening the emails? High level of engagement = a promising prospect. Grab the names and emails of all the highly engaged subscribers and research their backgrounds. Do they have a need for your product? If so, this is when you can send them a personalized email introducing them to your company.
Another benefit of joining Linkedin groups is, as you put yourself in front of more people, some of them will add you as a connection. The more people you're connected with, the wider network of 2nd and 3rd degree connections you have access to. You can also directly message these contacts for free.
When you add someone, or someone adds you from a group, don't just slam the accept button and promptly forget they even exist. Start a conversation with them. Poke around their social media profiles and research their company to find a suitable opener. It can be as simple as responding to one of their recent tweets.
This has totally been my experience as well. I personally craft unique emails to the first ~15 prospects, tweaking key parts like the subject line and value prop to see what gets more opens/clicks. Then I turn the best performing email into a template to be sent en masse.
The point of familiarizing yourself with new Linkedin contacts, even ones you don't really know, is to open the door for exchanging favors down the road.
How have you been? I noticed you're connected with Contact. I saw her writing a lot recently about struggling to keep up with never-ending email chains. Love to chat with Contact about ways having group chats can free up a lot of that precious inbox space while being way easier to stay on top of.
Would you mind doing an intro?
For a quick list of companies using a competing product, simply type the competitor's company name into search and click on Jobs on the sidebar. If you want a more targeted list, change Country to the one most of your customers come from.
For obvious reasons, skip the job listings from the actual competitor. What's left are companies who use your competitor (and thus mention it in their job listing as a product to be familiar with) and may be hankering for a better solution.
Let's say you wanted to find the highest level employee in charge of sales at a certain company.
In Google, type "site: Linkedin [Name of Company] sales". If it's a big company, adding the keyword "vp" to your search may narrow the results down a little more.
Here are the results I got when I searched for the most senior sales manager at Jellyvision. Scrolling down I found Josh Fosburg, VP of Sales … bingo!
Click through to their profile to review their details to decide if they are the best person to contact. Check if you have any mutual contacts to see if you can ask anyone to introduce you to him (refer to message template used above). If not, go through their social media profiles to collect some background details you can use to personalize a cold email to them.
Of course, don't try to sell anything to your Linkedin contacts in the first email. You don't want to be that person. I recommend removing all your real life friends from this list since the wording of your mass email would be better suited for professional contacts.
In your first email, simply offer to help these contacts with something a lot of your prospects have to do for work. This email is meant to be a feeler that lets you see who is interested in engaging with you. Offering help first also invokes people's natural instinct to reciprocate in some way.
To email everyone in your Linkedin, upload the .csv file to Google Drive and open it in Google Sheets. Note: This method makes it look like you emailed each contact individually through Gmail. I don't recommend using an email marketing service to mass email your Linkedin contacts since the email's layout and footer will be a dead giveaway you emailed this to hundreds of people. And then they'll wonder why you added them to a marketing email list without their permission.
To send mass personalized emails, install this free Chrome extension called Yet Another Mail Merge.
Rename the column E-mail Address to Email Address.
Subject: How can I help?
How've you been? Sapph from [Your Company] here.
After A/B testing hundreds of subject lines, headlines and measuring the conversion rate differences between using "get onboard" versus "join", I've developed a bit of a spidey sense for what words nudge people to act. And what keeps them in their default state of doing nothing.
So have a value prop that needs a little extra oomph? Or a headline you want Buzzfeed-fied? Just hit reply and I can give you a hand.
Important: You must start off your email with something that includes [First Name] . The Yet Another Mail Merge extension will automatically replace [First Name] with the first name of each individual contact in your list when you send out the email.
When you're done writing the email, save it as a draft.
Now click "Send Emails" and the extension will send an email to all the contacts in your list.
So as you can see, Linkedin is an immensely useful tool for discovering, connecting with and identifying prospects. Its other major benefit is, since it is a networking site, many of its members are open to connecting and trading favors. So you can leverage your connections to jump from "hello" to "how can I help" with a new prospect in as little as two messages. Aaah the beauty of the Internet!
Have any other methods of prospect hunting on Linkedin that works well? Love to hear it in the comments below!
About the Author: Sapph Li is a conversion copywriter and designer. When not running outreach and prospecting campaigns, she can be found enjoying the great outdoors (and getting swarmed by mosquitoes).


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Man Survives Film: On Peter Treherne's Talking Head
Jake Wilson
Ghost Town Anthology: An Interview with Denis Côté
Ghatak, Ritwik
Look Out: The 13th Canberra International Film Festival
Close Up: An Actor Telling Tales by John Fraser
Australian Contemporary Cinema
The Lady Vanishes: Alexandra's Project and Rolf de Heer
Opening credits on a black background. Then, the first in a series of smoothly edited, discontinuous travelling shots, the camera gliding down the deserted streets of suburban Adelaide in the early hours of the morning. Black wheelie-bins line the street like sentinels. Night birds warble; a dog barks. Someone is starting a car. High-pitched electronic tones are heard, lending a slight urgency to these mundane sights and sounds; the pace quickens from one shot to another, as editing condenses the progression from darkness to dawn. For a second the image slides, eerily, into slow motion…
But now it's morning. Still at the same smooth pace, we're approaching a row of brick townhouses at the end of a street. Low throbs begin to invade the soundtrack; an automated sprinkler thrums on the nature strip. The camera rises over a picket fence, climbs up and to the left, and crawls across the drawn blinds of a first-floor window. A cut takes us indoors. In the dim amber light of the master bedroom, we move along the half-revealed bodies of a muscular man of about 40, sleeping comfortably, and the woman lying next to him, awake but still. With her sharp features and tense expression she looks haggard, almost corpse-like. She gets up from the bed and there's a cut to a close shot of her face in profile, as she stares at herself in the bathroom mirror.
"I'm sorry, Steve," she whispers. "I'm truly sorry."
She spits violently at her reflection.
And the story starts.
Watching Rolf de Heer's Alexandra's Project (2003) for the first time, this opening sequence is enough to confirm what The Tracker (Rolf de Heer, 2002) already hinted: from unpromising beginnings, de Heer has evolved into one of Australia's few genuine film stylists. Moment by moment, shot by shot, his two most recent films display a confidence and sense of purpose only occasionally apparent in such earlier efforts as The Quiet Room (1996), Dance Me To My Song (1998), or even the defining film of his career, Bad Boy Bubby (1994). (1) Perhaps one reason de Heer now has an edge on most local directors is that he's had more opportunities to practice his craft: he's turned out ten feature films since 1984, a record unmatched by anyone working in Australia except Paul Cox. It's also probable that some credit should go to his current team of technical collaborators – particularly Ian Jones, whose widescreen cinematography is as vital to Alexandra's Project as it was to The Tracker.
In any case, the first section of Alexandra's Project is a highly accomplished piece of filmmaking –despite or because of its apparent lack of drama. For half an hour of screen time we follow a day in the life of the couple we're introduced to at the outset, Steve (Gary Sweet) and Alexandra (Helen Buday) along with their primary-school-age children Emma (Samantha Knigge) and Sam (Jock Christie). While there's clearly tension between Alexandra and Steve, on the surface the only thing out of the ordinary is that it happens to be Steve's birthday; the children give him their presents before he leaves for work, and de Heer then cross-cuts between Steve at the office (where he receives a promotion) and Alexandra and the kids at home (where they prepare a mysterious "surprise").
So far so unremarkable, but de Heer's achievement in this section depends precisely on what he leaves out: everything we see and hear is imbued with a weighty, unspecified sense of dread. Restless, circling camera movements alternate with mysteriously urgent close-ups of household objects (a light switch, a toaster); when Steve at work knocks over a photo of his kids, his slip has the weight of an omen. Above all, the family home – with its dark green walls, looming banisters and expensive electronic equipment – is made to feel more like a prison than a shelter from the outside world. After a century of Hollywood thrillers, de Heer's controlled expressionism might not seem especially subtle or novel, yet it's hard to deny the gripping effect of his stylistic moves: the abrupt gestures punctuating stretches of uneasy lassitude, the everyday noises mingling with an electronic soundscape, the contemplative moments when the camera tracks back from the human figures, suggesting their helplessness in a threatening environment.
If this style retains a level of B-movie corn as a low-budget, 'homemade' adaptation of a familiar commercial syntax, the apparent mismatch of style and content also generates a special frisson, as if an episode of "Neighbours" were shot in the manner of Ringu (Hideo Nakata, 1998) or the opening of Lost Highway (David Lynch, 1997). Without giving too much away at this point, it might be said that this clash enacts stylistically the emotional violence it foreshadows: a setting as homely as the party decorations made by the children (the coloured paper-chains and banner that says "Happy Birthday Dad") is lingered upon and toyed with until it seems like a fragile mask for some horrific truth.
Yet at crucial moments, the style also moves towards abstraction, as if to hint that the ambiguities of this set-up might count for more than any later clarity. One such passage occurs just after Alexandra has sent her children away in a taxi: standing with her back to the front door, she projects a mixture of hesitation and relief, as if pondering the significance of what she is about to do. Then, as she flicks a switch that automatically closes the blinds, shafts of light play across her face, and for a second the image itself seems to slip its moorings, as if the film strip in the projector had leapt the gate. This is followed by a slow pan across a stretch of blank wall, dissolving to a shot of Alexandra in the shower; but before we see this we can already hear the sound of running water, mixed with her weeping.
If the first part of Alexandra's Project skilfully keeps us in suspense, what follows depends on a series of revelations better experienced than described. (If you haven't seen the film, consider yourself warned.) This second movement begins when Steve arrives home anticipating a 'surprise party' and is startled to find that the house is deserted and the lights are out. After some investigation he discovers that he's been left an extra present, a videotape labelled (shades of Alice In Wonderland) "PLAY ME." When Steve obediently slips it into the VCR he finds himself watching footage of his wife and children. Standing in an empty, blue-lit space, they once again wish him a happy birthday.
"Yeah, yeah," he mutters. "Now tell me what's going on."
But instead of providing explanations, Alexandra tells her husband to put her on pause, grab a beer from the fridge, come back and keep watching. Viewers expecting a conventional narrative may feel an almost physical shock of disappointment at this juncture – as Alexandra on the screen dismisses the children, Steve settles back in his Jason recliner, and the realisation dawns that we are going to remain here, in front of the television, for a very long time.
Some resentment seems justified: having lured us with the promise of further 'cinematic' shocks and surprises, the film now comes to a dead halt in front of a single, amateurishly framed video image. Every so often, Steve stops the tape and explores the house (now transformed into a shadowy, alien labyrinth) only to realise that he, too, is trapped: the locks have been changed, and there's nothing he can do but return to his seat. This narrowing of focus fits with de Heer's consistent strategy of tailoring his scripts to their low budgets, focusing on small groups of characters who are confined to suburban locations or set adrift in remote landscapes. But it also seems like a formalist prank or a piece of feminist subversion – parodying all those hoary notions of the male gaze, the desire that carries us through narrative, and the fetishised body on the other side of the screen.
Time to get serious? With artifice stripped away, we might presume that the film will now reveal its real thematic "project." But as the video proceeds, it becomes clear that Alexandra has no intention of explaining what's going on, or showing us her naked 'true' self. Much of what she (or Buday) does might be taken as a form of theatre mocking our desire for knowledge or for a titillating spectacle – she performs a partial striptease, tries a spot of impromptu body piercing, makes a shocking announcement that turns out to be false ("hope you can take a joke"). Forced to share Steve's position of uncertainty, we too are enticed and confounded by her carefully paced shenanigans; for better or worse, this section is still more 'manipulative' than what came before, suggesting that the film hasn't renounced its Hollywood thriller tactics so much as transferred them to another plane.
All but literally, Alexandra seems to usurp the role of the film's author, turning the tables on her oppressors – not only Steve, but also any viewers who might presume to anticipate her actions and statements. Bravely, de Heer refuses to make Alexandra conventionally glamorous or even likeable: Buday's performance blends stridency and a pixyish, childlike scattiness in a way that renders her almost as opaque and 'implausible' a figure as David Gulpilil in The Tracker. But perhaps regrettably, unlike Gulpilil Buday psychologises her role, her nervy gestures and faltering voice letting us know that Alexandra's self-described "erratic behavior" arises more from panic than calculation. As de Heer spells out in his script, the video serves a cathartic purpose for her, finally providing an outlet for her grievances, all the things Steve never let her say.
In nearly all his films, de Heer seems to approach the same central question: can the Other speak? Adrian Martin has noted that like Lars von Trier and his Dogma disciples, de Heer tends to identify with "the figure of the naive visionary," (2) who's isolated socially and psychologically as well as physically. Perhaps more particular to de Heer's films is his habit of using a struggle over spoken language as a central plot device. The little girl in The Quiet Room becomes mute as a protest against her warring parents. In Dance Me To My Song, the disabled heroine can only express herself through a computerised voice-box. In Bad Boy Bubby the crazed, asocial hero shambles from one scenario to the next, echoing the phrases and mimicking the gestures of everyone he meets. It's as if these characters need to be shown as literally inarticulate, since once they learn to express themselves they may be suddenly revealed as 'normal' after all (as with Bubby, who incongruously turns into a picture-perfect family man in a suburban backyard). On the other hand, to make up for their deficiencies de Heer is often tempted to ventriloquise for them, putting implausible words in their mouths or bringing on helpful authority figures to deliver admonitory lectures.
In the case of Alexandra's Project, the heroine's aggressive yet playful assertion of control over both her language and her body tells only half the story. It's likely that many viewers (not only men) will at first have more sympathy for the increasingly beleaguered Steve, who seems the more readable and 'normal' character. In contrast to his sadly wooden villain in The Tracker (who had all the stone-cold authority of a sarcastic maths teacher) Gary Sweet acts here with intelligent broadness, never condescending to a character who might have been a mere chauvinist fall guy. Yet Steve's good-natured coarseness and easy alpha-male swagger also lend some plausibility to Alexandra's case against him. Finally, she sets aside the game-playing for long enough to reveal her essential complaint, that he's treated her as a sexual object rather than a human being: "You didn't marry me…you married my body."
While this accusation has a familiar, second-hand ring, it can't be written off: many male viewers will recognise some part of themselves in Steve's complacency. Yet the indictment isn't wholly convincing, and not only because it's couched in deliberately strained, blackly comic terms that set it at a remove from everyday experience. Alexandra's air of self-righteous martyrdom and detachment from things of the flesh recall the politically correct distaste for 'normal' sexuality apparent in a number of de Heer's films – from Bubby's scornful treatment of a couple of prostitutes to the priggishness of Ulli Birvé's alien in Epsilon (1995). (An even more appalling example is the rape of Madeline [Joey Kennedy] in Dance Me To My Song, implicitly seen as a fitting punishment for promiscuity as well as general nastiness.) As for Alexandra's own desires, they seem to have less directly to do with sexuality than with her drive to humiliate her husband – a drive which the viewer is at liberty to consider either praiseworthy or psychotic.
At a public question-and-answer session I attended following a screening of the film, an audience member asked de Heer a crucial question: if Steve's sin is to fetishise Alexandra's body, doesn't the film equally fetishise her image, locked up inside the four walls of a TV set? Do we get any sense of who Alexandra might be in herself, apart from the various stock roles we see her play out – supportive wife and mother, victim, bitch-goddess, whore? De Heer's equally revealing response was to suggest that Alexandra could only 'escape' her situation if she remained beyond the understanding of both Steve and the audience – as if she were oppressed simply by being a character in a fiction, yet could somehow achieve a magic transcendence that would free her from this context.
But while de Heer might claim to have relinquished control over his creation, everything we see her say and do continues to be framed by his own distancing perspective. Even when he's simply cutting back and forth between Alexandra on the screen and Steve in the chair, careful variations in both the rhythm of the editing and the camera angles work to heighten the drama. Alexandra is often a two-dimensional figure on a screen within the screen, though there are also times when the camera moves 'inside' the video image to highlight her expressions or gestures; these shots ironically underline the impenetrability of her absent presence, revealing no more 'information' than was previously available.
There's a subtle visual rhyme between the resolution lines of the video image, visible in close-up, and the half-open horizontal blinds that throw their cryptic messages of light and shade, dot-dash-dot, across the lounge room carpet (where is this light coming from, when the scene supposedly takes place after dark?). The mise en abyme that links Alexandra's movie with de Heer's reminds us that the difference between film and video is only relative, neither giving us direct access to a real world. Where the opening sequence saw the film image become distorted, at the height of Steve's agony it's the video that plunges into slow motion, as Alexandra is penetrated from behind by her secret lover, who now rears up into the frame, flabby and bespectacled, like a monster from the deep.
Over the numbing horror of this sequence, the soundtrack reprises the soft wash of synthesised chords from the scene with Alexandra in front of the automated blinds, light shuttling across the blank screen of her face. Again, what we're allowed to witness is less a revelation of the heroine's true self than a literal degradation of the image, miming the simultaneous collapse of Steve's psychic structures. De Heer's procedures here recall the "new phenomenology of narrative" observed by Richard Combs and Raymond Durgnat in the Dogma films: this is "not…a cinema of avant-garde truth-telling but one of steady disintegration – a collapse into surface, grain, texture, that crosses certain avant-garde paths but is not part of them." (3) Even before her departure, Alexandra seems to dissolve into the mechanics of the image-making process – almost as if she were never there at all.
But when she vanishes, it's not alone. Alexandra (or de Heer) has one more card left to play – one that we might have expected from the outset, even if we didn't dare to give it much thought. "What about Emma and Sam?" Steve cries in his final moment of anguish, and Alexandra replies that she's gone to "considerable trouble to eradicate them" from his life. Not only that, but she's stolen away their images as well, removing from the house and Steve's workplace all the photographs where they appear.
Ludicrous as it is from a literal standpoint (what about widely circulated class photos? won't the police start taking an interest?) this final twist is a striking extension of the film's concern with the relation between image and reality, as well as a challenge to any notion we might have formed of Alexandra as a righteous avenger. Morally, it's one thing for her to erase herself from an oppressive narrative, but quite another to force the same fate on her children (their disappearance has the irrational finality of fairy-tale, with a last line that reads and they were never seen again). Yet her excessive actions are consistent with one of the most disconcertingly 'naive' aspects of de Heer's cinema: its mixture of earnest didacticism with an amoral delight in tit-for-tat revenge (always a disreputable, 'pulp fiction' subject).
De Heer's films draw much of their Gothic power from our ambivalent feelings about such revenge – playing in horror-movie fashion on our awareness that while despised outsiders may be victims or visionaries, they're also, potentially, monsters. Known to the papers as the "Clingwrap Killer," Bubby murders his own abusive parents as well as those of his fiancée. The Epsilon alien chops down the childhood "favorite tree" of her human companion, an act of emotional violence weirdly in excess of her goal of making him care about the environment. Gulpilil's character in The Tracker performs a ruthless act of vigilante justice suggesting that he takes the punitive ethics of Western law-enforcement all too seriously (hoisting his oppressors with their own petard). But rather than 'placing' these acts within a comprehensible moral framework, de Heer seems to disclaim responsibility for them, as if he aspired to the tunnel vision of his frequently deranged protagonists.
The limits of this approach are the limits of wilful naïvety, the bad faith of a perspective that judges experience without trying to understand it. Perhaps that's why, paradoxically, most of the "visionary" statements that litter de Heer's films are crudely reductive, pitched as a form of artless truth-telling that prides itself on reducing any issue to its most simplistic terms. People are just "collections of atoms." Bacon is really "dead pig." Sex with Steve, for Alexandra, is when "you stick that thing of yours in and move it around a bit." While de Heer mainly tries to keep in sync with the outlook of his arthouse public, in the end the liberal bromides feel like alibis – with his wilful clumsiness and ugliness, at a deeper level he seems to be trying for the impossibility of an innocent vision without preconceptions, adequate to the horror of reality-in-itself.
While this grotesque conception of the artist as a madman crying in the wilderness has a particular Australian history, it also resonates internationally (as the Dogma comparisons suggest). To take just a couple of examples, Julian Donkey-Boy (Harmony Korine, 1999) and Freddy Got Fingered (Tom Green, 2001) are two films that invite comparison with de Heer's work in their wild comic and melodramatic assault on a clutch of supposedly 'taboo' themes (incest, disability, the abusive family). These are films that edge as close as possible to the abyss of pure stupidity, obscenity and violence that currently mesmerises everyone in audiovisual culture from Michael Haneke and David Lynch down to the producers of Bumfights (the notorious video for which homeless men were paid to attack each other on camera). In an era when film festival catalogues use 'pulp' as a ubiquitous term of praise, filmmakers and audiences alike are hooked on the cheap fix of automatic writing and a self-consciously 'dumb' romantic nihilism – the dream of using a deliberately excessive narrative to hack into rather than make sense of a collective social and cinematic unconscious, conceived as a swirling chaos of unspeakable, violating sexuality.
As Colleen Keane says of Bubby, this is a cinema that "inflicts a kind of violence on the viewer in its intellectual and moral simplicity." (4) But since this hysterical simplicity is more assumed than real, it tips headlong into a self-violating perversity that we're liable to find both fascinating and abhorrent. A couple of years ago, Paul Willemen bluntly suggested that many of the Dogma entries were fuelled by "a desire to abuse children" (5); without making this judgement on de Heer, I'd argue that much of his work is haunted by comparable phantasms of tortured innocence, with the line often blurred between torturer and victim. Infantilised by her husband, who won't even give her money to pay the bills, Alexandra in turn exploits her power over her children by making them into instruments of revenge (as in a modern version of Medea, a play coincidentally adapted to video by von Trier). Some of Alexandra's masochistic behaviour (in the opening sequence, for example) suggests that at the deepest level the punishment she doles out may be directed against herself, though de Heer's own purposes are too contradictory to let us settle on this interpretation or any other.
The 'cycles of abuse' conjured up here might remind us at a more general level that the child abuser and his (or her) victim are among the defining archetypes of contemporary film and TV, with child porn videos as the ultimate taboo fantasy objects of an abject 'trash culture.' By their nature, films on this subject are forced to grapple with the limits of representation, as well as figuring a more universal malaise: a sense of helplessness and guilty complicity as evident in the breast-beating of von Trier and Paul Thomas Anderson as in, say, the poisoned dollhouse of The Royal Tenenbaums (Wes Anderson, 2001) or Todd Solondz's frozen near-autistic smirk. What these mannerist films and filmmakers have in common is a kind of wilfully adolescent 'self-indulgence,' combined with a sense of guilt regarding their own fictions – as if there were something inherently fascistic or abusive in presuming to imagine the viewpoint of a character other than the self.
Is this de Heer's anxiety as well? He's older and more experienced than most of the directors mentioned above, and he's now developed a surprisingly proficient, almost 'classical' style – as if his cinema, having babbled for all these years, had finally learned to speak. Yet Alexandra's Project is finally not a film that 'says' a great deal: beginning as a formalist exercise, it goes on to undermine the very notion of cinematic craft, suggesting a deep suspicion of the artist's claim to truth or moral wisdom.
Will de Heer again find a way, as he did in The Tracker, of reconciling the 'primitive,' nihilistic side of his sensibility with a viable cinematic form? It's not impossible, if he can use his acquired stylistic intelligence to find more fruitful ways of dramatising his dilemmas – somehow negotiating between the superego and the id, finger-wagging didacticism and infantile chaos. Otherwise, we're left with a cinema that's 'crazy' in a truly negative sense, having less to do with the liberating power of irrationality than with the nightmarish tedium of traumatic scenarios that forever circle back to the same place. Perhaps it's a warning of sorts that at the end of the present film it's not Alexandra's striptease but an 'innocent' image of childhood that eventually becomes Steve's obsessive fetish object. Caught in an infernal loop of his own making, he sits in his lounge room with the video containing the last traces of Emma and Sam … rewinds the tape and plays it back … over and over …
I haven't managed to see The Old Man Who Read Love Stories (Rolf de Heer, 1999) which has received some scattered screenings at festivals but remains unreleased in this country (or anywhere else, as far as I know).
Adrian Martin, "Wanted: Art Cinema," Cinema Papers, December 2000, pp 30-33.
Richard Combs and Raymond Durgnat, "Rules Of The Game," Film Comment, September-October 2000, 28-32.
Colleen Keane, "Simple Verities? Deconstructing The Existential Vision Of Bad Boy Bubby," Metro 101 (Autumn 1995), pp 55-57.
Paul Willemen, "Note On Dancer In The Dark," Framework 42, www.frameworkonline.com/42pw.htm. Accessed 8 May 2002.
Vertov, Dziga
Jake Wilson is a Melbourne-based freelance writer, a film reviewer for The Age and The Sydney Morning Herald, and a former co-editor of Senses of Cinema. His monograph Mad Dog Morgan was published in 2015 by Currency Press and the National Film and Sound Archive. His website can be found at www.jakewilson.com.au/.
New Histories of the Kelly Gang: Gregor Jordan's Ned Kelly
Ina Bertrand


1992 24 Heures du Mans Race Poster.
June 20 & 21, 1992.
The race was won by Derek Warwick, Yannick Dalmas and Mark Blundell in their # 1 Peugeot 905B Evo 1 bis LM with a total of 352 laps to their name.
For the full results of this race, please see 24 Heures du Mans results 1992.


text:
Q: For what values of k does x^3 + ax^2 + kx + ak (a and k are real) have: (a) one real root (b) 3 real roots For what values of k does x^3 + ax^2 + kx + ak (a and k are real) have: (a) one real root (b) 3 real roots. I've been trying but I cannot figure it out.

A: You can factor
$$a k+a x^2+k x+x^3=(x+a) \left(x^2+k\right)$$
and see that one real solution is $\forall a\in\mathbb{R}\land k>0$.
Three real solutions are when $\forall a\in\mathbb{R}\land k<0$


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