Distinguished Lagos White Cap Chief, Fatai Abiodun Olumegbon is dead.
Fatai Olumegbon who is the top of Idejo Chieftaincy class reportedly died as we speak March 24, on account of an undisclosed ailment.
A former workers of Ojo Native Authorities, Chief Fatai Olumegbon additionally served as a supervisory councillor in the course of the army period. He was a kingmaker and one of the vital outstanding of the Lagos White Cap chiefs.


In the annual "Report Card on Children's Health" released by the American Health Foundation, the U.S. received a "D" rating for its children's health, down from a "C" last year.
Here we are, not talking about the plight of hundreds of millions of children who are dying yearly of hunger, diseases, violence and war all around the world – a calamity that is directly related to the greedy acts of imperialism.
But we can clearly see the continuously increasing misery of the children of the U.S., the leading imperialist country.
A study prepared for Kaiser Permanente by Oakland's Children Now found that large numbers of young people feared for their personal safety. Small children fear death, violence or abuse, while teenagers report that they or their peers are increasingly suicidal.
A Colombia University report shows that child poverty is increasing in the U.S. and one in four children live in poverty.
In Clay County, W.Va., the majority of people are living under the poverty line and the majority of their children satisfy their hunger with free food provided by their schools, without which they would go to bed hungry.
ABC News reported last year that 28 percent of Hispanic children and 30 percent of African American children (about 12 million) live in absolute poverty, hungry and deprived of health care and education.
New York City had a 60 percent increase in the number of homeless people from 2001 to 2002. Every night, about 35,000 homeless people, of which 15,000 are children, line up to spend the night at a shelter, with cockroaches, mice and fear of violence.
In many states child welfare benefits are being cut to meet budget deficits – Florida, New York, North Carolina and California are examples. Access to Medicare is denied and children are left defenseless against the simplest diseases. Recently, even child foster care funding has been decreased dramatically. And last but not least, subsidized daycare for many children is being cut this year.
We are witnessing a rapid increase in the misery of the people, all around the world, coinciding with the growing aggressiveness and greed of imperialism. This blind system of exploitation hits the most vulnerable – the children – most severely. It is a trend that will continue with the existence of capitalism.


Michael Jackson Look Alike Impersonator Tribute The myth of Michael revived thanks to this Michael Jackson Celebrity Look Alike, Lookalike Impersonator, the alter ego's most famous pop icon par excellence.
Michael Jackson Celebrity Look Alike, Lookalike Impersonator is not the usual transformer, but his astonishing physical and vocal resemblance to Michael Jackson have led him to be internationally recognized as the most successful doubles of the great King of Pop.
A show of more than two hours to relive the magical moments of the immortal story of Michael Jackson with stage effects and choreography which closely follow the performance of the Myth.
A chance to give the audience an unforgettable evening where Michael Jackson Celebrity Look Alike, Lookalike Impersonator returns staged the greatest hits of the best male pop artist of the millennium, from "Dangerous" to "Billie Jean" and "Thriller", from "Smooth Criminal" to "Heal the World "and many others.


Recipe is from CHOCOLATE CHIP COOKIE MURDER Joanne Fluke. I baked at 350F for 12 min. using a 1 3/4" cookie scoop. The Corn Flakes give it a very nice crunchy chewyness.
'Tis the season for sweet indulgence. This Boozy Bourbon Chocolate Fudge is great to GIVE and to RECEIVE. After all, who doesn't want homemade treats?
Fresh Apple Muffins with Toffee Topping bring back fond childhood memories of Halloween and toffee apple treats.
Celebrate fall with this Chorizo Chili with Roasted Tomatoes and Squash. Reap the rewards of the harvest season and turn them into easy, hearty and delicious recipes.
No Sugar Added Cherry Lime Slushy is perfect for the hot summer weather. All it takes is 3 simple ingredients to make a hydrating, thirst quenching drink.
Extremely Addictive Milk Chocolate Peanut Bites are over the top delicious. Sweet, salty, creamy peanut butter flavoured chocolate. One is not enough.
Simple and elegant, Apple Rose Puffs are perfect for any special occasion, but especially Mother's Day!!
Creamy Goat Cheese Greek Zoodle Salad is fun to make. Bursting with Mediterranean flavours. Makes the perfect side to any meal, especially in grilling season.
Easy Roasted Cauliflower Blender Soup With Smoked Paprika is quick and delicious. With a few ingredients and a simple cheat, soup is ready in no time.


11 AM - Noon - Watch dogteams finish.
Race Start & Finish: Ramblewood Cabins & Campground. Route 3 North to Pittsburg, past Young's Store. 3 miles from the store turn left on Golden Eagle Road. Follow to end of road.
Musher Dinner: The Pittsburg Ridge Runners Clubhouse is located at 17 Dickson Lane. To get there turn onto Back Lake Road (off Rte 3 by the Arctic Cat dealer) and continue about 1 mile. Turn left onto Dickson Lane and look for all the dog trucks!


MEMPHIS, Tenn., Dec. 2, 2010 /PRNewswire/ — A newly released patient registry reports that hip replacement implants made from ceramicized metal heads which articulate against polyethylene lined cups have been shown to have superior survivorship compared to implants made from any other material five years after surgery. OXINIUM™ Oxidized Zirconium and cross-linked polyethylene (XLPE), the materials in VERILAST Technology from Smith & Nephew (NYSE: SNN, LSE: SN) Orthopaedics Division, comprise the overwhelming majority of ceramicized metal hip implants in the global orthopaedic market. VERILAST Technology is used in both hip and knee replacement implants.
The Australian Orthopaedic Association's National Joint Replacement Registry Annual Report tracks virtually all joint replacements implanted in that country, and in the 2010 edition, the group reports on more than 150,000 hip replacements implanted between 1999 and 2009.
The data shows that implants using ceramicized metal technology, such as OXINIUM Oxidized Zirconium, in combination with polyethylene, remained successful in 97.9%(1) of patients five years after surgery. Implants with bearings made from other materials had to be revised (surgically corrected or replaced) over the same period at higher rates. The survivorship rate for ceramicized metal bearings improved to 98.5-percent in the larger component sizes, and the performance gap between ceramicized metal bearings and other bearing materials widened, as well.
Studying the performance of OXINIUM Oxidized Zirconium against other bearing surfaces in a large patient group is now possible because the 2010 edition of the patient registry marks the first time the Australian Orthopaedic Association has tracked "Ceramicized Metal/Polyethylene" as a distinct category of bearing surface materials. OXINIUM material is a metal alloy that undergoes a proprietary heating process, transforming its surface into a hard, smooth ceramic that is 4,900 times more resistant to scratching than the traditionally used metal alloy, cobalt chrome. The underlying alloy retains its original properties, giving the implant the strength of metal, but the improved wear performance of a ceramic. It is 20-percent lighter than cobalt chrome, and because it doesn't contain detectable amounts of nickel like cobalt chrome does, it is considered hypoallergenic and safe for patients with metal allergies.
Smith & Nephew recently introduced VERILAST™ Technology, which is the combination of OXINIUM material and a unique cross-linked polyethylene formula. This bearing couple has been shown in laboratory tests to reduce hip implant wear by up to 98-percent(2) when compared to cobalt chrome and conventional polyethylene. In April 2010, Smith & Nephew announced the results of an unprecedented laboratory test on the use of VERILAST™ Technology with its LEGION™ Primary Knee System, which showed that it is expected to provide performance for 30 years of typical physical activity.
The results of this in-vitro wear simulation testing have not been proven to quantitatively predict clinical wear performance. Also, a reduction in total polyethylene wear volume or wear rate alone may not result in an improved clinical outcome as wear particle size and morphology are also critical factors in the evaluation of the potential for wear mediated osteolysis and associated aseptic implant loosening. Particle size and morphology were not evaluated as part of the testing. The same test has not been performed on the use of VERILAST technology in hip replacements.
(1 ) Australian Orthopaedic Association National Joint Replacement Registry Annual Report. Adelaide: AOA; 2010.
(2 )16 M .G. Li, Z.K. Zhou, D.J. Wood, S.M. Rohrl, J.L. Loppolo, and B. Nivbrandt. (2006) Low wear with high-cross linked polyethylene especially in combination with Oxinium heads. A RSA evaluation. Trans. Orthop. Res. Soc., 31, 643.
Smith & Nephew is a global medical technology business, specialising in Orthopaedics, including Reconstruction, Trauma and Clinical Therapies; Endoscopy and Advanced Wound Management. Smith & Nephew is a global leader in arthroscopy and advanced wound management and is one of the leading global orthopaedics companies.
Smith & Nephew is dedicated to helping improve people's lives. The Company prides itself on the strength of its relationships with its surgeons and professional healthcare customers, with whom its name is synonymous with high standards of performance, innovation and trust. The Company operates in 32 countries around the world. Annual sales in 2009 were nearly$3.8 billion.
This document contains certain forward-looking statements that may or may not prove accurate. For example, statements regarding expected revenue growth and trading margins, market trends and our product pipeline are forward-looking statements. Phrases such as "aim", "plan", "intend", "anticipate", "well-placed", "believe", "estimate", "expect", "target", "consider" and similar expressions are generally intended to identify forward-looking statements. Forward-looking statements involve known and unknown risks, uncertainties and other important factors that could cause actual results to differ materially from what is expressed or implied by the statements. For Smith & Nephew, these factors include: economic and financial conditions in the markets we serve, especially those affecting health care providers, payors and customers; price levels for established and innovative medical devices; developments in medical technology; regulatory approvals, reimbursement decisions or other government actions; product defects or recalls; litigation relating to patent or other claims; legal compliance risks and related investigative, remedial or enforcement actions; strategic actions, including acquisitions and dispositions and our success in integrating acquired businesses; and numerous other matters that affect us or our markets, including those of a political, economic, business or competitive nature. Please refer to the documents that Smith & Nephew has filed with the U.S. Securities and Exchange Commission under the U.S. Securities Exchange Act of 1934, as amended, including Smith & Nephew's most recent annual report on Form 20F, for a discussion of certain of these factors.
Any forward-looking statement is based on information available to Smith & Nephew as of the date of the statement. All written or oral forward-looking statements attributable to Smith & Nephew are qualified by this caution. Smith & Nephew does not undertake any obligation to update or revise any forward-looking statement to reflect any change in circumstances or in Smith & Nephew's expectations.
<> Trademark of Smith & Nephew. Certain marks registered US Patent and Trademark Office.


text:
What's In a Real Name?
An awful Facebook policy ensnares a trans woman who worked to make the social network inclusive for LGBTQ users.
By Jacob Brogan
Facebook offers more than 50 gender options but is less inclusive with names.
Photo illustration by Lisa Larson-Walker. Photo by Stefano Tinti/Thinkstock.
When we were young and the Internet was too, many of my friends treated it as a laboratory, experimenting with identity. In chat rooms and on message boards they would offer new names, claim different genders, and pretend to be older than they were. This was the early Web's utopian promise: It seemed to liberate us from the terms and conditions of our "real" lives, setting us free to become whoever we wanted—or needed—to be.
But the Web had terms and conditions of its own, even if we didn't read them at the time. And instead of freeing us from the real, the Internet has begun to shape it.
Consider the case of Zoë Cat, a former Facebook employee. In an essay posted to Medium (and subsequently republished on Gizmodo), Cat explains that she had fallen afoul of Facebook's real-names policy, which forces the site's users to go by the appellation they use offline or face banishment. (Cat welcomed me to refer to her by that name, though she wrote the piece under the name Zip.) A trans woman, Cat explains that she selected her Facebook name years before as she was beginning to transition. In a later post, she added that she subsequently changed her legal name to something else altogether. Nevertheless, she continued to employ the one she had first selected on the social network because "she wouldn't be recognized by" the newer one. Facebook, Cat wrote, "decided my name was not real enough and summarily cut me off from my friends, family and peers." She says that Facebook gave her one week to "provide proof of name." She hasn't provided proof, and her profile is still active as of Monday afternoon—but that may be because of the fuss her posts created. Regardless of what happens to her profile, the kerfuffle speaks to a broader problem about managing identity in a digital world.
Cat's story of exclusion stands out in part because she claims partial responsibility for one of Facebook's most famously inclusive gestures. She writes that during her time with the company, she implemented its custom gender feature, which allows those who don't identify as "male" or "female" to choose from more than 50 alternate possibilities. (Facebook has neither confirmed nor denied Cat's assertion.) Now Cat risks banishment from the site for reasons that relate directly to her trans identity—and the hammer struck on the very weekend when celebratory rainbows blossomed across Facebook in response to the Supreme Court's marriage equality decision.
Cat's story is not a new one. Facebook has long insisted that its users go by the names they employ in their offline lives. The company operates on the theory that users get more out of the site when they feel like they're interacting with real people. Cat affirms this hypothesis in her essay, writing, "Creating a social network where people used the names that they were already recognised by has made it more accessible and popular than any other social network in the world." Accordingly, Facebook seeks to ensure that each profile is clearly and definitively tied to a single, real person, and it associates that reality primarily with users' names. In this, it's not entirely alone: Google Plus once had a similar policy, though the company abandoned it under pressure last year.
Social media critics have seized on the real names requirement as a tool of commerce. In his book Terms of Service, Jacob Silverman writes, "The push for authenticity is really a campaign to have every user be immediately identifiable … their whole data self immediately visible to the social network controlling it and selling it back to them in the form of advertising, coupons, and gifts." When it's easier to pin you down, it's easier to sell you to advertisers, and nothing holds us in place more immediately than our names.
Cat, for one, disagrees with Silverman. But whatever Facebook's intent here, it's important to recognize that the real names requirement has had a disproportionately negative effect on the site's LGBTQ users, many of whom have compelling reasons to employ different names online than they do offline. For example, trans women and men worry that it threatens to make them go by names that misgender them, or otherwise call painful attention to their pre-transition experiences. On a different front, drag performers have complained that the regulation prevents them from maintaining profiles under their stage names. For others still, employing a different name on Facebook allows them to remain in touch with their support circles while avoiding harassment or threats. As Meredith Talusan—the trans advocate whose Twitter feed first alerted me to Cat's situation—observes, "When you're part of a small minority and are at risk of attack when you walk down the street, online spaces are often the only place where you can be your real self."
Ironically, Facebook claims that its authentic names policy actually helps prevent abuse. In a recent blog post, Facebook's Justin Osofsky and Monika Bickert write that it serves to "protect our community from dangerous interactions, like when an abusive ex-boyfriend impersonates a friend to harass his ex-girlfriend, or a high school bully uses a fake name to post hateful comments about a gay classmate." On first pass, this is sensible enough. The easier it is to associate someone's online presence with his real identity, the easier it is to hold him accountable for his actions. But the same principle may also make it easier to victimize those who would rather go unseen—whether for relatively mundane privacy reasons, or out of concern for their safety.
Facebook is aware of this problem, but its answer is not entirely satisfying. It believes that users should take advantage of the site's robust privacy controls, which allow you to tightly regulate who sees your posts, and even how visible your profile is. Even as Facebook has worked to improve these features, this approach puts an undue burden on those who—for whatever reason—have something to hide. In the process, it turns an experience that should be about pleasant communal contact into a process of endless surveillance and restraint.
Further, the very mechanisms by which Facebook enforces its authentic names policy can easily become tools of and for abuse. Facebook does not actively seek out offending profiles—there is, for example, no algorithm to identify the slyly pseudonymous. Instead, it relies on its users to alert the site of others who are in violation. In her Medium essay, Cat proposes that this hands "an enormous hammer to those who would like to silence us."
Indeed, who would bother to tattle on an actual friend for using an alias? Instead, hitting the report button is most likely to be a vindictive action. Cat, for example, told me that it happened after she "talked about [her] feelings about Pride and how frustrating it was that companies would fly the rainbow flag while having policies that hurt LGBT people." Shortly after her friends shared these posts—including some in which she talked about the real name policy—someone flagged her profile. Cat believes that the two incidents are linked, writing to me, "I think that one of their friends may have been upset about my comments and reported my name." If, as Osofsky and Bickert argue, authentic names prevent harassment in one sphere, they may encourage it in another.
Facebook representatives insist that they're conscious of such issues and are actively working to resolve the problems caused by the authentic names policy. Indeed, they've tried to do so in the past. Alluding to protests by drag queens, Osofsky and Bickert write, "Last year we realized that we were making it too hard for people to confirm their authentic identity on Facebook." Facebook subsequently revised and clarified its names regulations in consultation with LGBTQ groups and activists.
Importantly, the company stressed that an "authentic name" didn't have to correspond with a user's legal name, just to whatever his or her "friends call [them] in real life." Responding to an inquiry that touched on Cat's situation in a public Q&A session, Mark Zuckerberg affirmed this point. "Your real name," he wrote, "is whatever you go by and what your friends call you." Last year, in support of this premise, his company broadened the range of acceptable forms of identification and provided several options for users to present them. Nevertheless, many of those alternate documents are still governmental or financial—library cards and bank statements count among the acceptable items—making them difficult to acquire without a legal name change.
In her public follow-up post, Cat acknowledged that she could have gone through this verification process but that she chose not to—as is her prerogative. Cat has directed her protest at the very existence of the authentic names policy, which she sees as fundamentally pernicious, despite Facebook's attempts to liberalize it. The trouble, she holds, begins with the very idea of a company deciding what does and does not count as a legitimate name. "Facebook should not be in the business of deciding who is real and who is not," she told me. In particular, she seizes on its insistence that its users should have only one name, and only one identity to go with it. Calling this "a very WASP notion," Cat writes on Medium, "Each person has many names, because each person has many contexts and social groups. Like the government, Facebook tries to warp all of these contexts into one identifier."
The idea that we have many names is not ridiculous. Nor is it absurd to suggest that it might be worth protecting them in their variety. And allowing private companies to police those names is dangerous, not least of all because, as Cat wrote to me, "when they get it wrong they hurt minorities and vulnerable people most of all." Imagine a young person from a conservative background who begins to question his sexuality. He can't safely share these thoughts with his friends and family, but he doesn't want to fully shut them out of his life, either, so rigid privacy filters aren't necessarily an option. Building another identity—beginning with another name—might offer him a degree of comfort and safety as he works to find a new support system for his new needs. This kind of plural identity, a plurality the Internet once welcomed, is exactly what Facebook denies its user base.
For its critics, Facebook feels threatening in part because it actively sets the terms of identity instead of merely reflecting them. In a point-by-point refutation of Zuckerberg's recent comments, Cat writes that the site has "set itself up as a gatekeeper to determine our realness." By insisting that we settle on one version of our lives, and that we tell only one story about ourselves, Facebook effectively makes that story the real one. And because the site is increasingly central to the ways we live, work, and even love, simply logging off is rarely an option. As the literary critic and social theorist Michael Warner shows in Publics and Counterpublics, alternate cultural spaces were once the crucible of LGBTQ identities. Today, settling on a single identity, more or less in advance, may be the price of appearing in public at all, making the contemporary equivalents of such spaces less useful than they once were.
Facebook evidently means well—and there's no reason to think that its employees don't want the best for their LGBTQ users. The company's willingness to work with Cat on the custom gender policy provides ample evidence of this, as do its ongoing attempts to revise its policies. Wanting the best, however, doesn't necessarily mean understanding what's best, and it's not clear that Facebook does. For Cat and others, pushing back against the site's regulations is about giving those who don't yet know their names the space to find them, and those who do the room to live according to their desires.
This article is part of Future Tense, a collaboration among Arizona State University, New America, and Slate. Future Tense explores the ways emerging technologies affect society, policy, and culture. To read more, visit the Future Tense blog and the Future Tense home page. You can also follow us on Twitter.
Facebook LGBTQ

redpajama_set_name: RedPajamaCommonCrawl


NeoNatalie Resuscitator Oxygen kit User Guide Cat.No. 846141 QTY 1 each This oxygen kit is an accessory to the Laerdal NeoNatalie Resuscitator, Cat. No. 846040. The NeoNatalie Resuscitator's User Guide applies fully also when used with this NeoNatalie Resuscitator Oxygen kit User Guide. 2 3 1 Intended Use The NeoNatalie Resuscitator with the Oxygen kit enables the delivery of oxygen …... use with all BS standard portable and piped oxygen supplies. (Other types of connectors are available for export) Excellent visibility of patient and resuscitator controls.
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Using oxygen from cylinders without a regulator is extremely dangerous. When connecting a cylinder to the anaesthetic apparatus, make sure that the connectors are free from dust or foreign bodies that might cause the valves to stick.
Alibaba.com offers 70 portable oxygen resuscitator products. About 40% of these are first-aid devices, 24% are breathing apparatus. A wide variety of portable oxygen resuscitator options are available to you, such as free samples, paid samples.
LIFE® OxygenPac: is the superior portable Emergency Oxygen wall-mounted unit which is an easy-to-use oxygen Inhalator for a breathing victim and a Resuscitator adjunct for a non-breathing victim.
Features: The collapsible mask is easy to use and convenient to carry. Includes Mask & Hard Case. Inlet for O2 port for easy use to oxygen tubing.


text:
Von Cannon, Jordan (Ph.D.)
BA English Co-Coordinator/Assistant Professor
Department of Language & Literature
RH 0112
jvoncannon@fgcu.edu
Ph.D. in English, minor in Women's and Gender Studies, Louisiana State University
MA in English, University of Kansas
Early American literature, 19th-century American literature, U.S. women writers, digital humanities, travel writing, gender & sexuality studies, and feminist theory
"Prostitution, Primitivism, Performativity: The Bare Life in Stephen Crane's Maggie: A Girl of the Streets and Upton Sinclair's The Jungle." Studies in American Naturalism. 10.1 (Summer 2015): 41-59.
"Mrs. Jennings and Mrs. Palmer: The Path to Female Self-Determination in Austen's Sense and Sensibility." Co-authored with Kathleen Anderson, Persuasions: The Jane Austen Journal. 30 (2008): 135-48.
"Dreams of Youth: The Girl, the Writer, and the Nation in Catharine Sedgwick's Letters from Abroad" for Transatlantic Girlhood
Idle Women: Female Development in the American City, 1830-1900 (monograph)
Toggle Conference Presentations
"Transatlantic Departures: Mapping Catharine Sedgwick's 1839-1840 Tour Abroad" Recovery and Alternatives to Print Publication. Society for the Study of American Women Writers, November 2018.
"Does Money Matter?: Digital Humanities Outside Research Institutions" Promoting Digital Humanities. Society for the Study of American Women Writers, November 2018.
"Liminality and the Grad-Student Life" Crossing Gendered Boundaries: Professional and Life Stages in Academia. Modern Language Association, January 2017.
"She Said, He Said: Rhetoric, Sexual Assault, and the University" Co-Presented with Stacey Amo at the Modern Language Association, January 2016.
"Neither Married Nor Single: Sedgwick's Alternate Paths of Female Development" Presented at the Society for the Study of American Women Writers, November 2015.
"Eavesdropping on the City: Female Privacy and Narrative Form in Alice Dunbar-Nelson's Urban Fiction" Presented at the American Literature Association Symposium, September 2015.
"Leaving Home a Second Time: Narrative Voice and City Space in Catharine Sedgwick's Letters from Abroad to Kindred at Home" Presented at the Catharine Maria Sedgwick Symposium, June 2014.
"'A person among people': Working for Identity in Anzia Yezierska's Bread Givers" Presented at the Society for the Study of American Women Writers, October 2012.
"Fighting the 'flippant idlers of fashionable life': Prescriptive Education in Catharine Maria Sedgwick's Clarence and Edith Wharton's The House of Mirth" American Literature Association Conference, May 2012.
"When People...have anything with a price, they ought to sell it': Packinghouses, Prostitutes, and the Working Girl in Upton Sinclair's The Jungle" Presented at the Mardi Gras Conference, February 2012.
"Regionalism and The Foreign Reader: Narrative Strategies in The Country of the Pointed Firs and The Awakening" Presented at the Mid-America American Studies Association Conference, March 2010.
"At Home: Dual Models of Domesticity in Catharine Sedgwick's Hope Leslie" Presented at the tenth annual Catharine Maria Sedgwick Society Symposium, May 2007.
Toggle Grants & Awards
Faculty Research Scholarship Venture Capital Fund, Co-collaborator for the SWFL Community Feminist Reading Group, Florida Gulf Coast University, Spring 2019
Professional Development Enhancement Award, Florida Gulf Coast University, Fall 2018
Seidler Collaborative Fellowship, Florida Gulf Coast University, Summer 2018
Digital Humanities Travel Award, Florida Gulf Coast University, Spring 2018
Lewis P. Simpson Distinguished Dissertation Award, Louisiana State University, 2017
Distinguished Dissertation Award Nominee, Louisiana State University, 2016
Spring/Summer Dissertation-Year Fellowship, Louisiana State University, 2016
HASTAC Scholar Fellowship Recipient for a digital humanities project on Catharine Maria Sedgwick's Letters from Abroad to Kindred at Home, 2013-2016
Vice President of Publications for the Society for the Study of American Women Writers (SSAWW)
Vice President of Digital Resources for the Catharine Maria Sedgwick Society
Co-coordinator of the Minor in Gender Studies, Florida Gulf Coast University


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Barbarzyńca – dwudziesty siódmy tom serii komiksowej Thorgal. Jego autorami są Jean Van Hamme (scenariusz) i Grzegorz Rosiński (rysunki). Komiks ukazał się w oryginale francuskim w 2002 roku nakładem wydawnictwa Le Lombard. Po polsku wydał go w 2003 roku Egmont Polska.

Album otwiera cykl nazywany tym samym tytułem, obejmującym również dwa kolejne tomy, którego fabuła koncentruje się wokół niewoli bizantyjskiej i choroby Thorgala.

Streszczenie
Thorgal, Aaricia, Jolan, Louve, Tiago oraz Ilenia zostali znalezieni na pustyni przez karawanę i dostarczeni handlarzowi niewolników, Dżaffarowi w przyportowym mieście. Zarządca gubernatora wykupił Thorgala wraz z Tiago jako uciekinierów do strzeleckiego egzaminu dojrzałości młodzieńców, synów dostojników. Za sprawą Thorgala, podczas uśmiercania niewolników ginie dwóch młodych dworzan. Gubernator wynagradza Thorgalowi wolnością oszczędzenie swego syna, nastoletniego Herakliusza, który również brał udział w sprawdzianie. Wiking zadeklarował władcy pozostanie na dworze i zaoferował treningi łucznicze, jeżeli jego dzieci oraz Ilenia zostaną wykupieni i będą mogli stać się przynajmniej niewolnikami. Mściwy Herakliusz podsunął ojcu pomysł wykorzystania Tiago do próby sprawdzenia łuczniczego talentu Thorgala. Brutalna próba przekonała barbarzyńcę, iż nie powinien dłużej zostawać na obcej ziemi. Zwłaszcza, że reszta uwolnionych podwładnych, którzy uśmiercili swoich niedoszłych zabójców, została poddana ostatecznemu osądowi dostojeństwa. Jolan oraz Louve musieli dowieść swoich nadprzyrodzonych mocy, by gubernator zgodził się uczynić z rodziny Thorgala swoją służbę. Tybrus, prawa ręka gubernatora, od początku był przychylny wikingowi i realizował jego pomysły krok po kroku. Władca postanowił, jak co pięć lat, wziąć udział w wielkim turnieju na wyspie Syrenii, aby w starciu z pozostałymi prowincjami imperium wschodniorzymskiego, właśnie prowincja Ponantu mogła zostać zwolniona z podatku i dostąpić wszelkich możliwych zaszczytów. Do tego celu Thorgal musiał wystartować z Herakliuszem w części strzeleckiej. W istocie gubernator miał zamierzenie pozbycia się krnąbrnego i rozpuszczonego dziedzica z pałacu wysyłając go, jeśliby wygrał, na dwór samego imperatora. Herakliusz tymczasem zdecydował się wykonać na zbiegłej niewolnicy, Ilenii, karę chłosty, którą przerwał wzburzony losem swojej siostry Tiago. Odważny akt wystąpienia przeciw tyranii syna gubernatora przypłacił życiem. Aaricia, Jolan oraz Louve zostali wysłani na dwór cesarski, by Thorgal został zmuszony tym samym do wzięcia udziału w turnieju. Umiejętności wikinga szybko prowadzą jego duet z Herakliuszem do finału. W trakcie niego dochodzi do incydentu otrucia Thorgala przez zazdrosnego o względy młodzieńca. Ostatnia konkurencja kończy się remisem, w czego konsekwencji obie zwycięskie prowincje zostały zwolnione z konieczności płacenia podatku na okres sześciu miesięcy. Herakliusz został ostatecznie uśmiercony przez zbiegłą Ilenię, która zaraz po tym popełniła samobójstwo. Syn imperatora był pod dużym wrażeniem talentu Thorgala. Zlecił zatem legionistom pochowanie go na wzgórzu wyspy Syrenii. Żołnierze nie wykonali rozkazu do końca, pozostawiając jedynie wikinga oraz jego ekwipunek na skale.

Linki zewnętrzne
 Oficjalna, francuskojęzyczna strona poświęcona serii Thorgal
 Polskojęzyczna strona poświęcona serii Thorgal
 Recenzja w Aleja Komiksu

Thorgal
Twórczość Grzegorza Rosińskiego
Twórczość Jeana Van Hamme'a

redpajama_set_name: RedPajamaWikipedia


text:
HOMEPAGE MONEY
Petty cash procedures
By: Kevin Watson
How to fill in a bookkeeping ledger
D81 Statement of Information
How to cancel Job Seekers Allowance
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Stockbyte/Stockbyte/Getty Images
Many organisations need small amounts of cash to obtain items such as stamps and stationery at short notice. One way of ensuring that money is always available is to keep some in a petty cash box. The total amount in the box is usually between £50 and £100, and most of the expenses are £10 or less. To keep track of such expenses and to prevent employee theft, organisations generally deploy four petty cash procedures.
Unrestricted employee access to a petty cash box could lead to confusion and the loss of money. A control procedure imposes a secure system of petty cash activity by giving a petty cashier responsibility for managing the cash box. A petty cashier's duties of control include storing the petty cash box under lock and key, maintaining blank petty cash vouchers and a petty cash book, and liaising with an organisation's head cashier and auditor as necessary.
Disbursement
A disbursement procedure provides evidence of money paid out from petty cash. An employee who asks for money to cover an eligible expense must complete and sign a reimbursement voucher and supply a receipt. The petty cashier attaches the voucher to the receipt and reimburses the employee with the appropriate cash sum. The petty cashier then writes the date, item purchased and amount in the petty cash book and places the voucher, receipt and book in the petty cash box.
A funding procedure replaces money that a petty cashier has paid out. The petty cashier adds the amounts on the vouchers and places the total on a reconciliation form together with the total of the remaining cash. An Accounts Payable supervisor checks and authorises the reconciliation form and makes out a cheque to the value of the vouchers' total. The organisation's cashier turns the cheque into cash and gives this to the petty cashier who notes the amount received in the petty cash book.
A petty cash discrepancy occurs when a petty cashier finds that the sum of money in the petty cash box is not the same as the cash total given in the petty cash book. When this happens, the procedure is for the petty cashier to check each voucher against the corresponding amount written in the petty cash book and to confirm the total. If a discrepancy still exists, the petty cashier records the loss or excess in the petty cash book and passes this to a supervisor. The supervisor is responsible for resolving the matter.
Bookkeeping for Dummies (UK Edition), Jane Kelly, Paul Barrow and Lita Epstein, 2011
Understanding Cash Flow, Franklin James Plewa, Jr. and George T. Friedlob, 1995
Financial Management, M. Richards, A. Smith, N. van der Meer and E. du Toit, 2008
Foundations of Accounting, Daniel M. Kimuda, 2008
Auditing and Assurance, Clifford Gomez, 2012
Accounting Tools: Petty Cash Procedure
Accounting and Finance Policies and Procedures, Rose Hightower, 2008
Retail Operations (2nd edition), Angie Tang and Sarah Lim, 2008
Kevin Watson has been a full-time writer and copy editor since 2006. He specializes in UK business and technology, and his articles include an award-winning piece for "Communicator" magazine. Watson is a qualified technical writer. He also has a master's degree in strategic management from Middlesex University.


Project Planning & Control is a course designed for those in project support roles at businesses that deliver projects for other organisations. It is well suited to people who work for contractors and suppliers in the construction and engineering sectors. So if you're in a project planner, project scheduler, cost engineer or project coordinator role, this is the course for you!
The course focuses on four main areas of definition, planning, scheduling and monitoring & control, providing you with the tools and techniques you need to manage the work of the project delivery team.


In this lesson, students are introduced to the present perfect tense. The topic of films based on books is the context used to introduce this topic. The focus of the lesson is on sentence structure using common irregular past participle verbs to form the present perfect tense. The pronunciation focus is on sentence stress.
To introduce and provide clarification, review and practice of the present perfect tense using common irregular verbs.
To focus on pronunciation: sentence stress through listening and speaking activities using the present perfect tense.
Ask students to look at the pictures of films in the book. Ask: What is common between all these films? They are based on books. Have you seen any of them? Have you read any of the books?
Listen to the conversation ex 1B. Ask: What 2 things are the going to do tonight? Ask students to read the text .Ex 1C. Highlight a few sentences : . I'm a bit tired. I've read the book. focus on the second sentence. When did she read the book? Introduce the present perfect with a brief grammar presentation on the flipchart.
Use the grammar presentation on the flip to explain and clarify use of the present perfect and difference between the past simple. Highlight use of the present perfect tense in positive, negative and question forms. Focus on the vocabulary section of the lesson. Ask students to complete the table. Listen and check.
Use the grammar bank exercises (Students' book-pg147,12A-exercises a and b for controlled practice. Check answers. Clarify doubts. Use exercise c on the same page as a speaking activity to gauge understanding of target language. Pg 93 exercise 3d: Ask students to complete the sentences/questions using the past participle irregular verbs in table 3a.
Use the pronunciation activity under 2a to focus on sentence stress. Listen , copy and repeat the dialogue. Introduce the use of ever/ never using the flipchart.
Use the speaking and listening activity under 4a for free practice. Focus on the accuracy of the target language and the sentence stress. Feedback and questions.


Philippe has appreciated the difficulties in the adoption of Agile in large corporations and explored Lean / Lean IT as methodologies to accelerate progress of such transformations. Philippe even explored first-hand the parallels between IT and Automotive. Philippe is now working from an independent consultancy specialising in Lean-Agile deployments. Philippe is also looking to develop the practice of Lean IT in the UK and working towards offering training/certification in this.


text:
Q: Link one project to another CMAKE I am building a project which contains lots of sub projects. for example as ...
LibA (build as shared library)

LibB (depends on LibA & build as shared library)

AppB (depends on LinB)

Directory structure (Which I want) is as ...
bin/
output/
src/libA/
src/libB/
src/appB/

Each of sub projects (LibA, LibB & AppB) has their own CMakeLists.txt file.
I want ..
1. Build LibA as shared library (I know how to do it)

2. Build LibB as shared library with linking of LibA (Don't Know how to do)
   Explanation: When I start building LibB,
                LibA build first and
                ready to link for LibB
                when LibB ready to finish

3. Build AppB : If I start building AppB,
                LibA build first and
                LibB build after and
                both linked to AppB

Now I know classic way, build separately LibA & LibB and supplied path of lib and include to AppB. But I want to build them at once like
  Build LibA
  Build LibB (if LibA is already build then ignore, else build LibA)
  Build AppB (if LibA, LibB are already build then ignore, else build them)

What I want

*

*How can I achieve such behavior using CMAKE ?

*It should be cross platform

*Simple enough to include many more sub projects

A: Here is one solution. You can use a top-level CMakeLists.txt file to tie all the projects together. So in your directory structure, this would be placed here:
bin/
output/
src/libA/
src/libB/
src/appB/
CMakeLists.txt    <--- Top-level CMakeLists.txt

Your top-level CMakeLists.txt file (as a sibling to the src directory) could look like this:
cmake_minimum_required(VERSION 3.11)

# Add your dependencies in the order you want them to build.
add_subdirectory(src/libA)
add_subdirectory(src/libB)
add_subdirectory(src/appB)

With each of the src directories having their own CMakeLists.txt file, here's an example of each of these individually.
You can set up LibA as a shared library with CMake with the CMakeLists.txt file in src/libA:
project(LibA_Project)
add_library(LibA SHARED sourceA.cpp  ... more sources here ...)

Next, CMake will traverse to the src/libB directory to configure LibB. Here is what the src/libB/CMakeLists.txt file could look like:
project(LibB_Project)
# Create a shared library for LibB as well.
add_library(LibB SHARED sourceB.cpp  ... more sources here ...)

# Link LibA to LibB as a dependency.
target_link_libraries(LibB LibA)

Finally, CMake will go to the src/appB directory. Here is that CMakeLists.txt file:
project(AppB_Project)
# Create the executable AppB.
add_executable(AppB main.cpp ... more sources here ...)

# Link LibA and LibB to AppB as dependencies.
target_link_libraries(AppB LibA LibB)

This approach can easily be expanded to include more sub-projects (e.g. LibC, LibD, AppE, etc) if necessary.

redpajama_set_name: RedPajamaStackExchange


Hoot is heading off on an adventure (with Miss Davies tagging along to carry his bags). He will be flying by plane (to rest his wings) around the world to Australia.
Miss Davies will be helping Hoot to keep us updated on his travels on this page. We all hope Hoot and Miss Davies have a fantastic trip.
Hoot is on his way!
After the long journey he's made it! Hoot has a quick nibble while overlooking the city of Bangkok! He likes it up here.
After a couple of days in the capital Hoot was thrilled to be on the beach. Here he is on a little island on the east coast called Koh Tao.


Do you need a mobility scooter that gets you there fast? Then you need the Pride Victory Sport! This rugged, high-performance personal scooter boasts top speeds of 8 mph and an impressive 11 mile range-per-battery-charge. With 350 pounds of user weight capacity, a sealed transaxle drive train, and solid flatproof tires, the Victory Sport is built to last - plus, the standard high-back reclining seat makes every trip comfortable! Transport and stow your scooter without headaches, thanks to Pride's own one-handed feather-touch disassembly method. Call today to order your very own Pride Victory Sport mobility scooter!
The Pride Victory Sport scooter is available in 2 colors and has all the features you want in a mobility scooter. Featuring a revolutionary one-touch disassembly, you can quickly and easily take this scooter apart. When it is together, however, you will notice the lightweight and low profile back wheels, lightweight seat with foam inserts to add stability, and Delta tiller wraparound handles. Travel safely in low light conditions with the Victory Sport's high-intensity LED path lights, and make sure your scooter is always charged with an easy access tiller-mounted charger port.


From Ed Stetzer (on whose blog this article originally appeared): At Wheaton College, I have the privilege of serving with a wide array of evangelical thinkers and leaders. One of them is Ray Chang, who serves as Ministry Associate for Discipleship in the Chaplain's Office. Ray and I recently discussed a letter that John Piper wrote, published in Christianity Today, "My Hopeful Response to Lecrae Pulling Away from 'White Evangelicalism.'" The Federalist gives a bit of the background.
Over the years, I've communicated with both John and Lecrae and, in an odd coincidence, I threw out a shout out at John's Desiring God National Conference in 2012, about Lecrae teaching us about contextualization. (You can download the book from that talk here.) I am thankful for this conversation about race, and thankful for both men, but also hopeful that we can continue the learning, this time discussing not contextualization, but race and justice.
In order to extend that conversation, here is a letter from Ray Chang to John Piper.
In your Desiring God article, you wrote how you didn't know what Lecrae's "loosening from 'white evangelicalism' means for multi-ethnic relations." I'd like to attempt to address this.
Before I do, I'd like to offer up a definition of terms.
White Evangelicalism: a segment of modern evangelicalism that is led and shaped by a cultural agenda defined by whiteness.
The reason people struggle to distinguish between evangelicalism and white evangelicalism is because evangelicalism was historically and consistently shaped by whiteness. It was because of this dominance and exclusion within evangelicalism that non-white populations formed their own evangelical organizations (National Black Evangelical Association, National Hispanic Christian Leadership Conference, etc.). Essentially, blacks and Latinos found that their issues and needs weren't being addressed by their white counterparts, so they started their own movements. It was because white evangelicals didn't make room for non-white evangelicals that black evangelicalism and Latino American evangelicalism emerged. If they had, we wouldn't have the need for adjectives before the term evangelical.
I fear that unless white evangelicalism changes in significant fashion, Lecrae is only going to be the beginning of the exodus, despite not being the first to depart.
A couple decades ago, Asian Americans witnessed something Helen Lee called the "Silent Exodus" where the American raised children of immigrant families left the immigrant church for white, second generation Asian American, or multi-ethnic churches. Most left for white churches (or left the church all together) because there weren't many second generation or multi-ethnic churches to go to.
One of the primary reasons they left was because they felt as though they weren't considered in the shaping of the church. Instead, they felt like they were put in a siloed enclave that felt more like a guesthouse instead of an integral part of the main home. Though the children of immigrants kept asking for their cultural realities (as people raised in the U.S.) to be represented from the top down, there was a collective unwillingness to let go of the way things have always been from their parents' generation. In some ways, this was a larger scale occurrence of the worship wars between contemporary and traditional music styles we saw throughout many white churches in America.
It was only those who either had the ability to endure through the cultural struggles (those with a high level of cultural grit), those who weren't hindered by the cultural issues (those who assimilated), or those who couldn't afford to leave that were able to stay. As such, the silent exodus commenced.
It is critical to note that the issues for which they left the immigrant churches weren't doctrinal or theological, but cultural.
Today, it seems like a "Reverse Exodus" is taking place for very similar reasons. Like Lecrae, people of color are finding that white evangelical churches and institutions fail to truly embrace them.
Ray Chang is a pastor/preacher who was born in Chicagoland and has lived all around the world, including Hawaii, Los Angeles, China, South Korea, Guatemala, Spain, and Panama where he served in the Peace Corps. As an avid traveller, he has visited more than 40 countries throughout Asia, South America, Europe, Africa, and North America. His travels have also included extensive volunteer, speaking, and consulting roles. Ray received a Bachelors of Arts (BA) in Communication from Wheaton College, a Masters of Divinity (MDiv) from Trinity Evangelical Divinity School, and is currently pursuing a PhD in Higher Education from Azusa Pacific University.


The Z2-B has a 2-zone, 40-watt, configuration that is ideal for all business types where sound masking and paging /BGM are required. The Z2-B includes 2-zones of 70V output and can operate in multiple configuration modes: two-zone indirect field sound masking (up to 7000 square feet), a single zone of direct fields sound masking, or one zone can be used for indirect sound masking and the other for paging and background music.
The unit can be mounted multiple ways including in-wall, surface mount, or rack mount. Once installed all hardware and wiring is located behind the secure front panel making it convenient for integrators to centrally locate all wiring without the need for a cabinet. The front panel display allows for system programming as well as end user control post installation. The unit comes preconfigured with multiple sound masking filter presets selected by renowned sound masking expert Dr. Bob Chanaud that are user selectable to match the installation type. Custom presets have been configured in the included PC project design software that can also be loaded via the front panel USB port.
For conference room applications where secure speech privacy is required, the Z2-B features a Speech Privacy Enhancement mode that can be engaged while a meeting is in progress. Speech Privacy Enhancement mode applies additional acoustical energy to the surrounding environment, increasing the privacy levels for the conference room occupants. AtlasIED has been developing, manufacturing, and assisting and commissioning sound masking systems for over forty years using proprietary Chanaud masking Filters. These unique secured speech filters have been approved and implemented in many installations around the world including military and government facilities. Activation of the Speech Privacy Enhancement feature is accomplished by hardwired switch, an iOS® or Android® application, or using an optional wireless desktop / wall mount switch. An optional wired or wireless sign is available for a visual aid to notify attendees when Speech Privacy Enhancement is active.


text:
VSI Tampa Bay FC was an American soccer team based in Plant City, Florida. They played in USL Pro, the third tier of the American soccer pyramid, in the 2013 season. VSI Tampa Bay FC were owned by VisionPro Sports Institute and were affiliated with a women's team in the W-League, an amateur team in the USL Premier Development League (PDL), and a youth team in the Super-20 League. All the teams folded in 2013.

History
In 2011, English soccer development academy VisionPro Sports Institute announced a venture to establish a soccer organization in the United Soccer Leagues in the United States. VSI partnered with the local Brandon, Florida area youth soccer organization, West Florida Flames, to build VSI Tampa Flames, "the perfect platform for vertical progression, giving talented youngsters the opportunity to progress from junior soccer all the way through to the professional game," according to VSI's CEO, Simon Crane. The USL Pro team was to serve as the pinnacle of the youth pyramid for men; the club also included a women's team in the W-League, an amateur team in the USL Premier Development League (PDL), and a youth team in the Super-20 League. The W-League, PDL, and Super-20 League teams started play in 2012, while the USL Pro team was to join in 2013. On November 22, 2012, the team changed its name to "VSI Tampa Bay FC" and named Matt Weston as the head coach.

Their first game was played on March 30, 2013, losing to Phoenix FC 1–0. They defeated the Los Angeles Blues 1-0 for their first win on April 2, 2013. Antonio Neto scored the first goal in team history.

VSI Tampa Bay chose Plant City Stadium as their home venue on April 4, 2013, moving all the teams there. Matt Weston resigned as Head Coach on May 8, 2013, and Joel Harrison was named as Interim Head Coach.

While the W-League and PDL teams had been successful in 2012, the USL Pro team struggled throughout its only season. The remote stadium in Plant City made it difficult to attract fans, and the team suffered from competition from the more successful Tampa Bay Rowdies of the North American Soccer League. The organization folded all of its teams after the 2013 season.

Final roster

Staff
  Joel Harrison - Head Coach
  Sheldon Cipriani - Head Coach, PDL Team / First Team Assistant Coach
  Sam Mitchell - Head Coach, Super-20 League Team / First Team Assistant Coach
  Jorge Zavala - Goalkeeping Coach / First Team Assistant Coach
  Mac McCarthy - Performance Coach
  John Mitchell - Head of Operations
  Clay Roberts - Director of Soccer

Team Records

Year-by-Year

Head coaches

 Includes USL Regular season, USL Play-offs and U.S. Lamar Hunt Open Cup

See also
VSI Tampa Bay FC (PDL)
VSI Tampa Bay FC (W-League)

References

External links
Official Website

Soccer clubs in Tampa, Florida
2011 establishments in Florida
Former USL Championship teams
Association football clubs established in 2011
2013 disestablishments in Florida
Association football clubs disestablished in 2013
Defunct soccer clubs in Florida
Sports in Hillsborough County, Florida
Plant City, Florida


Human resources managers or departments may perform assessments to predict the future performance of employees. Certain assessments are particularly helpful when an individual is being considered as a candidate for an open position at a small business. Assessments may tell the company if the potential employee is capable of fulfilling the job and if she has the appropriate skill sets. Other assessments focus on the personality of potential and current employees and their motivation to get the job done.


Welcome to SALOS, Swindon's Premier Musical Theatre Company, providing local audiences with high quality productions since 1952.
SALOS presents an annual show at Swindon's modern, yet intimate, Wyvern Theatre. SALOS' appeal for Swindon audiences seems to be our ability to simultaneously surprise and delight, from Rodgers & Hammerstein, to Lloyd-Webber, from Lerner & Loewe to Sondheim, SALOS' eclectic mix of musicals ensures continued success and an enviable reputation within Swindon and the wider region.
SALOS have been staging high quality musical productions in professional theatres in Swindon since 1952. In October 2019, SALOS will present one of the best-loved classic musicals, 'The Sound of Music' at The Wyvern Theatre in Swindon. The show has proved highly popular in recent professional national tours and West End runs, as well as being family-favourite film.
In preparation for 'The Sound of Music', SALOS is holding a casting workshop for children aged 6-15 yrs where children will be selected to play the roles of the famous Von Trapp children. Those auditioning will need to demonstrate their singing, acting and dancing ability for these iconic roles. The casting workshop will be led by the production's Director, Musical Director and Choreographer.
The casting workshop will take place at 9.45am – 1.00pm on Bank Holiday Monday 6th May 2019 at Lawn Manor Academy. There will be call-backs for final casting on Tuesday 7th May from 6.45pm-7.45pm. The cost to attend the 3 hour workshop is £10, however children who are selected to perform in the show will be required to pay an additional performing fee of £60.
To confirm a place at the workshop, please download the application form below and email the completed form to: saloschildren@hotmail.co.uk by Tuesday 30th April 2019.
'The Sound of Music' will run for 6 performances from Weds 16th – Sun 20th October 2019, including 2.30pm matinees on the Saturday and Sunday. SALOS are likely to cast 2 groups of children who will perform on alternate performances. Children must also be available to rehearse in the theatre on Sunday 13th, Monday 14th and Tuesday 15th October.
SALOS rehearse on Monday and Tuesday evenings and the children will be required from 6.45pm-8.30pm on some, but not all dates; there will be some additional Sunday morning rehearsals, although dates are yet to be confirmed.
'The Sound of Music' will be directed by Russell Langdown. Russell said, "SALOS regularly have children appearing in shows and our casting workshops have always been very popular. Our recent production of "Wizard of Oz" saw well over 100 children auditioning to perform with us and in "Oliver" we had a cast of over 60 children in every performance! We always try to make sure our children's cast learn new skills at the same time as having great fun being part of such a large-scale production in a professional theatre. We are sure the children will really enjoy being part of "The Sound of Music" and taking on such iconic roles.


Marriage/Civil Union License Applications are held confidential under Colorado Law.
Couples may apply for and receive a Marriage or Civil Union License in Douglas County, Colorado at 301 Wilcox Street in Castle Rock, Monday through Friday, between the hours of 8 a.m. – 4:30 p.m. (excluding holidays).
When applying for a Marriage or Civil Union License the couple must first meet the general requirements and restrictions, listed below.
Provide Social Security Number (Required) – Per Colorado Revised Statute § 14-2-105, social security numbers are required on the marriage license application. If an applicant does not have a social security number, an affidavit provided by the Clerk's Office must be signed stating that the party does not have a social security number.
Marriage / Civil Union Fee (payable by cash or credit card only) – Pay the Marriage License fee of $30, payable by cash or credit card only. Additional copies of the license (after recording) are $1.25 each. Shipping and handling charges may apply.
Marriage or Civil Union between first Cousins is permitted in Colorado.
The couple then applies for a Marriage or Civil Union by entering the applicant's information into the Marriage or Civil Union online kiosk, which will significantly speed up the processing time when the parties appear in the Office of the Clerk and Recorder to obtain their license.
Please review the full list of requirements before beginning your application.
Once the marriage has been solemnized, the license must be returned to the issuing County Clerk for recordation within 63 days from the date of the ceremony or a late fee will be assessed.


LAS VEGAS -- Las Vegas Sands Corp. said Friday "some legally protected data" was stolen from customers and employees of the company's hotel-casino in Bethlehem, Pa., following last month's sophisticated cyber attack on the casino operator's internal computer operations.
Legally protected data includes Social Security numbers, drivers license numbers and passport numbers.
Las Vegas Sands said it was unclear if credit card information from customers and employees of the Sands Bethlehem was also stolen in the attack.
The company, which owns casinos on the Strip, Macau, Singapore and Pennsylvania, said it was still determining the full extent of the hacking that took down the company's Web presence for nearly a week, starting Feb. 11.
Sands Casino Resort Bethlehem has a 300-room hotel and is the second-largest casino in Pennsylvania with 3,012 slot machines and 183 table games spread across a 145,359-square-foot gambling floor. The casino produced the most gaming revenue of Pennsylvania's 12 casinos in 2013 and contributed almost $500 million in net revenues to the company in 2013.
Las Vegas Sands said a mailing database, "similar to what any direct marketing firm would use for promotional purposes," was also stolen from the casino.
Reese said the company made a toll free number and a website available for anyone with questions or concerns. The Sands Bethlehem Data Breach Information Line can be reached at 1-866-579-2213 and the website address is www.sandsinfo.com.
The attack, which is being investigated by the FBI and the U.S. Secret Service, also compromised the casino operator's internal operating systems, including email and other corporate functions.
In a statement, Las Vegas Sands has not yet determined if customer and employee information had been stolen from its other casinos, including The Venetian and Palazzo on the Strip.
"We continue to work diligently with law enforcement officials and internal and external forensic IT experts to recover damaged data, restore lost data and determine the extent of data impacted in Las Vegas, as well as to ensure that the cyber criminals are identified and prosecuted," Reese said.
The cyber attack forced Las Vegas Sands to remove all the company's individual casino websites as well as the company's corporate website from the Internet. The company's presence was restored almost two weeks ago, but the website were scaled down from their original features.
In video images from the original cyber attack, hackers defaced the company's casino websites with images condemning Las Vegas Sands CEO Sheldon Adelson for comments he made last fall at Yeshiva University in New York about using nuclear weapons on Iran.
Adelson is an outspoken supporter of Israel and a generous donor to Republican candidates.
Two weeks ago, a 11-minute video surfaced purporting to show stolen internal company information and taunting the company. The video was e-mailed to several media outlets and was posted to YouTube.com, but was pulled down by the website.
The video showed what was described as internal information from Sands Bethlehem, including passwords, employee files, and other private information about the casino and its workers.
Bubble quotes with the words, "Do you really think that only your mail server has been taken down?!! Like hell it has!!", "So there!!!" and "Wow!" were superimposed on screens showing central server identification and proprietary information from the casino.


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A popular Republican from Pasco County is throwing his weight behind Denise Grimsley in the race for Agriculture Commissioner.
With Nocco's nod, Grimsley, a state Senator representing Sebring, now has the backing of 33 county sheriffs. She's also received endorsements from the Florida State Fraternal Order of Police and Florida Professional Firefighters.
Gov. Rick Scott in 2011 appointed Nocco as Pasco's sheriff. He won the election in 2012 and ran unopposed in 2016. State House Speaker Richard Corcoran appointed Nocco to the 2017 Constitution Revision Commission, which wrapped its work in May.
While Grimsley has close to half of Florida's county sheriffs backing her bid for the Cabinet seat, she isn't the only candidate racking up local support.
On Wednesday, state Rep. Matt Caldwell, one of Grimsley's Republican primary opponents, announced a slew of endorsements from municipal leaders across the state, including one from former Pasco County Sheriff Bob White.
Grimsley, Caldwell, former state Rep. Baxter Troutman, and retired U.S. Army Col. Mike McCalister all are competing for the Aug. 28 Republican primary. The winner of that race will go up against one of three Democratic hopefuls: Nikki Fried, Jeff Porter and David Walker.


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Have I missed this config option or is it coming in a later update?
In grid mode the folders aways display first (even on iOS). The difference is that on Apple TV there is only grid mode available currently.


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TE Trey Burton reaches deal with Colts, reunites with Frank Reich
The Indianapolis Colts have agreed to a contract with tight end Trey Burton, his agents at EnterSports Management announced Wednesday.
🚨🚨 BREAKING 🚨🚨#TeamESM client Trey Burton has agreed to terms with the @Colts! We're so excited for @TreyBurton8 to reunite with Head Coach Frank Reich! pic.twitter.com/kkFGaNq0Xu
— EnterSports Management (@EnterSportsMgmt) April 22, 2020
The move reunites Burton with coach Frank Reich, who was the Philadelphia Eagles' offensive coordinator when Burton was with that team.
Burton is looked at as a potential replacement for Eric Ebron at tight end. Ebron signed with Pittsburgh after his two seasons with the Colts ended with his surprise announcement that he was having season-ending ankle surgery in late November 2019.
Burton gives the Colts another pass-catching threat in Reich's offense, which is big in using tight ends. Burton will have a chance to be the No. 2 tight end behind Jack Doyle next season.
Burton became a free agent when he was released by the Chicago Bears on April 17 after two seasons with the club.
He played only eight games last season before suffering a season-ending calf injury, and he had hip surgery to address a labrum issue in December. He finished the season with only 14 receptions for 84 yards and no touchdowns.
He is expected to be ready before training camp, a source told ESPN's Adam Schefter.
Burton, who turned 28 in October, started all 16 regular-season games during his first year with the Bears, catching 54 passes for 569 yards and six touchdowns, but he was a surprise inactive for the wild-card loss to his former team, the Eagles, with a groin injury.
He later underwent sports hernia surgery prior to the 2019 season, but he was slow to recover and experienced a setback in training camp.
Burton entered the league as an undrafted free agent with the Eagles. The tight end spent four years primarily as a backup in Philadelphia, but he's remembered for throwing a touchdown pass to quarterback Nick Foles on a trick play — named the 'Philly Special' — in the Eagles' Super Bowl LII victory over the Patriots.
ESPN's Mike Wells and Jeff Dickerson contributed to this report.


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The Ides Of March (2011)
Cast: Ryan Gosling, George Clooney, Phillip Seymour Hoffman, Paul Giamatti, Marisa Tomei, Evan Rachel Wood
Before I begin my review…..
As awards season creeps closer, I and most probably all the other film geeks out there are expecting to see an increase in the calibre of films.
Honestly, I was expecting The Ides Of March to be one of the big contenders this year. Killer cast, director and a storyline that has a world of opportunities. Although there were actually some aspects of the film which I believe are quite magnificent, I'm hoping there are some films which are nominated and are of better calibre than this otherwise it symbolises a particularly mediocre year in film. I'm not saying I am writing The Ides of March off as far as Golden Globes and Oscars go as weirder things have happened and I know my opinions are not shared by everyone out there.
However, Ryan Gosling….I feel confident in saying that he will get a Golden Globe and perhaps even an Oscar nomination for either Drive or The Ides Of March.
How about some more predictions while I am at it? Either Meryl Streep for The Iron Lady or Michelle Williams for My Week With Marilyn will win the Best Female In A Leading Role. I haven't seen either of the films yet so I may change my mind once I see them, but judging by the small parts of the film I have seen they are forces to be reckoned with. Plus Streep is long overdue for her next Oscar win and Williams is due for her first.
But let's talk about The Ides Of March,
The Ides Of March is the perfect example how you can have everything it takes to make a brilliant film, yet it can be the script that can completely let you down.
Although there are some magnificent things about The Ides Of March such as the cinematography and a power house performance by Ryan Gosling, George Clooney, Beau Willimon and Grant Heslov's screenplay slows down the film at an alarming rate to point where it is just a chore to sit through.
Governor Mike Morris (George Clooney) is running for President with a powerful team behind him which is led by Stephen Meyers (Ryan Gosling) and Paul Zara (Philip Seymour Hoffman). Stephen dedicates his life to politics and is committed to seeing Morris win the presidential race. He sees himself working in the White House, whether it is with Morris or not. After a meeting with the opposition parties campaign manager, Tom Duffy (Paul Giamatti) Stephen starts to wonder whether he would put his loyalties ahead of his ambition. Further complications arise with his relations with campaign intern, Molly Stearns (Evan Rachel Wood) when she reveals a secret to him that changes everything.
The problem lies primarily with the screenplay. The story of The Ides Of March has so much potential. IT should be riveting and captivating. Yet nothing moves quickly in the film and it slows down the interest of the audience in return. It isn't always a bad thing if a film is slow, but The Ides Of March has no suspense to it at all. Stephen's situation in the film and the presidential race of Morris is worthy of suspense and the audience should feel the importance in their situations. However they don't, it all just feels flat lined.
Clooney's direction is a little inconsistent throughout the film. His choices of editing and cinematography have maestro moments and he brings out the best in his actors, yet he is partly to blame for the lack of suspense and urgency. The director should employ tactics to increases these features. Maybe he never knew they were lacking?
However, the cinematography is still very well done. One stunning image is of Gosling's silhouette up against a huge American flag. So stunning it should have been the film's official poster. The opening of the film is also visually stunning and very effective.
Ryan Gosling gives by far the most outstanding performance in The Ides Of March. He has such a range of emotions which he exhibits and his character has so many developments throughout the film. He goes from cocky, to unsure, to emotional, to broken and then back again. He carries the film so well and there is no doubt he is one of the best things about it.
Clooney directs himself well, but his performance is not one that goes above and beyond. His character doesn't change at all throughout the film despite what happens to and around him. Philip Seymour Hoffman has some great moments, such as his hotel room discussion with Stephen.
Evan Rachel Wood is okay, but not entirely convincing in the part she plays. You never quite figure out what type of girl she really is. She is a bit of an enigma. Marisa Tomei is very convincing in her role as journalist, Ida Horowicz. She is tough, but actually likable.
Not the worst film you will see this year by any means, but not enough to cross the line into the land of films you will not forget.
Posted by NP1982 at 4:45 AM 2 comments:
Labels: drama, evan rachel wood, george clooney, marisa tomei, paul giamatti, philip seymour hoffman, ryan gosling
Moneyball (2011)
Director: Bennett Miller
Cast: Brad Pitt, Jonah Hill, Philip Seymour Hoffman, Robyn Wright
Before I begin my review…
Moneyball is a sports movie with a difference. Even though there is plenty of baseball romanticism, it shows that there is more to sport than what happens on the playing field. Probably a good thing we have a film like that as the sports movie where the losing team eventually becomes the winning team and everyone is left feeling happy is becoming very cliché and boring.
You have really got to hand it to Billy Beane for completely changing the way sports teams are run. This isn't just restricted to baseball, you can see it in American grid iron football and even in rugby codes. Being a team is all about working together and not just having a few stars and back up dancers (if you can think of it that way).
However, Billy Beane and Brad Pitt really look nothing alike. I would've though Brad Pitt would have dyed his hair darker for the role at least.
And just for the hell of it, go Red Sox!!
Moneyball gives us the type of sports movie we have been waiting for since the likes of Jerry Maguire.
You cannot have a sports movie without some winning and losing and sports footage, but Moneyball shows what happens behind the scenes to those who sometimes miss out on all the credit. It is the intelligent sports movie.
Ex baseball player and now General Manager of the Oakland Athletics, Billy Beane (Brad Pitt) is stuck with the tough job of rebuilding the team after their three star players leave at the end of the season. However, he has to do this on a tiny budget compared to all the other teams in the league which means not being able to afford players of the same calibre as the ones who have left. With his new Assistant General Manager, Peter Brand (Jonah Hill) he devises a plan to focus more on runs rather than stars and is ridiculed and scorned by all those around him at the A's.
The best thing about Moneyball is that it is intelligent. The script by Steve Zaillian and Aaron Sorkin is very well written and covers all bases.
This is director, Bennett Miller's second feature length film (his first being the critically acclaimed Capote) and he has once again done a great job. The way he has assembled the script against the visuals and combined visuals of the A's actual games and filmed cinema footage is commendable.
However, because Moneyball does focus so greatly on the script and the story, it is quite slow and many people will not quite appreciate the sequences of pure conversation with not much else happening.
Brad Pitt is fine as Billy Beane, although in some moments he is better than others. In the first half an hour, he isn't quite convincing in his role. It seems as though he isn't really acting, just sitting down and talking to his co-stars. His best moments in the film are the moments where he is in a fit of rage. In his defence though, it is not one of the hardest roles of his career and he does fine.
Jonah Hill gives a good performance as the brains behind Beane's plan and embraces a character different to the ones he normally plays. Philip Seymour Hoffman is satisfactory in his role as the A's team manager.
A sports film that not only sports fans will enjoy. One completely refreshing thing about Moneyball is that it is one of the only Hollywood films released this year where there isn't a romance between two people subplot. Something to be rejoiced.
Posted by NP1982 at 6:54 PM 2 comments:
Labels: biopic, brad pitt, jonah hill, philip seymour hoffman, sport
Director: Nicholas Winding Refn
Cast: Ryan Gosling, Carey Mulligan, Bryan Cranston, Christina Hendricks, Oscar Isaac
I have a brilliant idea.
We all know how this year is the year of the Rabbit in Chinese astrology and next year is the year of the Dragon. I'm not necessarily into astrology for reasons which are my own and I'm not going to start a debate about it here, but I propose each year to be a year of a particular movie star. This "movie star" year is selected according the achievements of a particular movie star of that year. Not like the Oscars, as the Oscars are based on one performance. This is based on a year of work.
Only problem is that it is usually in the second half of the year that you notice that you have pretty much seen this actor in almost everything that year. You know what I mean. 2004 was the Year of Jude Law. His film roster that year included I Heart Huckabees, Sky Captain and The World Of Tomorrow, Closer, Alfie and The Aviator. That's an impressive year. Unfortunately Movie Critical wasn't in existence then, so seven years later we will declare 2004 the Year of Jude Law! Well done Jude!
Back to the present, I proclaim 2011 to be the Year of Ryan Gosling. He has had a big year. He has starred in Crazy Stupid Love, Drive and The Ides Of March, as well as short Quiet Ryan. It seems as if we have seen Gosling everywhere the past few months. He was also nominated for a Golden Globe at the beginning of 2011 for Blue Valentine.
What do we love best about Gosling? Not the so called "photo-shopped" chest which Emma Stone refers to in Crazy Stupid Love, but that he never gives anything less than 100% in every single one of his performances. He's a good looking boy, but don't let the looks fool you into thinking that that's all he relies on in his movies. Just watch Drive.
Drive is an absolute sackful of surprises.
For the first half of the film, you think it is one type of the film. However at the halfway point it completely switches pace, rhythm and becomes a totally different film entirely. It may not be the change some are happily expecting, but it does allow intrigue and keeps up interest in the film.
Ryan Gosling's Driver is a Hollywood stuntman by day and is a hired getaway driver for criminals at night. He lives a solitary life and avoids emotion of any kind. That is, until he meets his neighbour, Irene (Carey Mulligan) and her son, Benicio (Kaden Leos). He finds himself becoming drawn to both of them, even when Irene's husband, Standard (Oscar Isaacs) is released from prison which leads to inevitable complications with his emotions and profession.
Drive is very well directed by Nicholas Winding Refn. The cinematography is truly brilliant and he makes the most of every scene no matter how non-aesthetically pleasing the contents of that scene may be. Refn is a fan of the mirror reflection shot and this is used a great deal throughout the film.
There are aspects of Drive which seem extremely 1980's, such as the pink handwriting at the beginning of the film and the somewhat retro music played throughout.
The first half of the film is quite slow, but is so in order to create character for the Driver and also for Irene and her family. However, once Standard and Driver team up the film does a complete 360 degree turn and changes entirely. It becomes fast paced and action packed and really quite violent. There are fragments of the infamous Bonnie and Clyde scene with the addition of a great deal more blood.
The car chases in the film are particularly memorable and prompt you to reach for your seatbelt like you are on a ride and afraid of falling out.
Ryan Gosling does a good job in his role, but you really wish you knew more about his character. However, it is interesting that for the lack of character development, you feel an instant relationship with the character from the first few scenes. His acting is really quite good for a character who doesn't say much or show much emotion. You are able to see the subtle flicker of emotion in his eyes during the relevant scenes. Yet, you do wish at times that he might say a bit more.
Carey Mulligan never puts in a bad performance, but it doesn't seem like the best role for her. She is sweet, but not a strong role really. Oscar Isaacs is believable and actually quite likable, which is a surprise for a criminal. Christina Hendricks doesn't have a big role, but she doesn't do badly. It is a big change from her Mad Men persona.
Not a typical "rev-head" movie so does draw in a wider audience. Not for those who cannot stand blood.
Posted by NP1982 at 11:34 PM 1 comment:
Labels: action, carey mulligan, drama, ryan gosling
Director: Roland Emmerich
Cast: Rhys Ifans, Vanessa Redgrave, Joely Richardson, Sebastian Armesto,
Before I begin my review….
So Anonymous isn't sitting well with those at Stratford-Upon-Avon. I can't imagine why (sarcasm intended here).
Although I think the whole concept of Anonymous makes for a great story and conspiracy theory, I'm not really convinced. I know it is impossible for me to say with any great confidence as I was not alive in Tudor England (funny that) and therefore do not know any people who could have been involved in the "cover up". All research I do on the internet on this subject is completely non-conclusive and doesn't really present anything else that I hadn't heard in Anonymous.
There is also no real evidence that Queen Elizabeth I gave birth to any illegitimate children let alone as many as they say in the film. There's always at least one commoner in history who wants to tell the whole world that they have or are*insert famous person name here* illegitimate child. In Tudor times there was no way to tell whether it was true or not unless the Queen herself came forth and said that it was true. It does sound like a fun idea to make believe, doesn't it? You may get treated like royalty and may earn a few shillings! Or people may think you are crazy.
Anyway, I am a fan of Shakespeare and of Tudor England so it was all fun and interesting to me either way.
Was Shakespeare a fraud?
It doesn't really matter when it comes down to it in this case, just as long as the film is entertaining and brings people into the cinemas. The subject matter is certainly interesting in Anonymous and the controversy surrounding it is enough to make people want to come in and find out what all the fuss is about. It is interesting enough, but there seems to be something missing.
In Tudor England under the rule of Queen Elizabeth I (Vanessa Redgrave), the stage is gaining in popularity with the emergence of actor turned play writer, William Shakespeare (Rafe Spall). However, Ben Johnson (Sebastian Armesto) knows the truth…that Will Shakespeare is illiterate and all his plays were written by Edward De Vere, Earl of Oxford (Rhys Ifans). The Earl has to keep his name hidden due to his and his plays personal connection to royalty.
There are some terrific moments in Anonymous and some moments where you wish the film would just hurry up and get on with it.
The opening of the film is an interesting choice by director Roland Emmerich. It does work as an introduction, but there are other more fitting ways the film could have begun that would have been more fitting for the story and time period. Some of the editing is also a bit of a strange choice and the flashback sequences are a bit erratic.
Visually, the whole film is stunning and it is a beautiful period piece. The costumes, especially those of the Queen, are amazing.
The script, written by John Orloff, is tight and very clever, never forgetting that this was taking part nearly 500 years ago and the language needs to always be appropriate of that time. It contains lots of historical fun facts and is a good learning experience for all the audience.
The part of the film that lacks the most is that it does go for about half an hour longer than what it should. It isn't boring as a result as such, but more just takes a bit longer than what it should to get to the point.
There are some really credible performances in Anonymous, yet no actual feeling of being emotionally connected to any of the characters. Perhaps the only character you feel really attached to and have some sort of feeling to is Edward De Vere, Earl of Oxford as Rhys Ifans. This role is the best of his career so far and he is truly superb in it.
Mother and daughter team of Vanessa Redgrave and Joely Richardson are wonderful as the young and older Queen Elizabeth. Richardson brings out both the sweet and fiery side of the younger Elizabeth and Redgrave is completely memorable in her portrayal as the older Elizabeth. It is not often we see Elizabeth at the end of her reign on screen and she is wonderful.
Sebastian Armesto's performance seems like it is almost supposed to be comical at times, even though this is not the intention. One of his first scenes when he bursts onto the stage in rage of his play being received wrongly, it almost seems like a Monty Python.
Jamie Campbell Bower is wonderful as the young Oxford and continues his good form and rise to fame with this film.
If not a little far-fetched and a little too long, still an interesting and half an entertaining watch.
Posted by NP1982 at 1:48 AM No comments:
Labels: drama, jamie campbell bower, joely richardson, rhys ifans, vanessa redgrave
Cast: Owen Wilson, Rachel McAdams, Michael Sheen, Kathy Bates, Marion Cotillard, Carla Bruni, Adrien Brody
You know, there is a difference between thinking a film is a good film and truly liking it. Of course the two can usually come hand in hand with each other, but you can walk away from a film saying "Yes, it was good", but it is different to walk away and saying "I really loved that film!"
Being a reviewer, I see many films that I know are great films and because I am a fan of great film, I do like them. Yet that doesn't mean that I am going to put the film on my list of all-time favourite films.
On my list of favourite films, there are many films which I would consider great film, others which I know perfectly well won't end up on any "Greatest Films Of All Time" lists…except mine. These are the films which you think are great films, but you have that extra emotional attachment to them because they strike an interest with you or you can relate to them.
Why am I talking about this? Because I loved Midnight In Paris! It is a good film, not one of the best films at the year or a contender for the Academy Awards (but I wouldn't mind seeing it as one!), but it had a lot of me in it. I love the city of Paris, I loved all the literary and art maestro's in the film and I love films that take you back to the glory days or yesteryear. Yes, I do want to live in Paris in the 1920's. And if I do, I want to look and dress like Marion Cotillard.
Here is my review…
It's been a long time since Woody Allen has made a critically acclaimed film and you may have heard that Midnight In Paris is his best film in decades. You may like to know that this is true.
Woody Allen is completely back to form in Midnight In Paris. He has discharged the trends in the films he has made in the past 10 years which were still selling cinema tickets, but clearly not working for him. Midnight In Paris is subtle but charming and very sweet. It is almost like a modern day fairy tale with the all-important moral of the story at the end. New territory for Allen, but it works.
Hollywood screen writer, Gil (Owen Wilson) and his fiance, Inez (Rachel McAdams) are on a trip to Paris. Gil, who is struggling to write his first novel, falls in love with the city, while Inez is quite the opposite and doesn't romanticize Paris the way her fiancé does, except if it includes her friends and in particular old flame, Paul (Michael Sheen). Gil decides to take a night walk back to their hotel while Inez goes out dancing, and he finds that Paris comes alive at midnight.
It is completely obvious within the first five minutes that Allen is in love with Paris the same way he is with New York. His montage of Parisian landmarks and Parisian life is a wonderful way to set the scene and make the audience fall in love with the city. His cinematography of the city is loving and beautiful.
People who are not fans of Allen's past work will still enjoy Midnight In Paris, as it is completely different from the majority of his films. It hasn't got the same "weird" vibe as most people describe his films as having. It is a load of fun, and helps if you know a bit about great writers and artists of the early twentieth century to make it all the more fun. Some people may find it all just a bit silly and the concept completely ludicrous, but there is no doubt it is entertaining.
The script is very clever for a subject which is actually quite simple when it comes down to it. The concept of going back in time is not a new one, but it seems completely fresh in this film and Allen does a wonderful job of recreating both turn of the century Paris and 1920's Paris.
What the best thing about Owen Wilson's role in this film as opposed to his past roles, is that he comes across a lot more natural than usual. He is often criticised for giving forced roles where she seems like he is trying too hard to be funny, but here he is just completely at ease. He gives one of his best performances in years.
Wilson and Rachel McAdams are completely mismatched on screen, which means that they have achieved their objective. Unfortunately, she is not quite as believable as the hard to handle fiancé. She seems like she still really wants to be nice so her performance does feel forced.
Alison Pill and Tom Hiddleston are a real treat as Zelda and F. Scott Fitzgerald and Adrien Brody is hilarious as Salvador Dali. Marion Cotillard is charming as usual and completely at home in her city of Paris.
A wonderful treat, especially for those who love Paris.
Posted by NP1982 at 10:33 PM 2 comments:
Labels: adrien brody, comedy, marion cotillard, michael sheen, owen wilson, rachel mcadams, tom hiddleston, woody allen