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Tag Archives: economic development trust
HDC, News, public private partnerships
The public have seen little accountability from the Horowhenua NZ Trust formed last year
December 26, 2018 Pam Vernon	3 Comments
From Veronica Harrod
Last month Horowhenua deputy mayor Wayne Bishop's land and property development company was sold 2.7 hectares next to land earmarked for transfer to the Horowhenua New Zealand Trust.
On 2 November Wayne Bishop Investment Ltd purchased half a hectare of a former industrial site at 56-62 Cambridge Street South for $480,000 and 2.7 hectares of land behind it for $360,000. It is the first time the 2.7 hectare block has been sold.
The 2.7 hectare of land now owned by Cr Bishop's company is directly beside 7.6 hectares of public land owned by Horowhenua District Council at 72 Cambridge Street South earmarked for sale in Council's November 2015 Property Strategy.
Last year Council voted to establish what it referred to as an "economic development trust" called the Horowhenua New Zealand Trust (HNZT) and transfer up to 40 percent of public assets to the trust as "seed capital" which includes the 72 Cambridge Street South site.
The Cambridge Street acquisitions are in close proximity to three other land purchases by Cr Bishop's land and property development company in Hinemoa and Liverpool Street totalling almost 12 hectares of prime real estate.
Almost one hectare in Hinemoa Street has a rateable value of just $165,000 but a Capital Value of $1.2 million.
The valuation of Cr Bishop's Speldhurst development, being built in stages on the 48 hectare former Kimberley Hospital site, increased by 430 percent in 2016 from $3.8 million to $20.3 million. The site is still listed as "leasehold land" on Quotable Values database, "meaning someone else has a freehold interest in the property."
Cr Bishop was deputy chair of the Economic Development Board (EDB) and six former board members are now all trustees of the HNZT.
Since six members of the EDB were named as trustees Council has removed all references to the EDB from its website although there has been no formal announcement the board has been dis-established.
On 18 October 2018, five months after HNZT was registered, a financial services company called The Horowhenua Company was established naming all but one trustee of HNZT as shareholders.
Former EDB chair and trustee of HNZT Cameron Lewis is a director and a shareholder of The Horowhenua Company.
The other shareholders include former EDB members and trustees of HNZT Antony Young, Evan Kroll, Larry Ellison and Ron Turk.
The majority of councillors voted in support of Council's chief executive officer David Clapperton assisting the trust but voted against Mayor Michael Feyen being involved.
The author further comments:
The public have not been provided with any information since the Horowhenua New Zealand Trust was registered on 31 May. Has land already been sold or transferred to the trust? Council's chief executive David Clapperton has made conflicting statements. He initially said the public would be consulted. But then he released information that stated the public did not have to be consulted on the sale of $28 million property because it was "non-core" property; not significant or "core" property. Has 72 Cambridge Street South already been transferred to the trust? What other property has been transferred? A Stuff article of 28 June [five months ago] states "the first group of properties are expected to be transferred in the next few months." The public were assured the trust structure included accountability however the public have seen little of that. Instead it appears the public know little to nothing that is apparently being done on the community's behalf as a charitable trust.
Clappertoneconomic development trustland transfersproperty developmentSpeldhurst developmenttrusteesWayne Bishop
Agenda 2030, Agenda 21, HDC, News, property development, public private partnerships
Horowhenua Council considers selling off large amounts of Council property by way of public private partnerships
December 3, 2017 Pam Vernon	3 Comments
EWR Note:
Public Private Partnerships "…the players with the most money control the partnership…. the bottom line of Public Private Partnerships is to take control of the assets of Government"… Joan Veon
Watch Joan Veon's video explaining this at the link.
From the NZ Herald
Horowhenua District Council is preparing to possibly sell off large amounts of council property or shift it into an independent trust.
A proposed work programme has a project to be developed before July to sell property or transfer it to a yet-to-be-established economic development trust. The trust would be independent of HDC.
The work programme comes as part of an HDC report released last week that proposes establishing the trust. The trust's creation is likely to be ratified by HDC next week
According to the report, from HDC's economic development manager Shanon Grainger, HDC should only hold property required to deliver core services.
That report follows another from Mr Grainger in July saying HDC owned 40 percent too much property and should look to sell.
Excess property would fund the trust, HDC has said. It saw the trust as a move to boost the district's economic performance.
The trust would look at setting up public private partnerships using private money and HDC assets transferred into the trust.
Last week's report said the trust would invest mostly in areas where the market had not. It gave a truck park facility as an example.
http://www.nzherald.co.nz/wanganui-chronicle/horowhenua-chronicle/news/article.cfm?c_id=1503788&objectid=11945141
PUBLIC PRIVATE PARTNERSHIPS ARE AN ARM OF THE WORLD'S GROWING CORPORATOCRACY & THEIR BOTTOM LINE IS TO TAKE CONTROL OF THE ASSETS OF GOVERNMENT … JOAN VEON
The Horowhenua DC's Economic Development Committee that Looks Not Unlike Insider Trading
economic development trusteconomic performanceselling council land


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Steve at the Movies Oct 06 2006
Chicago International Film Festival preview, The Departed, The Last King of Scotland, Al Franken: God Spoke and Darshan: The Embrace
Three Questions for:
Tricia Moreau Sweeney, Photographer
Tales of Blagg the Axman
Saved from the Rooks
Hey, everyone. Yesterday was the first night of the two-week period I look forward to the most in this city: the Chicago International Film Festival (http://www.chicagofilmfestival.org), the longest-running film festival in North America. That doesn't make it the most relevant or the most prominent festival (it's not), but it's still worthy of any film lover's attention. I can't remember the last time CIFF had so many great high-profile films in its lineup, and hopefully by the end of its run, I'll be able to report that it also had a great assortment of lesser-known gems. I have screened a handful of the fest's big-ticket offerings, so allow me to preview them with the promise of slightly longer reviews to come when they are officially released.
The opening night offering was Stranger Than Fiction from director Marc Forster (Finding Neverland). Forgetting that the concept of the film (an IRS agent hears a female narrator detail his every move, and he attempts to find out who she is) seems like a rejected rough draft of a Charlie Kaufman script (written by first-timer Zach Helm), the film just did not hold my interest. And it's shocking that, in a film starring Will Ferrell (in his stone-faced serious mode) and Emma Thompson, the most exciting and interesting part of the work is a lively performance by Dustin Hoffman as a literature professor Ferrell turns to for assistance when he discovers the writer intends to kill him off soon. On paper the film sounds like a winner, but Forster manages to drain all the energy from the production. Ferrell walks around like a zombie; Emma Thompson as the writer plays her role as a caricature of a wacky novelist; and Maggie Gyllenhaal as the object of Ferrell's affection and audits might have been better if she didn't disappear for huge chunks of the film. I'm guessing the reason Stranger Than Fiction is opening the festival is because much of the film was shot here (although the setting is never expressly identified as Chicago), but I have to chalk this one up as a disappointment.
You can stop speculating about at least one category of next year's Oscars. Put your money down now: Helen Mirren will walk away with the Best Actress statue for The Queen. I can't remember a more fearsome and fearless performance by an actress in years as Mirren plays the current Queen of England, Elizabeth II, during the period between the death and funeral of Princess Diana. In the capable hands of director Stephen Frears (High Fidelity; Dangerous Liaisons, and who is expected to be in town for the screening), this film covers one of the most important periods in recent British history, when the royal family's lack of public response or reaction to Diana's death changed the way the public viewed the monarchy. Equally Oscar-worthy is Michael Sheen as newly elected prime minister Tony Blair, whose respect for the monarchy is clear, but which doesn't stop him from making several stern "recommendations" to Queen Elizabeth to address her still-loyal subjects, despite the fact that Diana was no longer technically royalty. The Queen surprised me at every turn in terms of who among the royals is sympathetic and whose behavior is still unforgivable (let's just say Prince Phillip, played by James Cromwell, doesn't come off very well). At times critical, other times a glowing tribute to the monarchy, The Queen is an astonishing and timely drama about an event that still stings many around the world.
Babel is the latest portrait of despair from Mexico's Alejandro Gonzalez Inarritu (also expected to be present at the screening), who uses three loosely connected storylines (as he did in Amores Perros and 21 Grams) set in Japan, Morocco and the United States/Mexico to convey tales of isolation, pain and ultimately a fleeting sense of hope. The film will be easily identified by most because the storyline features Brad Pitt and Cate Blanchett as Americans traveling in Morocco. While the pair is riding a bus through the lifeless mountains, a bullet comes ripping through the window and into her neck. In the middle of nowhere, Pitt is forced to battle the American political bureaucracy to get help for his dying wife. It's his finest on-screen performance at a time in his career when we could use a fresh reminder of his talents. The most disturbing story is set in Japan, about a teenaged deaf girl whose mother committed suicide and whose father (the great Koji Yakusho) is rarely around to comfort her. She acts out sexually in a desperate attempt to lose her virginity, which leads to some awkward and sad encounters with strange men. At its core, Babel is about the relationship and gulf that can develop between parent and child, but it is also about the figurative and literal inability we have to communicate with others (in all the stories, two people not being able to speak the same language is a key element). This film is just about perfect, but it's a heavy load to carry for its nearly two-and-a-half hours, and you could leave the theatre feeling a little less sure about the world. Still, experiencing Babel is a lasting and powerful thing.
From writer-director Dito Montiel (who also wrote the original book and will be in Chicago for the screening), A Guide to Recognizing Your Saints is an honest and gripping look at one of the toughest and most dangerous places to be in the mid-1980s: Astoria, Queens. Filled with the colorful language and ferocious energy that can only come from the overflowing testosterone of teenage boys, this is a constantly moving study of young, directionless Dito (Shia LaBeouf) and his destructive and self-destructive friends. But this is also a look at Dito 15 years later (Robert Downey, Jr.) coming back to his old neighborhood when his father (Chaz Palminteri) becomes ill and refuses to go to the hospital. The trip opens old wounds and sets loose memories both good and bad. He remembers his old sweetheart Laurie (Melonie Diaz as a teen, Rosario Dawson as an adult), and the guys he used to run with, including the explosive Antonio (Channing Tatum, who turns in the film's most frightening and unforgettable performance). What strikes you immediately about Saints is its language and temperament. Characters are always yelling at each other even when they aren't mad; four-letter words are clearly the most popular, even around parents; and anyone who isn't like you is a threat. The film is reminiscent of early Scorsese, both as a love-hate remembrance of the days of angry youth and as a portrait of a man returning to a world that made him the man he is today, for better or worse. There are many questions left unanswered about characters' fates and how Dito puts to bed his past, but that's like life: not everything wraps up nice and clean.
I also really liked the writing-directing debut from actress Joey Lauren Adams (Chasing Amy; The Break-Up), whose beyond-low-key Come Early Morning is an honest and authentic look at a small-town woman (Ashley Judd, reminding us what a tremendous actress she can be) whose troubled upbringing results in her essentially becoming the town's drunken slut. But the film's real focus is her struggle to shed her hard-learned ways when she meets a man (Jeffrey Donovan) who actually wants to kiss her when she's sober and have her stick around when the sun comes up. After a string of mostly ludicrous crime-thrillers, Judd returns to the type of role I knew she was capable of since she first caught my eye in Ruby in Paradise. But more impressive is Adams' sure-handed direction. The film doesn't have much of a plot, but this isn't really a problem. As a look at small-town life, it's a winner. Laura Prepon gives a sweet and moving performance as Judd's roommate who still believes in true love. Without resorting to a series of explosive dramatic encounters, Come Early Morning instead relies on small, deeply felt scenes that add up to something quietly meaningful.
Directing his first film since the wonderful Hedwig and the Angry Inch, John Cameron Mitchell dazzles us with Shortbus, an examination of today's sexually active New Yorkers. Although done with a light-hearted touch, the film does feature some heavy moments thanks to some strong performances and a touching soundtrack. This swirling feature moves between several characters with their own brand of sexual preference and hang-ups. I'm not sure if Mitchell's message (assuming there is one) is 100 percent clear, but there is a free spirit that reminds us that even in the world of AIDS, people should not forget to be daring and experimental. There are elements of performance art, cabaret, S&M and politics, all leading to the den of sins known as Shortbus, where anything goes. The entire cast is made up of first-time actors, most of whom engage in full-on sex throughout the film. Not simulated sex, but actual X-rated sex. Shortbus has a reckless spirit that is both refreshing and scary, and the final 20 minutes or so turn into an orgiastic musical number that is equal parts somber and celebratory. This is the kind of film that seems light and fluffy while you're watching it, but upon reflection, it has a deeper and more impressive heart than one might expect.
I have a couple dozen titles on my "to see" list at this year's festival, so stay tuned for more recommendations. Here are a few titles opening this week, and as usual the studios hid a couple new releases from the prying eyes of critics, including Texas Chainsaw Massacre: The Beginning and Employee of the Month.
You may have noticed, but I don't tend to work blue in my writing. There are family members who read my reviews, and they don't much care for the four-letter words. That doesn't mean I don't throw in the occasional curse word every so often, but if you look at my body of work, I usually only get dirty when I hate a movie so much, it makes me mad enough to do so. This is not the case with the latest Martin Scorsese masterwork The Departed. Oh no. Holy motherfucking shit, this movie rocks 18 different sizes and shapes of balls. Balls were rocked so hard, in fact, I think certain areas of the taint may have been injured. I walked out of this movie stumbling from exhaustion and with an awesome sense of uncertainty. How was I going to do this film justice in a review? Maybe I just did.
To say that Scorsese has returned to form is an insult to the man's between-gangster-films accomplishments. Returning to the world of organized crime is nothing new; he's reinvented the crime drama several times over with films like Mean Streets, Goodfellas, Casino and even Gangs of NewYork. But The Departed is more of a culmination (although by no means a finale) of the career of the greatest American director still alive and working today. People have been cautiously optimistic at Scorsese's return to the world of gangsters, and I'm here to tell you that you can officially lose any doubt. In a year when so many highly anticipated films have been either complete letdowns or not as good as they should be, The Departed is a film that is damn near flawless and exceeds expectations. If you read my preview of the Chicago International Film Festival, you'll see that a couple more damn near perfect films are on the horizon (Oscar baiting season has officially begun, after all), but this film is an earthquake in your soul.
It helps that Scorsese has assembled the greatest cast of the year. Leonardo DiCaprio plays Billy Costigan, a low-level Massachusetts State cop with no family and little to lose, who becomes an undercover agent in Boston's Irish mob, led by one of the most evil creatures ever to occupy a movie screen, Frank Costello (Jack Nicholson). Only his superiors, played by Martin Sheen and Mark Wahlberg (one of the few Boston-area natives in the main cast), know Costigan's identity. The other major player in the film's massive cat-and-mouse game is Colin Sullivan (Matt Damon, also a Boston son), who works as part of the Special Investigation Unit in the department, whose job is to take down Costello with help from the inside man. The only problem is Sullivan was practically raised by Costello and works as a high-ranking mole inside the department. Neither Costigan nor Sullivan know who the other person is, but they become aware of the other's existence eventually. The name of the game for everyone in this film is self-preservation, no matter what the cost.
It's an elaborate and sometimes overwhelming plot, but Scorsese and screenwriter William Monahan (Kingdom of Heaven) devote a lot of time and effort keeping everything clear and sensible. They also keep things bloody, tense and moving at lightning speed. Some of you may know The Departed's screenplay is based on the Hong Kong epic Infernal Affairs, which spawned two sequels and a sizeable following on this side of the Pacific. And the material is so strong and so clearly inspired by American crime dramas that it was only natural for someone to remake it. But for Scorsese to be so successful with such a winding and crazed plot…well, I don't know why I'm so surprised he pulled it off.
The crimes Costello and his crew are pulling off (involving everything from drug deal to selling hi-tech equipment to the Chinese government) hardly matter to the success of the film. DiCaprio and Damon are tougher and more intense than I've ever seen them before, and while Costigan acts on instinct and emotion, Sullivan is more calculating and clever. He sees every angle and every possible way he could get caught before he makes a move. Damon allows us to see the wheels turning in Sullivan's eyes, and it makes us fear him more because he's so cunning.
Rounding out the stellar cast are Kevin Corrigan, Alec Baldwin, Anthony Anderson, Ray Winstone and Vera Farmiga (Running Scared) as a psychiatrist who gets involved, unknowingly, with both men (perhaps the film's hardest-to-believe plotline). Some of these great actors are in fairly small roles, but nobody gets left behind, and everyone chews up scenery like it's made of candy.
As the two leads get deeper into their roles and their secrets are on the brink of getting blown, they get more and more desperate, careless and paranoid. Everything is so good about this film that it would be a shame to single out a particular performance come awards season (although Nicholson would be the obvious front-runner). This has to be the film that earns Scorsese his Oscar. This is arguably his finest work since Goodfellas, and I can't imagine any other movie in the roster of 2006 releases bouncing me off the walls like The Departed. Time to revise those "best of" lists again; I'm sure it won't be the last time in the next three months.
Ah, to be young and reckless with a medical degree in the early 1970s. What do you do first? Well, if you're idealistic and have an overwhelming need to help people, you fly to Uganda shortly after a coup led by a military dictator named Idi Amin has overthrown the government. Through the eyes of a composite Scottish character named Nicholas Garrigan (James McAvoy), The Last King of Scotland (a nickname Amin gave himself due to his inexplicable love of that country — but not Britain) shows us how Amin charmed his nation and the world before turning into one of the most paranoid, terrifying and blood-thirsty leaders the world has ever seen.
Dr. Garrigan goes to Uganda to work in a mission hospital alongside another doctor (Adam Kotz) and his wife (Gillian Anderson, looking as radiant as I've ever seen her), but after Garrigan and the doctor's wife nearly have an affair, he thinks it best that he find work elsewhere in the country. A chance meeting with Amin (played to Oscar-worthy perfection by Forest Whitaker) leads the pair to become friendly, and eventually Amin offers him a job as his family's personal physician, who would also be in charge of helping revamp the Ugandan hospital system. But it isn't long before Amin begins asking for Garrigan's advice on non-medical issues, including matters of state, foreign affairs and traitors within Amin's regime.
The job and the leader charm and overwhelm Garrigan, and he begins to think he's making a difference and getting paid well to do so. Parties, women and frequent audiences with Amin and his many wives are regular temptations that swell Garrigan's head and sense of self-importance. But Amin also sees Garrigan for what he is: a white man in an African nation and a potential defector. As Amin's behavior become more erratic and rumors begin to spread of mass killings and even Amin eating the flesh of his enemies, the tension in the nation and between the two men grows exponentially. Garrigan carrying on an affair with one of Amin's wives (Kerry Washington) doesn't improve matters.
When it stays focused on the complicated relationship between Amin and Garrigan, The Last King of Scotland is a terrific film. Unfortunately, the film strays far too often into subplots about Garrigan's sex life and the possibility of him becoming a spy (and possibly an assassin) for the British government (represented by a slimy creature played by Simon McBurney). I find it hard to believe that long-time documentary filmmaker and first-time feature director Kevin Macdonald (Touching the Void; One Day in September) doesn't realize his audience would want more of Whitaker as Amin. You can't take your eyes off him, and you watch his every move and facial expression to see the signs of the madman lurking just under the surface. I have nothing against James McAvoy, but his character isn't that interesting, especially next to Amin.
Even though The Last King of Scotland is ultimately an average film, Whitaker's performance elevates it to something unexpected and gloriously disturbing. Make no mistake, there are as many creepy and downright gory moments in this movie as there are bizarre and sometimes hilarious. Whitaker holds this film together and makes it worth checking out.
Al Franken: God Spoke
Although many see Al Franken as the man at the front lines of anti-right-wing policies and those who instigate them, really he is a bully for liberals and a guy who will not let people get away with spouting shit that just isn't true. He take episodes of Rush Limbaugh's radio show or Bill O'Reilly's television show or a book by Ann Coulter or a policy by the Bush administration, and he picks apart each and every statistic and statement they claim are fact. Of course for every Al Franken in the world, there are 50 on the other side ready to pounce on him, calling him every name under the sun and with far more anger. The one thing they don't seem to do is discredit his research.
From co-directors Chris Hegedus (Startup.com; The War Room) and Nick Doob, God Spoke is a small sliver of the fascinating life of Al Franken, in what might be the most important time in his life as a public figure and political activist. Beginning with the book tour to support Lies and Lying Liars Who Tell Them, we follow Franken as he debates (sometimes face to face, sometimes via various media outlets) with the likes of O'Reilly and Coulter; fights a Fox News lawsuit over the book's subtitle (A Fair and Balanced Look at the Right), which sparked phenomenal sales; and prepares for the launch of the syndicated radio network Air America just prior to the 2004 presidential election.
There's no getting around that it's fun to watch Franken do his thing, whether he's stumping for the late Sen. Paul Wellstone or going toe to toe with conservative mouth pieces like Sean Hannity or Michael Medved. We get snippets of some of his work on "Saturday Night Live" and other comedy outlets, but most of the time the film focuses on his more recent activities, such as providing spirited coverage of both the Democratic and Republican conventions. My favorite moment is when he meets Henry Kissinger at a high-profile Republican reception during the convention and does his spot-on impersonation of Kissinger right to his face. Franken's behavior throughout the party is a scream, especially when he hides in the coat closet to call into Air America to give them the play-by-play of the event.
You either find Franken hilarious and insightful, or he's the yappy little dog at your heals. God Spoke is far from flawless. If you like the guy, you should have no trouble embracing this imperfect but still deeply funny profile of this tenacious funny man, who never resists the temptation to tell an asshole he/she is a lying asshole. The film opens today at the Music Box Theatre.
Darshan: The Embrace
If the name Mata Amritanandamayi Devi doesn't mean anything to you, then this film may not mean much either. But over the years I'd read stories about the woman called Amma by her followers, who has hugged tens of million of people in her life as an Indian guru and spiritual leader. Taking a break from more action-oriented films (Dobermann; Blueberry), director Jan Kounen follows Amma throughout India spreading love, joy and an irresistible smile to all who see her. Darshan is not a biographical look at Amma's life, but rather an elegantly filmed love letter to a woman who has literally touched the lives of so many suffering people.
Her impact goes beyond simply giving hugs, as we see her disciples setting up to feed the thousands that come to see her at any given appearance. But what is most moving about the film is the handful of slow-motion scenes showing Amma embracing person after person, her hands never stopping as she cradles each head to her chest, accepts their gifts of fruit and dispenses candy to the children. It's a fluid process, perfected after decades of similar events. Still, the film shines brightest when we are simply listening to Amma talk. Her ideas about spirituality and inner harmony are simple and to the point, and, frankly, her radiant face makes it fun to listen to her speak. Darshan could have been shorter or less glorifying, but it doesn't feel over long or repetitive. Combining long tracking shots of some of the most beautiful places in India and uplifting spiritual words from Amma, Darshan is a cleansing gust of wind through the soul. It opens today at the Music Box Theatre.
A Windy City resident for nearly 20 years, Steve writes about everything but movies at his day job for a trade journal publishing company. Using the alias Capone, he has been the Chicago Editor for Ain't It Cool News since 1998, and has been writing film reviews since he was a wee lad of 14, growing up in Maryland. Direct your questions or comments to steve@steveatthemovies.com.

redpajama_set_name: RedPajamaCommonCrawl


The procurement and contracting function manages the process of tendering for the supply of goods and services, awarding contracts and ensuring they run smoothly. It is one of the operational functions most vulnerable to corruption, particularly the solicitation and receipt of bribes and kickbacks.
Sales and marketing functions that participate in contract tenders are also vulnerable. For example, employees may pay bribes to win orders, gain insider information (such as tender specifications before they are released) or influence tender specifications or procurement processes to make them more favourable to the company. Click here to see an example of bribery related to contract specifications.
The company should be rigorous in ensuring all staff engaged in sales, marketing and procurement activities receive appropriate anti-bribery training and are subject to anti-bribery controls, and that its anti-bribery programme and tendering procedures are communicated to and endorsed by all contractors and suppliers. Staff involved in procurement should not receive, or provide, gifts and hospitality from bidding companies.
The company's purchasing and contracting processes should remove any opportunity for employees to steer the award of a contract to a particular bidder. For large contracts, the company should apply a consistent and systematic review procedure to demonstrate the process is free from bribery. The company should be open about the process by which contracts of interest to stakeholders have been opened and awarded. It should notify unsuccessful bidders of its decisions and the basis for selecting winning contracts.
To manipulate the process for awarding contracts so that corrupt contractors will be selected who are willing to pay bribes and kickbacks.
To falsify documentation to disguise contracts awarded through bribery.
To create opportunities for corrupt contractors to improve their margins and earn additional fees to fund kickbacks and further bribes.
To encourage existing corrupt contractors to bid for other contracts and penalise honest contractors.
The company should give equal notice of tenders to all potential bidders (a common way of distorting the process is to tip off one supplier in advance and give others a short period in which to prepare their bid). It should check for red flags, such as the provision of hospitality to procurement staff by potential bidders.
Where bids are to be solicited through advertising and other channels, the company should ensure that they are disseminated widely.
There should be security for handling bids before and after opening so that corrupt bidders are not given inside information about specifications or competitors' bids.
When setting the specifications for a contract, the company should have checks in the process to ensure that the specifications are not distorted to match one particular supplier's product or services (thereby excluding or putting at a disadvantage other potential suppliers). Specifications should be drawn up to encourage a wide range of tenders.
The evaluation process should be subject to scrutiny, as corrupt employees can manipulate the evaluation criteria and weighting of decisions in favour of their preferred bidders. The bid validity period should also be monitored to make sure that corrupt employees are not deliberately delaying completion of the award process to force successful bidders to drop out. Due diligence should be carried out on contractors and suppliers and their agents. Special care should be taken in cases of sole or exclusive sourcing to ensure that the decision has been made as an exception, with due management checks and valid criteria, and that bribery has not played a part in the decision.
The company should have processes that prevent corrupt employees from generating funds for a bidder to pay bribes or otherwise giving them additional compensation. For example, an employee might help to increase the margins of a contract by accepting reduced quality services and products, or alter a contract after it has been awarded by including increases in fees due to changes in technical specifications. Billing for essential work not specified in the contract is an indicator of collusion between the supplier and the employee responsible for awarding the contract.
The company should make sure that equipment and services are actually provided and that they match the specification upon which the contract was awarded. Failures or delinquencies on contracts should be examined and sanctions applied for any breaches of procedures. The company should monitor the management of the contract to check whether honest contractors and suppliers are subjected to harassment or delays either during a contract or when bidding for new contracts. Conversely, corrupt contractors may be treated favourably to reward them for bribes paid during the bidding process and to encourage further bribery.
The company should communicate its anti-bribery programme before awarding a major contract and ensure that contractors and suppliers are willing to conform to it. Contracts should include a clause giving the company the right to apply sanctions, including termination, in the event of a violation relating to bribery. The company should ensure that the contractors' employees understand both the contractor's programme, if it has one, and the requirements of the contract with the company to observe its own programme.
The company should work in partnership with its major contractors, sub-contractors and suppliers to help them develop anti-bribery practices. It should meet them periodically, hold performance reviews and encourage compliance and business integrity. These meetings can inform third parties of developments in the company's programme, help them develop systems, give them information about bribery risks and be used for exchanging information. The company can work with its leading contractors and suppliers to ensure that their employees receive regular anti-bribery training and communications.
Technology can also make the procurement process easier through the use of self-service portals where the third party can fill in and upload the requisite due diligence data and update it periodically. Such systems can greatly reduce the time and cost of preliminary due diligence for both parties. Supporting systems can pick up anomalies in any data entered and raise red flags. For more information, see Third Party Management.
For more information and tools please see here.
A senior official at the UK Ministry of Defence (MoD) was given concurrent sentences of two years in 2007 in the UK for receiving bribes of more than £217,000 from Pacific Consolidated Industries (PCI), a US company, in return for providing confidential information to help PCI secure a £4.5 million contract to supply the British Armed Forces with gas containers. When PCI was taken over by another company, due diligence by the acquirer uncovered a total of nine corrupt payments paid over the years. The MoD official enjoyed lavish hospitality from the company: PCI's vice-president paid for the official and his wife to fly to the USA, put them up in luxury hotels and entertained them on his yacht. The information the official supplied included the amount allocated for the gas equipment and the specifications of the kit ordered in previous years. This put other companies bidding for the contract at a disadvantage under the tendering process as they would have received only the general specifications.


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Q: T-test or Mann-Whitney U test Given the central limit theorem, can you always use a t-test to test a difference between two groups even if the data are not normally distributed but the sample size is large enough? Stated in another way, if data are not normally distributed, would you only use Mann-Whitney in cases where the sample size is not large enough?
Is there a general rule of thumb for sample size minimum to be able to use the central limit theorem to state that the sampling distribution of the mean is approximately normal (despite the underlying data not being normally distributed)?

A: The issue of normal distribution assumption for Student t-test was already well explained and disused here: T-test for non normal when N>50?
For both test, the data needs to fulfil certain assumptions (discussed here) and the choice is largely determinated by the research question and features of your data. Sample size is important but it is only one of them.
Another good explanation is provided here.

redpajama_set_name: RedPajamaStackExchange


4 Major SEO Tips for Improving Your Website Ranking.
CSS validation is the process of checking that your CSS is properly formatted by W3C World Wide Web Consortium standards. While it's' not a ranking factor in search engine algorithms, there are certainly indirect SEO benefits to ensuring that your CSS is error-free.
SEO Ranking Skills La formation SEO la plus efficiente en 2017.
Stratégie, contenus, netlinking, tous ces points sont essentiels, mais au delà des conseils de référencement théoriques distribués de part et d'autre' sur la toile, SEO Ranking Skills c'est' la formation SEO qui vous permet, de voir ces techniques en pratique, mais surtout de pouvoir vous même les reproduire, pour positionner vos sites en tête des résultats de recherche.
The Ranking Myth: Theres No Such Thing as Ranking. There was a time, years ago, where SEO rank checking tools were fairly accurate and could provide a decent assessment of how your site was performing and allow you to check website SEO rankings.
All of this information is then placed into a scheduler for crawling at a later date. Website owners recognized the value of a high ranking and visibility in search engine results, 5 creating an opportunity for both white hat and black hat SEO practitioners.


text:
<?php

namespace App\Http\Controllers;

use Illuminate\Http\Request;
use Illuminate\Support\Facades\Auth;
use Illuminate\Support\Facades\Hash;
use App\User;

class APIController extends Controller
{

    public function getMembers() {

    	$request = request();
    	$key = $request->input('key');
    	if ($key !== env("API_KEY","123")) {
    		return response()->json("Invalid access");
    	}

        $members = User::where('membership_type', "!=", "x")
               ->orderBy('name', 'asc')
               ->get();

        return response()->json($members);
    }

}

redpajama_set_name: RedPajamaGithub


Advantech offers comprehensive solutions of railway signaling and Integrated Supervisory Control System (ISCS), inducing ITA-2000 Series, 3U CPCI, and Ethernet Train Networks. With compliance with EN 50121-4, they are the most suitable for wayside applications, such as interlocking, ETCS/CTCS, designed and functioned as front-end processor for railway ISCS solution, such as FAS, BAS and others. Not only solutions, Advantech rugged computer platform are designed with modular configuration, optional redundant power, and compliant with EN50121-4, building a more secure railway operating environment.
Conforms to all signaling and route locks to logical patterns, offering high levels of safety and activating comprehensive diagnostics that automatically reports to maintenance staff.
ETCS/CTCS are train control systems sub-divided into several levels. They have two subsystems (on the ground and onboard) using balises, track circuits, GSM-R, Radio Block Center, and onboard computer/communication to control train operations.
ISCS provides facilities for integrated, centralized and local control as well as supervision of electrical and mechanical subsystems, such as BAS, FAS, PIS, PA and others , located in stations, depots and control center. Due to its complicated systems, Advantech provides stable and scalable front-end processor to enable railway operation smoothly and efficiently, and ensure the best conditions for safety and comfort.
Building Automation System includes control elevators, escalators, lights, room temperature and others where systems can be activated or maintained 24/7 by industrial computers based on pre-set up data.
Fire Alarm System can be divided into central and station level functions. When a fire breaks out, the central FAS serves as a control center, automatically collecting, displaying, recording and storing information for file processing and management.
Passenger Information Systems deliver real-time information to enhance passenger comfort and optimize communication between drivers, passengers, and crews efficiently.
CCTV systems provide video recorder platforms and tools, such as video surveillance software, intelligent video analytics functions and central management software to facilitate efficient management and monitoring.
Supports single/dual AC/DC power module. If one unit fails, another power module will replace it and continue working as normal.
Flexible modular design for multiple COM, CAN, LAN, up to 24 ports max. Includes locking screws for tool-free assembly and easy maintenance.
-25~60 °C wide temperature range for operation in harsh environments.
CTOS assembly to meet your design requirements. LED Panel on front panel assists ITAM module replacement.
Advantech provides comprehensive solutions for Railway Signaling and Integrated Supervisory Control Systems (ISCS)—Introducing the ITA-2000 Series I/O modules, 3U Compact PCI chassis, and Ethernet Train Networks. With EN 50121-4 compliance, they are designed for wayside applications such as signal interlocking and ISCS. Advantech rugged computer platforms are modular and designed with flexible configuration, redundant power, and safety compliance in mind, building a more secure railway operating environment.
We understand you have more questions to ask. Give us a call to get you an answer right away.


"Rosestone" is one of Colorado's most extraordinary homes. Its 35 acre site in Bear Tooth Ranch is surrounded by open space and panoramic mountain views. Built on a 3 acre fenced compound, this exceptional home with its attached guest house, indoor/outdoor pool, waterfall and stocked pond is the epitome of mountain living at a 6,400 ft. altitude. It is only 25 minutes away from Downtown Denver. The quality of construction and natural materials throughout make it a quintessential Colorado landmark. Its technologically advanced systems and architecturally exciting design make it a modern day masterpiece.


Nantes was earlier the capital of Brittany. In the year 1962, Nantes was transferred to the Pays de la Loire region. Breton fortunes were an integral part of this city's history. The city is located by the sea and is one of France's major ports. Nantes-Atlantic acts as a metropolitan center for the west of France. This city was the birthplace of Jules Vernes. Nantes was also the cradle of surrealism. This city is also a popular destination for holidays in France. The lovely River Loire flows through this city and for the same reason, Nantes is often referred to as the great river city.
Location: Nantes is located in Western France.
Age Structure: In Nantes, people below 25 years of age comprise 35% of the population.
Racial Makeup: French law forbids taking any data related to race or religious groups in a census. It is thus not possible to know the racial make up of any French city.
Economy: Nantes holds the 3rd financial position in the economically powerful France. All the industries in the service sector are established in this city.
Nantes is ranked at number five for information technology services. It holds the top rank as a boat-building center. The city is at the second position as a national aeronautical center. Here, there are numerous engineering companies. Also, the city is a leader in the French food industry.
Climate: The summers in Nantes are warm. The temperature is around 18.5ºC. It's mild and rainy in winter. The temperature in winters is around 5º. Nantes is located 88 feet above sea level. The average temperature is highest in the month of July and August at about 68ºF. Nantes has an oceanic climate.
Rainfall: Nantes receives an annual rainfall of 810.9 mm (31.9 inches).
Government Type: This city functions as the administrative center for the Pays de Loire region. There are a total of 24 districts in communaute urbaine de Nantes Metropole.


text:
University of Maryland College Park
#13 Best Public Universities in America
Maryland Tuition & Cost
credit: MDGovpics / license
How much does it cost to attend?
In State Maryland Resident Sticker Price
In State Costs for University of Maryland College Park
Other Expenses Budget $2,522
Out of State Resident Sticker Price
Out of State Costs for University of Maryland College Park
Residents of Maryland pay an annual total price of $27,866 to attend University of Maryland College Park on a full time basis. This fee is comprised of $8,824 for tuition, $13,315 room and board, $1,250 for books and supplies and $1,955 for other fees.
Out of state residents are charged a total cost of $53,978 which is 93.7% higher than Maryland residents. The tuition charge is $34,936 while room and board is $13,315, books and supplies are $1,250 and other fees come in at $1,955.
All price data is sourced from the 2019/2020 U.S. Department of Education National Center for Education Statistics survey.
Will you get accepted?
Find out how likely you are to get accepted at Maryland based on your GPA, test scores, and even extracurricular activities. Then, get custom recommendations for how to improve your odds - completely for free.
Sponsored by CollegeVine
Net price is indicative of what it actually costs to attend University of Maryland College Park when typical grants and scholarships are considered. The net price varies by family income and financial need.
Average Net Price 2018/2019
Net Price by Income University of Maryland College Park
Net Price Paid
$0 to $30,000 $8,054
$30,001 to $48,000 $12,128
$75,001 to $110,000 $22,710
The average reported annual net price for University of Maryland College Park for students receiving grants or scholarship aid was $17,723 in 2018/2019. Net price includes tuition and required fees, books and supplies, and average cost for room and board and other expenses
Explore University of Maryland College Park
More Maryland colleges
Costs for Similar Colleges
credit: tvanhoosear / license
Public 4 Year
credit: Jason Crotty / license
credit: J-a-x / license
credit: Jason A G / license
credit: hyku / license
credit: ewg4xuva / license
Penn State Main Campus
48% of full-time undergrad University of Maryland College Park received financial aid in the form of grants, scholarships, fellowships from the institution or from Federal, State or local government agencies. This aid averaged $9,388 per student during the 2019/2020 school year. Grant and scholarship aid does not need to be paid back. 29% of students received Federal Student Loans averaging $5,178 and 5% of undergrads took out private student loans averaging $20,348.
Finanical Aid University of Maryland College Park
Avg./Student
Students Receiving
Total Grant and Scholarship Aid $9,388 48%
Institutional Grants and Scholarships $8,060 40%
Pell Grants $4,910 13%
Other Federal Grants $701 3%
State and Local Grants $4,692 14%
Federal Student Loans $5,178 29%
Other Student Loans $20,348 5%
To gauge a more realistic picture of what it may really cost you out of pocket to go to University of Maryland College Park, we've modeled a ten year student loan with an original principal value of $54,500. The loan balance of $54,500 is a four year multiple of the $13,625 average net price. This is a estimate of what you could owe upon graduation if you were to qualify for average financial aid and what a degree really may cost. Should you not qualify for financial aid, you may owe significantly more when you graduate. Based on these assumptions, a monthly repayment of $520 could be required to satisfy your student loan.
Please note that financial aid is not guaranteed and is only available for qualifying students. Federal Student Loans are not grants and must be repaid with interest. The current Stafford loan interest rate is 2.75%.
Example Loan $54,500
Stafford Loan Interest Rate 2.75%
Time to Pay Off Student Loan 10 years
Example Monthly Payment $519.99
Total Interest Paid $7,898.81
Sum of All Loan Payments $62,398.81
Projected 4 Year Degree Price
4 Year Sticker Price
Maryland Residents
Non Residents
1 $27,866 $53,978
Based on published tuition prices, we estimate the current cost of a 4 year bachelor's degree and living expenses at University of Maryland College Park to be $111,464 - assuming graduation in normal time. The estimation assumes a 3.2% annual increase over the next 4 years which has been the recent trend for this school.
Credit Hour Cost and Price per Class
Credit Hour and Class Costs at University of Maryland College Park
Price Per Credit
3 Credit Class
Maryland Residents $367 $1,101 $1,468
Out of State Residents $1,456 $4,368 $5,824
Estimated cost for a class at University of Maryland College Park based on published credit hour prices. Note that not all schools allow single class enrollment. These prices should be used for comparison purposes as to how much it may cost to take a class at University of Maryland College Park versus other colleges.
Tuition Payment Plans Available
University of Maryland College Park Payment Plans
Tuition Payment Plan Yes
Prepaid Tuition Plan Yes
Alternative Tuition Plan Yes
Guaranteed Tuition Plan No
Primary data source, U.S. Department of Education https://nces.ed.gov/collegenavigator/?id=163286 IPEDS survey data for University of Maryland College Park.
2022-01-03 03:45:07 - desktop - s:71ms j:104ms t:175ms hit:true


text:
Leioa (på spanska även Lejona) är en kommun i Spanien.  Den ligger i provinsen Bizkaia och regionen Baskien, i den norra delen av landet vid Biscayabukten.
Kommun ingår i Bilbaos storstadsområdet och har cirka 30 000 invånare.

Källor

Indelningar i Baskien
Orter i Baskien

redpajama_set_name: RedPajamaWikipedia


text:
JM Family ranks No. 26 on Fortune's 100 Best Companies to Work For.
For 22 years, JM Family, World Omni's parent company, has been ranked by Fortune ® Magazine as one of the 100 Best Companies to Work for in the U.S.
JM Family is the 20th Largest Private Company in America according to Forbes
As part of JM Family, World Omni helps contribute to one of the largest private companies in the United States.
Welcome to JM Family
JM Family Enterprises, Inc. is the parent company of World Omni Financial Corp. As a leader in the automotive industry, JM Family's primary focus is on vehicle distribution and processing, financial services, warranty and insurance activities, retail vehicle sales and dealer technology services.
World Omni offers public and private term securitization debt, backed by retail, lease and floorplan originations derived mainly from 177 Toyota dealerships in the southeast. Find out more about our asset-backed securitizations.
World Omni is a diversified financial company offering a broad range of products and services to automotive dealers, consumers and lenders.
funded since 1981
Fortune® 100 Best Companies to Work For
at JM Family Enterprises
Operating Divisions
Southeast Toyota Finance delivers a full range of financial products and services to Toyota dealers in the southeast United States, including special retail and lease programs.
As a global leader, DataScan provides clarity to wholesale loan accounting and manages risk with holistic auditing solutions for a wide-range of clients throughout the world.
Since March 2020, CenterOne Financial Services has provided third-party servicing of motor vehicle loan and lease agreements. Its clients include some of the nation's largest banks, automotive captives, independent finance companies, and investors. Among CenterOne's services are vehicle remarketing, customer support functions such as call center operations, payment transactions, collections, and more.
We encourage different perspectives and treat people with respect, honesty and fairness.
We make our strongest contributions through collaboration and trusting relationships. By sharing knowledge, resources and talents, we make each other better.
We stay connected and engaged through the open exchange of ideas, information and honest feedback.
We prepare for the future by taking risks, learning from our experiences and finding new ways to do it better.
We treat this company like it's our own and excel by expecting and delivering the best of ourselves and our teams.
About UsTerms & Conditions
World Omni Financial Corp. is a subsidiary of JM Family, which was named on FORTUNE 100 Best Companies to Work For® FORTUNE and FORTUNE 100 Best Companies to Work For are registered trademarks of Fortune Media IP Limited and are used under license.


text:
Brad Thorn explains why James O'Connor's situation is different from Slipper and Karmichael Hunt
George Turner
8th Oct 1992 1.83m/104kg Hooker
Turner has represented Scotland at U18 and U20, earning selection for the 2012 age-grade 6 Nations and Junior World Championship in South Africa.
He has also played for Edinburgh under-16, under-17 and under-18 and was in the Scotland under-17 training squad in Spain in 2009. Turner was named Man of the Match when Stewart's Melville Lions won the national S1 championships in 2005.
He received his first call up to the senior Scotland squad on 22 February 2016 for the 2016 Six Nations Championship, but was replaced in the squad by Fraser Brown on 7 March 2016.
In July 2017 Turner joined Glasgow Warriors on a season long loan from Edinburgh, and was later called into Scotland's 36-man squad for the November Internationals.
He made his Scotland debut in the 2017 Autumn Tests playing in the games against Samoa and New Zealand at BT Murrayfield.
In January 2018, Turner committed to Glasgow Warriors signing a two-year contract until at least May 2020. He has played 12 times for the club, scoring four tries.
As of the 2018/2019 Champions Cup, Turner has had 6 Champions cup appearances scoring 1 try and 5 points.
In February 2019, Turner joined the Scotland Six Nations squad ahead of the clash with France before being named in Scotland's 42-man training squad ahead of the Rugby World Cup.
(LS May 8, 2019)
Hooker 2017 - present
Stewart Melville
Hooker 2011 - 2016
Blindside Flanker 2016 - 2017


text:
UFA TV & Film Produktion GmbH
Dianastraße 21
Potsdam, 14482
Telephone: (49) (331) 7060-0
Fax: (49) (331) 7060-149
Web site: http://www.ufa.de
Sales: EUR 320 million ($402 million) (2003)
NAIC: 512110 Motion Picture and Video Production; 512120 Motion Picture and Video Distribution; 512190 Postproduction Services and Other Motion Picture and Video Industries; 512191 Teleproduction and Other Postproduction Services; 512199 Other Motion Picture and Video Industries
From its roots in the 1920s Golden Age of German film, UFA TV & Film Produktion GmbH has developed into one of Germany's most successful film production companies. It produces programming for the country's leading broadcasters, including ZDF, ARD, RTL, and SAT 1; its shows are regularly among the most highly rated on German television. UFA is part of Fremantle-Media and includes all of Fremantle's production activities. UFA in turn is divided into six independent subsidiaries each of which is responsible for a different production area: UFA Fernsehproduktion, team Worx, and Phoenix-Film produce television drama, including mini-series, made-for-TV movies, and various specials. UFA Entertainment specializes in documentaries, reality TV, and other nonfiction genres. Grundy UFA produces soap operas and prime-time drama series. GRUNDY Light Entertainment produces a broad spectrum of TV comedies, quiz shows, music and variety shows, and panel shows. Altogether in 2004, UFA's various production arms produced 25 daily and weekly TV shows, more than any other company in the German TV market.
PROPAGANDA MOVIES AT THE END OF WORLD WAR I
UFA was founded, not by one of Wilhelmine Germany's pioneer filmmakers, but by an officer in the German military. In 1917, the tide of World War I was turning decisively against Germany, and Erich Ludendorff, the head of the German military and the nation's de facto dictator, was looking for a way to reverse German public opinion which had turned against the Kaiser's government. His solution was to use the new medium of movies for propaganda. Within months, the German government, with funding from Deutsche Bank, secretly purchased Nordisk Films Kompagni, Denmark's leading film company. The Reichmark (RM) 10 million purchase price included Nordisk's studios, its distribution company, and its chain of movie theaters in Denmark, Germany, and elsewhere in Europe. As a result, when it was founded on December 17, 1917, Universum-Film AG was a full-blown film company. It was owned jointly by the German government and Deutsche Bank; execu-tives from Germany's leading firms, including AEG, Dresdner Bank, and the Norddeutscher Lloyd shipping line, sat on its board.
Ludendorff's original idea was to use the film company as a direct—and secret—arm of the German government carrying out its propaganda aims. The involvement of private commercial interests, however, guaranteed that a tug-of-war would eventually develop over control of UFA's artistic direction. What was attractive to all parties was the German public's nearly insatiable appetite for motion pictures during the war. They had been completely cut off from films by the world's largest producers, France and Britain since 1914, and the U.S. since 1916. A German national company—in an industry whose growth had lagged far behind the movie industries of other nations—could operate with a virtual monopoly. UFA set out immediately acquiring other movie companies, especially in Germany. Before the war had ended, it purchased Meester, a producer of films as well as movie equipment; Union-Konzern, a chain of 56 German movie houses; and the foreign arm of Deutscher Lichtbild-Gesellschaft, the latter as part of a never-realized plan to colonize film industries throughout Europe after a German victory. As defeat approached, government control of UFA became more and more tenuous. In 1918 more and more UFA productions were pure entertainment, to distract public opinion and attention, rather than propaganda intended to influence it. When Germany erupted in a revolution that overthrew the Kaiser at the end of the year, government control of the company ended, too.
THE RISE AND FALL OF THE GOLDEN AGE OF FILM DURING THE WEIMAR REPUBLIC
With its other business acquisitions, UFA was also acquiring the most talented members of the German moving picture industry, whose work would usher in the so-called golden age of German film in the 1920s. The most important of these artists early on was director Ernst Lubitsch, whose films brought UFA its first artistic and commercial successes. Madame DuBarry, for example, was licensed to American investors for $40,000. They made $500,000 from it in its first two weeks of exhibition. The American rights to Lubitsch's next film, Anna Boleyn, were sold for $200,000, about RM 14 million—almost twice as much as it had cost to make the film. Small wonder that Lubitsch became, in 1922, the first important figure to leave Germany for Hollywood.
Once in power, the Social Democrats ended the government's involvement in film almost immediately. In 1920 the government made public its UFA holdings; in 1923 it sold all of its UFA shares to the Deutsche Bank. One reason for the government's exit was a projected loss from film making that could be prevented only by massive infusions of between RM 20 million and RM 100 million. As the new majority shareholder, Deutsche Bank named its director, Emil Georg von Stauss, as UFA chairman. A political nationalist, von Stauss was as deeply committed to the formation of a German film industry as he was to the other new German companies he supported, Daimler Benz and Lufthansa.
In 1921 UFA merged with Decla-Bioscop AG, Germany's second largest film company. Decla was the company that inaugurated the era of "expressionist" film in 1919 with The Cabinet of Doctor Caligari ; it had also given director Fritz Lang his start. The merger was arguably the most important in UFA's history—it combined two powerful studios, distribution systems, and rosters of stars and technicians. Most significantly, UFA a year later took over the Decla-Bioscop studios in the town of Neubabelsberg, just outside Berlin. By the mid-1920s, "Babelsberg" had become the world's most important studio complex outside of Hollywood and UFA Germany's film studio, featuring stars such as Paul We-gener, Emil Jannings, and Pola Negri, and directors like Lang, F.W. Murnau, and Joe May.
UFA is one of Germany's oldest and most distinguished entertainment brands, with an artistic heritage of films like Metropolis, The Blue Angel, and the German Expressionist films. Today, UFA is a highly competent group of production companies which over the past few years has continuously extended its market leadership among Germany's film and television producers. UFA's programs thrill and inspire millions of viewers every day. UFA evolved from a program designer and TV producer into a content specialist which offers a range of solutions for multimedia technologies—and for an extremely varied set of partners.
UFA's aggressive business strategies—and the foreign currency its foreign successes brought in—enabled it to survive the catastrophic inflation of 1923 that threatened to bring down Germany's economy and government. The company was a complex business and artistic entity. Its structure included production, distribution, and exhibition subsidiaries that operated with complete independence. In 1925 it added another arm, the Aktiengesellschaft fuer Filmfabrikation (Afifa), a film duplication business. Its chain of magnificent first run theaters was famous throughout Europe. Under Erich Pommer, its wunderkind production head, UFA released a string of films in the middle 1920s that would one day be considered classics of the Golden Age of Film, movies like Dr. Mabuse, der Spieler, The Last Laugh, Die Nibelungen, Asphalt, and Metropolis. Yet despite its artistic successes, UFA was approaching the brink of financial ruin.
During the period of inflation, foreign filmmakers ignored Germany. After the 1923 currency reform, however, American films flooded the market, while UFA films found it difficult to get shown in foreign theaters. Receipts fell. Fritz Lang's Metropolis, the most expensive film of its time, flopped in the U.S., leaving UFA RM 50 million in debt. To add insult to injury, German film artists, such as F.W. Murnau, Emil Jannings, even production head Pommer, began abandoning Germany to work in Hollywood. Seeking a way out of the desperate situation, UFA turned to its American competitors. Metro-Goldwyn and Paramount provided a sizable loan, for which UFA agreed to distribute twenty of each studio's films in Germany. The Americans were required to distribute only ten UFA productions, and then only if they found the movies to be consistent with American tastes. Another $270,000 loan from Universal required UFA to distribute fifty more American movies in Germany.
Facing insurmountable difficulties, Deutsche Bank decided to get out of the movie business. It sold its complete UFA holdings to Alfred Hugenberg, a media magnate with close ties to a number of right-wing politicians, including Adolf Hitler. Hugenberg acquired UFA at a bargain basement price, only RM 13.5 million, far below the RM 75 million at which the company had been valued. For that bargain price he received UFA's 140 subsidiaries in Germany, Europe, and North America, approximately 3.5 million square feet of studio area in Berlin and Neubabelsberg, and some 100 movie theaters. Hugenberg was willing to take a chance with UFA anyway—he wanted the company more to propagate his nationalist ideological message than to make money.
Universum-Film AG is founded.
The German government sells its UFA holdings to the Deutsche Bank; UFA merges with Decla-Bioscop.
UFA takes over the Decla-Bioscop studios in Neubabelsberg.
UFA founds the film duplication company, Aktiengesellschaft fuer Filmfabrikation (Afifa); UFA-Wochenschau, its newsreel series, first goes into production.
Fritz Lang's Metropolis is released; Alfred Hugenberg's Scherl-Gruppe acquires UFA.
The Blue Angel, featuring Marlene Dietrich, is released.
UFA and other German film studios are sold to the German government and administered by the holding company, Cautio GmbH.
UFA-Film GmbH (Ufi) is founded.
The Russian army occupies the Neubabelsberg studios.
Russians nationalize East German UFA facilities and found Deutscher Filmaktiengesellschaft (DEFA).
American and British occupation authorities launch their first attempts to break up the Ufi conglomerate.
Remaining West German UFA holdings are sold by German government to Deutsche Bank.
Deutsche Bank sells its UFA holdings to Verlagsgruppe Bertelsmann.
Bertelsmann sells UFA-Theater AG to Riech Group.
Bertelsmann and Gruner & Jahr form UFA Film- und Fernseh GmbH.
UFA celebrates its 75th anniversary.
UFA Film- und Fernseh GmbH merges with CLT of Luxembourg to form CLT-UFA.
CLT-UFA merges with Pearson TV to form the RTL Group.
Despite the trend underway in the United States, UFA hesitated to introduce sound to their motion pictures. An early UFA experiment with sound was met with complete public indifference in 1925. When UFA's business manager visited New York three years later, however, talkies were being shown in virtually every movie theater on Broadway. As soon as he returned to Germany, UFA launched an aggressive move into sound. By 1929 it had built a state-of-the-art sound studio in Neubabelsberg; by the time the Great Depression reached its height in 1932, most of UFA's theaters had been equipped to exhibit talkies. Both moves gave the studio a vast lead over its German competition. Among its first influential sound pictures were The Blue Angel, the film that launched Marlene Dietrich's career, and Die Drei von der Tankstelle, which ignited a craze for light musicals in Germany that would last until the end of World War II. Sound created new enthusiasm for film in Germany, but it also brought commercial disadvantages. Sound films could not so easily be exported, especially to lucrative markets like the U.S. and Britain, and the initial technical expense required in those economically hard times led to a drop in the number of films produced. Nonetheless, Hugenberg's Spartan cost-cutting measures put the firm back in the black. By the time Hitler came to power in January 1933, Hugenberg had bought out the shares of all foreign investors, making the firm "pure German" and setting the stage for its complete Nazification.
PROPAGANDA FILMS DURING THE THIRD REICH
Before 1933, UFA had produced some films with nationalist themes that were in line with Hugenberg's ideological leanings. The bulk of its releases were innocent comedies, melodramas, musicals, and serious drama. Almost immediately after Hitler's rise, however, UFA fell in line with the new regime. Just eight months after Hitler's appointment as Chancellor, the company released Hitlerjunge Quex —Hitler Youth Quex—the story of an idealistic young Nazi allegedly murdered by Communists. UFA film projects that were already underway but which were seen as not conforming sufficiently to the Nazi line were cancelled. Jewish actors, directors and technicians were forced to leave UFA beginning in spring 1933. Other UFA artists, like Fritz Lang and Marlene Dietrich, left Germany to try their luck in the United States. Nazi Propaganda Minister Joseph Goebbels, who believed passionately in the power of film, took steps almost immediately to bring UFA directly under his control.
An important move in securing that control was the incorporation of the Filmkreditbank GmbH, a government-run credit institution that financed the lion's share of film production costs, but required producers to submit to government censorship. Meanwhile the Nazi government began a systematic takeover of all German media, and in March 1937 Alfred Hugenberg had to sell all of his UFA shares to the German government. UFA and other studios were placed in a state-run holding company, Cautio GmbH. The circle had closed. In twenty years time, UFA had gone from a government propaganda agency, to one of the world's most highly respected private film studios, and back again. By 1942 the entire German film industry had been consolidated into two UFA companies: UFA-Film GmbH, which was responsible for production, and UFA GmbH, which handled newsreel production, distribution, and other aspects of film work.
Despite control by Goebbels' Propaganda Ministry, comedies, musicals, and melodramas continued to account for the majority of theatrical movies produced in Germany, although a few military dramas that idealized war, soldiers, and German expansionism, like Urlaub auf Ehrenwort and Pour le Merite, were important propaganda vehicles. Most propaganda during the Third Reich was presented in UFA newsreels. Footage of German victories was used to boost German morale at home and to demoralize morale elsewhere in Europe. Newsreels of the German invasion of Poland were shown to diplomats from Holland, Belgium, Norway, and Romania, for example, shortly before German armies crossed their borders. UFA celebrated its 25th anniversary during the battle of Stalingrad when the tide turned once and for all against Germany. UFA newsreels continued to urge Germans on to victory. What the public wanted, however, was escape, through productions like the comic fantasy of Munchhausen, made in 1943 as millions of German soldiers were being killed or taken into Soviet captivity. Being a movie actor or technician continued to have perks in the last months of the war, as film teams shot their melodramas increasingly in idyllic countrysides far from nightly bombing raids in the cities.
UFA IN THE COLD WAR
On April 24, 1945, Russians occupied the Neubabelsberg UFA studios, and when peace was finally declared they controlled about 70 percent of all Ufi production facilities. The Russians rapidly reorganized those properties into the East German studio Deutscher Filmaktiengesellschaft (German Film Share Corporation), better known as DEFA. In spring 1946 DEFA began production on the first postwar German film, Die Moerder sind unter uns, (The Murderers Are Among Us), a powerful drama in the best 1920s UFA tradition that confronted the all-too-recent Nazi past head on.
The western allies banned all German film making. In September 1949 the American military, which had put former UFA head Erich Pommer in charge of their Motion Picture Division, seized the remaining Ufi properties. They announced a plan to break up the old Ufi conglomerate and sell off the parts. At the same time, the names "Ufi" and "UFA" were banned. It was difficult to make UFA disappear however. The 28 movies made in Germany between 1946 and 1948 all used former UFA directors, actors, and technicians exclusively. The proposed break-up also met with the resistance of the West German government, which hoped to reestablish a national German film industry and—secretly—recreate its own government propaganda studio.
By 1953 Cautio GmbH had been dissolved, but Ufi continued to exist. In 1956 UFA history repeated itself once again, when the German government sold the remaining Ufi subsidiaries to the Deutsche Bank for approximately a third of their real value. UFA seemed to have a new lease on life, but as the 1960s began the "reborn" UFA was beset with problems. Unlike DEFA, its East German counterpart, which released popular movies regularly, UFA films couldn't seem to find the West German pulse. Furthermore film popularity in West Germany was waning, and as ticket sales fell, Deutsche Bank got cold feet. It replaced its controversial UFA CEO Arno Hauke, but his replacement spent large sums on a range of films that was too broad for the relatively small German market. By January 1962, the situation was so bad that the UFA board voted to cease theatrical film production and distribution altogether, reducing the once proud firm to a chain of movie houses. At the end of 1963, Deutsche Bank sold UFA's West Berlin studios and its duplication facilities to Becker & Kries. In 1964 the remainder of its UFA holdings—including the UFA music publishing company, UFA's advertising film company, the theater chain UFA-Theater AG, and the rights to all UFA films—were acquired by the publishing giant Bertelsmann AG.
UFA UNDER BERTELSMANN
The acquisition was important for Bertelsmann. It enabled the company to expand into film and TV and helped make it one of Europe's leading media companies. Afterwards Bertelsmann sold the old newsreel company UFA-Wochenschau to the government; its Berlin studios were sold to ZDF, one of two German public broadcasters. Bertelsmann retained the UFA advertising film company, UFA-Werbefilm, and the TV production firm, UFA-Ferhsehenproduktion. In 1972 Bertelsmann sold the UFA-Theater AG to the Riech Group, retaining only its large premier cinemas. Bertelsmann also retained the rights to the UFA name and logo, and licensed their use to Riech. The rights to the old UFA movies were transferred to a nonprofit group, the F.W. Murnau Foundation, on the instigation of the German government, to prevent their being auctioned off individually to private bidders.
Under Bertelsmann, UFA concentrated on producing programming for television. In 1984, when private broadcasting was introduced in West Germany, Bertelsmann and media firm Gruner & Jahr merged their film and TV production activities into a holding company, the Hamburg-based UFA Film- und Fernseh GmbH. In 1987 UFA Film- und Fernseh purchased the Deutscher Fussballbund—an organization comparable in scope to major and minor league baseball—together with all broadcast rights. In 1991, on the occasion of the company's 75th anniversary, a new UFA logo, based on the famous UFA rhombus of the 1920s, was introduced. The opening of the Berlin Wall in 1989 also paved the way for UFA's return to the Neubabelsberg studios. By the mid-1990s UFA was once again the largest German entertainment company, producing approximately 2000 television programs annually, including made-for-TV movies, mini-series, soap operas, prime time series, sitcoms, and documentary and current events programming. The holding company merged in 1997 with Luxembourg's CLT group to form CLT-UFA. This in turn merged with Pearson TV in 2001 to form the RTL Group. Since then UFA has functioned as the umbrella for FremantleMedia, a firm that encompasses all of the RTL Group's global production activities. The UFA-sponsored Client Satisfaction Study in 2003 confirmed UFA's reputation for professionalism, financial strength, competence, and dependability. The strong ratings for shows such as Deutschland sucht den Superstar, Gute Zeiten, Schlechte Zeiten, SOKO Leipzig, Hinter Gittern—der Frauenknast, and Held der Gladiatoren indicate that UFA will continue as a producer of German entertainment into the second decade of the 2000s.
UFA Entertainment GmbH; Grundy UFA TV Produktions GmbH; GRUNDY Light Entertainment GmbH; Objektiv Film; team Worx Television & Film GmbH; Phoenix-Film GmbH.
VIVA Medien AG; Bavaria Film GmbH; Senator Entertainment AG; EM.TV & Merchandising AG; Euro-Arts Medien GmbH.
Bergfelder, Tim, Erica Carter and Deniz Gokturk (eds.), The German Cinema Book, London: British Film Institute, 2002.
Beyer, Friedemann, Die UFA-Stars im dritten Reich, Munich, 1991.
Elsaesser, Thomas (ed.), A Second Life: German Cinema's First Decades, Amsterdam: Amsterdam University Press, 1996.
Giesen, Rolf, Nazi Propaganda Films: A History and Filmography, Jefferson, N.C.: McFarland, 2003.
Kracauer, Siegfried, From Caligari to Hitler: a Psychological History of the German Film, Princeton, N.J.: Princeton University Press, 1947, 2004.
Kreimeier, Klaus, Die UFA-Story: Geschichte eines Filmkonzerns, Fischer Taschenbuchverlag, 1992.
Lipschuetz, Rita, Der UFA-Konzern, Berlin, 1932.
Rotha, Paul, The Film Till Now (revised ed.), London: Spring Books, 1967.
Schebera, Juergen, Damals in Neubabelsberg—Studios, Stars, und Kinopaläste im Berlin der zwanziger Jahre, Berlin: Edition Leipzig, 1990.
Wollenberg, Hans H., Fifty Years of German Film, London: Falcon Press, 1948.
"UFA TV & Film Produktion GmbH ." International Directory of Company Histories. . Encyclopedia.com. 16 Jan. 2023 <https://www.encyclopedia.com>.
"UFA TV & Film Produktion GmbH ." International Directory of Company Histories. . Encyclopedia.com. (January 16, 2023). https://www.encyclopedia.com/books/politics-and-business-magazines/ufa-tv-film-produktion-gmbh
"UFA TV & Film Produktion GmbH ." International Directory of Company Histories. . Retrieved January 16, 2023 from Encyclopedia.com: https://www.encyclopedia.com/books/politics-and-business-magazines/ufa-tv-film-produktion-gmbh
Fritz Lang , Austrian-born Fritz Lang (1890-1976) was one of the world's great film directors. He played a major role in shaping two national cinemas: the German… Wim Wenders , WENDERS, Wim Nationality: German. Born: Wilhelm Wenders in Düsseldorf, 14 August 1945. Education: Studied medicine and philosophy; studied at Hochsch… Metro-goldwyn-mayer Inc , Metro-Goldwyn-Mayer Inc. 2500 Broadway Street Santa Monica, California 90404-3061 U.S.A. (310) 449-3000 Fax: (310) 449-3100 Web site: http://www.mgm.… Lois Weber , Weber, Lois Despite being one of the first women directors in motion picture history, American filmmaker Lois Weber (1881–1939) is not very well reme… Dreamworks L.l.c , 1000 Flower Street Glendale, CA 91201 (818) 733-7500 www.DreamWorks.com In 1994, three of the most influential people in the entertainment world join… Documentary , BEGINNINGS DEPRESSION AND THE WAR YEARS OBSERVATIONAL DOCUMENTARY TRUTH OR DARE: THEORETICAL AND ETHICAL CONSIDERATIONS FURTHER READING Documentary e…
Ufa (Universum Film Aktiengesellschaft)
Nordisk Film A/S
Leander, Zarah (1907–1981)
Fassbinder, Rainer Werner (1945–1982)
Georg Wilhelm Pabst
Die Mörder Sind unter Uns
The Film Industry in the Late 1950s
Uezd
Uexküll, Jakob Johann von
UETRT
UETA
UER
UEPS
UEO
Ueno, Yukiko (1982–)
Ueno, Masae (1979–)
Ueno, Chizuko (1948–)
Uemura Masahisa
Uele
Ueland, Leif
Ueland, Clara Hampson (1860–1927)
Uekert, Brenda K.
UEIC
UEI
Ueda, Shoji 1913-2000
Ueda, Miwa
Ueda, Makoto
UFCW
UFFI
Uffindell, Andrew
Uffington White Horse
Ufford, Margaret de
Ufford, Margaret de (fl. 14th c.)
Ufian
Ufimian
UFO Investigator (Newsletter)
UFO Magazine New Bulletin
UFO Newsclipping Service
UFO: Target Earth
UFOs (Unidentified Flying Objects)
UFTAA
UFTU
UFW
Uga, Elisa (1968–)
Ugalde, Delphine (née Beaucé)


Recently I had the honor of painting five pieces for Anthropologie.com. They were really cool people to work with and I'm flattered that they enjoyed my work enough to invite me to do some paintings for them. During the week of February 21 – 28, 2011, the paintings were on the landing pages for each department in their online store.
I have a room in my basement where I prep and store canvas, and box up finished paintings before I send them off on their journeys to other lands. Right now it's kind of intimidating walking in to the room because I'm greeted by way to much blank canvas.
Over the next 3.5 months I have to complete at least 15 paintings, and in order to do so I have had to employ serious organizational skills.
Below is a glimpse at one piece in progress, an old Remington No.10 typewriter. Last summer I took my family to visit my grandparents and the town was holding their annual summer festival. They open up the buildings of a heritage village — a collection of buildings, like the old town hall, the doctor's house, blacksmith, church, schoolhouse, etc. — all reassembled to form an idealized main street from the past. In one building they have an old-tech graveyard where heaps of adding machines and typewriters sit abandoned for what will likely be the rest of eternity. That's where I step in. To the confusion and amusement of the committee responsible for the buildings, I convinced them to lend me several pieces, and will likely return again and again.


text:
Jimdo upgrades its tools for online shopkeepers
Anthony Ha	 September 22, 2010 6:07 PM
I haven't spent as much time writing about simple website builder Jimdo as I have on San Francisco-based competitors Weebly and Yola. But Jimdo caught up with the competition in one key respect today, with the full launch of its online store builder.
In September 2009, I said it was a strange that even though Jimdo offered a "business edition" of its tools, businesses couldn't use those tools to create an online store for their website (meanwhile Weebly and Yola both offered online store features). Then in February of this year, Jimdo released a store-building feature. The company says its users have created 20,000 stores and earned $3 million in revenue.
Now Jimdo has taken the beta testing label off the site, and it's announcing new features, including the ability to set a specific quantity for each item for sale (so that the site stops taking orders when you're sold out), to customize the store forms and confirmation emails, and more. The store is a free part of a business subscription to Jimdo, but the company charges a small fee per transaction if you have its cheaper Pro or Free plans.
As with similar services, it's easy to create a store by selecting menu items and dragging them across the website layout. With that ease comes a certain loss of uniqueness — in other words, there's a risk Jimdo websites might all look the same. Yet if you look at three of the sample stores that Jimdo emailed to me — ReadyFireAimTV, Luke Redfield, and Bobsmade — they each have a distinct look, despite some similarities.
Hamburg, Germany-based Jimdo says its users have created 2 million websites total, and Google Trends shows that traffic to Jimdo.com is actually ahead of the competition. US readers will probably hear more about the company in the coming months, since it's opening an office in San Francisco.
[image via Flickr/vauvau]


Congratulations to our Students Accepted into the North Bergen STEM Academy!
Principal Locricchio; Mayor Sacco; Dr. Solter, Superintendent of Schools; Commissioner Julio Marenco; and Freeholder Anthony Vanieri all celebrate as Dr. Keshishian, Mrs. Theresa Rabelo, Shareen Shibli, Jocelyn Marto and Mrs. Stern-Protz make presentations to students and families accepted to the Fifth (V) Cohort of the North Bergen STEM Academy - Class of 2023. Congratulations!


Tasmania is making a significant contribution to the global learning space for education for sustainability thanks to those who strive to build more sustainable patterns of living and resilient, connected, educated communities, individuals and organisations.
Facilitate collaboration and bring people together to work on education for sustainability initiatives.
Build the capacity of organisations to sustain a process of individual and organisational change to improve delivery of education for sustainability initiatives.
Promote and endorse Tasmanian education for sustainability projects and the significant contribution Tasmania is making to the global learning space for education for sustainability.
Advocate for education as a tool to help more people develop the skills and capacity needed to protect the planet and ensure social and cultural prosperity for all.


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Last year was my first time at CHA. I had no idea what it even was. For those of you that don't know the Craft and Hobby Association (CHA), here's the story: This association is "celebrating 75 years of connecting the creative arts and crafts industry. CHA Mega Conference and Trade Show is the only place where you can conduct a year's worth of business in 6 days" (chamegashow.org).
I am an artist that uses many different elements in my work. I also teach classes at my studio. Why would I want to go to a trade show that has manufacturers that sellbig orders to stores? Because I get inspired by art supplies. I get inspired when I can touch and feel the products. And I get inspired by meeting people that are very passionate about the products they demo. Plus, it is always great to meet people of like mind that love to create beautiful things to look at and/or use. There are many other things to learn and see at CHA also: demos, hands-on labs, boot camps on business, workshops, artisan workshops, and business seminars are just a few.
Last year, I fell into CHA at the eleventh hour and was only able to attend on the final day. I was one sad puppy, kitty, or otter….insert the cute animal of your choice. I found out about CHA from my business coach, Laura Bray, who will be posting at the blog hop tomorrow. She is also the daughter of a friend that I admire most, Laura Miller.
At the very last moment, my membership was accepted. After phone calls back and forth, I would have a badge waiting for me and my assistant. I only had to drive the 30 minutes to Anaheim, CA. I was there before the door was to open and connected with the registration/information desk and got my badge. Then I took a selfie, went to the restroom, and was on my way. I had a mission. I was Ethan Hunt.
As soon as the door opened, I poured into the convention floor. I was a squirrel, darting back and forth trying to get everything in as soon as I could. I got tired very quickly. Some of the booths were already shut down. It was the last day and they were ready to travel back to their homes from all over the world. I didn't get to meet many people, but some were still doing demos and giving out great information. I did get my inspiration that I was hopping for, but at a very low key. My assistant and I took a break and decided we would look at the map and go in a more organized manner. That is what I usually do when I go to craft fairs or art shows, anyway. I felt the panic leave and I was able to focus. I saw every booth with demos and without, and got enough information to get the brain in creative mode.
The key is, you must plan. You must be organized. You can't wait. Classes fill EARLY. Not all manufacturers can stay to the very last moment. They have to travel. I wish I had done my homework early and planned and got myself to a point where I knew what CHA was before I jumped in. But, I am going back this year, January 7-12, 2016 at the Anaheim Convention Center, Anaheim, CA. I will be organized this time. I know about round tables and demos and classes. I will do more than just walk by the Business Center. CHA is very supportive of small business and many services are offered for members like me, and brick and mortar businesses. Classes and guidance are also available.
I did get a lot of information last year. I was in a spin. It took a good month to finally sort it all out and sink in. What I did was not the prefered. It did not do CHA justice. But, I will this year.
Check out more participating bloggers here!
Prev You Don't Have To Have A Degree In Art……..
Can't wait to see you there Aleta!


text:
Јован Смиљанић (Љубиш, 1889— ?) био је чиновник, учесник Балканских ратова и Првог светског рата и носилац два Ордена Карађорђеве звезде са мачевима.

Рођен је 23. октобра 1889. године у Љубишу, општина Чајетина, у породици земљорадника Аврама и Јоване. Од завршене основне школе па до пунолетства живео је са родитељима и бавио се пољопривредом. На одслужење војног рока отишао је 5. јануара 1910. године у Други дрински артиљеријски пук у Ваљеву и са том јединицом кренуо у Балканске ратове, док се на Солунском фронту борио као наредник Треће батерије дринског пољског артиљеријског пука. Захваљујући јунаштву, добром држању у свим борбама и бројним одликовањима рат је завршио као резервни артиљеријски капетан I класе.

После ослобођења земље бавио се разним пословима. Познато је да је 1934. године радо као економ фабрике шећера Државног одбора Беље и са супругом Митром и кћерком Видосавом живео у својој кући у Сремској Митровици.

Одликовања и споменице
 Златни Орден Карађорђеве звезде са мачевима
 Сребрни Орден Карађорђеве звезде са мачевима
 Златна Медаља за храброст Милош Обилић
 Сребрна Медаља за храброст Милош Обилић
 Споменица за рат са Турском 1912
 Споменица за рат са Бугарском 1913
 Албанска споменица
 Руски Златни Орден Светог Ђорђа I реда

Литература

Рођени 1889.
Чајетинци
Српски војници у Првом светском рату
Солунски борци
Носиоци Карађорђеве звезде
Носиоци Албанске споменице
Културно наслеђе Западне Србије
Носиоци Медаље за храброст Милош Обилић


If you have already gotten a domain name and subsequently web hosting (possibly cheap webhosting, or even FREE web hosting), the next thing you want to do in setting up a website is to look for a web template. You could buy one or commission someone to design one for you but I see no reason why we should pay for one when there are so many free website templates available.
I would like to point out that basically, this is a commercial website so many of the themes or templates here are premium themes that cost money so make sure that you only check the section of free themes!
This entry was posted in Freebies and tagged free website layout, free website layouts, free website template, free website theme, free website themes on March 21, 2009 by Cyberpartygal.


Now he's making a successful career in providing strength and conditioning training, and sports psychology for teams like the Queensland Reds and women's national team, the Wallaroos.
"Teams get the best of both worlds," he says. "It's about how you can integrate the two to benefit the player." Luke offers both physical and mental support, where most clubs can only afford to hire one or the other. It's a real necessity too, when constant mental stresses can really affect a player's game.
"Current health trends means I'm always going to have a job." says Luke. Within the next 10 years, he says, with Australia's ageing population and declining activity in kids, sports therapists are going to be more important than ever in schools and communities to keep us healthy and active.
Surf Sense Founder, Nathan Adler.


text:
Q: Will MD5 ever return the same output as its input?
Possible Duplicate:
Is there an MD5 Fixed Point where md5(x) == x?

What is the probability that md5 will return its input (i.e. the output will equal the input), or will it ever?


text:
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Access Gallery Auction

For the all-important fundraising season: an auction site and coordinated promotional effort for Vancouver Access Artist-Run Centre.

For artist-run centres the opportunity to properly fundraise comes rarely, perhaps only once or twice per year. That's why when fundraisers go down they need to go down with a bang, and Access Gallery's 2012 auction at the landmark Waterfall Building was no exception. The site needed to bring attention to the featured artists as well as let attendees know the event was being off-site, away from the gallery.

A custom Google Map directs visitors to the event's location and the graphics link up visually with the print collateral. All graphics by Christy Nyiri.

The site is responsive and accommodates various screen sizes without covering up API attribution. WordPress was a familiar platform for the gallery staff, who populated the content of the artists featured in the event.

Conclusion

It's important to 'do it up' right for fundraising season and a website is an important ingredient in the promotional mix. Throw in some complimentary printed material, and the outcome was one of the most successful auctions in Access Gallery's history.

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