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Franchise Brands is an AIM-quoted company and we have chosen to follow the QCA's Corporate Governance Code for small and mid-size quoted companies (the "Code") as we believe that this provides an appropriate governance framework for a Group of our size.
We believe that good corporate governance is vital in supporting our Company's growth strategy and in turn its long-term success. The Board of Directors has chosen to apply the Quoted Companies Alliance (the "QCA") Corporate Governance Code (the "Code") as it believes that this provides an appropriate governance framework for a Group of our size and should help support our growth and success. We seek to comply with the Code's principles and application wherever possible, but there can be circumstances where the interests of the Company and its shareholders are better served by departing from the Code's requirements. In these circumstances we will seek to explain the divergence.
Corporate governance plays a crucial role in helping to preserve value for shareholders, by providing a process for decision-making which should ensure that all major decisions are considered in good time, that the Board is provided with good-quality briefing materials which cover all relevant factors and that our deliberations consider the risks, as well as the opportunities, in the issues before us. It is for these reasons that the Board is committed to achieving high standards of corporate governance.
The QCA Code requires us to provide an explanation for any departures from the principles or application of the Code. As a result, the remainder of this report explains how we have applied the Code during 2019. Further information on the Group's governance practices, the business model and strategy can be found in the Company Overview, Strategic Report and Governance sections of this Annual Report and Accounts.
In addition to choosing to apply the new edition of the QCA Code, Franchise Brands is a member of the QCa in order to support the work it does in promoting good corporate governance.
OUR COMMITMENT TO SECTION 172
As a Board we continue to uphold the highest standards of conduct and make decisions for the long-term success of the business.
The disclosures set out below demonstrate how the Board has arrived at three principal decisions for the year. We define principal decisions as both those that are material to the Group, but also those that are significant to any of our key stakeholder groups: employees, franchisees, customers and local communities, suppliers and shareholders.
In making the following principal decisions the Board considered the outcome from its stakeholder engagement as well as the need to maintain a reputation for high standards of business conduct and the need to act fairly between the members of the Company.
Stephen Hemsley, Executive Chairman
BOARD DECISIONS
The acquisition of Willow Pumps The creation of the B2B and B2C divisions Increase of the dividend
1 Employees ● External growth provides greater opportunity and security for employees. ● Creates a greater level of focus and structure for employees. ● As most employees are share option holders or shareholders, this is beneficial to them.
2 Franchisees ● Optimal way to expand the range of services to both Metro Rod and Metro Plumb's commercial customers. ● Franchisees from across the Group's brands benefit from a more focused range of support services. ● No direct impact on franchisees but a good indication of the Board's confidence in the business and health of the company.
3 Customers and local communities ● Benefit from an increased range of "Water In. Waste Out." services. ● Ability to provide a more focused customer offering. ● No direct impact on customers but a good indication of the Board's confidence in the business and health of the company.
4 Suppliers ● Opportunity to benefit from deepening relationships with key suppliers. ● Provides more opportunity for suppliers across the Group's brands. ● No direct impact on suppliers but good indication of the Board's confidence in the business and health of the company.
5 Shareholders ● The Board considered the acquisition would be significantly earnings enhancing. ● Facilitates future acquisitions and maximises efficiencies. ● Board's intention to continue with our progressive dividend policy, reducing the cover as we reduce our net debt.
QCA PRINCIPLE 1
STRATEGY AND BUSINESS MODEL
Franchise Brands is focused on building market-leading businesses in selected customer segments, using primarily a franchise model. We currently have a combined network of almost 450 UK franchisees across five franchise brands.
Our focus is on established brands which can benefit from our shared support services, specialist sector expertise, management experience and group resources.
The acquisition of Willow Pumps, a DLO, represented an important step in expanding Metro Rod and Metro Plumb's range of services to the commercial market.
The creation of a B2B and B2C division provides a greater focus and structure to grow our portfolio, support our franchisees and develop our businesses.
Further information around our strategy and business model can be found in the Strategic Report.
MEETING SHAREHOLDER NEEDS
The Executive Chairman, the Chief Financial Officer, and the Corporate Development Director regularly meet with the institutional shareholders and provide the Board with feedback from those meetings and other communications with shareholders. The Board is provided with research notes from sell-side analysts plus insight into shareholders' views from the Company's brokers and nominated adviser. The Group welcomes the personal investment in its equity that many employees and franchisees have made, as well as our retail investors.
We regularly update the Investor Relations section of the Group's website with the aim of providing useful information for all investors, but particularly our retail shareholders. We use our Annual Report to provide shareholders with details of the Group, operations, performance, strategy and policies. The Group also exhibits and presents at events attended by retail investors and subscribes, and provides content to, retail financial news websites.
All Directors are invited to attend the AGM at which there is an opportunity for shareholders to ask questions formally, and the Directors are available following the meeting for informal discussions. Voting at the AGM is by poll, with the results being announced in the meeting.
MANAGE OUR RESPONSIBILITIES TO WIDER STAKEHOLDERS
The Board has a clear understanding of the Group's key stakeholders (which includes our employees, franchisees, customers and communities, suppliers, shareholders, regulators, and banks) and understands that the success of the Company depends on maintaining a positive relationship with each of these groups, particularly its franchisees.
There are good relations with all of the stakeholder groups. The Group's core business as a franchisor has minimal direct impact on society or communities in general terms, but the Board understands the importance of these issues. Management actively solicits feedback from employees and franchisees (both formally and informally) and maintains strong relationships with suppliers. In the current year this has included management visits to franchisees, one-to-one meetings by the senior executive with employees, as well as more formal surveys carried out by independent firms. Customer reviews, ratings and feedback for all our consumer brands are received regularly and action taken where required.
Each of our underlying franchise networks have potential environmental impacts which have been considered and minimised. We aim to employ environmentally-friendly processes where possible. ChipsAway's SMART repair process uses mostly water-based formulations and Ovenclean employs a no-added caustic system.
Metro Rod and Willow Pumps have highly developed health and safety systems and processes which take into account the potential health and safety risk from the nature of the equipment used and the public locations in which the services are carried out. Metro Rod and Willow Pumps also ensure that they dispose of waste responsibly and safely.
The Risk Management section on pages 32 and 33 details the key risks to the business, how these are mitigated and the change in the identified risk over the last reporting period. The Board is embedding risk management principles to drive proactive management of, to better enable us to execute and deliver our strategy. As such, the Board regularly reviews its risk management framework, which determines the extent of exposure to the identified risks that the Company is able to bear and willing to take. Any changes to the risk profile of the group will be discussed at Board meetings, and the risk management framework updated. The Board formally reviews the risk framework bi-annually. The Group does not currently have an internal audit function, but will consider the introduction of this as the Group grows.
MAINTAIN A WELL-FUNCTIONING BOARD
The Company is controlled by the Board of Directors. The Board comprises six Executive Directors and three Non-executive Directors, two of whom (Rob Bellhouse and David Poutney) are considered to be independent. Peter Molloy and Tim Harris are the Managing Directors of the two largest operating components of the Group and sit on the Board of Directors, and they are responsible for the operational leadership of their respective businesses.
The Group holds Board meetings at least six times each financial year and at other times as and when required. During the current year the Board met eight times. All directors (or their proxy) attended all meetings. Stephen Hemsley, the Executive Chairman, is responsible for the running of the Board.
The Board is responsible to the Company's shareholders for:
Setting the Group's strategy;
Maintaining the policy and decision-making process through which the strategy is implemented;
Checking that necessary financial and human resources are in place to meet the strategic aims of the Group;
Providing entrepreneurial leadership within a framework of good governance and sound risk management;
Monitoring performance against key financial and non-financial indicators;
Overseeing the systems of risk management and internal control; and
Setting values and standards in corporate governance matters.
The role of the Non-executive Directors is to:
Challenge constructively and help develop proposals on strategy;
Satisfy themselves as to the integrity of the financial reporting systems and the information they provide;
Satisfy themselves as to the robustness of the internal controls;
Ensure that the systems of risk management are robust and defensible; and
Review management performance and the reporting of such performance to shareholders.
All Directors receive regular and timely information on the Group's operational and financial performance. Detailed strategic Board papers are sent out in advance of Board meetings, and the Board receive the monthly management accounts detailing the performance of our brands. The Directors' contracts provide that they must each devote such time to the Company as is required to fulfil their duties.
ENSURE DIRECTORS HAVE NECESSARY, UP-TO-DATE SKILLS
Having Directors drawn from a range of backgrounds, with a cumulatively wide range of relevant skills and experiences, helps us to take decisions in the interests of all shareholders and which take into account the interests of a wide range of stakeholders. Details of the skills and experience of the Board, which cover sector, financial and public markets skills and experience, can be found on pages 34 and 35. Where new Board appointments are considered the search for candidates is conducted, and appointments are made, on merit, against objective criteria and with due regard for the benefits of diversity on the Board, including gender.
The Board recognises that as the Group evolves, the mix of skills and experience required on the Board will change, and Board composition will need to evolve to reflect this change, with due regard for the benefits of diversity on the Board, including gender.
Directors are provided with access to the Company's Nominated Advisor who provide briefings on necessary legislation and regulations from time to time. Directors are supported to ensure their skills remain up to date, including training courses and continuing professional development.
EVALUATE BOARD PERFORMANCE
A Board performance self-evaluation was undertaken in November 2018, the results of which have been discussed by the Board. Each Director was invited to complete a questionnaire providing a quantitative rating and justifying narrative on ten strategically aligned questions, with two further questions to identify any improvement opportunities. Overall, the Board felt that it was functioning effectively, with a good balance and blend of skills and experience around the Board table and that meetings were held in a constructive spirit. The evaluation identified two opportunities to enhance the Board's effectiveness. One was to ensure that its meeting agendas and discussions focussed on strategic considerations, with operational outcomes reported by exception. The second was to have specific 'deep dives' into key strategic issues, including both risks and opportunities. Both have been adopted by the Board.
Since the Company joined the AIM market in August 2016, there has been an evolution in the Board's composition, with the most recent changes to the directorate being in April 2019. While there is no formal succession plan in place, four Managing Directors run the Group's brands and two of these individuals sit on the parent company Board. Three are experienced operators of franchised businesses and whilst it is not our plan to consolidate these businesses any further, we have significant resilience in our senior management team.
PROMOTE A VALUE-BASED CORPORATE CULTURE
Franchise Brands has five guiding principles that inform the way we work with each other, support our franchisees and serve our customers and the communities in which we operate:
We demand integrity: We are professional in everything we do and treat people with respect. Nothing is more important to us than acting with integrity at all times.
We empower our people: We empower our people and expect them to take ownership of a situation and to be accountable for their actions and the results they generate.
We are challenging of ourselves: We set high standards, are demanding of ourselves, are prepared to challenge the norm and have a relentless focus on continual improvement.
We are fair: We consider that fairness and transparency are essential to creating high trust working relationships with each other, and with our franchisees, partners and suppliers.
We work as a team: We place a huge amount of importance on teamwork between our colleagues and our franchisees in creating a dynamic business which delivers impressive results. We are inclusive, encourage ideas and innovation and welcome diversity.
An externally conducted survey has been undertaken to ascertain the views and attitudes of the franchisees of Metro Rod, the Group's largest business. This included a number of questions providing insights into the culture within that business and the Board has discussed the survey's findings.
MAINTAIN FIT-FOR-PURPOSE GOVERNANCE STRUCTURES
The role of the Audit Committee is to monitor the quality of internal controls and check that the financial performance of the Group is properly assessed and reported on. It receives and reviews reports from the Chief Financial Officer, other members of management and external auditors relating to the interim and annual accounts and the accounting and internal control systems in use throughout the Group. The members of the Audit Committee are David Poutney (Chairman) and Rob Bellhouse.
The Executive Chairman and Chief Financial Officer are invited to attend all meetings, with other senior financial managers invited to attend when necessary. The external auditors attend meetings to discuss the planning and conclusions of their work and meet with the members of the Committee without any members of the executive team present after each meeting. The Committee is able to call for information from Management and consults with the external auditors directly as required.
The objectivity and independence of the external auditors is safeguarded by reviewing the auditors' formal declarations, monitoring relationships between key audit staff and the Company and tracking the level of non-audit fees payable to the auditors.
The Committee met twice during the year, to review the 2018 annual accounts and the interim accounts to 30 June 2019. The Committee reviewed, with the independent auditor, its judgements as to the acceptability of the Company's accounting principles. In particular, the Committee discussed the application of the new accounting standards for 2018 (IFRs9 and IFRs15) and the new accounting standard for 2019 (IFRs 16). The Committee reviewed and discussed the auditor's comments on improvements which could be made to the internal controls. In addition, the Committee has discussed with the auditor the firm's independence from Company management and the Company, and considered the compatibility of non-audit services with the auditor's independence. In the current year these services included due diligence work which BDO performed in relation to our acquisition of Willow Pumps.
The role of the Remuneration Committee is to review the performance of the Executive Directors and make recommendations to the Board on matters relating to their remuneration and terms of employment. The Committee also makes recommendations to the Board on proposals for the granting of share awards and other equity incentives pursuant to any share award scheme or equity incentive scheme in operation from time to time. The members of the Remuneration Committee are: Rob Bellhouse (Chairman) and David Poutney.
The Executive Chairman is invited to attend meetings of the Remuneration Committee, but does not participate when his own remuneration is being discussed. All members of the Committee are independent Non-executive Directors.
The Company's remuneration policy and details of the amounts due to the Directors of the Company in or in respect of the year are set out in the Remuneration Report on pages 41 and 42. As the Company is not fully listed, it is not required to produce a formal remuneration policy or seek shareholder approval of that policy.
The Committee met twice during the year, to approve the awards of options under the Long-Term Incentive Plan ("LTIP").
AIM Rules Compliance Committee
The role of the AIM Rules Compliance Committee is to ensure that the Company has in place sufficient procedures, resources and controls to enable it to comply with the AIM Rules for Companies and this role is set out in its terms of reference available on the Group's website. The Committee makes recommendations to the Board and proactively liaise with the Company's nominated adviser on compliance with the AIM Rules. The Committee also monitors the Company's procedures to approve any share dealings by Directors or employees in accordance with the Company's share dealing code and the requirements of the Market Abuse Regulation. The members of the Committee are Rob Bellhouse (Chairman) and David Poutney. In addition, all other Directors of the Company are invited to attend its meetings. The Committee has not met during the year, as the relevant matters were discussed at meetings of the full Board.
QCA PRINCIPLE 10
COMMUNICATE GOVERNANCE AND PERFORMANCE WITH SHAREHOLDERS
The Board communicates regularly with shareholders providing updates on Group performance via interim and annual financial reports, trading updates issued via RNS, investor presentations and meetings with institutional shareholders.
The Board also ensures that the corporate website is kept up to date with all the latest information about the governance and performance of the business. We use our Annual Report to provide shareholders with details of the Group, operations, performance, strategy and policies. The Group also exhibits and presents at events attended by retail investors and subscribes, and provides content to, retail financial news websites.
Results of shareholder votes:
AGM 28 April 2020: Result of Annual General Meeting
AGM 23 April 2019: result of AGM announcement
This page was last updated on 26 May 2020


Youth Musicale began in the summer of 1973 with one touring groups of senior high school students. Since that time, the tour has been on the road nearly every July. Youth Musicale is a music oriented mission which gives students an opportunity to use their musical gifts to reach others with the message of Jesus.
Early each year (April), participants are chosen by audition for the following summer's tour. Youth prepare for tour by attending a pre-camp rehearsal and then a 4 day rehearsal camp right before the tour begins. Each year, staff volunteer in many areas including music direction, spiritual life, counseling, transportation, technical support, just to name a few.
Any youth who will be entering 9th-12th grade the following fall may audition, along with students are currently in the 12th grade. Youth come from all over the state of Ohio (and sometimes beyond) and come from all denominational backgrounds. Auditions involve two main parts: a vocal audition and a one-on-one interview about their relationship with Christ.
Youth Musicale is more than a camp. It is a mission project. Youth will learn about reaching out to others, sacrificing of themselves, and working together as a team for the cause of Christ. In addition to the outreach to others, youth also experience personal spiritual growth through Bible studies, prayer, small groups, and preparing testimonies to share.
Youth Musicale is sponsored by the East Ohio Evangelical Fellowship.
"When I was 15 years old and first got involved with Youth Musicale I had no way of knowing what a life changing experience I was about to have! It was during my second year of Youth Musicale that I came to Jesus Christ as my personal Lord and Savior! God has used the countless friendships that were formed with other Christians during my years in YM to enrich and encourage my life and the ministry which God has since entrusted to me. I can honestly say that I do not know where I would be without the life-changing love of Christ that I found while involved in YM!"
"It was a real eye opener that brought me closer to God and i made some great friends through out the process and learned what real worship is."


Convey Water, Oil, Gas, Steam etc.
4, Iron Cage and wooden pallets accordingly.
A: Generally it is 7-20 days if the goods are in stock. or it is 15-20 days if the goods are not in stock, it is according to quantity.
A: Yes, we could offer the sample for free charge if we have stock but do not pay the cost of freight.


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Film Review: Wolf Guy (1975)
May 1, 2019 by Talking Pulp	in Film Review, Reviews and tagged 1970s, 1975, action, crime, film, horror, Japan, occult, review, Sonny Chiba, The Last Drive-In, Toei, tokusatsu, werewolves, Yakuza
Also known as: Urufu gai: Moero ôkami-otoko, lit. Wolfguy: Enraged Lycanthrope (Japan)
Release Date: April 5th, 1975 (Japan)
Directed by: Kazuhiko Yamaguchi
Written by: Fumio Konami
Based on: Wolf Guy by Kazumasa Hirai
Cast: Sonny Chiba, Kyosuke Machida
Toei, 86 Minutes
"There is a nastier pathogen than syphilis. It's the one they call hatred of humans. I had clearly caught that infection from Miki." – Akira Inugami
Man, this is a bizarre movie. But it's also a horror Yakuza movie from Toei Studios in the 1970s. They spent a lot of time making tokusatsu television and Sonny Chiba action movies though, so this was a weird hybrid of all the things they were good at back in the mid-'70s.
Chiba is essentially a werewolf. However, we never see him actually turn into a werewolf, there is just dialogue about how he's channeling his wolf power and his animal instincts. There is also some sort of phantom ghost tiger thing that keeps attacking people and ripping them to shreds.
The films is also full of drugs, whores, gangsters, syphilis and really weird sexual encounters.
At one point, Wolf Guy Chiba meets his mother, who is also his wife and he suckles her breasts. Yeah, it's fucking weird as shit but hey, this is Japanese cinema where weird shit is allowed to fly, nothing has to make much logical sense and no one really seems to care as long as something really cool happens every five to ten minutes.
If I'm being honest though, I have no idea what the hell I watched. But I did mostly like it. I love Chiba, I love Toei and bizarreness is right up my alley. And luckily, this wasn't so bizarre that it was like some Takashi Miike shitshow. He's literally made shitshows, that's not just an expression.
Wolf Guy is an insane movie. It won't be a movie for most people. But the right kind of audience should love it. I don't love it but I guess I appreciate it for what it is: pure madness, but cool pure madness. And not so visually off putting that I have to wash my eyes out for ten hours after seeing it.
Pairs well with: '70s Japanese horror and tokusatsu, as well as '70s Sonny Chiba action crime movies.
← Documentary Review: Becoming Bond (2017)
Film Review: Freejack (1992) →

redpajama_set_name: RedPajamaCommonCrawl


The tour visits four Belgian theatres and is a co-production with TV channel Ketnet. The Unidamu (Universe of Dance & Music) journey started with "Ketnet Musical", a talent scouting competition TV show with a mission to source new singing, dancing and acting talent, resulting in 24 fresh and enthusiastic faces picked from 12,000 hopefuls to make up the cast.
Painting with Light and Studio 100 have enjoyed a long and positive working relationship and this is the third edition of the musical show. It has a strong anti-bullying narrative and tells the tale of two worlds ... a reality which is grey and devoid of music, fun or entertainment and the sci-fi fantasy world of Unidamu - filled with colour life, joy, music, dancing and inspiration. Most importantly ... there are no bullies and life is inclusive and non-judgmental.
The set design by Stefan Haudenhuse was already in place and Paco's main challenge in lighting the piece was creating that stark contrast between the two worlds between which the young people teleport.
The only thing about Unidamu is that children can't take their families ... so those who miss their significant others decide that the only solution is to try and bring Unidamu back to the real world for all to enjoy. It's a more complex story than it might initially appear, one that can be appreciated on multiple levels.
The main location in the real world is a school which Paco decided to light with standard commercial fluorescent tubes, which were rigged onto a number of house LX bars. The light emitted is an unforgiving and unrelenting practical white which is the default look for the real world.
Unidamu needed to be colourful and vibrant, so a number of moving lights were specified - 18 x Robe LEDWash 1200s for the washes, 12 x Martin MAC Viper Profiles for the rear spots with some Claypaky Alpha Spots for the front lighting.
Twenty-two SGM LT200 LED battens are utilised, with some integrated into the set pieces. "We wanted to create a roof with these LED strips," explained Paco. The set required lots of dynamics, so there is a front, mid and back section, all featuring two of these 2 metre tubes, with each fixture's 52 x LEDs individually mapped.
Five side booms run down the sides of the stage and these are each loaded with 2 x LED PARs that kick in neatly and nicely to cover the set and performers.
The design also had to fit a budget, which was reasonable but not massive, so it is an expedient rig used creatively. Fixtures were chosen and positioned carefully so they could be maximised ... and all of them were worked hard throughout the show.
The LEDWashes were run in 'wide' mode so pixel looks and ring effects could be optimised. When the washes were combined with the LT200s, Pacowas able to introduce some serious funkiness to the pumping, uplifting songs and dance numbers.
He programmed the show onto a grandMA2 console, networked with an MPU as the 22 LT200s already consumed 3500 channels!
Paco and the Painting with Light team were determined to impress director Tijl Dauwe - who also wrote the script – andhad big expectations.
All Studio 100 shows have a reputation for exceptionally high production value, so the pressure was on to come up with something polished, slick and appropriate, all of which Paco took in his stride. The show was recorded for later broadcast and DVD, so this was yet another different consideration to take into account for lighting.
The teleporter set piece featured some integrated practicals - inbuilt LEDs and lots of smoke - as well as motorised doors, so there was plenty of satisfaction in creating effects as people were sucked out of one world and deposited into the other.
Even Tijl was impressed with the scope and variety that Paco managed to get out of the different lights, which are being operated on the road by Niels Huybrechts, a regular Painting with Light collaborator.
"I've really enjoyed this project" commented Paco, "it's been great fun working with an excellent team and all of us have pushed each other with the various challenges of making the production stand out".
Three days of production rehearsals preceded the first show at Ostend's Kursaal Theatre, followed by a preview performance, a press night and two shows on the first and second days ... by which time it had already been recorded for broadcast.
The second batch of shows commenced a month later and by the time the tour is complete, Unidamu will have played Ostend, Antwerp, Ghent and Hasselt.


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Scott Whitlock
FLASHBACK: Biden's Future Press Secretary on Trump 'Defecating on Women'
Joe Biden's Press Secretary, Karine Jean-Pierre, this week tried to spin away the fact that she was an election denier, insisting that Donald Trump wasn't elected President, that Brian Kemp wasn't elected governor in Georgia. But a look back at Jean-Pierre's time on MSNBC shows a tendency to lash out with vulgar attacks on Republicans.
On October 21, 2017, Jean-Pierre, then a spokeswoman for the radical MoveOn.org, appeared on AM Joy, and accused Donald Trump of "defecating on women":
And the thing that is even crazier than that is that he now sits behind the resolute desk in the Oval Office essentially defecating on women, signing executive orders, taking away rights from women.
Activist Jean-Pierre accused the Trump administration of seeking out black women to "take down."
For every Trump controversy, there seems to be a black woman that this administration wants to take down publicly, dehumanize, and really just try to destroy. And it's incredibly dangerous, troubling and disgusting. You have April Ryan, you have Susan Rice, you have Jemele Hill, you have Maxine Waters, and now you have Frederica Wilson. This is what this administration continues to do because they're so afraid of powerful black women. And so that is how they cover up their controversies by finding one that they can take down.
In November of 2017, Jean-Pierre again appeared on MSNBC and slimed then-Senator Jeff Sessions as a "racist" who is "living his best bigoted life."
The revolving door between radical MSNBC analyst and Biden White House Press Secretary shows just how little difference there really is between the two leftist outfits.
For more examples from our flashback series, which we call the NewsBusters Time Machine, go here.
NewsBusters Time Machine


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Just yesterday we posted seven new posters for FAMILY GUY creator Seth MacFarlane's new movie A MILLION WAYS TO DIE IN THE WEST, and today we get our first solid look at the film via a new red band trailer… and it's definitely "red band" in nature. I think initially the concept of a wacky and satirical Western would turn people off (WILD, WILD WEST comes to mind), but from the looks of the trailer MacFarlane seems to be bringing back the Zucker Brothers (AIRPLANE, THE NAKED GUN) sensibilities. I was also reminded of another comedy Western flick called RUSTLER'S RHAPSODY, which I have fond memories of. One thing Seth is successfully parodying is the dangers and frequent peril of living in the "Old West", and how anyone could die at any minute. Take a look at the trailer (definitely not safe for work) and tell us your thoughts in the comments. This one is definitely on our radar.
Starring alongside MacFarlane are Oscar® winner Charlize Theron, Liam Neeson, Amanda Seyfried, Giovanni Ribisi, Sarah Silverman and Neil Patrick Harris. MacFarlane reunites many of the filmmakers behind Universal and MRC's hit film Ted including Scott Stuber (Bluegrass Films) and Jason Clark who produce, and Wellesley Wild and Alec Sulkin who co-wrote the script.


Deliciously naughty, Ravenous follows the lives of a group of friends from Melbourne, Australia. Through weekly, serialized stories and recipes it explores the lovers, friendships, places and foods that affect them. Not for the fainthearted, Ravenous will leave you sinfully satisfied yet always craving more.
INTERNATIONAL RIVERS: Nonprofit focussed on protection of rivers in Asia, Latin America, and Africa.
Writer/Editor of report detailing the policies and practices of the hydropower industry in China.
CURDS AND CUTS: San Francisco based company offering curated, fermented events and catering services.
THE GARB WIRE: Lifestyle blog detailing observations in style, music, art, and culture.


The 2014 Tribeca Film Festival has lined up a hefty slate of 58 short films that span everything from recent Oscar winner "Helium" to a documentary about musician Amanda Palmer to an adaptation of a Jean Cocteau play starring Sophia Loren.
The lineup, including 29 world premieres, is divided thematically into nine programs, separated into five narrative sections, three docu slates and one collection of experimental shorts.
Anders Walter's "Helium," which scored the Academy Award for live-action short, is part of Flight Delays, a seven-film category about thwarted expectations and the need to escape, while the Loren starrer, Edoardo Ponti's "Human Voice," makes its world premiere as part of the Soul Survivors lineup. (Ponti won Tribeca's 2013 award for short.) The project about Palmer and her relationship with the music industry, Ondi Timoner's "Amanda F***ing Palmer on the Rocks," is part of a documentary subsection called Before Long.
Among the other programs on tap are the New York-centric City Limits (comprising four world preems), doc slate After Words, experimental lineup Digital Dilemma and Totally Twisted, a collection of short pics that skew toward creepy, weird and funny. Thesps appearing in Tribeca's 2014 lineup of shorts include Sally Hawkins, Danny DeVito and Alfie Allen ("Game of Thrones").
The shorts join a festival slate of features announced in two parts last week. The 2014 Tribeca Film Festival runs April 16-27.


text:
Katharine Beutner
In Greek myth, Alcestis is known as the ideal wife; she loved her husband so much that she died and went to the underworld in his place. In this vividly-imagined debut, Katharine Beutner gives voice to the woman behind the ideal and reveals the part of the story that's never been told: What happened to Alcestis in the three days she spent in the underworld?
Praise For Alcestis…
"[A]n engaging, subversive reimagining of the tale of the eponymous Greek heroine who is upheld as a shining example of the dutiful wife for her selfless sacrifice. Katharine Buetner's Alcestis is a far more willful heroine, and her encounters with the gods of the underworld resonate with a genuine sense of the numinous."—Jacqueline Carey, Namaah's Kiss and Kushiel's Dart
"Beutner renders her multilayered heroine with beauty and delicacy, and concerns herself with no less than the intricacies of the soul."—Publishers Weekly
"Everyday life in the ancient world, a no-escape-clause afterlife in the underworld, vulnerable mortals, and passionate and tormented gods—all are imagined with intense actuality in a novel that is as intoxicating and hypnotic as the sacred smoke inhaled by the oracles."—Elizabeth Knox, The Vintner's Luck
"Beutner spices up this classic tale with a decidedly Sapphic flavor."—Booklist
Soho Press, 9781569478752, 304pp.
Katharine Beutner grew up in Lancaster, Pennsylvania. She earned a BA in classical studies from Smith College in 2003 and an MA in creative writing from the University of Texas at Austin, where she is currently a PhD student in eighteenth-century British literature.


Released in February 1988, The Festival II was produced as a 2nd limited edition run of 15000 vehicles after the success of the previous years 'Festival' model.
Externally the Festival II was badged with a full length stripe and fiesta side graphics midway up the door (just above the side mouldings) and a Fiesta Festival rear sticker in a combination of 'squiggly' and block capital fonts. All cars came with silver coloured bumpers and wide side mouldings.
It also lost it's signature 'Festival' centre console from the previous years version, instead opting for the more basic tray fitted to all later high spec cars. Trimmed in Escale cloth, it featured an interior similar to the L model, with split folding rear seats, high spec dash and door cards with arm rests.
The Festival II was available with three different engine choices, either a 950 or 1.1 petrol, both with 4 speed gearbox, or a 1.6 diesel with 5 speed box. An automatic box was available as an optional extra for 1.1 petrol engines only, setting the buyer back another £700+VAT.
The Festival was available in either one of five single colour metallic paint choices or as a two tone paint scheme with one of five solid body colours sitting above a silver grey metallic lower half. In late 1988 the solid red shade was swapped from Rosso Red to Radiant Red across the range.
We currently have 30 Mk2 Ford Fiesta Festival II cars on the database. If yours isn't listed then please add it by filling out the form on the register page.


text:
Tuesday, May 11, 2021 Guy D'Astolfo
Youngstown's Mike Gibson to Compete on Topiary Competition Show 'Clipped'
YOUNGSTOWN, Ohio – When Mike Gibson first got started in topiary, he didn't even know there was a name for it. But he was quite good at clipping and sculpting shrubs into "property art," as he called it.
The Youngstown resident launched his own business – Gibson Works Property Art – a few years ago, creating living décor on the lawns of businesses and homes throughout the Mahoning Valley.
After this week, the reputation of Mike Gibson will be spread even wider.
Gibson is one of seven competitors on "Clipped," a new show that premieres Wednesday on Discovery+ as part of the first batch of original series the streaming service is launching this year. Starting with the 90-minute premiere, one contestant will be ousted – clipped – each week. The last one standing wins a $50,000 prize.
The trio of judges on the show include none other than Martha Stewart, along with topiary expert Chris Lambton and landscape architect Fernando Wong. Actor Michael Urie is the host.
For Gibson, it's the latest example of how his unique but little-known skill continues to change his life.
When the show's producers first reached out to him, Gibson thought someone was pulling his leg.
"It's like a dream come true but I thought it was spam at first," he said. "I didn't think it was real because everyone knows I love topiary."
Gibson is ambidextrous and can clip at a rapid pace using both hands. It's a trait that earned him the nickname "Gibby Siz" – short for Gibby Scissorhands, a reference to 1990 film "Edward Scissorhands."
Gibson is a 2005 Chaney High School graduate who also attended Youngstown State University for fine art and Columbus State College for graphic design.
He traces his artistic talent and love for topiary to his childhood.
"When I was 7, my father started teaching me how to trim the bushes and that was the beginning of my love for landscaping," Gibson said.
His father is Michael Gibson, an artist who has won Best in Show of The Butler Institute of American Arts' Area Annual Exhibition. The younger Gibson credits his father with furthering his budding career.
"I started doing property art 10 years ago," Gibson said. "My dad saw it and [said it looked like the work of] Pearl Fryar. So I [searched online for] him and that's when I got into the world of topiary. Until then, I didn't know it was an art form."
Fryar, 81, is a renowned topiary artist who lives and works in Bishopville, S.C.
"I met [Fryar] three years later and went to his garden in South Carolina," Gibson continued. "He became my mentor. I've visited him every year since 2016, learning and getting bits of information every time. He is the grandmaster of topiary."
Click here to watch our video on Mike Gibson's works
Gibson was at Fryar's property Monday when he was interviewed for this article.
After living in Columbus for eight years, Gibson moved back to Youngstown in 2014 and launched his own full-time business a year later.
He has been working to beautify his hometown since his return.
"I saw a need and knew I had a skill that I had been developing and I wanted to beautify Youngstown," he said.
His business goal was to create 330 topiaries around town, a number he reached within his first six months. In 2018, Gibson created an exhibition of topiary at Fellows Riverside Gardens. He has also appeared at home and garden shows across Ohio.
His next goal is to do a series of topiaries along the streets of the South Side, where he grew up.
The producers of "Clipped" discovered Gibson on Instagram and invited him on the show, which was shot last fall in Tarrytown, N.Y.
If he wins the $50,000 prize, he said he would use the money for a down payment for a new home for his wife and daughter and also to start a topiary garden in Youngstown.
His experience filming the show was "awesome," he said.
"It was nice how they assembled the group of contestants from all over the country," he said. "We joked on the set that we were like the Topiary Avengers, and we will assemble again somewhere in the future and beautify an estate. We developed a great friendship. We were on the set for 14-hour days so you get to people very well."
Described by Discovery+ as the first competition show about topiary, "Clipped" is structured like many similar shows. Contestants face a series of challenges on each episode and every effort is made to show the contestants' reactions as naturally as possible.
That meant keeping them in the dark about the judges on the premiere episode.
"We had no clue who they were going to be," Gibson said. "So the reactions were real when Martha Stewart came out, and even Chris Lambton. I was binge-watching his series ["Going Yard"] on HGTV not long before and it was a surprise to see him walk out as the judges were introduced."
Gibson said the feedback he received from the judges was valuable and he has applied their advice to his career.
After the premiere, new episodes will stream on Discovery+ every Wednesday for the ensuing five weeks.
Fans can learn more and connect with the series across the Discovery+ digital platforms at DiscoveryPlus.com and via @discoveryplus and #GetClipped on Instagram, Facebook and Twitter.
Pictured: Mike Gibson in a scene from "Clipped" with judge Fernando Wong and host Michael Urie.


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text:
Social and Economic Well-Being
RAND Center to Advance Racial Equity Policy
>Q&A with Jack Riley
How Can Addressing Issues of Diversity, Equity, and Inclusion Benefit the National Security Community?
Q&A with Jack Riley
Jack Riley is vice president, RAND National Security Research Division; director, RAND National Defense Research Institute; and executive sponsor of RAND's Employee Resource Group for Black employees.
What motivates you to address diversity, equity, and inclusion (DEI) through your division's work on national security policy?
The national security community, and the Department of Defense (DOD) in particular, is one of the largest employers in the country. There are about 1.3 million people in uniform, an additional 800,000 on reserve status, and more than 750,000 civilian employees in DOD. Those numbers don't count the millions of veterans who have concluded their service and work in the civilian sector now, nor does it count the hundreds of thousands who are employed by the State Department, intelligence agencies, and private firms who manufacture goods and provide services to the national security community. When dependents and family members are counted, the numbers are truly astounding: nearly 10 million people, for example, get their healthcare through the DOD, and more than 80,000 children get their education through a DOD school. One other key point is that our defense and diplomatic teams are stationed all over the world and are very visible in other countries and cultures.
In short, the national security apparatus of this country affects a lot of people. And the actions of these agencies, particularly the DOD, on racial, gender, sexual orientation and religious equity will propagate through a lot of communities and constituencies. By helping DOD get it right we are almost literally helping the rest of the United States, and much of the world, get it right. And we have provided incredible help on a host of Diversity, Equity, and Inclusion (DEI) issues, from those associated with allowing gay people to serve openly and the potential health care costs associated with allowing transgender personnel to serve, to analyzing roles for women in combat and defining gender-neutral physical standards. More recently, we have started work on high-priority issue for Secretary of Defense Lloyd Austin—assessing methods to keep extremists from serving. The national security community is an amazing laboratory for DEI issues.
What are some of the big challenges RAND should address in racial equity?
I would love to see a large philanthropic initiative at the intersection of race, police, and guns. Prior to leading RAND's National Security Research Division (NSRD), I like to say that I led a life of drugs and crime at RAND and at the US Department of Justice (DOJ). My dissertation was on drug trafficking. At DOJ, I was a senior researcher on an initiative that Attorney General Janet Reno sponsored to try to understand why homicide rates were declining so fast at that time. At RAND, I developed my passion for this when I ran a project on policing and gun violence in East Los Angeles in the early 2000s. We showed how it is possible to reduce gun violence without simply displacing it to an adjacent neighborhood. That work catalyzed a lot of researchers and led to additional important work at the intersection of police and guns – analysis of straw purchases; ammunition logs; assessment of traffic and pedestrian stops; and many others – and police and race, such as the analysis of racial disparities in motor vehicle and pedestrian stops in Oakland, New York, and other cities. But we would be able now to do something that we did not do back then on any of those projects: be more mindful about bringing a DEI perspective to the work in terms of staffing, reviewers and so forth. When I look back, that's something that was missing and that might have considerably strengthened the work.
I would also like to see RAND do more on the role of cameras and policing. I've been a part of several projects that have utilized cameras. In one project in Cincinnati, a camera was triggered when the police stopped a vehicle. Another was a pilot test of wearable cameras with the Israel National Police. In both cases, the cameras added to the evaluations. And now, with cameras so much more ubiquitous I think we need to push for a deeper understanding of how to incorporate them into policing and potentially into evidence.
Personally, how do you come to this work as a RAND leader?
I lost a lifelong friend to cancer about seven years ago, who happened to be Black, and who happened to pass away shortly before Michael Brown was shot and killed by police in Ferguson, MO. The juxtaposition of those two events got me thinking about the role of race in her life and death. We started off in the same place, almost down to the block, and kept up the same pace all the way through college and our early careers. But as we aged, our experiences started to diverge. The last decade for her was very difficult—a layoff, large complications in dealing with her aging parents, and her own health care. Her death shook me in a way I had never experienced before. The details are not mine to give, but I did find myself wondering how different these inflection points might have been if she were White.
I don't want to leave the impression that I launched a personal racial justice crusade at that point, because I didn't. But around the time she died I did start to look at things differently and hear things differently, and it has gradually fed into my work life. It's not specifically a race issue, but I took great pride in recommending that Michael Rich, our CEO, direct discretionary resources toward gun violence research. I started having conversations with leaders at other think tanks and institutions about programming, recruiting, leadership development, and team building. I spent a lot of time on outreach and recruiting when I had leadership vacancies. But all of these things were somewhat disconnected and hard to maintain. When RAND established a sustained, corporate focus on DEI issues, including Employee Resource Groups (ERGs), I was grateful. I jumped at the chance to be the executive sponsor for one of our ERGs, BELIEVE (Black Employees Leading in Inclusion, Equity, Vision, and Education). I strongly encourage everyone at RAND to take advantage of these resources and opportunities. Not only are they good for RAND overall, these are likely to be good for our staff personally.
RAND's work on workforce diversity, including in national security RAND's Gun Policy in America initative
/content/rand/well-being/racial-equity-policy/our-people/qa-jack-riley/jcr:content/par/wrapperdiv/wrapperdiv_copy/teaserlist
What Does It Mean to Thrive Rather Than Survive? Q&A with Cynthia Gonzalez
Cynthia Gonzalez, director of Pardee RAND Graduate School's Community-Partnered Policy and Action stream, talks about her passion and insights for the school and why it is time for a new approach to community well-being.
Research Through an Equity Lens: Q&A with Peter Nguyen and Jhacova Williams
What does it mean to apply an equity lens to research and analysis? RAND education policy researcher Peter Nguyen and economist Jhacova Williams offer their perspectives.
Building Equity into Climate Solutions: Q&A with Ben Preston
The RAND Center to Advance Racial Equity Policy develops solutions to build racial equity in systems and policies for the future. One such area is protecting our climate in ways that are equitable and equity-oriented. Benjamin Preston, director of RAND's Community Health and Environmental Policy program, shares more.
Center to Advance Racial Equity Policy
RAND Conversations
Forward Newsletter


text:
Warren Buffett, CEO of Berkshire Hathaway. (Reuters )
Warren Buffett says Apple content plan hard to predict, touts airline safety
2 min read . Updated: 29 Mar 2019, 01:35 AM IST Jonathan Stempel , Reuters
Buffett showed his usual humour, prompting audience laughter as he removed a flip phone from his pocket during the Apple discussion
He also said the pace of growth in the US economy, which expanded at a 2.2% annualised rate in last year's fourth quarter, appeared to have slowed down
Warren BuffettAppleAirline safety
Warren Buffett on Thursday said he could not predict the success of Apple Inc's new suite of services but was confident the public would benefit as content providers vie for their wallets.
The billionaire chairman of Berkshire Hathaway Inc, which owns big stakes in the four largest U.S. airlines, also said that industry would weather fears about safety even after Boeing Co's 737 MAX planes were pulled from service.
He also said the pace of growth in the US economy, which expanded at a 2.2% annualised rate in last year's fourth quarter, appeared to have slowed down, but "that doesn't change anything we do" at Berkshire.
"You really want to bet on America," said Buffett, who was speaking in Grapevine, Texas at an event broadcast by CNBC.
Apple on Monday announced an ambitious plan to reorient itself as an entertainment and financial services company, including a plunge into video streaming and the launch of a Goldman Sachs-branded credit card.
Buffett, whose company owned $40.3 billion of Apple stock at year end, said the iPhone maker "can afford a mistake or two" as companies such as Amazon.com Inc, Netflix Inc and Walt Disney Co compete for customer attention.
"Eyeballs aren't going to double," he said. "That's not an easy game to predict, because you have very smart people with lots of resources trying to figure out how to grab another half hour of your time."
But he said a decade from now, as the delivery of entertainment content improves, "the public will be the winner."
Buffett also defended Berkshire's roughly one-tenth stakes in American Airlines Group Inc, Delta Air Lines Inc, Southwest Airlines Co and United Continental Holdings Inc, despite problems with the 737 MAX.
Berkshire began amassing those stakes in 2016, surprising many investors because Buffett had viewed the sector as too competitive and capital-intensive after making an investment in USAir Group he later regretted.
"I don't think it's a suicidal business any more," he said on Thursday.
Buffett added that Boeing, which has not been a Berkshire investment, "has a lot of work to do very promptly," but that "the airline industry has been so safe."
Buffett also showed his usual humour, prompting audience laughter as he removed a flip phone from his pocket during the Apple discussion.
"Alexander Graham Bell lent it to me and I forgot to return it," said Buffett, 88, who was born eight years after the telephone inventor died.


text:
Dumbarton Oaks | Landscapes in the Making
May 7, 2022 @ 8:15 am - 4:00 pm
« UW Cinematheque | Wild At Heart
The Courtauld | American Art Archives in Britain »
Symposiarchs: Stephen Daniels (University of Nottingham), Dell Upton (University of California, Los Angeles), and Thaïsa Way (Dumbarton Oaks)
How might historians narrate landscape design within broader human stories? How might alternative histories of landscape creation read, of its manifold makings and meanings in various periods and places focused on the people who imagine and shape the land? This symposium seeks to identify research that looks beyond canonical histories of design and architecture to include the people, particularly socially marginalized communities, who are involved day-to-day in its making and meaning, including commemorating its past and planning its future. It engages projects that generate counternarratives that reveal how alternative views of the past shape visions of the present and the future.
This is the third symposium in a five-year series exploring what it would mean to curate histories of making landscapes. Building on symposia exploring landscapes of segregation and resistance in 2020 and the Land Back movement and Indigenous readings of land in 2021, this symposium seeks to interrogate stories of labor, craft, and stewardship as the work of making landscape, foregrounding those who have so often been silenced, including women, LGBTQ+ people, Black and Indigenous people, immigrants, and working-class laborers. We consider that the making of landscape engages ongoing social, cultural, and physical processes, including labor, craft, maintenance and stewardship, as well as materials and production. We recognize that human making is more than a matter of people shaping "materials," and this is surely true of many cultures and cultural practices of working with the natural world, notably those which actively seek to sustain it. We are interested in the boundaries and tensions between the formal design and ongoing production of landscapes, including questions of materials, economies, livelihood, technologies, power, dispossession, and topographies.
Dane Carlson (Principia College), "Tied across Time: The Future of Making Landscape in the High Himalaya"
Jay Cephas (Princeton University), "The Labor of Landfills: A Social History of the Bronx Salt Marshes"
Michelle Arevalos Franco (The Ohio State University), "Migration and Maintenance: Mesoamerican Making of Landscapes in 'El Norte'"
Ann Huppert (University of Washington), "The Making of Il Gesù in Rome: Labor in the 16th-Century Urban Landscape"
Lisa Johnson (University of Nevada, Las Vegas), "Multilocality of an Ancient Maya City: Archaeology, Tourism, and Indigenous Landscapes of Palenque, Mexico"
Olanrewaju Lasisi (College of William and Mary), "Common Space, Different Place: Interpreting the Dynamics and Fluidity of Ijebu Palatial Urbanscape"
Sarah Lopez (University of Texas at Austin), "Mexican Makers: Quarrymen, Stonemasons, Construction Workers, and Clients"
Mars Plater (Dickinson College), "The Poor People's Park: Downtown Environmentalism in Nineteenth-Century New York City"
Andrea Roberts (Texas A&M University), "Landscapes Remembered: Visual Cultures of African American Placemaking in Texas"
Colleen Stockmann (Gustavus Adolphus College), "Stewarding a Fractured Landscape: Potted Plants in Tenement Housing"
Desiree Valadares (University of California, Berkeley), "The Law of the Land: Homesteads, Canneries, Internment Camps, and Marine Parks in Southeast Alaska"
Antonia Weiss (University of Amsterdam), "A Garden of Scrawls and Scribbles: Amsterdam's Notarial Records as Evidence of Everyday Landscape Creation in the 18th-Century City"
There will be no registration fee this year.
https://www.doaks.org/research/garden-landscape/scholarly-activities/landscapes-in-the-making
Dumbarton Oaks


Measure of Man: Mediacorp TV Channel 8, Beautiful Trio, Star Awards 2006, Huang Wenyong, Zhang Yaodong, Aileen Tan, Chinese Language, Television channel.
Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Measure of Man is a Singapore Chinese Language drama, telecast on Mediacorp TV Channel 8, 9pm. It made its debut on 7 August 2006 and ended its run on 8 September 2006. It is exactly the opposite of another show, Beautiful Trio, also produced by Mediacorp. While Beautiful Trio examines the problems that Singaporean women face, Measure of Man deals with the problems men face instead, with Huang Wenyong, Ben Yeo and Zhang Yaodong as the lead actors.


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Legendary Cajun Troy Landry has hired lady gator hunter Liz Cavalier and on her first day, Liz showed her skills, but there are still a lot of gators to catch. Today, Troy's hoping to bag 25 gators, to get back on pace. R.J. and J. Paul have been making their mark as the new hunters on the swamp, and they have captured an impressive gator count so far…but all of that is about to change. A poacher is on the loose, and R.J.'s lines are the target. Over in Bayou Sorrel, Junior decides to send Willie out on his own, as captain of his own boat. With two boats running lines, the Edwards boys will move twice as fast. But pleasing Junior won't be as easy as it sounds. While the gator hunters are busy hunting gator, the swamp is hectic with other swampers at work. Brothers Glenn and Mitchell Guist, born and raised on the bayou, are hunting and fishing everything the swamp has to offer. The Guists have their own brand of humor, and a unique way of getting business done.


text:
package com.intellij.openapi.vfs.tracker;

import com.intellij.openapi.Disposable;
import com.intellij.openapi.vfs.VirtualFileListener;
import org.jetbrains.annotations.NotNull;

/**
 * @author mike
 */
public interface VirtualFileTracker {
  void addTracker(
    @NotNull String fileUrl,
    @NotNull VirtualFileListener listener,
    boolean fromRefreshOnly,
    @NotNull Disposable parentDisposable);
}

redpajama_set_name: RedPajamaGithub