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Coronavirus: Shab-e-Meraj prayers in Kashmir low-key affair
By Press Trust of India on 5:01 pm March 23, 2020 No Comment
Srinagar: The Shab-e-Meraj (night of ascent) prayers in Kashmir on Sunday night were a low-key affair amidst the coronavirus scare, officials said on Monday.
They said no night-long prayers were held at any major mosque or shrine in the valley.
The officials said Jammu and Kashmir Muslim Wakf Board had on Saturday announced the suspension of celebrations and congregational prayers on Shab-e-Meraj in view of the virus threat.
However, low-key celebrations and prayers were held at some mosques in the valley, but the gatherings were small and prayers short, the officials said.
Shab-e-Meraj is observed on 27th of Rajab of Islamic lunar calendar every year.
Every year, the Hazratbal shrine, on the banks of Dal Lake, witnesses the biggest congregation on this occasion. However, no such prayers were held at the shrine this year.
Coronavirus: Shab-e-Meraj prayers in Kashmir low-key affair added by Press Trust of India on 5:01 pm March 23, 2020
View all posts by Press Trust of India →

redpajama_set_name: RedPajamaCommonCrawl


Vinegar Fly Caricature. This is the last artwork I would ever do for the band. We looked like we were having a lot of fun. We were! This was done right after the first one above. Ten years after this we would lose our much-loved singer and friend, Christopher Abella to kidney disease. He left us last September 1, 2006. Please honor his memory by viewing his tribute videos at: www.youtube.com/rockNrollmobster.


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Peter Segl (* 25. Januar 1940 in München) ist ein deutscher Historiker.

Segl war Professor für Mittelalterliche Geschichte und Historische Hilfswissenschaften an der Universität Bayreuth. Er studierte in München, Wien und Regensburg die Fächer Geschichte, Deutsch und Erdkunde. 1971 wurde er an der Universität Regensburg bei Kurt Reindel zum Dr. phil. promoviert. Die Habilitation erfolgte 1979 an der Universität Regensburg. 1981 übernahm er eine Lehrstuhlvertretung an der Universität Augsburg. Von 1982 bis 1984 war er Professor an der Universität Erlangen.

Quellen
 Religion in Geschichte und Gegenwart
 Kürschners Deutscher Gelehrten-Kalender

Mittelalterhistoriker
Hochschullehrer (Universität Bayreuth)
Hochschullehrer (Friedrich-Alexander-Universität Erlangen-Nürnberg, Standort Erlangen)
Deutscher
Geboren 1940
Mann

redpajama_set_name: RedPajamaWikipedia


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Giving Them Fits é um curta-metragem norte-americano de 1915, do gênero comédia, estrelado por Harold Lloyd. Foi o primeiro filme que Lloyd, Snub Pollard e Bebe Daniels trabalham juntos.

Enredo
Luke (Harold Lloyd) trabalha em uma loja de sapatos, mas tem dificuldade com foco no trabalho quando uma garota bonita está próxima.

Elenco

Harold Lloyd - Luke
Snub Pollard (como Harry Pollard)
Gene Marsh
Bebe Daniels

Filmes dos Estados Unidos de 1915
Curtas-metragens dos Estados Unidos
Filmes dirigidos por Hal Roach
Filmes de comédia dos Estados Unidos
Filmes mudos
Filmes em preto e branco


Last week the Meridian Star newspaper failed to publish legal notices scheduled for Tuesday, apparently by oversight. The paper called the lawyers who had had items scheduled and offered to republish any way the lawyers directed.
This caused some heart palpitations that influenced two lawyers to seek out my position on the matter, since estates assigned to me were affected. Each were running second and third publications. They had directed the paper to publish on three consecutive Tuesdays, and were concerned about the variation in days.
MCA 91-7-145(2) states that notice to creditors in an estate, conservatorship, or guardianship " … shall be published for three consecutive weeks." The requirement clearly is that the publication be made once in each of three consecutive weeks. The day is immaterial.
MRCP 4((a)(4)(b) for process by publication is even clearer. It specifically provides that " … publication of said summons shall be made once in each week during three consecutive weeks …" Again, the specific day of the week is immaterial.
So the answer, simply, is that so long as the paper publishes your notice or process one time in each of three consecutive weeks, regardless of the days when the notices are published, you have met the requirement of the statute and the rule.
There are other notice statutes. When you must comply with one, follow the express language of the statute.
Sometimes we get caught up in old habits, like telling the clerk at the paper to "Run this the next three Wednesdays …" and that's how we always do it because that's how we've always done it. But it's the specific language of the statute or rule that controls, not force of habit.
That's not so simple in rural districts! The papers only run once a week. That would seem to create a major cunundrum if the problem you cited happened in these parts.
Good point. In your case, you'd have to start over.
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Alternative Lending and the Regulatory Environment
Alternative lending entered the financial landscape little before the disastrous subprime crisis of 2008. It all started with Zopa, a UK-based lender who introduced the concept of peer-to-peer lending to the world. Zopa was then followed by US-based LendingClub and Prosper Marketplace in the year 2006. These alternative lending institutions offered more transparency, lower costs, and better efficiency, for the first time ever. They were a true boon to borrowers who needed quick financial assistance at better interest rates.
Although the model of alternative lending was a favorable one for all businesses, especially the small and medium businesses and individual borrowers, the financial crisis of 2008 created a major shift the financial and lending landscape in both the US and the world. Reform acts and regulatory frameworks such as the Dodd-Frank Wall Street Reform and Basel III international regulatory framework for banks, put large lending and financial institutions, under strict scrutiny. These regulations laid down stringent rules for mandatory capital reserves for banks and new underwriting requirements, which limited the amounts and kinds of loans, major banks could process and approve.
Thus, almost overnight, the world saw a major demand for monetary assistance go unheard and unanswered. There were demands for loans but not many suppliers who could service them; this was only until the burgeoning alternative lending institutions entered the non-bank lending scenario.
The Evolution of Alternative Lending
Non-bank lending has been in existence forever, however, their high-interest rates, unregulated models, and shady nature had made them the last resort for both individual and small business borrowers. For the latter, banks still made for a favorable choice due to their regulated and trusted nature. However, ever since the regulatory frameworks forced banks to lend only to borrowers with high creditworthiness, individual borrowers had no choice but to throng to the high-priced unregulated non-bank lending institutions. The arrival of the alternative lending market led to a sigh of relief for small-time borrowers, as the former promised better rates, faster loan approvals and processing, and seemed much more reliable than could be said for indigenous lenders.
Alternative lending industry's journey of almost a decade is worth an applause. The industry saw many new lenders come into the picture, some major acquisitions, a few bankruptcies and yet it is alive and thriving, given its singular focus on innovation as a means to deliver maximum satisfaction to customers and in that way major business to the players in the industry. In fact, the year 2017 saw the maximum number of mergers, acquisitions and shutdowns in this industry, during this entire decade.
During the period of 2008-2016, the US, UK, China, Germany and India, respectively, broke the $100 Mn investment mark in the alternative lending sector. As regulations increased and banks came under the regulatory umbrella, they quickly started fleeing the small business loans market, leaving them to be serviced exclusively by the alternative lending market players.
While alternative lenders always have the option of charging a higher fee for supporting the risk profiles of small businesses and individual borrowers, they use their fintech innovation to cut down costs of underwriting and loan processing, thereby passing on the monetary benefit to the end consumer. Processes that took traditional banks 30, 60, and sometimes 90 days, took only a few minutes for alternative lenders, thanks to their fintech-backed operation models. This not only reduced loan origination costs but also was used as a major marketing technique to attract more customers to this industry. This also, has made alternative lenders, aka, peer-to-peer fintech lenders a major go-to point for SMBs and individuals, alike.
Also, the increased competition from fellow lenders in the space has made it easier for consumers to negotiate better rates than would have been possible if they were dealing with banks or unregulated, indigenous lenders. In 2017, approximately $380.6 Bn worth of loans were sanctioned to small and medium businesses and individual borrowers in the US. alone. This amount is expected to double to $750 Bn by 2020.
Regulatory arbitrage vs. Self-regulation
The scene of regulation and arbitrage in the alternative banking industry can be called nascent at the best. While hardcore bank regulations such as the Dodd-Frank Act or the Basel III regulations do not apply to these institutions, yet the rapidly increasing number of lenders in the industry and the amount of loan amount being injected to the economy by alternative lenders, hasn't missed the sharp eyes of the regulatory bodies. Currently, the industry is using two different kinds of oversight:
• Practicing voluntary self-regulation
• Observing and following the rules laid down by the Treasury Department, Securities and Exchange Commission (SEC), and Federal Financial Regulators.
It goes without saying that the industry prefers the former which gives it the leeway to act and expand as they would like. One of the examples of the alternative banking industry self-regulating itself, is the formation of the Innovative Lending Platform Association (ILPA) which is a trade organization formed by and for online lenders, dedicated to advance standard and best practices to help support responsible innovation for fintech lenders and also access to easy, stress-free capital for small business owners.
That being said, the major lenders in the alternative lending space are not the problem here, nor are they in need for major regulatory bodies to keep a check on their lending activities. However, there are a number of smaller, unscrupulous players who have infested the otherwise healthy alternative lending environment causing instances that threaten consumer protection and also the sanctity of the fintech-backed alternative lending industry.
If there was to be a regulatory body for this decade-old lending practice to be regulated then here are a few pointers which would make for a winning regulatory policy for both lenders and borrowers, operating in the alternative lending field:
•A specific regulatory agency with regulations customized to understand the requirements of the alternative banking industry, in the view of the consumers they serve and their need to constantly innovate, to create new lending methods and instruments while sustaining their business models.
•Less rigid liquidity requirements are a must here, as increased regulation in this area, though necessary, is what led to traditional banks exiting the small and medium loan origination activities and process loans to only big corporations, which are too big and well-established to fail. However, non-bank or alternative lenders are smaller as compared to traditional banks and not as exposed to global market variations and activities as the latter is, as such, they should be given more freedom when it comes to taking on risk profiles of a diverse set of consumers like small and medium businesses and individual borrowers. This will help alternative lenders serve more businesses and contribute to a thriving startup and SME culture.
•Increased transparency is something that should be included sans questions. It was the lack of transparency that caused the financial upheaval in 2008. Therefore, alternative or traditional, banks of all sorts must practice transparency of the highest standards when originating loans. Market conditions are mostly unpredictable making it further necessary for lenders, investors, and borrowers to study each other's balance sheets and risk profiles to mitigate future risks. The non-bank lending space could benefit from this transparency as the industry is filled with a number of different business models, such as direct lenders, crowdfunding platforms, non-direct marketplace lenders among others, with each one practicing their own model of lending practices.
Finally, the prerogative of deciding on how the body of non-banking lenders is going to be regulated comes to the industry itself. If it does a good job at self-regulation, then government bodies might not set such heavy guidelines as discussed above. However, if the body of alternative lenders fail to come into mutual consensus and understanding of how to regulate its activities, governments of respective countries might feel the need to step in and form regulatory reforms, much like Dodd-Frank Act of 2010 and Basel III to protect consumer interests and ensure fair trade.
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(originally published in The Outreach Connection in January 2004)
Not a bad year at all, and one that finds an unprecedented degree of overlap between my own best ten list and the mainstream consensus. The year was short on unheralded discoveries, but maybe that just means everyone did a better job than usual of finding the good stuff. Here they are, in no particular order.
25th Hour (Spike Lee)
Lee's film studies a convicted drug dealer (Edward Norton) on the day before he turns himself in for a lengthy prison sentence, spending time with his oldest friends, the girlfriend he suspects turned him in and – in perhaps the film's dominant image – the dog he found dying at the side of the road and then saved. It's a distinctly post-traumatic New York; the film often refers to September 11, and frequently feels as though that event had knocked Lee's stuffing out of him. But it's a fascinating aesthetic construction, like all Lee's films, and sustains a remarkably comprehensive study of attitudes (aided by an excellent cast). The film's final passage was much criticized, but I thought it was beautifully rendered, dreamily summing up the film's equilibrium between resignation and escape.
A ma soeur (Catherine Breillat)
Breillat's controversial film (also known as Fat Girl) finally opened here this year after being banned in Ontario for over a year. More cunning and insinuating than her best known film Romance, it revolves around two teenage sisters (one lithe and attractive, the other not) whose relationship regularly swings between hostility and extreme closeness. The film has several sequences that perfectly fulfil Breillat's clinical interest in the mechanics of sexual politics, but its major impact comes in the startling finale. The destruction of a family marks, in the crudest sense, the fat girl's ascension as a woman, but that instantly brings compromise and evasion. It's a moment brilliantly gripped in ambiguity and contradiction, a microcosm of Breillat's cinema.
Capturing the Friedmans (Andrew Jarecki)
Jarecki's film, my favourite of several heralded documentaries this year, chronicles a family's tortured history (the father and youngest son were both imprisoned for child sex abuse), using videotapes taken by another family member. The director was incredibly lucky to stumble on this material, and to some extent you might find yourself admiring his work more as assemblage and research than as art. But that would be unfair, for Capturing the Friedmans is extremely subtle and ambiguous, raising issues about truth, fairness, sexuality, social norms, and the nature of cinema, among many others. And it's one film in which you categorically feel relief for the happy ending (or as happy an ending as the circumstances make possible).
Mystic River (Clint Eastwood)
Whether or not this is a great film (I think it's at least pretty close), it's certainly fascinating viewed in the context of Eastwood's oeuvre. The cold moral certainty of his classic persona is translated here into a complex examination of guilt and innocence, which the film presents as relative rather than absolute states. Sean Penn is memorable as a grieving father whose search for his daughter's killer coexists uneasily with the police investigation led by his childhood friend; a plot summary would sound schematic, but the film has an intensity and sense of purpose that are at times transcendent.
American Splendor (Shari Springer Berman and Robert Pulcini)
I'm putting this in my top ten even though I think it was a little overrated in some quarters. It's the chronicle of blue-collar cartoonist Harvey Pekar, who appears as himself in some scenes and is played by Paul Giamatti in others. It has all the allusiveness of something like Adaptation while seeming much more laid back and crafty – the fact that it leaves you feeling slightly underwhelmed is actually a mark of its success in that it elevates normal life without romanticizing it.
Terminator 3: Rise of the Machines (Jonathan Mostow)
No, I don't really think this is one of the year's best ten. But as I look back over 2003, it stands out as almost the only blockbuster that wasn't a severe disappointment. Admittedly I didn't see most of them, but most of those I did see were either offputtingly pretentious (The Hulk, Matrix Reloaded) or else dumb even by the genre's normal standards (Charlie's Angels). This one was concentrated and focused, with straight-down-the-line action, leading to a remarkable ending, and generally avoided the fake digital look that proliferated elsewhere. I might even watch it again, eventually.
Spider (David Cronenberg)
A chronicle of a man who's released from a mental asylum after many years – we first follow the sparse rituals of his new life, then a memory of his childhood, although we're never quite sure until the end exactly what we're watching: the film troublingly foregrounds the process of image creation. It's more self-effacing than most other Cronenberg films and as such does perfect service to Spider's inner world, although I rather missed those Cronenbergian extremes (which manifest themselves very subtly here).
9-11-01 (Youssef Chahine, Amos Gitai, Sean Penn, Mira Nair, Claude Lelouch, Ken Loach, Shohei Imamura, Danis Tanovic, Idrissa Ouedraogo, Alejandro Gonzalez Inarritu, Samira Makhmalbaf)
This somewhat controversial film was finally released here in November after showing at last year's festival. It's eleven short films by eleven directors from eleven countries, taking vastly different approaches towards the basic mandate of commemorating/commenting on September 11. Under the circumstances, it's remarkable how subtly balanced it feels as a whole. Among the highlights: Loach cogently contrasts 9-11-01 with 9-11-73, on which the Chilean army (with American backing) rose against the elected Allende government. All in all, the film places 9-11 in context without diminishing it; only the most supremely self-righteous could seriously object.
21 Grams (Alejandro Gonzalez Inarritu)
The title of Inarritu's English-language debut refers to the body weight that's supposedly lost at the moment of death, and the film – intertwining three separate stories that gradually come together – is largely a meditation on how normal life, placed in proximity to death, breaks down. It's told in a highly fragmented style, switching rapidly (but artfully) between plot lines and points in time. It's a big film with big gestures, and with acting (by Sean Penn, Naomi Watts and Benicio del Toro) of transformational power that's central to the film's fabric. 21 Grams is easy to criticize in various ways, but few films this year matched it for sheer power.
Lost in Translation (Sofia Coppola)
Bill Murray and Scarlett Johansson hang out together in Tokyo – creating, for a few days, a private world where they share a mysterious, unspoken agreement about the rules. The much-noted opening shot, of Johansson's behind lounging on the bed in a pair of pink panties, is a symbol of sorts for what follows. It evokes an oblique kind of eroticism, a highly evocative sense of colour and texture and composition, and most significantly, an evasive sense of character and motivation (is Johansson being objectified here, or is the shot in some sense defining the film as hers?) This film too was overrated in some quarters, but has strengths galore.
Posted by torontomovieguy at 7:44 PM No comments:
Even more big movies
Stephen Glass was a short-lived hotshot journalist at the inside-Washington New Republic magazine, whose career, uh, shattered when he turned out to be a serial fantasist who partly or entirely fabricated the majority of his articles. In Billy Ray's film, Hayden Christensen plays Glass as a kind of quasi-Woody Allen character – neurotic and genuflecting and excessively eager to please – who bamboozled the more stolid people around him through something very similar to the power of dreams, the feel-good thematic staple of any number of films. In this sense, Glass' story seems to say something about the fragility and gullibility of American identity.
On the other hand, it's basically a story about a bunch of self-absorbed insiders who couldn't see what was in front of them (the magazine's vaunted fact-checking procedures failed spectacularly here). In many ways, Shattered Glass seems like a dainty fantasy. Despite my weekly presence in this publication, I have no inside knowledge of how magazines work (I just type it out at home and email it in), but it's hard to believe that the New Republic was as airless a bubble as it appears here. Glass never seems to leave the office, and yet comes up with one amazing piece of on-the-spot reportage after another. The film's handwringing about journalistic integrity, the hallowed status of the press etc. seems distinctly overdone (although it's a bit ambiguous how much director Ray is aware of this, and is deliberately skirting parody). It's an entertaining, facile film, best taken as a dreamy, abstract fantasy than as a serious exploration of anything.
Edward Zwick's epic is handsome and entertaining, and very conventional. Tom Cruise plays an American soldier in the late 1800s who goes to Japan on a highly paid commission to train the Emperor's army against samurai rebels; when he gets taken prisoner by the samurai leader, he slowly switches allegiance. The premise, of course, is that Japan's traditional values (vaguely articulated here as some ethereal combination of fortitude and spirituality) are better embodied by the outcasts than by the corrupt establishment.
The film has been frequently compared to Dances with Wolves, and I also found myself thinking of Richard Attenborough's Cry Freedom (a film that for me represents an almost unequaled gulf between potential and achievement). This is yet another saga in which any serious engagement with the historical issues is shoved to the side by the travails of a liberal WASP protagonist. If anything, the paradigm is even more insulting here than usual – Cruise swiftly ascends to the very centre of samurai culture, and ultimately stands as the last remaining ambassador for its values. It's particularly unconvincing since Cruise brings no real shape to the part. In something like Magnolia he's excellent as the embodiment of a contemporary angst, but the trade-off (compared to the likes of Hanks and Crowe and Costner) is that he doesn't fit comfortably into alien settings.
The film won best director in the season's first movie awards (the National Board of Review), which was categorically undeserved – the film's general superficiality must be laid directly at Zwick's door. I seem to remember his earlier film on a parallel theme, Glory, was quite a bit more sophisticated than this, but I could certainly be misremembering it. After that film, Zwick created TV's thirtysomething, traces of which are clearly visible here. For example, in addition to becoming a samurai hero, the resolution of Cruise's mid-life crisis depends on finding the right woman, after she gets over her own emotional baggage. Gimme a break, as the samurai used to say.
The Missing shares many of The Last Samurai's faults, and unfortunately lacks its modest virtues. Ron Howard's first film since winning an Oscar for A Beautiful Mind shows clear signs of wanting to grow – it flirts with sex and violence in a way that's unusual for Howard. I hate to traffic in clichés, but I can't think here how to avoid it, so here goes – Howard really never has seemed to entirely outgrow his Opie phase. The guy's just so plain nice, and apparently straightforward. A Beautiful Mind made a complex man simple. His best film, Apollo 13, came when his elevation of decent qualities found its most thrilling medium.
In The Missing, a Western, Cate Blanchett plays a single mother whose oldest girl gets kidnapped by a band of marauding Indians. Her estranged father Tommy Lee Jones, who abandoned the family years ago and "went native," has returned to seek reconciliation; she initially spurns him, but then enlists his help to track the missing girl. Their journey takes them through numerous varied encounters and settings, all of which, as presented here, feel much the same. The head of the marauders is a shaman who exercises strange powers, opening up a spiritual dimension that sits uneasily with the rest of the film.
The Missing exhibits some attempt to engage with the period's rough edges and privations, but let me put it this way: Howard's no Sam Peckinpah. Also, vis a vis the film's similarities with The Searchers, he's no John Ford. More distressingly perhaps, as a maker of Westerns he ranks a fair bit behind Kevin Costner, whose Open Range by comparison seems like a model of evocation and visual flair. The thing is – it really seems like Costner wanted to make a Western. The Missing gives off the impression of an academic exercise – part evocation, part revisionism, part genre bending, but all constrained by Howard's apparently congenital good taste.
One from the Heart
It was great that Francis Coppola's 1981 film One from the Heart played recently for a week at the Carlton. I wish we had more old movies mingled with the new releases; it'd be kind of like living in France. Shot entirely on sound stages, this evocation of a magical Las Vegas was a huge flop on release, and it's fair to say Coppola has never been the same since. It'd be pleasing to say then that the film is an undervalued masterpiece, but sadly it's not so.
It seems intended to function as some kind of Oz-like opening of the inner spirit, with Teri Garr and Frederic Forrest as a bickering blue-collar couple who go their separate ways one night and momentarily lose themselves in the city's neon whirl, before finding their way back to each other. For a musical, it's full of unprepossessing characters; it's frequently garish to look at and the choreography is a bit of a mess. All of this gives it an occasionally endearing quotidian quality, but your benevolence toward it always feels suspect. Still, if the Carlton does more of this kind of revival, I promise to attend at least 75% of the time.
More big movies
(originally published in The Outreach Connection in December 2003)
Peter Weir's films generally evidence a painstaking interest in communities placed under threat, often combined with a sense of the otherworldly. These meld most fruitfully in Fearless, my favourite film of his, about a man who survives a plane crash and then finds his relationship with the world transformed. Psychologically, the film is about denial and delayed reaction; in its impact, it's almost like The Sixth Sense, studying someone who might literally be a ghost snatching some unsustainable last gasp with the world. At other times it's a scrupulous examination of the activity that surrounds such an accident. Fearless was a commercial failure, but Weir's list of successes is estimable: Gallipoli, Witness, Dead Poets Society, The Truman Show and others.
Master and Commander: the Far Side of the World, based on Patrick O'Brian's much-admired series of seafaring novels, continues Weir's anthropological investigations. Russell Crowe plays Jack Aubrey, captain of a British ship in the early 19th century, far from home in the South Pacific on the trail of a French vessel from Napoleon's army; Paul Bettany is the ship's doctor, his closest friend. The plot is basically just a series of encounters with the enemy ship, but the film's substance is its evocation of life on the ship. It's not a small achievement to evoke monotony and stasis while avoiding becoming merely monotonous and static, and Weir seems here like almost the ultimate craftsman. His film has immense physical and visual impact, without ever being overbearing in the manner of recent Ridley Scott.
Crowe is the film's dominant presence, but he doesn't overwhelm it: the captain is clearly the ship's leader, but still a functionary of the Empire, subject to institutional constraints. He flogs an insubordinate sailor because the code demands it, without any Bligh-like relish. Events take the ship to the Galapagos Islands, at this pre-Darwinian point largely unexplored and undocumented, where the sense of an unspoiled evolutionary bubble provide a graceful counterpoint to the ship's contrived but coherent society. This is the main outlet here for Weir's more ethereal interests. All in all, it's not surprising that Master and Commander has been a relative disappointment at the box office – for a big-budget epic venture, it's remarkable intimate.
The title of Alejandro Gonzalez Inarritu's English-language debut refers to the body weight that's supposedly lost at the moment of death, and the film is to some extent a meditation on how normal life, placed in proximity to death, breaks down. Sean Penn plays a professor whose life is saved by a heart transplant; Benicio del Toro is a career criminal who finds Jesus; Naomi Watts is a wife and mother whose life collapses when her family is killed in a hit-and-run accident. All three suffer considerable anguish, and of course their stories eventually intertwine. The film is told in a highly fragmented style, switching madly between plot lines and points in time. Some critics have suggested that if the stories were told in a linear style, the film would seem like litte more than overwrought melodrama.
Which is neither here nor there – by what weight is profundity ever separated from banality? Around 21 grams at the most I guess. On its central theme, the film isn't as subtly paradigm-challenging as the aforementioned Fearless. It's a big film with big gestures, but its biggest idea lies exactly in the manner of its telling. Near the start there's a beautiful shot of birds taking off, silhouettes against a deep sky, suggesting the film's trajectory – it circles events like an aerial visitor caught in a gale, first making out strange details that only gradually cohere as it fights to a landing.
It also has big acting, acting of transformational power that's central to the film's fabric. The three main performances have a grungy contour we recognize as realism, but in an outsize way that facilitates Inarritu's quasi-epic ambitions. 21 Grams is easy to criticize in various ways, but few films this year have matched it for sheer power.
Halle Barry hasn't exactly used her Oscar as a catapult to more challenging material: X2, Die Another Day, and now the horror film Gothika, which is the English language debut of French director Mathieu Kassovitz. Kassovitz is making his own voyage downmarket (but, undoubtedly, up-pay cheque) – from La haine via The Crimson Rivers to Gothika. Berry plays a criminal psychiatrist in a creepy old institution, married to the boss (Charles S Dutton), worrying about the case of a woman who insists she's continually raped in her cell (Penelope Cruz). One night, driving home in a thunderstorm, she has an accident, and wakes up to find herself on the other side of the bars, locked up after murdering Dutton. The explanation for this belongs not to this world.
Gothika's main point of interest lies in its vague glimpses of a feminist theme. The way that Berry reevaluates the plausibility of Cruz's claims after finding herself in a parallel situation seems to be a stand-in for a broader notion of how a legitimately different female reality may be dismissed as mere hysteria. But, of course, the movie is generally a matter of sound and fury. It's difficult to get caught up in a story where ghostly intervention allows for so much lazy, arbitrary plotting; still, it has enough grim diversity to avoid boredom. Berry is, I would say, stoic. Kassovitz does much the same directing job he did on Crimson Rivers. Everyone involved should have been doing something better, and it's inconceivable they don't know it.
For me, the title of Terry Zwigoff's Bad Santa evokes Abel Ferrara's memorable (especially if you've seen the uncut version) Bad Lieutenant, which means I was looking forward to something wildly offensive. Well, not so. Sure, this shambling comedy about a drunken low-life store Santa (whose annual grotto gig always ends up in him and his midget sidekick cleaning out the safe) occasionally raises half an eyebrow – mainly via references to Santa's sexual practices. But this runs out of juice pretty quickly, and then the film spends way too much time on the fat kid who gradually warms his heart, and thus becomes yet another glossy self-actualization treatise. When I saw it, the crowd initially seemed primed for laughter, but got quiet pretty fast.
A big part of the problem is that Billy Bob Thornton (who, you'll recall, is a wiry, laconic kind of guy) doesn't look or behave like any kind of Santa to begin with – the physical mismatch really undercuts the material's transgressive edge. The movie's only raison d'etre would have been to go to the very edge of the envelope and then keep going – it probably needed to be debauched beyond reason. Zwigoff (who's been complaining about studio constraints, but doesn't seem to have been going that far out to begin with) was much better suited to the more gently surreal explorations of Crumb and Ghost World.
Fall movies
So that's it for the film festival articles – hope you enjoyed them. Let's recap briefly. No matter how hard you work the festival, you can't see more than fifteen or twenty per cent of what's on offer, so I doubt whether anyone's opinion on the event's overall quality carries much validity. The best you can hope for is to minimize the time spent watching duds, and if you're really lucky, to hit on a masterpiece or two. By that measuring stick, I had a better than average year. I particularly admired Greenaway's Tulse Luper Suitcases and Rivette's Story of Marie and Julien (of course those are both by aging auteurs – Rivette is 77 – so I guess it's clear what pushes my buttons). Kitano's Zatoichi was a satisfying people's choice award winner. The galas, as usual, were mostly bland (Matchstick Men, Out of Time, Code 46); the American independent sector was fairly buoyant (Pieces of April, The Station Agent) and the foreign section a bit undernourished.
The obvious downside of covering the festival at length – no opportunity to write about the other movies that opened in the meantime. Let's remedy that now, at least for the most obvious omissions.
Kill Bill: Volume One
It would be hard to actively dislike Quentin Tarantino's fourth film (and first in six years) – like a puppy dog doing tricks, it forces a certain low-grade admiration from you. But the movie is far below the level of his best work – a complete wrong turn (and as such particularly disappointing given the long gestation period). I've previously written a mea culpa on Pulp Fiction – initially I was turned off by it, but on a second viewing found it infinitely more scintillating. In that film, Tarantino takes the mechanics of storytelling, blows them open, then sticks them back together with sheer panache as the glue – he makes time and character and normal motivation seem like infinitely malleable qualities. And the movie has a perverse but still touching romanticism, especially in the Travolta/Thurman plot strand. The film's idealism is oddly touching here, perhaps because it's so aware of how crazy and malformed their connection actually is.
Jackie Brown was more indifferently received, but it was a worthy attempt to keep moving forward. The sequences with Pam Grier and Robert Forster were mature and touching (Tarantino's ability to rehabilitate overlooked actors is one of his most remarkable, almost endearing traits). And then the long silence, during which Tarantino acted in other people's movies and on Broadway, turned up here and there to promote his enthusiasms for cult cinema of one kind or another, parried rumours of various projects, and then entered near-total silence. Which now ends.
Plenty of writers have recounted Kill Bill's strengths more eloquently than I can – it is indeed an impressive piece of action choreography with a sometimes flamboyant sensibility. Supposedly it's full of references to genre movies – I only picked up a few of them, if any. The story is wafer thin, and the film seems extremely padded, with numerous digressive scenes that could have been lost with no sacrifice of entertainment or thematic value. Without these scenes though, the film would seem programmatic – its peculiarity is really the main point of interest. Of course, this all implies that we're willing to cut the director a lot of rope; "self-indulgent" is certainly a term that comes to mind here. The opening credits explicitly announce this as Tarantino's fourth film, as though we're all meant to be counting along.
The way the film uses Thurman, relative to Pulp Fiction, sums up the difference – here she's merely an aesthetic object; not presented for our lust exactly (it's an oddly sexless movie in general) but certainly not for our understanding either. Maybe volume two will make everything clearer. For now, when I hear volume one described as a film buff's movie, it makes sense to me only if your idea of a film buff is a geek who, when he's not in the movie theater, spends most of his time in his bedroom making up scrap books. Albeit, in this case, with particularly impressive design and layout. And the soundtrack's great too.
Meanwhile, back in the world of adults, Clint Eastwood's latest film is indeed as wise and compelling as most critics have been saying. It's impossible to write about Eastwood's career for long without raising the issue of violence. At his worst, he's been merely a squinty-eyed cartoon, blowing away sleazebags without any hint of moral hesitation. Even his best work, like Unforgiven and The Outlaw Josey Wales, have moments where the relished supremacy of the gun seems to crassly assert itself over the film's overall quality. Genial as he seems in person, Eastwood's choice of material inevitably seems to say something about him. Like so many earlier works, Mystic River has elements of vigilantism, moments where the gangland ethos holds the spotlight. But on this occasion Eastwood demonstrates an objectivity he's never reached before, attaining the scientific glare of a social scientist while making a movie that's rich in geographical and psychological colour.
Sean Penn (in a performance that, along with his work in 21 Grams, marks him as the year's preeminent actor) is a Boston storekeeper whose peaceful life crumbles when his daughter is murdered. Tim Robbins, a childhood friend whose own life was irreversibly damaged when he was molested as a kid, falls under suspicion. Kevin Bacon, the third friend, is the investigating cop. The film is about the terrifying unpredictability and randomness of life, but its uniqueness is in how it posits the ability to marshal and direct violence as the key to overcome this human chaos. It's not triumphal in expressing this theme, but it supports multiple readings: the cross-pollination of intense precision and thematic ambiguity strikes me as highly unusual in this kind of mainstream American film.
Mystic River lost the top prize at Cannes to Gus Van Sant's Elephant, which doesn't seem quite fair to me. Van Sant's film is well executed, but ultimately seems built around a relatively straightforward thesis about the banality of evil. Woody Allen's Anything Else finds him in his best form for at least five years, which after Hollywood Ending counts as a welcome resurgence. The Secret Lives of Dentists is an underrated film that avoids the obvious while simultaneously celebrating it. Sylvia doesn't do much to expand the biopic format. L'auberge Espagnole is overdone, but generally a joy nevertheless. Runaway Jury is mostly flash. Intolerable Cruelty has good moments, but who ever thought Hollywood would be a fruitful setting for the Coen brothers' gift for exaggeration? The Human Stain is a silly, disconnected movie – presumably the book was better. And as for Master and Commander and The Last Samurai, more to come…
2003 Toronto film festival report, part eleven
(originally published in The Outreach Connection in November 2003)
This is the eleventh of Jack Hughes' reports from the 2003 Toronto film festival.
In the Cut (Jane Campion)
Campion's best film remains The Piano, and it seems increasingly unlikely that she'll ever top it – it's in so many ways unprecedented, as though it spring fully formed from some turbulent half-alien dream. Her subsequent films (Portrait of a Lady, Holy Smoke and now In the Cut) all contain ideas as interesting as anything in The Piano, but they lack its astonishing visual and thematic coherence, its fierce acting and icy weirdness. In the Cut, which has already opened commercially since its festival screening, is being marketed as a thriller, with the particular attraction of Meg Ryan in a hard-edged role involving several nude scenes (which comes across as a calculated provocation). But it's not thrilling at all, and Ryan isn't a particularly compelling presence in the film. It's best taken as a loosely assembled scrapbook of impressions and ideas about female sexuality (for a near-definitive summary of these, see the October issue of Sight and Sound), with the ostensible plot providing the loosest of governing structures.
Ryan plays a teacher in New York who's interviewed by a police detective (Mark Ruffalo) about a brutal murder to which she's a possible witness; they have an affair; other strange men hover in the background along with a strip joint, phallic symbolism and other relentless oddities. There's a lot of talk about sex, mostly rather earnest and knowingly raunchy. Ryan also collects lines of poetry that strike her (often gleaned from subway ads), and several of the film's conversations involve the meaning of a particular word; the sense is of grappling for language and meaning, with sexuality as the predominant input. The film is shot in a claustrophobically jittery manner that made my wife physically sick, and possesses a persistent morbidity that left a couple of other women of my acquaintance nervous about walking home afterwards.
Some have compared the film (particularly re Ryan's character) to the 1971 Klute, which actually seems more astute and subtle about compromised female sexuality than In the Cut does. It's also somewhat tempting to compare it to Catherine Breillat's work, such as Romance and Fat Girl – a comparison that further underlines the latter-day Campion's relative lack of discipline and analytical prowess. Still, the film's territory is inherently fascinating, and it does teem with stimulation (of all kinds).
The Middle of the World (Vicente Amorim)
This year the festival devoted its national cinema section to Brazil, under the title "Vida de Novo." In summarizing Brazilian films of the last few years, the program book mentions Central Station and City of God, which I think may be the complete list of Brazilian cinema that I've seen over that period. So many resurgent national cinemas, so little time. I was only able to fit in one title this year: Amorim's debut film (I particularly regretted missing Carandiru, a prison drama by Kiss of the Spider Woman's Hector Babenco).
Middle of the World conveys a perhaps unavoidable ambivalence about Brazil – on the one hand sweeping beauty and passion and pride; on the other poverty and danger. The former generally carries more weight here though, which is why some might think the film a bit soft (as much Middle of the Road as of the World). A youngish couple and their five children cycle across the country to Rio de Janeiro in search of work, stopping at way stations, sometimes picking up a little money by singing and doing odd jobs, often going hungry. The eldest son is on the verge of going his own way; the father tries to assert his authority and keep his dignity even under these parched circumstances; the mother can hardly bear it, but keeps going.
It's a vivid, fluent film, packing a wealth of mood and incident into its concise 90 minutes. Ultimately, it's more a travelogue than anything else – the ending is conventional, and the overall impression modest. You don't feel the hunger and the weariness of their long trip as keenly as you experience the momentary pleasures of spontaneous music, or an encounter with some quirky character they meet along the way. But it's a pleasant counterbalance to the scathing vision of City of God (not that I'm saying a counterbalance was necessarily required).
Code 46 (Michael Winterbottom)
Winterbottom had two new films at this year's festival: In this World, a documentary-style examination of Afghan refugees, and Code 46, an enigmatic futuristic semi-thriller. In the last few years he's also covered war (Welcome to Sarajevo), Westerns (The Claim), social drama (Wonderland), and an archaeology job on early 80s British rock (24 Hour Party People). Most of these played at the festival too. Only Party People feels at all vital, like a film that he made because he just had to. Usually, his eclecticism and speed seem like an end in themselves, as if his career amounted to some kind of contest entry (he'd be a good foe for Lars von Trier in round two of The Five Obstructions). Unfortunately, I don't know of anyone who's particularly excited by this, except apparently for festival programmers.
I didn't see In this World, but Code 46 (which somehow snagged a gala spot) epitomizes what I'm talking about. It's set in Shanghai, in one of those budget-friendly futuristic environments that looks pretty much like the present day, with a few bits of high-tech gloss and hints of Big Brother. It's a more homogenized world too, at least in the major cities; traditional culture has largely been pushed into what's called "outside." None of this is particularly original or bracing, and the plot resembles a deadened distillation of elements from Minority Report, Gattaca, Wim Wenders' Until the End of the World, and others. It stars Tim Robbins as an investigator who can read minds by virtue of an "empathy virus" he's ingested, and Samantha Morton as the quarry he falls in love with. The overall arc is one of tragic romance, of humanity trying to assert itself against increasing constraints. That reminds me of a lot of movies too.
I might have felt unusually distanced from the movie because I had to watch it from the mezzanine at Roy Thomson Hall – a location I detest. I can't get wrapped up in an image that seems so far away – it's like staring into the bottom of a bucket (my preferred spot is right up front in the second or third row, where it's just you and the looming screen). Code 46's forensic air probably suffered from this handicap more than a more exuberant movie might have done, so I feel obliged to make this full disclosure. That said, I'm still pretty confident the film doesn't amount to much. Oh well, maybe next year's pair of Winterbottom movies will be stronger.


NRC initiated country operations in Nigeria in June 2015, in order to respond to the critical and increasing needs in the country. NRC currently has a full team based in Maiduguri and a coordination office in Abuja. NRC is currently providing services across various sectors namely; Shelter and Non-Food Items (NFI); Water, Sanitation and Hygiene Promotion (WASH); Livelihoods and Food Security; and Information, Counselling and Legal Assistance (ICLA) and Education in order to address identified humanitarian needs.
Ensure that projects targets beneficiaries most in need of protection, explore and assess better ways to assist.
Develop and manage project budget, in cooperation with the Area Manager and ICLA Coordinators.


"Pink Moon" – Pink Ivory Wood Spoon – 5.5 x 3 x 2 – Very pink wood from South Africa. Photography by Jim Osborn.
This spoon comes only with a museum style metal stand made by Mark Nantz. Mark is an exceptional wood artist and stand maker whose work may be seen here.
This piece is part of an online exhibition called Turned and Sculpted Wood 2018 presented by Wood Symphony Gallery. In addition to the five works I am showing, there are many leading makers represented in the show. Thanks for looking at all this exciting work. After this show is over on April 22 purchase of this piece will again be possible from my website.


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Breaking:School and weather-related announcements for Tuesday, Jan. 21, 2020
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Fun Nite proves popular
The second Monday of every month is a time of socialization and games for visitors of the California Nutrition Center. Mar. 13 2019 @ 12:05am
Danisha Hogue/Democrat photoApproximately 50 community members attended Fun Nite on Monday at the California Nutrition Center Monday.
The second Monday of every month is a time of socialization and games for visitors of the California Nutrition Center.
Fun Nite allows everyone older than 60 years to play bingo, dominoes and cards or otherwise have a good time.
After a potluck dinner and dessert at 6 p.m., an hour of bingo commences.
"They play for groceries that are donated by Cals Grocery Store here in California," Center Administrator Kim Drummond said. "People seem to like that because we don't have a license to play regular bingo."
Linda Hayes, vice president of the nutrition center board, said the events have been happening since 2015. She said attendance picks up after Daylight Saving Time because there's still sunlight after bingo. Approximately 50 guests attended Monday's event.
Bingo ends around 7:30 p.m., and card games and other games run until 10 p.m.
AnnaMae Schaefer and her husband, Ed, travel from the St. Martins area for Fun Nite. Ed said he's glad to have something to do. The couple has been married for 64 years and enjoy the company of the California community.
"When you get old, you've got to keep moving," AnnaMae said.
They attend lunch and other activities at the center.
California residents Harold "Skeet" Reeves and wife, Carol, moved to the community several years ago.
"There's a lot of nice people here; it's a welcoming community," Harold said.
They agreed it really is a "fun night," and the variety of potluck items that come for dinner are worth it.
Rosalie Lehman is a 99-year-old widow. Born in the High Point area, she said having somewhere to go is great for her.
Fun Nite is open to anyone of all ages. A suggested $2 donation is taken at the door to cover then cost of beverages provided by the center.
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Etiology and sensitivity of uropathogens in outpatients and inpatients with urinary tract infection: Implications on empiric therapy
Vidya Pai, Bhaskaran Nair
Department of Microbiology, Yenepoya Medical College, Nithyanandanagar, Deralakatte, Mangalore, India
Background and Objectives: Urinary Tract Infections (UTI) are the second most common infections after the respiratory tract infections and constitute a great proportion of prescription of antibiotics. The present study was designed to determine the etiology of uropathogens and their susceptibility pattern in outpatients and inpatients of our hospital so as to arrive at an empirical treatment for patients with UTI. Materials and Methods : A total of 924 urine samples were obtained from inpatients and outpatients with a clinical diagnosis of UTI. The samples were cultured and antibiotic susceptibility of isolates determined by disc diffusion method. Results: Of 924 urine samples processed (828 from inpatients and 96 from outpatients), 262 (28.35%) yielded bacterial isolates. About 216 (26.08%) samples from inpatients and 46 (47.9%) from outpatients showed significant bacteriuria. Escherichia coli predominated in both groups, followed by Klebsiella spp., Pseudomonas spp., Acinetobacter spp., and Enterobacter spp., which were isolated from only the inpatient samples. Sensitivity to nitrofurantoin varied from 73% to 94% and fluoroquinolone resistance was documented as 11%-80%. Resistance to amikacin, ceftazidime, and ceftriaxone was less than 25%. Imipenem resistance was found in <5% of the bacterial isolates. Conclusion: E. coli and Klebsiella spp. are the major uropathogens. Resistant strains are prevalent in the community, as evident by the fact that there is not much difference in resistance patterns of isolates from inpatients and outpatients. Taking into account the resistant pattern, nitrofurantoin represents the option of first choice for empirical therapy of uncomplicated UTI.
Keywords: Antibiotic, empirical, urinary tract infections
Pai V, Nair B. Etiology and sensitivity of uropathogens in outpatients and inpatients with urinary tract infection: Implications on empiric therapy. Ann Trop Med Public Health 2012;5:181-4
Pai V, Nair B. Etiology and sensitivity of uropathogens in outpatients and inpatients with urinary tract infection: Implications on empiric therapy. Ann Trop Med Public Health [serial online] 2012 [cited 2021 Jan 20];5:181-4. Available from: https://www.atmph.org/text.asp?2012/5/3/181/98610
Urinary Tract Infections (UTI) are the second most common infections after respiratory tract infections and constitute a great proportion of prescription of antibiotics. With the advent of novel antibiotics, though a significant reduction in the prevalence of infectious diseases was seen worldwide in the initial years, eventually a new form of infectious diseases caused by drug-resistant bacteria has evolved. The use of an antibiotic has been correlated with the subsequent development of resistance to it. [1],[2] The organisms causing UIT are often the intestinal flora. [3] Antibiotic resistance is common in intestinal bacteria due to therapy for infections other than UTI. [4] Antibiotic resistance among uropathogens has increased over the past 30 years. [5],[6],[7] Resistance to ampicillin increased from 12% to 43% in Britain between 1971 and 1992. The resistance rates were 56% to ampicillin, 24% to ampicillin/sulbactam, 15% to ciprofloxacin, 36% to trimethoprim-sulfamethoxazole and 75% to cefuroxime according to a study from Turkey. [8] According to a recent study from India, resistance rates among uropathogens were very high, with 76% strains resistant to third-generation cephalosporins. [9] The empirical therapy should be based on the local data about the prevalent uropathogens and their antimicrobial resistance. The present study was, therefore, designed to determine the etiology of uropathogens and their susceptibility pattern in outpatients and inpatients of our hospital so as to arrive at an empirical treatment for patients with UTI.
This prospective study was conducted in the department of microbiology from June 2010 to October 2010 over a period of five months. The urine samples were obtained from inpatients and outpatients of our teaching hospital with a clinical diagnosis of suspected UTI.
The samples included midstream urine specimen, catheterized urine samples, supra-pubic aspirates collected in sterile universal bottles (approximately 15 ml). A total of 924 samples were processed during the study period. The uncentrifuged samples were inoculated with a calibrated loop delivering 0.001 ml of urine sample onto Cystine Lactose Electrolyte Deficient medium (CLED) agar and blood agar plates. The inoculated culture plates were incubated at 37°C for 24 hr. A significant bacterial count was taken as any count equal to or more than 10 5 /ml of urine for Gram-negative bacteria and 10 3 -10 4 /ml of urine for Gram-positive bacteria. The isolates were identified by biochemical tests as per standard methods. [10]
Antimicrobial susceptibility testing was performed on Mueller-Hinton Agar (MHA) plates (HiMedia Laboratories, Mumbai) by disc diffusion method. Each strain was inoculated onto MHA plate and antibiotic discs were placed on the inoculated MHA plates, which were then incubated at 37°C for 24 hr. The following antimicrobial discs were tested for Gram-negative isolates: ampicillin (10 μg), nalidixic acid (30 μg), ciprofloxacin (5 μg), nitrofurantoin (300 μg), trimethoprim-sulfamethoxazole (1.25/23.75 μg), cefuroxime (30μg), ceftriaxone (30 μg), ceftazidime (30 μg), imipenem (10 μg), and amikacin (30 μg). The antimicrobials tested for Gram-positive isolates were the following: ampicillin (10 μg), ciprofloxacin (5 μg), trimethoprim-sulphamethoxozole (1.25/23.75 μg), nitrofurantoin (300 μg), cefuroxime (30 μg), ceftriaxone (30 μg), oxacillin (1 μg), and vancomycin (30 μg). The results were interpreted according to the Clinical and Laboratory Standards Institute (CLSI) criteria. [11] Escherichia coli ATCC 25922 and Staphylococcus aureus ATCC 25923 were used as the standard control strains.
A total of 924 urine samples were processed (828 from inpatients and 96 from outpatients). Of these samples, 262 (28.35%) specimens yielded bacterial isolates. About 216 (26.08%) samples from inpatients and 46 (47.9%) from outpatients showed significant bacteriuria.
E. coli predominated in both groups followed by Klebsiella spp. and Citrobacter spp. [Table 1]. Proteus spp. and Staph. aureus were isolated from both groups, whereas Pseudomonas spp., Acinetobacter spp., and Enterobacter spp. were isolated from only the inpatient samples.
Table 1: Distribution of organisms in outpatients and inpatients
The antibiotic sensitivity pattern of Gram-negative isolates is shown in [Table 2]. A majority of isolates were resistant to trimethoprim-sulfamethoxazole, nalidixic acid, cefuroxime, and ampicillin. Sensitivity to nitrofurantoin varied from 73% to 94% with E. coli being the most sensitive and Proteus spp. as least sensitive. Fluoroquinolone resistance was documented as 11%-80%. Resistance to amikacin, ceftazidime, and ceftriaxone was less than 25%. Imipenem resistance was found in <5% of the bacterial isolates.
Table 2: Sensitivity of organisms to antimicrobials (numbers sensitive)
Among nine strains of Staph. aureus obtained, three were oxacillin resistant. All Staph. aureus strains were sensitive to vancomycin.
E. coli was the most common pathogen causing UTI in both inpatients and outpatients. Pseudomonas spp. and Acinetobacter spp. were isolated from hospitalized patients only. Similar results have been reported by other investigators. [12],[13] Pseudomonas spp. is noted to survive and thrive well in soaps and disinfectants used for urethral catheterization. Gram-negative organisms were more prevalent than Gram-positive organisms in our set-up, which is similar to reports from other hospitals. [14] Staph. aureus was the only Gram-positive bacteria obtained in both groups.
The degree of resistance to routinely used antibiotics in both groups was almost similar. This is in contrast to some previous studies, which showed that resistance is more in isolates from hospitalized patients than the outpatients. [13],[15] Recent studies have shown results similar to the present study. [12] This indicates that the drug-resistant strains have spread in the community.
A high degree of resistance to ampicillin, co-trimoxazole, nalidixic acid, and cefuroxime was found. These antibiotics have been used for many years to treat UTI. The fluoroquinolones with their broad-spectrum activity are still being used as one of the best treatment options for UTI. [16] In our study, the resistance to ciprofloxacin was variable among different species of isolates, with 89% of Enterobacter spp. strains and 20% of Proteus spp. being resistant. The overall susceptibility to this drug was 45%, which indicates that it may no more be advocated for empirical therapy of UTI.
Nitrofurantoin is a urinary antibiotic, hence not used for infections outside the urinary tract. This may be the reason that resistance to this agent has not occurred much. We found the average susceptibility to this drug to be 85%. As Pseudomonas spp. and Acinetobacter spp. have intrinsic resistance to this drug, we did not test our strains for this antibiotic. As nitrofurantoin has shown good effect on uropathogens (E. coli, Klebsiella spp., Proteus spp., Staph. aureus) that are responsible for community-acquired UTI, we recommend this drug for empirical therapy of UTI.
Third-generation cephalosporins, ceftriaxone, and ceftazidime showed good activity against the bacterial strains. Resistance to ceftriaxone and ceftazidime was <25% and <24%, respectively. This shows that the majority of bacterial strains in our community and hospital are not Extended-Spectrum Beta-Lactamase (ESBL) producers. This result is interesting and different from other studies, which have reported >76% of uropathogens as ESBL producers. [17] Hence, third-generation cephalosporin may be considered as the first line of therapy for UTI.
Resistance to Imipenem was very low (<5%). It was also noticed that resistance to this drug was seen only with Enterobacter spp., Citrobacter spp. and E. coli, whereas all strains of Klebsiella spp., Pseudomonas spp., Acinetobacter spp., and Proteus spp. were sensitive. Carbapenem is the final therapeutic option for any infection, and hence cannot be given for empirical therapy.
The aminoglycoside, amikacin was effective on >80% of bacterial isolates as also reported from other studies. [17],[18] The activity of amikacin on Pseudomonas spp. (92%) and Acinetobacter spp. (100%) was good. Keeping in mind the toxicity of an aminoglycoside, it is suggested to keep this drug for second line therapy for UTI.
Our data report that E. coli and Klebsiella spp. are the major uropathogens. These reveal that the resistance to antimicrobials is increasing and such strains are prevalent in the community, as evident by the fact that there is not much difference in resistance patterns of isolates from inpatients and outpatients. Keeping the emerging antimicrobial resistance in mind, it is suggested to start antimicrobial therapy only after the sensitivity report from the microbiology laboratory. Taking into account the resistance pattern, nitrofurantoin represents the option of first choice for empirical therapy of uncomplicated UTI.
1. Kunin CM, Johansen KS, Worning AM, Daschner FD. Report of a symposium on use and abuse of antibiotics worldwide. Rev Infect Dis 1990;12:12-9.
2. Lambert HP. Clinical impact on drug resistance. J Hosp Infect II 1988;SupplA:135-41. Cited in Senewiratne B, Senewiratne K, Hettiarachchi J. Bacteriology and antibiotic sensitivity in acute urinary tract infection in Ceylon. Lancet 1973;1:222-5.
3. Cattell WR, McSherry MA, NorthEast A, Powell E, Brooks HJ, O'Grady F. Periurethral enterobacterial carriage in pathogenesis of recurrent urinary infection. Br Med J 1974;4:248-52.
4. Senewiratne B, Senewiratne K, Hettiarachchi J. Bacteriology and antibiotic sensitivity in acute urinary tract infection in Ceylon. Lancet 1973;1:222-5.
5. Gruneberg RN. Changes in urinary pathogens and their antibiotic sensitivities, 1971-1992. J Antimcrob Chemother 1994;333 (Suppl A):1-8.
6. Gupta K, Scholes D, Stamm WE. Increasing prevalence of antimicrobial resistance among uropathogens causing acute uncomplicated cystitis in women. JAMA 1999;281:736-8.
7. Zhanel GG, Karlowsky JA, Harding GK, Carrie A, Mazzulli T, Low DE, et al. A Canadian national surveillance study of urinary tract isolates from outpatients: Comparison of the activities of trimethoprimsulfamethoxazole, ampicillin, mecillinam, nitrofurantoin and ciprofloxacin. Antimicrob Agents Chemother 2000;44:1089-92.
8. Eryilmaz M, Bozkurt ME, Yildiz MM, Akin A. Antimicrobial resistance of urinary Escherichia coli isolates. Trop J Pharm Res 2010;9:205-9.
9. Rajesh KR, Mathavi S, Indra Priyadarsini R. Prevalence of antimicrobial resistance in uropathogens and determining empirical therapy for urinary tract infections. Int J Basic Med Sci 2010;1 in press.
10. Crichton PB. Enterobacteriaceae: In: Collee JG, Fraser AG, Marmion BP, Siminous A, editors. Mackie and McCartney Practical Medical Microbiology, 14 th ed. New York: Churchill Livingston; 1996. p. 361-4.
11. Performance standards for Antimicrobial Disc Susceptibility Tests, CLSI Vol.29 No.3, Jan 2009.
12. Inwadioha S, Nwokedi EE, Jombo GT, Kashibu E, Alao OO. Antibiotics susceptibility pattern of uropathogenic bacterial isolates from community and hospital acquired urinary tract infections in a Nigerian Tertiary Hospital. Int J Infect Dis 2010;8:1.
13. Khamenah ZR, Afshar A.T. Antimicrobial susceptibility pattern of urinary tract pathogens. Saudi J Kidney Dis Transpl 2009;20:251-3.
14. Gupta V, Yadav A, Joshi RM. Antibiotic resistance pattern in uropathogens. Indian J Med Microbiol 2002;2:96-8.
15. Biswas D, Gupta P, Prasad R, Singh V, Arya M, Kumar A. Choice of antibiotic for empirical therapy of acute cystitis in a setting of high antimicrobial resistance. Indian J Med Sci 2006;60;53-8.
16. Chakupurakal R, Ahmed M, Sobithadevi DN, Chinnappan S, Reynolds T. Urinary tract pathogens and resistance pattern. Clin Pathol 2010;63:652-4.
17. Ram S, Gupta R, Gaheer M. Emerging antibiotic resistance among the uropathogens. Indian J Med Sci 2000;54:388-94.
18. Mohanty S, Kapil A, Das BK, Dhawan B. Antimicrobial resistance profile of nosocomial uropathogens in a tertiary care hospital. Indian J Med Sci 2003;57:148-54.
Vidya Pai
Department of Microbiology, Yenepoya Medical College, Yenepoya University, Nithyanandanagar, Deralakatte, Mangalore-575018
1 Urinary tract infection–A tale of 50 years
Srishti Goel,Sharmila B. Mukherjee
Indian Pediatrics. 2016; 53(1): 57
2 Profil et sensibilité aux antibiotiques de 1879 bactéries urinaires pathogènes isolées chez l'enfant (2012–2013)
M. Marzouk,A. Ferjani,M. Haj Ali,J. Boukadida
Archives de Pédiatrie. 2015;
3 Prevalence and antibiotic resistance pattern of urinary tract bacterial infections in Dessie area, North-East Ethiopia
Asrat Abejew,Ayele A Denboba,Alemayehu Mekonnen
BMC Research Notes. 2014; 7(1): 687
Pai V
Nair B


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Darin Daraq (, also Romanized as Darīn Daraq and Darīndaraq) is a village in Kolah Boz-e Gharbi Rural District, in the Central District of Meyaneh County, East Azerbaijan Province, Iran. At the 2006 census, its population was 701, in 136 families.

References

Populated places in Meyaneh County


text:
Yes, that's just who you think it is ... Gloria Steinem!
... and it's about all I can think about today, or at least would be if events of the day weren't threatening to blot out everything of importance in our country and world.
Woke to the panels on CNN and CSPAN preparing us for the Senate vote for cloture; all in preparation for tomorrow's next steps in the process of seating Judge Brett Kavenaugh on the Supreme Court.
I'm not certain just why it was that I was still clinging to the notion that sanity would yet prevail, and that those old white men would finally see the error of their ways, and would show respect for Dr. Christine Blasey-Ford by honoring her truth.
It was not to be.
Senator Susan Collins of Maine, on whose shoulders rested the fate of that decision, finally gave her 45-minute statement that said all the right words, but little of the truth they were meant to convey. She tried hard to cover all the bases by granting Dr. Ford a nod of acceptance that "... something had surely happened to her, but that it surely wasn't Brett Kavenaugh!"
Over the next 24 hours the final vote will be taken, but I know longer hold any thoughts for the hoped for outcome that every sensible and frustrated woman in the nation is screaming for.
But I need to tell you that I've known for several weeks that three friends I'd met while attending the Makers Conference in Hollywood last spring were flying out to attend my talk at the Visitor Center. When I first learned of it from Amy Richards (of Soapbox Productions, NY) it sounded just too good to be true, so I held the news for a few days until it felt comfortable to share.
I finally trusted it enough to tell Tom Leatherman, our superintendent, but withheld it from the rest of staff. Then a plan formed, and it felt right. I announced to our lead ranger, Elizabeth Tucker, that their visit on October 4th was confirmed, and that I needed our staff to work with me to make it work for us all. We entered the three under the name, Amy Richards, in the reservations book in order to not disclose Gloria's name in print.
First, my talks have remained fresh and new for me over time by my being able to look into the faces, eyes, of an audience for whom the stories are being heard for the first time. After so many months and years of telling those stories 3 and sometimes 5 times-a-week over a number of years, that has become the way that the excitement of sharing those long-forgotten truths without becoming numb to my own telling is maintained. Without that aspect being honored, the work would become robotic, and I'd probably not be able to continue to do it. There's an emotional component through which I find the energy to keep it real. Without the authenticity the work would be impossible.
That meant that we needed to keep Gloria's visit under wraps, to not disclose her visit lest the theater become filled with docents, friends, relatives, and I'd be robbed of the "new eyes and faces" that were so vital to my work.
The secret was successfully kept, and the audience was made up of about 20 elders who arrived on a tour bus, plus others who had made their reservations with no knowledge of her anticipated presence.
After a lukewarm start -- since I'd had a sleepless night before due to a flu shot that created some discomfort -- but before the end of my talk I hit my stride when the energy kicked in and "Truth" weighed in with its usual force, and it all worked out.
Gloria, Amy, and Blaine, appeared to be moved by both the short films and my talk, and a leisurely conversation over lunch afterwards. Amy was back on the Red Eye flying back to NY last night. I can't imagine doing that ... .
I will see them all again soon when, in early November, when I take off for NY events.
Another milestone past, and another item off my bucket list ... !
This has been a week like no other, starting with a flower-strewn 97th birthday that was celebrated quietly with Dorian -- watching Netflix movies and eating lavishly buttered popcorn.
Quiet was a gift onto itself, in the middle of another fraught-filled daily schedule that defies custom, practice, or even common sense! What other woman approaching the century mark would dare to even attempt the life I'm leading?
And next week, month, year, holds promise to deliver more of the same, since "The World" doesn't appear to be slowing down one iota, and I continue to rise up to meet it, sometimes foolishly, I suppose.
I'm enjoying the book readings/signings, and audiences seem to be as well.
Note: "Of Lost Conversations" is the title of my talks that occur 3-5 times weekly in our theater at the Visitor Education Center at Rosie the Riveter/WWII Home Front National Historical Park. Reservations are necessary due to limited seating, and can be arranged for by calling (510) 232-5050 x 0. Groups over 20 can arrange for a special presentation at another day and time in addition to those listed below. Lead Ranger, Elizabeth Tucker, schedules such events.
Tuesday October 2 "Of Lost Conversations" (2:00-3:00)
Wednesday October 3 Radio/video interview for Manufacturing Radio NJ
Thursday October 4 "Of Lost Conversations" (with special guests!) (2:00-3:00)
Saturday October 6 "Of Lost Conversation" (2:00-3:00 pm) (11:00)
Sunday October 7 Phone interview with two middle-school girls in W. Palm Beach, Fla
Sunday October 7 "A Community Conversation" (South Berkeley Senior Center)
Monday October 8 Phone interview with S.F. Weekly re S.F. Litquake (11:00)
Monday October 8 Book Signing at Book Passages in San Carlos
Tuesday October 9 "Of Lost Conversations" (2:00-3:00 pm)
Thursday October 11 "Of Lost Conversations (11:00 am-12:00 pm)
Saturday October 13 "Of lost Conversations (2:00-3:00 pm)
Monday October 15 Storytelling at "Litquake", San Francisco book festival
Tuesday October 16 "Of Lost Conversations" (11:00 am-12:00 pm) for high school class
Tuesday October 16 "Of Lost Conversations (2:00-3:00 pm)
Thursday October 18 Interview re Port Chicago tragedy with journalist
Sunday October 21 Fly to Irvine for book/signing reading for Orange County Librarians
Tuesday October 23 "Of Lost Conversations" (2:00-3:00 pm)
Wednesday October 24 Facebook live interview with Sheryl Sandburg (all day)
Thursday October 25 "Of Lost Conversations" (11:00 am-12:00 pm)
Saturday October 27 "Of Lost Conversations" (2:00-3:00 pm)
Sunday October 28 Into the studio to record the audio book for Hay House
Monday October 29 Into the studio to record the audio book for Hay House
Tuesday October 30 Fly to Southern California to tape Steve Harvey Show (all day)
Wednesday October 31 Into the studio to complete audio book for Hay House
Thursday November 1 "Of Lost Conversations" (11:00 am-12:00 pm)
Thursday November 1 Book/reading/signing, San Leandro City Hall (5:00-8:00 pm)
Saturday November 3 "Of Lost Conversations" (2:00-3:00 pm)
Sunday November 4 Kensington Unitarian/Universalist Church, Berkeley (2:45-4:30 pm)
Tuesday November 6 "Of Lost Conversations" (11:00 am-12:00 pm)
Wednesday November 7 AAUW Book Signing, Pleasant Hill, CA
Thursday November 8 "Of Lost Conversations" (11:00-12:00)
Then I'll fly to New York and the East Coast for events associated with Glamour Magazine to be held 11th, 12th, 14th. Will return around the 16th. More about this as the dates approach. Very exciting, I promise, but not to be revealed (on orders from Glamour) until the December issue hits the stands on November 6th.
As an aside, half the fun of having these incredible experiences is sharing the anticipation with those near and far. Having to keep secrets about such things is both difficult and, at times, virtually impossible. Spoils the adventure in some ways. I've only been reasonably successful, but not completely.
Monday November 19 Town & Gown Club book reading/signing , Berkeley
Saturday November 24 "Of Lost Conversations" (2:00-3:00)
Break for Thanksgiving
Saturday December 8 "Of Lost Conversations" (2:00-3:00)
Dates in December will be erratic and at this point unpredictable, what with it being the holiday season, and by then fatigue will surely have set in, and it will be time for me to "... rest ye with those merry gentlemen" or collapse totally!
In December there will be the introduction of one of my original songs by the Oakland Symphony on the 16th at the Paramount Theater in Oakland. The National Parks Conservancy Association West Coast annual meeting in San Francisco to which I'm a participant. The Berkeley Public Library Association is holding their Authors dinner at which I've been invited to participate in February.
I will copy this entry to the "Sign my name to freedom" pages, and will add to them as needed.
Yes, that's just who you think it is ... Gloria St...
Another milestone past, and another item off my bu...


text:
Q: Click only lockscreen? I'm currently running Ubuntu on my Split x2 and have almost everything working. I have OnBoard pinned on the side bar so when I'm using it as a table I can still type, the only annoying thing is I have to remember to open OnBoard before locking my computer, otherwise I have to plug in the tablet to the keyboard in order to log back in with the password.
Is there any way to get OnBoard to open automatically when in the lock screen, or a possible way to have a click only lock screen (like a pattern unlock)?

A: At the log-in screen you should see a menu bar at the top. One of the icons (the accessibility man) allows you to open onboard without logging in.

redpajama_set_name: RedPajamaStackExchange


text:
Webster predicts more "twists and turns" in push for promotion
© Millwall FC
Defender expects race to the play-offs to go down to the wire
Sheffield United and Bolton may have pulled clear in the race for automatic promotion but the make-up of the chasing pack is anything but settled.
Just three points separate Fleetwood in third position and Millwall in seventh, meaning points are at a premium with just a handful of matches remaining to squeeze into the Play-Off places.
"I can guarantee that there will be more twists and turns before the end of the season," Byron Webster told millwallfc.co.uk
"It's so tight at the top of the table but we just have to focus on ourselves and hope that other teams slip up and results go our way."
Webster was immense for Millwall on Tuesday night, opening the scoring at Greenhous Meadow with a composed half-volley that would impress any striker, before putting in a stoic defensive shift against a Shrewsbury side desperate to pull clear from the relegation dogfight.
"It's good to score, it's been a long time. The last time I scored a goal was on the first day of the season and the gaffer has been onto me since then, telling me to go and get another."
The 2-1 victory was the second win on the spin for The Lions and the defender says confidence is high ahead of Saturday's anticipated trip to Gillingham.
"It's a big one for us because we are treating all of our remaining matches like Cup finals.
"We had a slump in results recently but there was no real concern with the lads, we were always confident that we would turn our form around and get back into the mix.
"Now we have had a couple of wins on the spin it's about building on that and climbing as high up the table as we can."
Tweets by @MillwallFC


text:
Jen Crane
Subterranean Series (Young Adult) >
Sunscorched
Terminal Combustion
Descended of Dragons Series (Fantasy Romance) >
Rare Form
Origin Exposed
Betrayal Foretold
3-Book Box Set
SUNSCORCHED Cover Reveal!
Sunscorched is the first novel in a young adult post-apocalyptic/dystopian series set in a gritty underground world. I'm so proud of this book, which won a Rosemary Award last year for excellence in young adult fiction. It's been a long time coming, but I hope you'll find the wait was worth it. Sunscorched, Book 1 in the Subterranean Series, is jam-packed with action, characters you're going to love, and twists you won't see coming.
I've already written Book 2 in the series, which is deep the editing process right now!
Terminal Combustion is on track to release in November.
So, without further ado, I am beyond thrilled to show you the cover of Sunscorched, which was designed by the lovely and talented Cary Smith.
Death in daylight. Danger at dark.
Life can't possibly get more treacherous than a violent sun allergy in a solar-blighted world. At least that's what seventeen-year-old Nori Chisholm thought before news of an impending sunscorch delivered her death sentence.
Desperate to survive the scorch, she's forced to shelter underground and discovers a secret subterranean world where life is hard, and so are the people. Betrayed and left for dead by the man who pledged to help her, Nori is sold to a gritty pit fighting ring. There she makes a friend—and plenty of enemies.
Sam Cooper's motives are at times impenetrable, but speeding through the underground world on the back of his motorcycle is a dark freedom Nori can't live without. On the run from a group of cutthroat rogues, their escape takes an unexpected twist. A shocking discovery shatters everything they thought they knew. Can they use the knowledge to save what's left of the world?
Winner of the Rosemary Award for excellence in young adult fiction, Sunscorched is a tale of survival and self-discovery at breakneck speed. Fans of Bella Forrest and Marie Lu, who crave dangerous heroes and dark secrets, will love the Sunscorched world.
Pre-Order on Amazon
Pre-Order on Kobo
Pre-Order on Apple iBooks
Pre-Order on B&N
Subscribe to my mailing list for freebies, news, and sneak-peeks.
99cents
Booksends
NKBT


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text:
Glowing report from Investors in People
17th May 2011 3:11pm - Return to press releases
East Riding College has earned glowing praise from Investors in People for the way it looks after its staff.
Following an inspection in March, the report confirmed the retention of the Investors in People mark and highlighted a number of areas of best practice.
It said staff are with the managers in the change process, staff are positive to the requirement for flexibility and consider it a good thing, there is a consistency in view across the College and there is a 'no blame culture'.
The report follows the naming of the College as one of the Best Places to Work in the Public Sector in 2010 and also the achievement of a "good" rating, with a number of "outstanding" features, by Ofsted in February this year.
Director of human resources Barbara Collinson said: "We put the staff welfare and development high on the agenda at the College and I'm delighted that Investors in People has recognised this by once again confirming our accreditation.
"We believe that positive and happy staff are more motivated and productive which has real benefits for our students and the high quality of education here."
The report gave the following examples of good practice:
The way the College benchmarks itself against other, similar organisations
Good and effective two-way communication
Quick responses from managers to staff queries and requests
Good practice within the governing body
Inspirational leadership with a Principal who acts as a role model for others
The Introductory Management Programme
Every Employee Matters staff benefit scheme
Successful programme of employing apprentices
"Openness", "support", "trust" and transparency were words use often to describe the organisation's culture
The report concluded: "Through challenging times East Riding College has continued to demonstrate its commitment to developing people and also to looking at ways of continually improving the way they manage the people and the organisation. It was evident from all the positive feedback that people still see it as a great organisation to work for."
For more information about East Riding College, visit www.eastridingcollege.ac.uk or call 0845 120 0037.


text:
Security sponsored by Infoblox
CHARLES TOMEO, AXCIENT'S NEW CHIEF REVENUE OFFICER
Axcient Raids Webroot, Carbonite for New Sales Leadership
Software provider for MSPs taps four cybersecurity execs to drive channel growth, enablement
Axcient is scooping up executives from cybersecurity solution providers Webroot and Carbonite – and their owner OpenText – to build the foundation of its new leadership team.
The Lowdown: Axcient on Tuesday announced that the new appointees will be key in helping the Denver-based company, which makes business availability software used by MSPs, expand its channel ecosystem and the resources it offers partners.
The Details: The new Axcient executives had come together over the past couple of years as cybersecurity firm Webroot was bought by Carbonite for $618.5 million in March 2019 and then Carbonite was acquired by OpenText in December for about $1.45 billion.
The new appointees are:
> Charles Tomeo, chief revenue officer, began with Webroot in 2005 as a senior systems engineer and left after serving as vice president of worldwide channel and technical sales for three years and then vice president of worldwide business sales for more than four years. He announced his departure in a post on LinkedIn.
> Tim Sheahan, vice president of U.S. sales, came to Webroot in 2004 and spent the past 13-plus years as director of sales for North America.
> Jim D'Espinosa, director of OEM and licensing, was most recently manager of strategic alliances and channel for Webroot and Carbonite.
> Phillip Seigenfeld, director of partnerships, spent more than 16 years at Webroot, the past handful as manager of channel and MSP sales in North America.
All four executives joined Axcient this week.
Background: Axcient is a 14-year-old company that offers MSPs a range of tools that make up the x360 platform to ensure their end clients can keep their businesses running and protect their data and employees. Their offerings include x360Cloud, a backup solution for Microsoft 365 environments, x360Recover for business continuity and disaster recovery (BCDR) for MSPs, and x360Sync for syncing files to the cloud and enabling workers to securely share documents.
Axcient in recent months has focused on the challenges presented by the COVID-19 pandemic and the ensuing shift to working from home and distance learning, including last week's unveiling of its Direct to Cloud (D2C) product, a single solution MSPs can use to protect customer systems in cloud, on-premises, and in remote-work environments.
The Buzz: "This team of leaders, who together built a global MSP security business, is the right team for the future growth and enablement of Axcient partners," Axcient CEO David Bennett said. "As we continue to simplify the experience for our partners with our award-winning technology, this team will empower us to scale as an organization, maximize the sales performance, and drive us to succeed."
"I am excited about the opportunity to lead, develop, and grow the Axcient community," Tomeo said. "It is an honor to work with this incredible team and build something remarkable together."
>Axcient Unveils D2C to Protect Remote Workers
>Axcient Improves File Sharing, Backup for Remote Workforce
5 Managed Security Trends Driving MSP Success in 2021


text:
K-12 Schools Minneapolis-St. Paul Area
Saint Thomas Academy
Private, Catholic, All-Boys
All-Boys School
#1 in Best Private High Schools in Dakota County
cadets.com
949 MENDOTA HEIGHTS ROAD
MENDOTA HEIGHTS, MN 55120
About Saint Thomas Academy...
NAIS Member
NCEA Member
From Saint Thomas Academy
Saint Thomas Academy is a place where boys harness their greatest intellectual, athletic, spiritual and leadership potential. Here, they can explore and become the young men they are meant to be. It's the origin of a life-changing bond of brotherhood your son will carry with him for life.
Saint Thomas Academy is unique. It's not "just" a boys' school and not "just" a military school. It's the best of both of those, a place where the call to leadership bonds boys as brothers, where a historic past leads to future greatness.
WE ARE EXPERTS IN EDUCATING BOYS.
At Saint Thomas Academy you'll find a caring community rich with tradition and friendships to last a lifetime. From the start, we have successfully inspired young men to excel both personally and professionally by teaching them to aspire and persevere in the pursuit of self-discovery.
Why Saint Thomas Academy
Academic Excellence in Action
Visit Our Well-Designed Campus Today
Upcoming Events for Prospective Families
Check Out Upcoming Events at Saint Thomas Academy
Saint Thomas Academy Rankings
Best Catholic High Schools in Minnesota
Best Private High Schools in Minnesota
Best College Prep Private High Schools in Minnesota
See All Saint Thomas Academy Rankings
University of St. Thomas - Minnesota
Creighton University
Saint John's University - Minnesota
More About Saint Thomas Academy Academics
Stock Market Investing at Saint Thomas Academy
The Cadet Fund is a real-dollar student managed stock-market investment fund that is part of the Personal Finance and Investment class. Students prepare presentations and make recommendations on how to manage this fund which supports student financial aid.
Military Ball
Senior Speeches
Fresman Sing Day
Trench Ball
Cadet Colonel Promotions
Read More About Mendota Heights
Saint Thomas Academy Reviews
This school isn't like anywhere else. This statement could be interpreted in multiple ways. The culture of passive racism, misogyny, and homophobia pits students against each other. People in theater or music-related extracurriculars are social pariahs. One must play football or hockey to top the social hierarchy and earn respect among students. This school is a wasteland for those who don't fit the social norms, and it is paradise for those who do; those are the people who preach the "brotherhood." In addition, the military program is a complete waste of time. It makes up 1/8 of academic time and consists of pointless marching and learning random facts about the school's history, which has no real-world applications. If your son is athletic and you want him to remain socially ignorant, he will probably enjoy it here. However, if you want him to have any kind of real-world experience, learning respect for women and different cultures and lifestyles, he would be better off elsewhere.
Start Your Review of Saint Thomas Academy
I'm a public school father from Mpls Southwest. I got an excellent Education there circa 70's. Was initially biased this way for our boys.
After some years serving as Scoutmaster at a large St Paul Catholic school, I started to notice the few young men that left our School for STA as 9th graders were in a year probably 4 years more mature than the boys at public, charter and even other catholic HS's. It is all about expectations, and a youth culture that values excellence in academics, ethics and athletics.
We sent both boys to STA despite my public school bias. It was worth every dime it cost. As parents, we love this school, you will too.
Our son attended public schools (Top 2 district in the state of MN) until 6th grade and started at St Thomas Academy beginning of 7th grade. We could not be happier with St. Thomas and can't even compare to the quality of education he was getting where he was. I have no doubt that in addition to us doing our jobs as parents that the partnership with STA helps boys develop into men of integrity, values and character. Classes at STA are small and the education is personal. The teachers know their students well and tailor their efforts to individual student needs. Our son has been successful this year while transitioning to a new school due in part, to the support offered at STA. They clearly prepare students for a successful future.
We couldn't be happier! Small class sizes, challenging curriculum, character education - all things that we weren't getting at his old public school. It's really amazing to see what kids are capable of when the bar is raised!


Gimme an O. Gimme a U. Gimme a C. Gimme an H.
Anya needs to take a look at her life and decide what she wants to do and who she wants to be. Friday, she makes a decision. You'll see.
And if you're like me, you're suffering from Stephanie withdrawal. Time for some robot fun next week!
I'm feeling rather sad for Anya, she's really out on a limb in regards relationships. Then to have an age thing dumped on her.
Methinks she needs a hug from someone who cares.
Yeah, I feel a bit bad for her too. She needs to find out what she really wants and go for it. Right now, she seems caught adrift in an ocean of other people's machinations.