text:
WannaCry, Petya 1 year later: The good, the bad and the ugly
Healthcare providers are investing more in cybersecurity, but an increase in threat sophistication and threat actors mean the industry is still not ready for the next big global cyberattack.
It's been about a year since the WannaCry and Petya cyberattacks ravaged IT systems around the world, crippling hospitals and technology vendors alike. The healthcare industry is still unprepared for the next big attack.
In May 2017, the WannaCry ransomware attack hit more than 300,000 computers and knocked hundreds of businesses offline, including the U.K. National Health Service. Just one month later, hackers struck again with Petya wiper malware, which permanently damaged the IT systems of its victims, including two U.S. health systems and FedEx.
What's most concerning is that these attacks are seen by many in the security field as poorly executed test attacks – but still their victims were unprepared for the major damage they caused.
Webinar: Ransomware and other emerging threats within healthcare organizations
Healthcare wasn't ready then, and a year later it's not in any better condition to face another, more sophisticated global attack of equal or greater scope.
"WannaCry was poorly executed," said Lee Kim, director of privacy and security for HIMSS North America. "It was just flexing the muscle in terms of what's possible. And unfortunately, we saw stateside the various effects across the healthcare sector."
"We were hurt by it, even though it wasn't totally sophisticated code, even though it wasn't as coordinated as it could be," she added. "If that's the test case you have to wonder: Once these threat actors get their game together and see how vulnerable we really are, they're obviously going to evolve and get more sophisticated."
That's not to say that there weren't some valuable lessons learned from these cyberattacks. But for whatever good has come from them so far, there's plenty more to still be concerned about.
While threats are increasing in sophistication and hackers show no signs of letting up, the good news is that healthcare is increasing its cybersecurity investments and making some strides to shore up some of its vulnerabilities.
"There are a lot of good things happening, in planning, and there's some activity in Washington, D.C. that will drive things forward," said David Finn, executive vice president of strategic innovation for CynergisTek.
In fact, a recent Cybersecurity Ventures report predicted that global healthcare cybersecurity spending will exceed $65 billion by 2021, as ransomware attacks on the sector will quadruple by 2020.
The added investments are a step in the right direction, as majority of security leaders agree that boardroom support and funding are crucial in the fight against cybersecurity threats.
What's also helping is that more organizations are collaborating and some are participating in partnerships with security organizations such as the National Information Sharing and Analysis Center (NH-ISAC) and MITRE. While traditional security tools are beneficial, it's not enough in this era of sophisticated threat actors: free sharing of threat info and best practices is essential.
"Healthcare is one of the first examples of a sector or group doing this crowdsourcing approach to developing analytics," said Julie Connolly, principal cybersecurity engineer for MITRE. "We have different ways to engage the community and we put the framework out there. It takes time, but it's been very successful."
To Lee Kim, collaboration and security conferences are critical in this current landscape, as the "collective wisdom" will help to change the current culture and "empower (organizations) to share the latest and greatest information on threats and how to make us stronger."
"If we aren't as organized as these actors (and we are) diluted in terms of our power and numbers, how can we match up? And the answer is: We can't," said Kim.
Since WannaCry and Petya, ransomware has only gotten worse and there's been "an incredible uptick since then," said Finn. "The bad guys saw how well it worked and then started attacks" at a greater pace.
What makes health IT unique is the vast demands on both its infrastructure and operational structure, Finn explained, necessitating that some things get more prioritized than others. "The things that can wait, they get stuck to the bottom of the list," he said. "But then they don't get done."
On a micro level, consider the U.K. National Health Service, one of WannaCry's largest victims. All of its 200 trusts failed a government assessment, just one year after the attack.
While some failed due to the high standard of the test, many failed because they didn't appropriately patch their systems. And here's the rub: NHS failed to patch a known vulnerability just four months before WannaCry, and that flaw was what allowed the virus to proliferate.
Patching is one of the simplest ways to shore up flaws, in theory, but many organizations don't patch as it can affect the function of the device and even interrupt service.
Training and patch management are "really the basic stuff," said Finn. "It can be time consuming, but if you're not doing that – everything else you do will be wasted effort."
The FBI even released an alert in late 2017, warning that "deficient security capabilities, difficulties in patching vulnerabilities, and a lack of consumer security awareness provide cyber actors with opportunities to exploit these devices."
And with the number of IoT and medical devices continuing to rapidly increase – 20 to 50 billion connected devices by 2020 – the healthcare sector is continually adding to its attack surface.
Another big problem is that many healthcare organizations still fail to encrypt devices.
For example, MD Anderson Cancer Center just lost its fight with the U.S. Department of Health and Human Services after failing to encrypt its devices containing patient data used for research. The three stolen devices, left unencrypted, cost the center $4.3 million in fines.
The question is, if healthcare can't even fix known flaws, what else is it failing to address?
Part of the trouble is that the sector is failing to hone in on incident response, explained Finn. While organizations prepare for natural disasters, airplane crashes and the like, they're not doing exercises to prepare for downtime during a data breach or cyberattack.
"We're not ready for the next attack because of incident response," said Finn. "It's interesting that an industry built around triage and taking care of the sickest patients first, isn't prioritizing breach response."
Organizations need to focus on recovery for now, and for what happens after getting hit with ransomware or another cyberattack, he explained. "Plan those exercises and coordinated action plan that's ready to execute when you have that incident."
If not, a provider can face not only an interruption to care, but a huge financial burden. Finn said he knew of one provider that aced its detection and discovered a ransomware attack incredibly quickly. The incident was isolated within 14 minutes.
"But because they hadn't planned the recovery, it took them several months to recover and it consumed 60 percent of their annual IT budget just to get back to normal," Finn said. "Despite the progress of some individual organizations, there's still a lot of room to improve as an industry."
Jorge Rey, CISO and director of information security and compliance for Kaufman Rossin, says the healthcare sector still hasn't figured out how to manage cyber risk from a business perspective. Often, organizations tend to under-invest and still haven't figure out whether the right responses are in place.
"The healthcare industry has matured, with HIPAA and HITECH: There are more resources, and technically we have more secure platforms and a more secure environment and framework," said Rey. "We need continue doing what we're doing and get better at it."
"But even if you're one of the organizations being very aggressive about cybersecurity – you're still connecting to a lot of healthcare organizations that may not be doing as much," Finn said. "You've created other attack vectors."
Ransomware may be continuing to pummel the healthcare sector, but it's no longer the reigning threat actor. Cryptocurrency mining malware and cryptojacking are still on the rise, with hackers now looking to exploit mobile devices as much as computer systems in the near future.
The virus is more subtle than ransomware, running in the background often undetected for an extended period of time. Attackers infect the computer, or IoT device, and use its processing power to mine for cryptocurrency. It's been incredibly lucrative for hackers, according to a recent McAfee report.
But new, invasive viruses are just the tip of the ugly nightmare.
For Kim, her biggest fear is that next time the attack will actually impact patient safety. Both Petya and WannaCry held health systems hostage. NHS had to divert patients to other locations and cancel some surgeries, that in itself could have put patients at risk.
But two recent studies examined how those flaws are leveraged by hackers and the patient safety impact.
Although exposed devices and systems don't necessarily mean they're vulnerable, a Trend Micro report found that these flaws can be used by hackers as a doorway into an organization. Even worse, these exposures let threat actors steal data, launch botnet attacks the like.
And if the hacker does get in, patient lives are impacted, a Medcrypt-funded recent from the University of California Cyber Team found. The surveyed delivery organizations and vendors said that between 100 to 1,000 patients had adverse events from compromised health IT infrastructure.
The threat is only going to get worse. The same study showed what happens when a cybercriminal hacks a medical device: The doctors don't know it's happening, and the patient continues to suffer while they attempt to figure it out.
"Medical devices are really your next train wreck that's going to hit the industry," said Finn. "We've been talking about this for more than a year – but we need to hammer the nails to start fixing the problem. We're all going to have to come together and figure out how to fix medical device security."
"We've been talking about it – and bad guys are listening," he added. "(Devices) are not protected, easy to get into and then they can use that device to get into the hospital where all the data lives," he continued. "But the bigger risk around the medical devices are the clinical operation and patient safety."
There's been an increase of IoT medical devices and some hospitals are trying to "integrate these devices into operations to improve patient care," said Jorge Rey. "But by doing this they're creating new attack vectors – another area of risk for the hospitals."
Part of the challenge facing the healthcare sector is that these devices are difficult to secure and right now there's no prescribed framework to help manage these big events, he explained.
"And what happens if someone's patient data is modified or tamper with?" asked Lee Kim. "What happens if it's inaccessible? We have paper records, but what if the provider can't read cursive writing in the patient record?"
"What's to happen in an era when the patient is in an emergency state and all you have is a doctors' handwriting?" she added. "We just rely on faith that we'll be OK? Who knows?"
For Kim, healthcare's biggest issue is that "we're so cannibalistic in healthcare."
With everyone competing with each other, she explained, not everyone wants to share threat information. But for the industry to get better, stronger and more resilient against future major cyberattacks, working together is now a necessity.
Twitter: @JF_Davis_
Email the writer: jessica.davis@himssmedia.com
Network Infrastructure, Privacy & Security
View all comments 0
How does blockchain actually work for healthcare?
Biggest EHR challenges for 2018: Security, interoperability, clinician burnout
Nuance knocked offline by ransomware attacking Europe
Nuance still down after Petya cyberattack, offers customers alternative tools
8 common questions about HL7
LabCorp goes down after network breach, putting millions of patient records at risk
Transitioning from Customer Experience Reporting to Analytics
Clinic Success with Practice Management
The Rise of the Healthcare Consumer
How The Cloud Can Accelerate HITRUST Certification
Advancing Intelligent Identity Management
Cyber-Threats in Healthcare: Understanding and Protecting Against the Risks
How Etsimo is helping patients stay healthy longer
Addressing unique EHR challenges in New Zealand
Dell Med School CIO: Time for hospitals to wake up to patient needs


A game that truly let you feel the parking experience!
Still worrying about learning to park and drive? Don't worry, you can enjoy fun and fun parking games without leaving your home!
The steering wheel operation is truly set, and the automatic gear allows you to concentrate on adjusting the angle and direction of the vehicle.
A variety of interesting obstacle settings, training your ability to respond and control!
Multiple levels, clever settings make you immersed in real and interesting games!


Do we have plan to integrate a markdown editor?
A quick introduction for beginners with the help of toolbar buttons.
Intuitive to show the typing result. There are two columns in the editor, the left side of typing, the right side of showing instant result.
I often make a few small mistakes when using markdown, perhaps the reason is that I am not very skilled with it , so this feature is very convenient for me to get an instant check.
The open source embeddable online markdown editor (component), based on CodeMirror & jQuery & Marked.
These editors are very interesting indeed.
However the difficulty is that in our case we use many more renderers, not just markdown.
I am wondering if we need to develop JS previews for all our renderers.
or Enhanced markdown + HTML preview pane ?
For me, no matter which one to choose is all very good.
So at last , there are three editors: Markup(is it also necessary?), WYSIWYG and Markdown. This is not bad, isn't it ?
I think in this case we would actually replace the Markup "textarea" with a "syntax colored editor".
It is true we could start with coloring markdown and progressively add more. However, here again we would need to be careful as to what happens if people disable the "markdown renderer".
Another caveat: the markdown syntax recognized by the JS editor may be different from the markdown syntax recognized by the PHP renderer plugin.
Did you find more such editors in addition to the 2 you already posted?
I have collected some. However it seems that too many urls in the content will be filtered as spam.
So I made a single page and upload it as an attachment.
We have researched a little about how to extend these editors in order to also take b2evolution's other renderer plugins into account. It seems pretty difficult. We will need to fork a script and will not be able to easily keep it in sync with further enhancements and bug fixes. We will research this some more.


text:
HomeHow Does it WorkHow Does it Work: Blow Forward
How Does it Work: Blow Forward
May 28, 2019 Ian McCollum How Does it Work, Video 31
The blow forward system has only bee used on three commercially-produced firearms: the Schwarzlose 1908, Hino-Komuro, and Mannlicher 1894 (The SIG AK-53 uses a forward barrel movement, but in conjunction with a locked breech). It offers a simple system with a theoretical extra margin of safety because the side cannot come backward off the gun, but at the cost of substantially increased felt recoil. Once the blowback system was out of patent protection, there was no convincing reason to use the blow forward mechanism.
French NATO Standardization: the MAS 49-56 in 7.62mm
A Rifle for International Competition: the MAS 49-56 MSE
I though that blow forward might be option for someone wanting (very) high Rate-of-Fire sub-machine gun. I start searching if anyone made blow-forward sub-machine gun and I encountered this (see 1st photo from top): https://www.reddit.com/r/ForgottenWeapons/comments/a9pb7r/stoehr_machine_pistol_in_22_magnum/ described as Stoehr machine pistol in .22 Magnum and said to be blow-forward. But it really is? What is purpose of using muzzle brake(?) on blow-forward fire-arm?
However, blow-back principle also allow great Rate-of-Fire, note Villar-Perosa
https://modernfirearms.net/en/submachine-guns/italy-submachine-guns/villar-perosa-twin-barelled-eng/
which despite being delayed blowback offered 1200…1500 rpm from single barrel.
Congrats on the crazy rare find!
As for the muzzle brake on stoehr, it looks more like its threaded, to me, or maybe some creative turning.
Can you please help me to find information on the patent of the direct blowback system? Was it patented before locked breech automatics existed?
I believe that's not a muzzle brake, but a grooved section for grasping. This gun appears to be a blow-forward, open-bolt gun; it's cocked by pulling the barrel forward, and the sear (integral with the trigger) catches on the wider flange behind the grooved section. Pulling the trigger drops the sear and releases the barrel to slam backward and fire.
This picture shows a better view of the grooved section:
https://i.imgur.com/gSwQo3d.png
The cartridge feed is especially peculiar — it's particularly suited to a blow-forward system, as otherwise the cartridge feed would have to reciprocate with the bolt.
Apparently the feed "belt" is a metal band, with ratchet teeth cut in the top edge. The feed pawl is exposed on the right side of the gun, and is apparently driven by a cam track milled in the top of the barrel.
https://i.imgur.com/Cl5cnyw.png
Here coincidentally muzzle portion is also grooved:
https://www.forgottenweapons.com/andrew-burgess-blow-forward-pistols/
Maybe also to aid grasping?
One of the original designs by the Mexican sub-machine gun Rafael Mendoza enterprise was a blow-forward design.
Also, as far as prototypes vs. the Hino-Kimura pistol and the Mannlicher 1894 and the odd Schwarzlose 1908…
W. Darrin Weaver, _Desperate Measures: The Last-Ditch Weapons of the Nazi Volkssturm_ (Ontario: Collector Grade Pubs., pp. 250-253: The "Coenders/ Röchling Volkssturmkarabiner." Only one in existence–possibly ever made. 5-shot fixed magazine, 7.92x33mm blow forward "semi-automatic, magazine fed, blowback [sic, blowforward!], air-cooled weapon. The nusual features of this carbine are the use of a forward recoiling barrel and a double-action trigger mechanism similar to that used on double-action revolvers."
We now know thanks to Ian's recent demonstration of a defective AK-53 from SIG-Neuhausen auto-rifle, that while the barrel reciprocates forward, extracting the empty 7.5x55mm case that remains on the breech face as the chamber moves away from it, and then ejecting it, then, on the return stroke having the barrel feed ramp move over the top cartridge in the magazine, locking the barrel into the receiver with flaps, and recocking the arm, that it is not a blow-forward design, but rather an odd gas-system. Seems as though the gas piston compresses two springs, one of which is over the barrel return spring, locks the two together, and then unlocks first the barrel spring to force the barrel forward, and then the second to return everything into battery…Yes?
I might also point out, after ruminating on the oddities of the SIG-Neuhausen AK-53, bizarre variation-on-the-theme, that the stock furniture is essentially the same as the notoriously over-complex/over-engineered Furrer toggle-lock 9mm SMGs that were relegated to indoors/fortress use while the more conventional–and certainly cheaper!–Suomi/Hispano-Suiza 9mm MP/SMG was used "out of doors" by the Swiss militia-based armed forces.
I think for b.f. to work, you need to have rifled barrel, as the bullet traveling down the bore engages rifling and pushes the barrel front. Without it, I doubt it would move sufficently to rechamber new round.
Would polygonal rifling be suitable?
I thought ol' Ian when he was in South Africa found a German blow-forward shotgun? The Becker revolving/blow-forward shotgun:
https://www.youtube.com/watch?v=cBlx7kW9_AQ
So apparently rifling is not necessary… Or maybe the internal "choke" of the barrel has a similar effect, perhaps?
Not nececellary,
The pancor jackhammer is a one off example of a bf shotgun.
I seem to remember Ian firing an even more obnoxious shotgun that might have been bf
Sommerbiwak says:
You mean the Cobray Terminator:
https://www.forgottenweapons.com/cobray-terminator-at-the-range-the-worst-shotgun-ever/
I'll take a simple single barrel break action insteaad. Thank you very much.
Luris says:
The Cobray Terminator? (https://www.forgottenweapons.com/cobray-terminator-at-the-range-the-worst-shotgun-ever/)
It's an open bolt slamfire like the Hino-Komuro but apparently not blowforward.
According to wikipedia, in jackhammer barrel is driven forward by ring piston, using gas tapped from the bore.
According to https://modernfirearms.net/en/shotguns/u-s-a-shotguns/jackhammer-eng/
The Jackhammer is a gas operated, fully automatic only shotgun. The gas system of the Jackhammer consists of the gas cylinder, formed around the movable barrel. The gas piston is formed by the collar, fixed to the barrel just ahead of the gas port that feeds the gases from the barrel into the gas cylinder.
(more detailed description in link)
When Ian tested The Terminator, it ejected spent shells only manually, so that would not be blow forward.
As for polygonal rifling, I think it would be suitable, or even using some kind of slightly press fit bore, as long there is friction between bullet and barrel.
He tested the Becker blow-forward shotgun. In South Africa. Like I posted. In my reply.
Just a review, no test firing. Also, in that shotgun, barrel moving less than inch serves to rotate the cylinder, not to extract the case, so its not the same blow forward as scope of this video, I wouldnt call it a bf at all, in that application, just like long recoil guns are not blowback.
The Semmerling LM-4 manual-repeater pistol could probably have been made as a blowforward instead;
https://en.wikipedia.org/wiki/Semmerling_LM4
Of course, being a .45 ACP, its recoil in such a mode would no doubt have been even more emphatic than the Schwarzlose's.
warhorse says:
you ought to go back and do the hino-komura again.
Michael J. Parker says:
The late Robert Hillberg, a very successful American designer for High Standard and others, also designed a blow-forward SMG, but it was never produced.
Any photo?
Blow Forward works in the same manner which blowback samples follow: the forward push of the gas pressure to the bullet back forming as a plug from breech to the muzzle through the bore. Same momentum applicable for blowback is also valid for the blow forward. The gas escape, mass comparision, friction might effect the happening at positive or negative sides.
I'd say blow forward is not so simple as "blowback in reverse", and that maybe we do not understand, for now, fully all the forces at play.
During the discharge, bullet is a plug in the barrel from case mouth to the muzzle as if making the bore like a blind tube. Gas pressure pushes the breech blog at rear and pushes that blind tube forward and if the blind tube is forwardly movable, it blows forward.
Thats a good description imo !
LDC says:
I hate to be techno-grammatically picky, but in case anyone comes across this video and commentary in the far future, I must point out that several times Mr. M said that the "slide" blows forward — we know he meant barrel & chamber acting as a slide in reverse. And he said the recoil kick is hard because the "slide" doesn't recoil — we know he meant breechblock.
He has also been guilty of mixing up mainspring and recoil spring as terms, and yards, meters and arshins, but of course to have this channel at all is worth the occasional flub.
Was not the Hino-Kimura not just blow-forward but also slam fire? Have to review his video on it.
Thanks… Terms should be used correctly.
Yes. According to Handguns of the World by Ezell, the barrel began each cycle in the forward-most position. Pulling the trigger released it to come back under spring pressure, scoop a cartridge from the magazine, and slam it into the fixed firing pin in the standing breech.
It would have been very simple to make the Hino-Komura a true selective-fire machine pistol for this reason. I believe the Mendoza RM-1 submachine gun prototype worked on a similar principle. It drastically simplifies the weapon's mechanism, most obviously by eliminating the need for a movable firing pin, striker and/or hammer mechanism.
Of course, it also rather mandates that the weapon be kept in Condition Three (uncocked, empty chamber) at all times for safety reasons, as Condition One leaves the chamber and magazine open, just as on a typical slamfire SMG like the Sten or MP38/40.
Rate of fire would be interesting, how much that barrel moves forward during firing, I suppose it would be mac10 high.
Leave a Reply to Storm Cancel reply

redpajama_set_name: RedPajamaCommonCrawl


Profile | Budget Business Service, Inc.
Located at the corner of Outer Loop and Shepherdsville Roads.
Private, experienced, reliable income tax return preparation.
Extended and weekend hours during the tax filing season, open year round 9 am to 5 pm.
"Walk in" or call ahead for an appointment.
Fine service, excellent reputation and budget prices.


text:
George Rivera Naya Rivera Father Recalls Heartbreaking News, Wikipedia, Age, Net worth, Family, Nationality
June 10, 2021 0 Sunil chaulagain Biography Lifestyle
George Rivera is best known as the father of American actress Naya Rivera, who died on July 8, 2020. He has worked in the IT field for a number of companies. He has worked for Disney and Universal Music Publishing Group in various positions. According to some sources, George Michaels Rivera is also a former actor who is half-German and half-Puerto Rican.
George's daughter, Naya Rivera died about a year ago as a result of a sad drowning. In a recent interview, George remembered his daughter and stated that he misses her. She was so much concerned about her future and was loving the experience of being a mother.
Naya Rivera Father George Reveals Heartbreaking Details About Their Last Conversation
What does he said?
George Rivera Age, Date of Birth, Birthday, Family, what about his father, mother, where is he from? Early life
George Rivera wife, What about children?
George Rivera Net worth, how much earning?, how much did he earn
George Rivera Career
George Rivera Social Media Reach
Quick Facts about George Rivera
George Rivera's Body Appearance Height, Weight in 2021
Interesting facts about George Rivera's which you should be known
George Rivera, Naya Rivera's father, shared heartbreaking details of the last time he spoke to his daughter, more than a year after her untimely death. For those unfamiliar, the actress, Naya drowned in an accident outside Los Angeles, California, in July 2020. When Rivera FaceTimed him for boating advice on the day she died, George Rivera said that he chatted with her.
"Things are slowly coming a little more into focus, but I don't know if I'll ever find closure from this. I miss her every day," says George Rivera, who spoke to his daughter on the day she died. https://t.co/wC5tO2b7rM
— Entertainment Weekly (@EW) June 9, 2021
According to People, Naya Rivera was renting a pontoon boat on a lake outside of Los Angeles with her son Josey on the afternoon of July 8 when she called her father, George Rivera, on FaceTime for guidance.
Also Read: Duncan Pegg Wife, Family, Net worth, Illness, Age, Birthday, Children, Is he married, Dies with Cancer
George mentioned that his daughter liked to bounce things off of him and that she wanted to go swimming in the middle of the lake with Josey. However, when his eldest daughter warned him that the boat lacked an anchor, he realized that going for a swim in the lake was a horrible idea.
George, an experienced boater, admitted that he could feel his stomach clench as he saw the wind blowing. 'Don't get out of the boat!' he kept reminding her, because the boat would float away once they were in the water.
Nearly a year after "Glee" actress Naya Rivera drowned in a boating accident, her father George Rivera is opening up about his final FaceTime call with his daughter before her death. https://t.co/s31u87QqUB
— FOX 56 WDKY (@FOXLexington) June 10, 2021
After roughly three minutes, their FaceTime call came to an end. And George explained how heartbreaking it was as he stared at a screenshot of his daughter, who was wearing sunglasses and a baseball cap and smiling beneath the boat's canopy with a bright blue sky above.
Read about: Kristen Messner Age, Net worth, Family, Birthday, Wikipedia, Bio, Divorcing After 21 Years of Marriage
George went on to say that even a year later, it's still a haze of grief, and things are slowly coming into focus, but he's not sure whether he'll ever find closure. He ended by adding that he misses her every day.
Naya Rivera's father, George Rivera was born on August 25, 1956 in Los Angeles, California. He is 64 years old. He holds an American nationality and presently resides in Los Angeles.
George belongs to the white ethnicity. His zodiac sign is Virgo, according to his date of birth. There is no information available about George's parents.
George Rivera was married to Yolanda Previtire in 1986. Yolanda Marie Previtire (born: Yolanda Marie White) is a retired Puerto Rican-American/African-American model.However, they split up in 1996.
George and Yolanda shares three children together. The eldest daughter, Naya Rivera was born on January 12, 1987. She was a famous American actress, model, and singer. She died on July 8, 2020 because of sad drowning.
Popular: Ernie Lively Net worth, Height, Wife, Brother, Age, Family, Blake Lively Father Dies at 74
Their another child was a son named Mychal Rivera who was born in 1990. Similarly, their another daughter Nickayla Rivera was born in 1994. George also has a grandchild named Josey Hollis Dorsey.
According to some reliable sources, George Rivera has the estimated net worth of $2 million as of 2021.
He earns this amount of money from his IT and other professions. He is living a luxurious lifestyle. While her daughter, Naya Rivera's net worth was $ 3 million.
There isn't much information on the internet about his education. Nevertheless, based on his work history, we can assume he has a degree in Information Technology.
George Rivera is best known as the father of American actress Naya Rivera, who died on July 8, 2020. He has worked in the IT field for a number of companies.
George Rivera, the father of late "Glee" actress Naya Rivera, reflected on her life in a new interview https://t.co/XgHNTRIxOB
— billboard (@billboard) June 10, 2021
He has worked for Disney and Universal Music Publishing Group in various positions. According to some sources, George Michaels Rivera is also a former actor who is half-German and half-Puerto Rican.
We searched for his accounts in social media. However, we couldn't get our hands on them. Perhaps he is not available in social media or using them under a different name.
Naya Rivera's father, George Rivera was born on August 25, 1956 in Los Angeles, California. He is 64 years old.
George Rivera was married to a Puerto Rican-American/African-American model Yolanda Previtire in 1986However, they split up in 1996. George and Yolanda shares three children: Naya Rivera, Mychal Rivera and Nickayla Rivera.
According to some reliable sources, George Rivera has the estimated net worth of $2 million as of 2021. He earns this amount of money from his IT and other professions. He is living a luxurious lifestyle. While her daughter, Naya Rivera's net worth was $ 3 million.
Height Under review
Weight Under review
Net Worth (Approx.) $ 2 million
Single/ In a relationship Divorced
Current Girlfriend/ Spouse N/A
Previous Girlfriend/ Spouse Yolanda Previtire
Children Naya Rivera
Mychal Rivera
Nickayla Rivera
Tags: George Riverageorge rivera actorgeorge rivera agegeorge rivera artistgeorge rivera bronxgeorge rivera careergeorge rivera childrengeorge rivera earninggeorge rivera educationgeorge rivera facebookgeorge rivera familygeorge rivera heartbreakinggeorge rivera heightgeorge rivera high schoolgeorge rivera kidsgeorge rivera last conversationgeorge rivera nationalitygeorge rivera naya riverageorge rivera net worthgeorge rivera parentsgeorge rivera people also askgeorge rivera shrmgeorge rivera social mediageorge rivera twittergeorge rivera universitygeorge rivera weightgeorge rivera wifegeorge rivera wikipediageorge rivera zodiac signhow much george rivera net worthhow old is george riverais george rivera marriednet worth of george riverawhere is george rivera fromwho is george riverawho is george rivera wifewife of george riverayolanda and george rivera
Next Matt Furlong Net worth, Wikipedia, Age, Salary, Who is his Wife? Family
Previous Duncan Pegg Wife, Family, Net worth, Illness, Age, Birthday, Children, Is he married, Dies with Cancer
Francesco Aquilini and his ex-wife, Taliah Aquilini, go back to court over their divorce
OnlyFans CEO: Tim Stokely Net worth, Age, Wife, Is he married? Height, Wiki, Education, Early life, Family, Bio
Who is Kenny Habul? Everything on his Wife Kim Habul and Family, Aged 49, Net worth
83, Former CFL commissioner, Doug Mitchell, passed away


The Certificate of Personal Effectiveness (CoPE) is a nationally recognised qualification from the ASDAN stable of qualifications. It offers imaginative ways of accrediting young people's skills through activities and challenges. These CoPE challenges allow students to develop a wide range of personal qualities, abilities and achievements such as presentation skills, working with others, improving learning techniques, researching information and problem solving. The CoPE qualification can be completed at Level 1 or Level 2 and in previous years has included organising events such as the Macmillan Coffee Morning and a Christmas Party for the elderly community. The Key Stage 4 CoPE group also take part in activities to support the International Schools Award.
For more information about CoPE at Manor School please contact the Curriculum Lead for Communications Miss C Collier (cheryl.collier@manorschool.northants.sch.uk).


"Life is not a dress rehearsal. Stop practicing what you're going to do and just go do it.
Cabana 512 Productions is a Los Angeles-based television production company specializing in quality, non-fiction television and branded entertainment. Our key executives have over 20 years experience producing hundreds of hours of television for Discovery, A&E, Lifetime, FYI, SyFy, ABC, and NBC among others. Our vast experience telling rich stories and managing large-scale worldwide productions extends to our clients and branded partners as well. Numerous brands have captured the attention of buyers by integrating quality entertainment into their communications. In addition, Cabana 512 offers corporate and production management consulting to increase profitability and efficiency to other production companies that begin to experience growth.


If you are K-Popers, then you must be familiar with names like Soyou, Park Shin Hye, Seol Hyun, Kang Sora, IU dan Suzy. Not only they are pretty, but they also have slim bodies, which are ideal combinations.
Soyou was a member of the K-pop group, SISTAR. She had a strict diet menu. In the morning, Kang Ji-Hyun only ate one steamed sweet potato. In the afternoon, she ate three boiled eggs with a slice of toasted bread.
In the night, she ate three Gimbap, rice that was wrapped with seaweeds.
This cute Korean actress had a quite unique menu. In the morning, she consumed cucumber with low-fat milk. In the afternoon, the 27 years-old woman ate a half portion of brown rice with cabbage. For dinner, she had one cucumber and cabbage.
Seolhyun didn't have a different menu with other Korean celebrities. The sweet girl ate two sweet potatoes in the morning. Then, for lunch, she had two chicken breasts. And for dinner, she ate three boiled eggs.
The Korean actress only had a small cup of yogurt for breakfast and one apple. Different from other Korean celebrities, she added rice on her lunch menu with pumpkin porridge. As for dinner, she had one steamed sweet potato, one lettuce and toast bread.
If you know what IU has for her breakfast, you might shake your head. This composer only ate one apple for her breakfast. Then, for lunch, she had two boiled sweet potatoes. And for dinner, she drank one bottle of protein shake.
When we compared her with other celebrities, it seemed that Suzy wasn't scared of calories. In the morning, she ate three different foods. First, she ate two chicken breasts, one potato, and one glass of low-fat milk.
For lunch, she ate one portion of brown rice. While in the night, Suzy only ate two sweet potatoes.
Is It Safe to Mix Various Jamu Beverages?


team small dog: It is love, but in a frightening sort of way.
It is love, but in a frightening sort of way.
Walker and Kelsey came down from the wilds of Oakland today.
And Sealy and Boy Howdy. Walker and me, we wear the same shoes. He doesn't think it's uncool to have the same shoes as me though. Thanks, Walk!
Sealy, she's doing pretty good. Kelsey waves at her since she can't hear, but she can still run around a little bit and have a good time at the beach.
Boy Howdy, he's always got the leapies. Boy Howdy could TOTALLY come live with us. Not sure why Kelsey doesn't do agility with him, will never figure that one out. I know you've explained it to me, Kelsey. But I still have hope of someday, one day, all my friends decide to take up agility. You have the car, the wardrobe, you can run, and would have a super triple champion with Boy Howdy. As long as there are no s-q-u-i-r-r-e-l-s at agility. Is usually squirrel-free, Kelsey! Come to agility!
Otterpop loves Walker. This is no little thing. Otterpop used to like 6 people in the entire universe. Now it's 7. I am not kidding. She hates almost everybody. Once she likes you, she LOVES YOU and you actually might become scared. Because it's just weird. She hates 99.9% of all humans and then randomly selects someone and LOVES them forever. Not loves. Not likes. She hates you, or she LOVES you.
See, he's sort of afraid of the LOVE. Smart boy.
This much, Otterpop? You LOVE him this much?
LOVE. Or else she thinks she has brainwashed him and he is part of her plot to overthrow whatever it is her deluded, evil little mind has planned. Her and her minions of 7. I am included in there, but I am pretty sure she hasn't brainwashed me. I possess the squirter bottle that stops howling, control when she gets meals and I keep their chewies on a high shelf only I can reach. Ha! Take that, Otterpop. I have taught you the recall and the leave-it and in return I keep you safe from agility judges and everyone else that you don't LOVE.
Oh yeah. She thinks she has complete control over his brain. He is her zombie.
Um, Otterpop? I think he doesn't really care.
Thanks for the queso-dillas. Fun as always. Boy Howdy still trying to get sand out of his eyes. Sealy is sleeping.
Nice pictures, really freaked by the red lines! Kinda neat though, so I'll give you that one. But, is there only seven minions of OtTeRpOp, really kinda unreal if you know what I mean.
It is not unreal, but I know what you mean, Walker. It is just the world of OtTeRpOp and her 7 minions. Which is how I want to try to always spell her name from now on. So you didn't know she was trying to zombie brainwash you with red lines at the time? They only show up via digital photography. She is so sneaky, that dog.
Is Boy Howdy a rat terrier?
to answer the Boy Howdy question - Yes, he is a Rat Terrier, albeit non officially as he was a rescue from Hollister.
However, officially, everything about him and his personality is Rat Terrier.


text:
Stay Overnight in One of Philly's Scariest Haunted Houses!
posted by Nicole - Oct 18, 2017
I know for some people this is awesome, but for me, not so much. Ha! I hate scary stuff, but I know so many people who love it, and this IS awesome.
It's officially Halloween season, and what better way to celebrate than a visit to Pennhurst Asylum? Pennhurst unveiled its newest attraction, Containment, for their 2017 season. Well worth the trek to Spring City, PA, Containment stretches 1,200 feet through a tunnel underneath the entire Pennhurst complex. For the truly paranormal-obsessed, overnight Ghost Hunts are back, better than ever, and a scare you'll never forget! Through October and November, spend a night at the former state school featured on the Travel Channel's Ghost Adventures and the History Channel's Haunted History. From 10 p.m. to 7 a.m., get exclusive access to the Mayflower Building and the grounds while seeking out the spirits who still call Pennhurst home. Conduct seances and vigils as a group, and go on a ghost hunt with an experienced team - with real ghost hunting equipment. "With even better costumes, makeup, and actor training, we're really excited for people to experience Pennhurst Attractions this season," says Matt Herzog, Owner. "People literally come from across the country to visit. If you love Halloween, you can't miss it!"
Aside from the new Containment attraction and the Ghost Hunts, the expansive grounds feature the Asylum, the Dungeon of Lost Souls, and Mayflower: After Dark - the Mayflower building being reportedly the most ghostly active location on the grounds! If you find it's just too scary, there are no safe words to leave these haunted attractions, but there are several often-used "chicken" doors if you need to escape.
Pennhurst Haunted Attractions are open to Halloween fans through November 4. Visit their website to purchase Ghost Hunt tickets and view available dates. On Thursday's and Sunday's, ticket box office hours are from 6:30 to 9:30 p.m. On Friday's and Saturday's, ticket box office hours are from 6:30 to 10:30 p.m. Thursdays in October are family night, with a three attraction combo ticket priced at only $35. Tours can be purchased individually or in combination for multiple tours.


text:
Q: Need to generate 9 unique integers less than 100 such that no two has sum equal to another one/two numbers I need to generate 9 unique integers less than 100, such that there exists no numbers x,y and z such that x + y = z and no numbers a,b,c and d such that a + b = c + d in VB.
Here's my VB code, but it generates number sets that doesn't satisfy the latter condition.
Public Class Form1
Private Sub Button1_Click(sender As Object, e As EventArgs) Handles Button1.Click
    Dim Numbers(9) As Integer
    Dim w As Integer
    Dim x As Integer
    Dim y As Integer
    Dim z As Integer
S:
    Randomize()
    Numbers(1) = CInt(Int((99 * Rnd()) + 1))
    w = 2
    Do While w < 10
        Numbers(w) = CInt(Int((99 * Rnd()) + 1))
        x = 1
        Do While x < w
            If Numbers(w) = Numbers(x) Then
                GoTo S
            End If
            x = x + 1
        Loop
        w = w + 1
    Loop
    w = 1
    x = 1
    y = 1
    Do While w < 10
        x = 1
        y = 1
        Do While x < 10
            y = 1
            Do While y < 10
                If Numbers(y) = Numbers(x) + Numbers(z) Then
                    GoTo S
                End If
                y = y + 1
            Loop
            x = x + 1
        Loop
        w = w + 1
    Loop
    w = 1
    x = 1
    y = 1
    z = 1
    Do While w < 10
        x = 1
        y = 1
        z = 1
        Do While x < 10
            y = 1
            z = 1
            Do While y < 10
                z = 1
                Do While z < 10
                    If w <> x And w <> y And w <> z And x <> y And x <> z And y <> z And Numbers(x) + Numbers(y) = Numbers(z) + Numbers(w) Then
                        GoTo S
                    End If
                    z = z + 1
                Loop
                y = y + 1
            Loop
            x = x + 1
        Loop
        w = w + 1
    Loop
    MsgBox(Numbers(1) & " " & Numbers(2) & " " & Numbers(3) & " " & Numbers(4) & " " & Numbers(5) & " " & Numbers(6) & " " & Numbers(7) & " " & Numbers(8) & " " & Numbers(9))
End Sub
End Class

What am I doing wrong?

A: Here is my suggestion.
I think you'll find it more readable:
Private Function CreateArray() As Integer()
    Dim Target As Integer()
    '' Create a list of all integers from 1 to 100, randomly sorted.
    Dim Source As List(Of Integer) = Enumerable.Range(1, 100).OrderBy(Function(orderby) Guid.NewGuid()).ToList()

    Target = New Integer(8) {}
    Dim i As Integer = 0
    For Each CurrentNumber As Integer In Source

        If ValidateNumber(CurrentNumber, Target) Then
            Target(i) = CurrentNumber
            i += 1
        End If
        If i = 9 Then
            Exit For
        End If
    Next
    Return Target

End Function

Private Function ValidateNumber(Number As Integer, Target As Integer()) As Boolean
    if Target.Length > 1 then '' otherwise there is no need to test at all
        For i As Integer = 0 To Target.Length - 3
            For j As Integer = i + 1 To Target.Length - 2
                '' First condition: the sum of any two numbers must be different than any other number
                If Target(i) + Target(j) = Number OrElse Target(i) + Number = Target(j) OrElse Target(j) + Number = Target(i) Then
                    Return False
                End If

                For k As Integer = j + 1 To Target.Length - 1
                    '' Second condition: the sum of any two numbers must be different than the sum of any other two numbers
                    If Target(i) + Target(j) = Target(k) + Number OrElse Target(i) + Target(k) = Target(k) + Number OrElse Target(i) + Number = Target(j) + Target(k) Then
                        Return False
                    End If
                Next
            Next
        Next
    end if
    Return True
End Function

You can see an example in this fiddle.
Update
I think I've found the problem in the second condition: in the second part of it I wrote Target(i) + Target(k) = Target(k) + Number, but it should have been Target(i) + Target(k) = Target(j) + Number.
I've found the problem while editing my ValidateNumber to be more readable by adding meaningful named variables for the numbers.
This is yet another reason why you should always use meaningful named variables.
Private Function ValidateNumber(Number As Integer, Target As Integer()) As Boolean
    Dim First, Second, Third As Integer
    If Target.Length > 1 Then '' otherwise there is no need to test at all
        For i As Integer = 0 To Target.Length - 3
            First = Target(i)
            For j As Integer = i + 1 To Target.Length - 2
                Second = Target(j)
                '' First condition: the sum of any two numbers must be different than any other number
                If First + Second = Number OrElse First + Number = Second OrElse Second + Number = First Then
                    Return False
                End If

                For k As Integer = j + 1 To Target.Length - 1
                    Third = Target(k)
                    '' Second condition: the sum of any two numbers must be different than the sum of any other two numbers
                    If First + Second = Third + Number OrElse First + Third = Second + Number OrElse First + Number = Second + Third Then
                        Return False
                    End If
                Next
            Next
        Next
    End If
    Return True
End Function

I've also updated the fiddle, so you can test it yourself.

A: Don't use random number for this, unless you feel lucky. Just iterate all the possible combinations and wait.
Sub Main()

    Dim n(9) As Integer ' Contains the list of 9 numbers
    Dim sums As New List(Of Integer) ' List of the sums of all the numbers

    n(0) = 1

    For x As Integer = 1 To 8
        n(x) = n(x - 1) + 1
    Next

    Do
        Dim x As Integer = 8

        ' Get the next number from the list
        Do
            n(x) += 1

            If n(x) >= 100 Then
                If x = 0 Then
                    Exit Do
                End If

                n(x) = n(x - 1) + 1
                x -= 1
            Else
                Exit Do
            End If
        Loop

        ' Get the list of all the sums
        sums.Clear()

        For a As Integer = 0 To 7
            For b As Integer = a + 1 To 8
                sums.Add(n(a) + n(b))
            Next
        Next

        Dim wrong As Boolean = False

        ' Is a sum equal to a number in the list?
        For Each s As Integer In sums
            For x = 0 To 8
                If s = n(x) Then
                    wrong = True
                End If
            Next
        Next

        ' Are two sums equal to each other?
        For a As Integer = 0 To sums.Count - 2
            For b As Integer = a + 1 To sums.Count - 1
                If sums(a) = sums(b) Then
                    wrong = True
                End If
            Next
        Next

        ' Everything passed!
        If Not wrong Then
            Exit Do
        End If
    Loop

    For Each x As Integer In n
        Console.WriteLine(x)
    Next

    Console.WriteLine("Done")
    Console.ReadLine()

End Sub

A: I try it by a method to generate your random numbers.
Method in Vb.NET:
Public Function GenerateRandomNumbers(min As Integer, max As Integer, count As Integer, exceptNumbers As Integer()) As List(Of Integer)
    If count > max - min Then
        Throw New ArgumentOutOfRangeException("your count is more than min and max range!")
    End If

    Dim lst = New List(Of Integer)()
    Dim rand = New Random()

    While count >= 0
        Dim value = rand.[Next](min, max)

        Dim upValue As Boolean = False
        While lst.Any(Function(x) x = value) OrElse exceptNumbers.Any(Function(x) x = value)
            If value < min Then
                value += 1
                upValue = True
            ElseIf value > max Then
                Exit While
            ElseIf upValue Then
                value += 1
            Else
                value -= 1
            End If
        End While

        lst.Add(value)
        count -= 1
    End While

    Return lst
End Function

Now, you can use that this model:
Dim lst = GenerateRandomNumbers(0, 100, 9, New Integer() {1, 5, 8, 6, 10, 2})

redpajama_set_name: RedPajamaStackExchange


text:
An American Haunting
PG-13PG-13
DramaHistoryHorror
Based on the true events of the only case in U.S. history where a spirit caused the death of a man.Based on the true events of the only case in U.S. history where a spirit caused the death of a man.Based on the true events of the only case in U.S. history where a spirit caused the death of a man.
Brent Monahan(novel "The Bell Witch: An American Haunting")
Sissy Spacek
Rachel Hurd-Wood
John Bellas John Bell
Lucy Bellas Lucy Bell
Betsy Bellas Betsy Bell…
James D'Arcy
Richard Powellas Richard Powell
Matthew Marsh
James Johnstonas James Johnston
Thom Fell
John Bell Jr.as John Bell Jr.
Zoe Thorne
Theny Thornas Theny Thorn
(as Zoë Thorne)
Gaye Brown
Kathe Battsas Kathe Batts
Sam Alexander
Joshua Gardneras Joshua Gardner
Miquel Brown
Chloeas Chloe
Vernon Dobtcheff
Elder #1as Elder #1
Shauna Shim
Ankyas Anky
Madalina Stan
Ethereal Girlas Ethereal Girl
Philip Hurd-Wood
Partygoeras Partygoer
(as Phillip Hurd-Wood)
Vlad Cruceru
Richard Bell (aged 6)as Richard Bell (aged 6)
Alin Rosca
Joel Bell (aged 10)as Joel Bell (aged 10)
Andrei Serban
Joel Bell (aged 6)as Joel Bell (aged 6)
Isabelle Almgren-Doré
Janeas Jane
The Haunting in Connecticut
American Haunting
Darkness Falls
Bell Witch: The Movie
Christina's House
In 2006, in Red River, Tennessee, a teenager has frequent nightmares. Her mother reads an old letter from 1817 written by her ancestor, Lucy Bell. After a dispute of lands judged by the church, her husband John Bell is cursed by his opponent Kathe Batts, who has a fame of being a witch. From this moment on, an entity threatens John and her daughter Betsy Bell, attacking the girl during the nights. With the support of Betsy's school teacher Richard Powell, who tries to find rational explanations for the manifestation; her brother John Bell Jr.; and their friend James Johnston, who unsuccessfully tries to exorcize the entity from the house, the family does their best to protect Betsy in the haunted house. —Claudio Carvalho, Rio de Janeiro, Brazil
year 1818ghostflash forwardvoice over letteryear 2006160 more
Possession Knows No Bounds
Rated PG-13 for intense terror sequences and thematic material
The movie is actually based on a purportedly true story. Andrew Jackson was quoted as saying, "I would rather take on the entire English Fleet than stay one night at the Bell House," however his presence at the house is disputed and there are no official records that confirm he was actually present or witnessed any supernatural activity. The haunting is documented in M. V. Ingram's 1894 book, An Authenticated History of The Famous Bell Witch. This movie was based on the book by Brent Monahan,The Bell Witch: An American Haunting the Famous Bell Witch. However, the Ingram book has been called into question by researchers, who have noted that it's based on secondhand accounts and that no firsthand accounts to the haunting survive, and records from the time have not supported the story of the haunting. The Ingram book calls on quotes from letters and diaries but those documents no longer exist (if they ever did) and it is impossible to verify if the haunting actually happened or if it was a hoax or an early urban legend. Some researchers have even raised the possibility that the Ingram book was actually a work of fiction now mistakenly believed to be a factual account.
This movie is set in 1817-1820. Richard and Betsy were married "shortly after" Betsy's father died. The walls are adorned with their wedding photos, but photography was not introduced until 1839. Even then the pictures would have been small hand held daguerreotypes, not big framed enlargements.
Richard Powell: [of Betsy] Can she love me?
Lucy Bell: She will.
The DVD is released in an Unrated Version, which has a number of differences from the original PG-13 version.
Featured in WatchMojo: Another Top 10 Horror Movies Inspired by True Events (2014)
A knockout, terrifying 'grab you by your throat' ghost story that recalls Jack Clayton's The Innocents and Robert Wise's classic, The Haunting.
Let's say it flat out, An American Haunting is the scariest, most intelligent ghost story to hit the screen in two decades. More original than The Others (which was a watered down cocktail of The Innocents and The Sixth Sense), and ten times more effective than the pallid The Exorcism of Emily Rose, An American Haunting wastes no time in setting itself up as a thriller with something more on its mind than just simply rehashing the same old grab bag scare tactics that every 'Exorcist' remake/rehash resorts to. Based on The Bell Witch, an apparently true account of demonic possession that resulted in the first recorded case of a ghost actually killing a human being over a hundred and fifty years ago in Tennessee, the film elevates itself by not wallowing in cheap tricks to scare you, and by always taking the high road. And, by doing so it creates it's very own world, a unnerving mood and an a undercurrent that prevails throughout until, when you least expect it - it strikes out, grabs you by the throat, and doesn't let go until the very last frame. The sheer terror of waiting and watching until the entire story unfolds (in a way you least expect) is so original and surprising, that by the time the finale hits you, it shatters you like no other horror film you've ever seen . The performances by Donald Sutherland and Rachel Hurd-Wood are first rate. It's their story all the way, and the beauty and generosity of the other actors subtle, effective performance (especially Sissy Spacek) is a testament to their respect of the material. But the real star of this film is director/writer Courtney Solomon. After having recovered from the bollocking he took for the impossible task of bringing Dungeons & Dragons: The Movie, to the screen Mr Solomon has rebounded with a story he was born to tell, and the result is an assured, first rate thriller, told with intelligence, force, style and wit. It's a roller coaster ride all the way, so fasten your seat belts. The audience I saw it with at the AFI Film Festival could not have been more responsive. You could actually feel the hair on the back of your neck standing up. The cinematography by master Adrian Biddle and the score by Caine Davidson are first rate, and help propel you into an unforgettable ghost story that will linger in your memory and haunt your dreams/nightmares for months after.
danland2
Is "An American Haunting" based on a true story?
What is the legend of the Bell Witch?
Is the Bell Witch a true legend or just an urban legend?
May 5, 2006 (United States)
CTV International (France)
MediaPro Studios, Bucharest, Romania
Allan Zeman Productions
Midsummer Films
Remstar Productions
'After' Franchise Expands With Prequel & Sequel; Castille Landon Set As Director & Writer
Apr 19Deadline Film + TV
Stephen Moyer, Mira Sorvino, Chance Perdomo join 'After' franchise
Oct 8ScreenDaily
By what name was An American Haunting (2005) officially released in India in English?


In death as in life, I defy the Jews who caused this last war & I defy the power of Darkness which they represent.
That's a pretty stunning parting glass, right there.
Hey, that's Lord Haw Haw. I'm related! Awesome! Thanks for sharing. At least I am following in the path of those who came before me. Sieg Heil!
People in the comments say that he was a traitor.
Britards never fail to astound me.
Try using https://www.clipconverter.cc to download it.
If a video is not available the URL is missing and thus you cannot c&p it.
The video is not available in my country domain either but I successfully downloaded it with clipconverter. Right hand click over the above video, select "copy video URL" and paste it in clipconverter.


text:
Type of object Amulets Apparatus Arms and Armor Basketry Book Binding Bound Volume (11) Calligraphy Carpet Ceramic Coins Cosmetic Objects Drawing (48) Embroidery Enamel Forgery Frame Funerary Equipment Furniture and woodwork Garment Glass Glyptic Illumination Implements Inlays Ivory Jade Jewelry Knitting Lace Lacquer Leather Linoleum Block Lithographic Stone Manuscript Metalwork Miniature Miscellaneous Mixed Media Monotype (1) Mosaic Musical Instrument Netsuke Painting (1) Papyri Photograph Plaque Plate Portfolio (23) Portrait Miniature Print (440) Relief Rock crystal Rubbing Sampler Scarabs Sculpture Seals Silver Spindle Whorl Stencil Stone Tapestry Textile Time-based Media Tool Velvet Vessels Wood Woodblock
Collection AA - Andes AA - Intermediate Region AA - Mesoamerica AA - Native North America ASIAN - Album leaf ASIAN - Fan painting ASIAN - Folding screen ASIAN - Handscroll ASIAN - Hanging scroll African Art American - Cleveland School American - Furniture and Decorative Arts American - Painting (1) American - Sculpture Ancient Burmese Art CONTEMP - Cleveland School CONTEMP - Installation Media CONTEMP - Painting CONTEMP - Sculpture Cambodian Art Ceylonese Art China - Five Dynasties China - Han Dynasty China - Jin Dynasty China - Liao Dynasty China - Ming Dynasty China - Modern China - Neolithic China - Northern Dynasties China - Qing Dynasty China - Shang Dynasty China - Song Dynasty China - Southern Dynasties China - Sui Dynasty China - Tang Dynasty China - Three Kingdoms China - Yuan Dynasty China - Zhou Dynasty Chinese Art DR - American - Cleveland School (6) DR - American 18th Century DR - American 19th Century (1) DR - American 20th Century (19) DR - American 21st Century DR - Austrian DR - Belgian DR - British (10) DR - Czech DR - Dutch (1) DR - Flemish (1) DR - French (2) DR - German (2) DR - Italian (4) DR - Japanese DR - Mexican DR - Misc. Countries (1) DR - Russian DR - Spanish (1) DR - Swedish DR - Swiss Decorative Arts Drawings Ed Art - Decorative Art Ed Art - Prints Egypt - Early Dynastic Egypt - First Intermediate Egypt - Greco-Roman Egypt - Late Period Egypt - Middle Kingdom Egypt - Modern Forgery Egypt - New Kingdom Egypt - Old Kingdom Egypt - Predynastic Egypt - Ptolemaic Dynasty Egypt - Second Intermediate Egypt - Third Intermediate Egyptian Furniture GR - Cypriot GR - Etruscan GR - European Bronze Age GR - Greek GR - Italic GR - Roman GR - Sardinian and Cretan GR - South Italy Indian Art Indian Art - Andhra Indian Art - Andhra, Amaravati Indian Art - Chola Indian Art - Indus Valley Indian Art - Kushan Indian Art - Kushan, Gandhara Indian Art - Kushan, Mathura Indian Art - Maurya Indian Art - Medieval Indian Art - Mughal Indian Art - Pakistan Indian Art - Sunga Indian Art - Sunga, Bharhut Islamic Art Japanese Art Javanese Art Korean Art MED - Arms & Armor MED - Byzantine MED - Early Christian MED - Gothic MED - Manuscript Illuminations MED - Medieval Art MED - Migration Period MED - Numismatics MED - Renaissance MED - Romanesque Mod Euro - Furniture and Decorative Arts 1800-1960 Mod Euro - Painting 1800-1960 Mod Euro - Sculpture 1800-1960 Near Eastern Art Nepalese Art Oceanic Art P - British before 1800 P - French & Austria 16th C. and earlier P - French 17th Century P - French 18th Century P - German before 1800 P - Italian 15th Century and earlier P - Italian 16th & 17th Century P - Italian 18th Century P - Miscellaneous P - Netherlandish-Dutch P - Netherlandish-Flemish P - Spanish before 1800 PH - American 1900-1950 PH - American 1951-Present PH - American 19th Century PH - Austrian PH - Brazilian PH - British 19th Century PH - British 20th Century PH - Canadian PH - Czech PH - French 19th Century PH - French 20th Century PH - German 20th Century PH - Italian PH - Japanese 20th Century PH - Mexican PH - Misc. 19th Century PH - Misc. 20th Century PH - Misc. 21st Century PH - Photogravure PH - Russian 20th Century PH - Swiss 20th Century PR - Apparatus PR - Aquatint (7) PR - Carborundum PR - Chalk Manner PR - Chiaroscuro (10) PR - Cliché verre PR - Collograph PR - Colotype PR - Computer PR - Drypoint (10) PR - Electrostatic copier PR - Embossing PR - Engraving (65) PR - Etching (140) PR - Gypsograph PR - Lavis manner PR - Linocut (1) PR - Lithograph (169) PR - Mezzotint (1) PR - Monotype (3) PR - Photogravure PR - Relief PR - Screenprint PR - Steel engraving PR - Stencil (pouchoir) PR - Stipple (9) PR - Wood engraving (11) PR - Woodblock PR - Woodcut (47) Paintings Photography Prints (2) Sculpture Southeast Asian T - Contemporary Fiber Art T - Coptic T - Ecclesiastical T - Islamic T - Lace T - Native North American T - Pre-Columbian Textiles Tibetan Art
Department African Art American Painting and Sculpture (1) Art of the Americas Chinese Art Contemporary Art Decorative Art and Design Drawings (48) Egyptian and Ancient Near Eastern Art European Painting and Sculpture Greek and Roman Art Indian and Southeast Asian Art Islamic Art Japanese Art Korean Art Medieval Art Modern European Painting and Sculpture Oceania Photography Prints (475) Textiles
Credit line: Mr. and Mrs. Charles G. Prasse Collection (488)
Madonna Nursing the Christ Child, c. 1670-72
Bartolomé Esteban Murillo (Spanish, 1617-1682)
Zapata, 1931
David Alfaro Siqueiros (Mexican, 1896-1974) and 2 others
At the Sea Side, 1880
James Tissot (French, 1836-1902)
The Sunflower Arch, 1917
Charles Burchfield (American, 1893-1967)
Jacob's Dream, c. 1720
Joseph Goupy (British, 1686-bef.1770)
Chestnut Trees, 1920
Crickets in November, 1917
Flower Market, 1930
Diego Rivera (Mexican, 1886-1957) and 1 other
Boy and Dog, 1932
Diego Rivera (Mexican, 1886-1957) and 2 others
The Spanish Steps, 1898-1899
Maurice Prendergast (American, 1858-1924)
Pinning the Hat, c. 1898
Pierre-Auguste Renoir (French, 1841-1919)
The Bewitched Groom, 1544-45
Hans Baldung (German, 1484/85-1545)
Apollo, 1588
Hendrick Goltzius (Dutch, 1558–1617)
Lovis Corinth (German, 1858-1925)
The Painter Jacques-Luc Barbier-Walbonne, 1804
François Aubertin (French, 1773-1882) and 1 other
The Shepherd and the Shepherdess, 1874
Charles François Daubigny (French, 1817-1878)
The Offer of Love (or the Ill-Assorted Couple), 1495-96
Albrecht Dürer (German, 1471-1528)
Cloud Study, 1800s
Chestnut and Pine, 1869
David Johnson (American, 1827-1908)
The Jockey, 1899
Henri de Toulouse-Lautrec (French, 1864-1901)
The Large Landscapes: Solicitudo Rustica, c. 1555-1558
attributed to Jan van Doetechum (Flemish, 1530-1616) and 2 others
The Transfiguration, 1587-1590
Camillo Procaccini (Italian, 1546-1629)
The Ecstasy of St. Mary Magdalene, 1506
Lucas Cranach (German, 1472-1553)
Landscape at Loosduinen, 1905
Piet Mondrian (Dutch, 1872-1944)
Shipyard: Children Playing, 1900-1902
The Rape of Europa, 1725-42
Nicolas LeSueur (French, 1691-1764)
The Good Bourgeois, Plate 23: "But yes, my dear, I assure you that this..., 1846
Honoré Daumier (French, 1808-1879)
Silenus and King Midas, mid 16th century
Giulio Bonasone (Italian, c. 1510-aft 1576) and 1 other
The old man before the log bridge (Der Alte vor den Knuppelsteg), 1819
Johann Christoph Erhard (German, 1795-1822)
Landscape with a Milkmaid, c. 1525
Niccolo Boldrini (Italian, c. 1500-aft 1566)
The Roses: Rosa Gallica Purpurea Velutina Parva, 1817-24
Langlois (French) and 2 others
The Breaking Waves, Tide of September 1901, 1901
Auguste Louis Lepère (French, 1849-1918)
Views of Villages in Brabant and Campine: A Moated Village, c. 1561
attributed to Master of the Small Landscapes (Flemish)
Small Worlds: VI, 1922
Vassily Kandinsky (Russian, 1866-1944)
Death of Marcus Curtius, 1799
Gaetano Gandolfi (Italian, 1734-1802)
Fathers, plate 13: Come along, dear..., 1847
Around the Lamp, 1888
Children Playing Ball, 1900
Self-Portrait, 1923
Kleine Welten: IX Abstracte Komposition mit schraffierten Romben, 1922
Le Débarquement des Troupes, ca. 1628
Jacques Callot (French, 1592-1635)
Kleine Welten: IX Abstracte Komposition mit einem rautenförmig..., 1922
Apple Orchard, 1920
Sheet with Seven Antique Medals, 1825
Eugène Delacroix (French, 1798-1863) and 1 other
Antwerp Cathedral, 1649
Wenceslaus Hollar (Bohemian, 1607-1677)
David in Prayer, 1652
Rembrandt van Rijn (Dutch, 1606-1669)
Trees, 1700s(?)
Jean Baptiste Pillement (French, 1728-1808)
Nuremberg Chronicle: The Emblem, 1493
Michael Wolgemut (German, 1434-1519)
Head of a Young Man (recto) Sketch of a Head (verso), 1780s
Head of a Young Man (recto), 1780s
Bathing Beach, before 1956
Gifford Beal (American, 1879-1956)
Spring Rain, 1920
The Picture Buyer, 1911
John Sloan (American, 1871-1951)
God Appearing to Isaac, 1723
Antonio Maria I Zanetti (Italian, 1680-1757)
Cows in the Meadow, Date unknown
Max Pechstein (German, 1881-1955)
Twelve Months of Flowers: September, 1730
Henry Fletcher (British, active 1715-38)
Young Tiger Playing with its Mother, 1831
Eugène Delacroix (French, 1798-1863)
Old New York, Date unknown
Glenn O. Coleman (American, 1887-1932)
Autour de la Lampe, 1891
Primula auricula, 1827
Henry Joseph Redouté (French, 1766-1853)
The Passion: The Crucifixion, before 1508
Urs I Graf (Swiss, c. 1485-1527/29)
St. Malo, c. 1907
The Wedding of Mopsus and Nisa, 1570
after Pieter Bruegel (Flemish, 1527/8-1569) and 1 other
Industrialist and Worker, Date unknown
George Grosz (German, 1893-1959)
13: Sixth Avenue and Thirtieth Street, 1908
Robert Henri, Painter, 1931
Muleteers of Tétuan, 1833
Published in le Miroir on 4 April 1822: The Crayfish of Longchamps, 1822
Ancient History: The Abandonment of Ariadne, 1842
Honoré Daumier (French, 1808-1879) and 1 other
Four Diverse Subjects: Wagoner Climbing a Hill, 1823
Théodore Géricault (French, 1791-1824) and 1 other
The Book of Job, 1825
William Blake (British, 1757-1827)
The Book of Job: Pl. 1, Thus did Job continually, 1825
The Book of Job: Pl. 2, When the Almighty was yet with me, When my..., 1825
The Book of Job: Pl. 3, Thy Sons and thy Daughters were eating and..., 1825
The Book of Job: Pl. 4, And I only am escaped alone to tell thee, 1825
The Book of Job: Pl. 6, And smote Job with sore Boils / from the sole..., 1825
The Book of Job: Pl. 7, And when they lifted up their eyes afar off and..., 1825
The Book of Job: Pl. 9, Then a Spirit passed before my face / the hair..., 1825
The Book of Job: Pl. 10, The Just Upright Man is laughed to scorn, 1825
The Book of Job: Pl. 11, With Dreams upon my bed thou scarest me and..., 1825
The Book of Job: Pl. 12, I am Young and ye are very Old wherefore I was..., 1825
The Book of Job: Pl. 13, Then the Lord answered Job out of the Whirlwind, 1825
The Book of Job: Pl. 14, When the morning Stars sang together, and all..., 1825
The Book of Job: Pl. 15, Behold now Behemoth which I made with thee, 1825
The Book of Job: Pl. 16, Thou hast fulfilled the Judgment of the Wicked, 1825
The Book of Job: Pl. 17, I have heard thee with the hearing of the Ear..., 1825
The Book of Job: Pl. 18, And my Servant Job shall pray for you, 1825
The Book of Job: Pl. 19, Every one also gave him a piece of Money, 1825
The Book of Job: Pl. 20, There were not found Women fair as the..., 1825
The Book of Job: Pl. 21, So the Lord blessed the latter end of Job /..., 1825
Baigneuse assise, c. 1905
Afternoon in the Luxembourg Garden, Paris, Date unknown
Frank Wilcox (American, 1887-1964)
Sheet with Six Antique Medals, 1825
Batavia, 1868
Johan Barthold Jongkind (Dutch, 1819-1891)
Jane Avril, 1893
Geranium, 1827
Portsmouth Point, 1814
Thomas Rowlandson (British, 1756-1827)
Washerwomen, 1894
Jewish Woman of Algiers, 1833
Fronte-Boeuf and the Jew, 1829
Twelve Months of Flowers: March, 1730
Sermilik Fjord, Greenland, Date unknown
Rockwell Kent (American, 1882-1971)
Embarking from Brighthelmstone to Dieppe, 1787
Paradise Lost: The Creation of Light, 1824, published 1825
John Martin (British, 1789-1854)
Sheet with Nine Antique Medals, 1825
Ultime Ballade, 1893
L'île de Grenelle, 1898
St. Jerome in Penitence, c. 1497
Washerwomen (Les Laveuses), 1894
Le Chapeau epinglé, 1894
Yvette Guilbert: Saluant le public, 1898
Glenfinlas, 1826
Richard Parkes Bonington (British, 1802-1828)
Land of Temples: The Way up to the Acropolis, Athens, Greece, 1913
Joseph Pennell (American, 1857-1926)
The Poacher, Dunes of Saint Jean de Mont, 1901
Lithographic Studies of Horses: Horse from Hanover, 1822
Théodore Géricault (French, 1791-1824) and 2 others
The Flemish Blacksmith, 1822
Théodore Géricault (French, 1791-1824)
Edmée Lescot, 1893
Collage with Large Grey Form, 1961
Ulfert Wilke (American, 1907-1987)
Views of Rome: Temple of the Sibyl at Tivoli, Date unknown
Giovanni Battista Piranesi (Italian, 1720-1778)
Album pour 1833: Charge de Hussards Républicains, 1832
Auguste Raffet (French, 1804-1860)
Les Roses: Rosa Longifolia, 1817-1824
Mountain Village (with Fir Trees), 1918
Lyonel Feininger (American, 1871-1956)
The Two Bathers, 1895
Land of Temples: The Propylaea, Athens, Greece, 1913
Railroad Viaduct, 1919
Groteschi: Ruins with Serpents, ca. 1745-50
Midmorning in Summer, 1923
Femme, Date unknown
Othone Coubine (French, 1883-1969)
Wuthering Heights: The Frightened Shepherd Boy, 1931
Clare Leighton (American, 1899-1989)
Philip the Good of Burgundy, Date unknown
Jacob Louys (Dutch, 1595-aft1673)
Published in le Charivari (3 July 1842): Ancient History (plate 15):..., 1842
Sailboat, Date unknown
Riders to the Sea, Date unknown
Frantisek Kobliha (Czech, 1877-1962)
Le Printemps, 1883
Auguste Rodin (French, 1840-1917)
Yvette Guilbert: Dans la glu, 1898
Lochkillin, 1826
A Pleasure Trip to Paris, 1843
Beach Scene, St. Malo, c. 1909
Land of Temples: The Fallen Column, Athens, Greece, 1913
Published in Le Charivari, June 8, 1846: Great Removal of the..., 1846
Going West, 1934
Thomas Hart Benton (American, 1889-1975)
Thirteen Lithographs: Emilienne d'Alençon, 1898
Tree, Date unknown
Anna Ticho (Israeli, 1894-1980)
Les Roses: Rosa Damascena, subalba, 1817-1824
On the Seawall, 1921
The Red Horse (recto), 1935
Clarence Holbrook Carter (American,1904-2000)
Springtime, 1857
Le Verger, 1868
Peace and War: Cavalry Skirmish, c. 1641
Israël Henriet (French, c. 1590-1661) and 1 other
Sailing Vessels: Armed Four-Master Putting Out to Sea, 1561-65
Le vieux gentilhomme, Date unknown
Pierre Louis Gatier (French, 1878-1944)
The Widower, 1877
13: Reading in the Subway, 1926
Whirling, Date unknown
Walter Grammatté (German, 1897-1929)
Les Roses: Rosa Candolleana Elegans, 1817-1824
The Banqueters, plate 9: What a pitiful idea we have..., 1849
Scherzi di Fantasia: The Philosopher, 1750-60
Giovanni Battista Tiepolo (Italian, 1696-1770)
The Hatpin (Berthe Morisot's Daughter and Her Cousin), 1st plate, c. 1894
Views of Rome: Forum of Nerva, Date unknown
Sailing Vessels: Sailing Vessels: Two Galleys Sailing Behind an Armed..., 1561-65
after Pieter Bruegel (Flemish, 1527/8-1569)
The Wake on the Ferry, 1949
14th Street, The Wigwam, 1928
Yvette Guilbert-English Series: Frontispiece, 1898
Yvette Guilbert-English Series: Menilmontant de Bruant, 1898
Yvette Guilbert-English Series: Soularde, 1898
Yvette Guilbert-English Series: Linger Longer Loo, 1898
Yvette Guilbert-English Series: Saluant le public, 1898
The Promenade, 1919
Walter Ruttmann (German, 1887-1941)
Printed in the Gazette des Beaux-Arts: Women of Algiers, 1833
Lithographic Studies of Horses: Cheval de charrette sorti des limons, 1822
Jersey Hills, 1923
George Overbury (Pop) Hart (American, 1868-1933)
Rainy Day on the Beach, 1918
St. Tropez (The Port of St. Tropez), 1894
L'Estampe Originale and 1 other
La Procession de la Fête-Dieu à Nantes, 1901
Nude, Date unknown
Aristide Maillol (French, 1861-1944)
Rowlandson's Sketches from Nature: Taunton Vale, Somersetshire, 1809
Deserted House, 1923
Der mit seinem Fuhrer rastende Kunstler, Date unknown
The Penitent St. Peter, Date unknown
Jusepe de Ribera (Spanish, 1591-1652)
Sailing Vessels: A Fleet of Galleys Escorted by a Caravel, 1561-65
Wheat Field in July, 1943
The Lamentation, c. 1635
attributed to Gaspar de Crayer (Flemish, 1584-1669)
Le Chemin de ronde, 1922
Gustave Leheutre (French, 1861-1932)
Infanterie Turque, Chasseurs, 1837
Land of Temples: Temple of Concord on the Wall. From Without, Girgenti..., 1913
The Devon Coast, Date unknown
Edward Bouverie Hoyton (British, 1900-1988)
The Rev. Dr. Syntax Reading his Tour, Date unknown
published in le Charivari (no du 31 décembre 1842): Ancient History,..., 31 December 1842
published in le Charivari (11 January 1849): The Banqueters, plate 4:..., 1848
Published in le Charivari (27 April 1859): The Exhibition of 1859 (plate..., 1859
The Book of Job: Pl. 7, And when they had lifted up their eyes, 1825
Views of Venice, 1741
Michele Marieschi (Italian, 1710-1743)
Views of Venice: S. Maria Formosa, 1741
Views of Venice: The Gates of the Arsenal, 1741
Views of Venice: The Basin of St. Mark's, 1741
Views of Venice: The Bridge and Market of Rialto, 1741
Views of Venice: Santa Chiara, 1741
Views of Venice: Palazzo Pesaro, 1741
Views of Venice: S. M. Della Salute, 1741
Views of Venice: The Piazzetta, 1741
Views of Venice: The Courtyard of the Ducal Palace, 1741
Views of Venice: Campo S. S. Giovanni e Paolo, 1741
Views of Venice: Campo S. Rocco, 1741
Views of Venice: Rialto, 1741
Views of Venice: The Molo and S. M. Della Salute, 1741
Views of Venice: Piazza and Piazzetta, 1741
Views of Venice: Campo dei Frari, 1741
Views of Venice: The Regatta, 1741
Land of Temples: Temple of Juno, from the Ravine, Girgenti, Sicily, 1913
Edinburgh from St. Anthony Chapel, 1826
Rowlandson's Sketches from Nature: Fowey, Cornwall, 1809
published in le Charivari (No. du 9 août 1844): The beautiful days of..., 1844
M. Butting, 1919
Fritz Schaefler (German, 1888-1954)
Stone with Three Sketches, 1904
published in le Charivari (no du 14 aoüt 1842): Ancient History, plate..., 14 August 1842
Groteschi: Ruins with Skulls and a Smoking Vase, ca. 1745-50
Late Summer Sun, 1953
Rebuilding the Campanile, Venice, 1911
1945.7©
The River Porter, Monday, 1897
Illustration for "Count Bruckhardt" in "Once a Week", 1862
James McNeill Whistler (American, 1834-1903)
published in le Charivari (no 6 octobre 1842): Ancient History, plate 28..., 6 October 1842
Reclining Nude, Date unknown
Voyaging (Self-Portrait), 1924
Mother and Child, 1896
Market Scene, Zwolle, 1923
James McBey (British, 1883-1959)
published in Le Charivari (no du 14 septembre 1847): The Bathers, plate..., 1847
Feuille de douze médailles antiques, 1825
Album pour 1831: Convoi militaire, 1831
The Rev. Dr. Syntax Rural Sport, 1813
Le Jardin du Semaphore, 1925
Landscape, Date unknown
Maurice de Vlaminck (French, 1876-1958)
Tiger Sleeping at the Entrance to His Lair, c. 1828-30
Femme nue couchée, 1906
Groteschi: Ruins with a Statue of a Faun and a Fallen Column, ca. 1745-50
Published in an album of the Société des Aquafortistes in 1866.: The Ford, 1865
Charles François Daubigny (French, 1817-1878) and 1 other
The Garden of the Inn at Dulwich, c. 1870
Félix Bracquemond (French, 1833-1914)
The Brick Walls of the Seo, Zaragosa, Date unknown
Samuel Chamberlain (American, 1895-1975)
The Horse of Ostend, 1921
Robert Sargent Austin (British, 1895-1973)
A Cornish View, 1810
Cassive, Date unknown
Poster for the Lembrée Gallery, 1897
Theo van Rysselberghe (Belgian, 1862-1926)
Groteschi: Ruins with Death's Head and Skeleton, Date unknown
Coronation of King George V and Queen Mary in Westminster Abbey, June 22..., 1911
Land of Temples: Sunrise over the Acropolis, Athens, Greece, 1913
Boatmen, 1928
Le Port de Nantes, 1906
Yvette Guilbert: à Ménilmontant, de Bruant, 1898
The Book of Job: Pl. 10, The just upright man is laughted to scorn, 1825
Wild Horses, 1933
Henry Keller (American, 1869-1949)
On the Beach at Berneval, c. 1892
Claude Renoir, de trois-quarts à droite, 1908
Les Roses: Rosa Hudsoniana Salicifolia, 1817-24
Pierre-Joseph Redouté (French, 1759-1840)
By the Sea, 1919
Arthur B. Davies (American, 1862-1928)
Title Page of Raccolta di alcuni disegni del Barberi da Cento Ietto il..., 1764
Mountain Village (with Fir Trees): Mountain Village (with Fir Trees), 1918
Donkeys of Selva, 1928
Queen Anne Lace, 1963
Peter Takal (American, 1905-1995)
An Unknown, 1862
Félix Bracquemond (French, 1833-1914) and 1 other
Claude Renoir, de trois-quarts à gauche, 1908
Claude Renoir, la tête baissée, 1904
Petite rue Royale, Date unknown
1968.66 Pen and brown ink and brush and brown wash over red and black chalk, with traces of white, framing lines in brown ink Sheet: 21.4 x 15.4 cm (8 7/16 x 6 1/16 in.); Secondary Support: 24.1 x 18.5 cm (9 1/2 x 7 5/16 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1972.219 Lithograph Sheet: 61.2 x 51.5 cm (24 1/8 x 20 1/4 in.); Image: 52.2 x 39.7 cm (20 9/16 x 15 5/8 in.) Mr. and Mrs. Charles G. Prasse Collection ©
1974.258 Etching and drypoint Image: 37.9 x 13.7 cm (14 15/16 x 5 3/8 in.); Sheet: 39.3 x 22.8 cm (15 1/2 x 9 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1965.461 Black crayon, colored crayons, and indelible pencil, with graphite on wove paper, lined Mr. and Mrs. Charles G. Prasse Collection ©
1970.362 Gouache Sheet: 28.5 x 42 cm (11 1/4 x 16 9/16 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1981.209 Pen and gray and black ink and gray and black wash with graphite on wove paper, lined Sheet: 22.6 x 40.7 cm (8 7/8 x 16 in.) Mr. and Mrs. Charles G. Prasse Collection ©
1981.207 Pen and brown ink with black ink, colored crayons, and graphite, with watercolor on two sheets of butt-joined wove paper, lined 21.9 x 27.6 cm (8 5/8 x 10 7/8 in.) Mr. and Mrs. Charles G. Prasse Collection ©
1972.218 Lithograph Image: 27.9 x 40.6 cm (11 x 16 in.) Mr. and Mrs. Charles G. Prasse Collection ©
1972.217 Lithograph Image: 41.5 x 30.2 cm (16 5/16 x 11 7/8 in.); Sheet: 57.8 x 40.3 cm (22 3/4 x 15 7/8 in.) Mr. and Mrs. Charles G. Prasse Collection ©
1982.167 Monotype Image: 29.7 x 19 cm (11 11/16 x 7 1/2 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1976.143 Color lithograph Image: 61.5 x 49.5 cm (24 3/16 x 19 1/2 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1966.172 Woodcut Mr. and Mrs. Charles G. Prasse Collection CCCC0
1969.48 Engraving Sheet: 35.3 x 27.1 cm (13 7/8 x 10 11/16 in.); Platemark: 34.9 x 26.7 cm (13 3/4 x 10 1/2 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1972.311 Charcoal with orange pastel and white gouache Sheet: 46.4 x 61.4 cm (18 1/4 x 24 3/16 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1967.180 Aquatint, etching, and stipple Image: 26.7 x 20.9 cm (10 1/2 x 8 1/4 in.); Platemark: 32 x 24.4 cm (12 5/8 x 9 5/8 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1956.655 Etching Sheet: 32.8 x 24.8 cm (12 15/16 x 9 3/4 in.); Platemark: 28.9 x 21.5 cm (11 3/8 x 8 7/16 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1972.309 Engraving Platemark: 15 x 13.9 cm (5 7/8 x 5 1/2 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1980.113 Watercolor Mr. and Mrs. Charles G. Prasse Collection CCCC0
1969.241 Graphite Sheet: 30.5 x 46.9 cm (12 x 18 7/16 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1967.234 Color lithograph Mr. and Mrs. Charles G. Prasse Collection CCCC0
1980.104 Engraving and etching Mr. and Mrs. Charles G. Prasse Collection CCCC0
1972.210 Etching Mr. and Mrs. Charles G. Prasse Collection CCCC0
1980.109 Mr. and Mrs. Charles G. Prasse Collection CCCC0
1972.213 Black chalk (extended with water in places), watercolor, and gouache; framing line in graphite (bottom edge) Sheet: 25.8 x 35.9 cm (10 3/16 x 14 1/8 in.) Mr. and Mrs. Charles G. Prasse Collection ©
1982.166 Monotype Image: 20 x 25.3 cm (7 7/8 x 9 15/16 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1965.69 Chiaroscuro woodcut Mr. and Mrs. Charles G. Prasse Collection CCCC0
1966.403 Lithograph Sheet: 34 x 26.1 cm (13 3/8 x 10 1/4 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1968.256 Engraving Sheet: 16.9 x 22.9 cm (6 5/8 x 9 in.); Platemark: 15.9 x 21.9 cm (6 1/4 x 8 5/8 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1965.293 Color stipple engraving with watercolor added by hand Sheet: 53.5 x 33.8 cm (21 1/16 x 13 5/16 in.); Platemark: 34.9 x 25.9 cm (13 3/4 x 10 3/16 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1949.526 Color woodcut Mr. and Mrs. Charles G. Prasse Collection CCCC0
1964.404 Etching and engraving Mr. and Mrs. Charles G. Prasse Collection CCCC0
1957.203 Woodcut Sheet: 35.8 x 31.4 cm (14 1/8 x 12 3/8 in.) Mr. and Mrs. Charles G. Prasse Collection ©
1970.288 Black chalk (stumped in places) and brush and black chalk wash Sheet: 40.8 x 30.7 cm (16 1/16 x 12 1/16 in.); Secondary Support: 52.2 x 42.2 cm (20 9/16 x 16 5/8 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1966.405 Lithograph Sheet: 35.8 x 25.4 cm (14 1/8 x 10 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1955.453 Charcoal, with stumping Sheet: 24.5 x 31 cm (9 5/8 x 12 3/16 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1971.284 Lithograph Sheet: 76.6 x 62 cm (30 3/16 x 24 7/16 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1969.47 Black [Conté?] crayon Sheet: 50.3 x 33.8 cm (19 13/16 x 13 5/16 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1956.656 Etching Sheet: 32.6 x 24 cm (12 13/16 x 9 7/16 in.); Plate: 28.4 x 21.6 cm (11 3/16 x 8 1/2 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1957.204 Etching Mr. and Mrs. Charles G. Prasse Collection ©
1965.58 Etching Mr. and Mrs. Charles G. Prasse Collection CCCC0
1981.210 Pen and black ink, and gray and black wash, over traces of graphite Sheet: 29.9 x 45.3 cm (11 3/4 x 17 13/16 in.) Mr. and Mrs. Charles G. Prasse Collection ©
1956.690 Lithograph with chine collé Sheet: 36 x 27.5 cm (14 3/16 x 10 13/16 in.); Image: 26.8 x 23 cm (10 9/16 x 9 1/16 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1974.257 Etching with drypoint Sheet: 14.6 x 9.9 cm (5 3/4 x 3 7/8 in.); Platemark: 14.2 x 9.5 cm (5 9/16 x 3 3/4 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1969.234 Watercolor over graphite Sheet: 30.3 x 21.3 cm (11 15/16 x 8 3/8 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1980.116 Black chalk with red chalk, heightened with traces of white chalk (black and red chalk stumped in places) Sheet: 43.6 x 31.5 cm (17 3/16 x 12 3/8 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1959.305 Watercolor with traces of pencil Image: 20.6 x 25.5 cm (8 1/8 x 10 1/16 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1981.208 Gray/black ink and graphite Mr. and Mrs. Charles G. Prasse Collection ©
1967.238 Chiaroscuro woodcut Mr. and Mrs. Charles G. Prasse Collection CCCC0
1971.70 Lithograph Mr. and Mrs. Charles G. Prasse Collection ©
1965.289 Engraving, hand-colored Platemark: 40.8 x 31.2 cm (16 1/16 x 12 5/16 in.); Paper: 46.7 x 35.5 cm (18 3/8 x 14 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1961.141 Lithograph Sheet: 20.4 x 26.7 cm (8 1/16 x 10 1/2 in.); Image: 11.2 x 18.9 cm (4 7/16 x 7 7/16 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1964.398 Monotype Mr. and Mrs. Charles G. Prasse Collection ©
1955.452 Lithograph Mr. and Mrs. Charles G. Prasse Collection CCCC0
1964.407 Stipple and roulette Mr. and Mrs. Charles G. Prasse Collection CCCC0
1967.235 Woodcut with hand coloring Mr. and Mrs. Charles G. Prasse Collection CCCC0
1982.162 Oil on wood Unframed: 26.7 x 35 cm (10 1/2 x 13 3/4 in.) Mr. and Mrs. Charles G. Prasse Collection ©
1980.103 Engraving Mr. and Mrs. Charles G. Prasse Collection CCCC0
1964.115 Lithograph Platemark: 35.3 x 27.8 cm (13 7/8 x 10 15/16 in.); Sheet: 44.6 x 37.6 cm (17 9/16 x 14 13/16 in.) Mr. and Mrs. Charles G. Prasse Collection ©
1961.142 Lithograph with beige tint stone Sheet: 31.4 x 44.8 cm (12 3/8 x 17 5/8 in.); Image: 19.3 x 26.6 cm (7 5/8 x 10 1/2 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1961.139 Lithograph Sheet: 26.4 x 35 cm (10 3/8 x 13 3/4 in.); Image: 20.2 x 30.8 cm (7 15/16 x 12 1/8 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1965.543 Lithograph Sheet: 34.2 x 26.7 cm (13 7/16 x 10 1/2 in.); Image: 23.9 x 20 cm (9 7/16 x 7 7/8 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1961.286 Softground etching Mr. and Mrs. Charles G. Prasse Collection CCCC0
1964.399 Lithographic crayon Mr. and Mrs. Charles G. Prasse Collection ©
1956.689 Lithograph with beige tint stone Sheet: 27.5 x 36 cm (10 13/16 x 14 3/16 in.); Image: 20 x 25.8 cm (7 7/8 x 10 3/16 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1964.16 Etching, hand colored Mr. and Mrs. Charles G. Prasse Collection CCCC0
1955.451 Color softground etching and aquatint Plate: 39 x 29.3 cm (15 3/8 x 11 9/16 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1961.140 Lithograph Sheet: 25.4 x 27.8 cm (10 x 10 15/16 in.); Image: 16.6 x 21.7 cm (6 9/16 x 8 9/16 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1965.288 Engraving, hand-colored Platemark: 41 x 31 cm (16 1/8 x 12 3/16 in.); Paper: 46.6 x 35.5 cm (18 3/8 x 14 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1960.203 Lithograph Mr. and Mrs. Charles G. Prasse Collection ©
1964.5 Etching, hand colored Mr. and Mrs. Charles G. Prasse Collection CCCC0
1983.84 Mezzotint Platemark: 25.3 x 35.2 cm (9 15/16 x 13 7/8 in.); Sheet: 26.8 x 36.8 cm (10 9/16 x 14 1/2 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1956.691 Lithograph with beige tint stone Sheet: 26.8 x 36.2 cm (10 9/16 x 14 1/4 in.); Image: 22.2 x 31 cm (8 3/4 x 12 3/16 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1966.175 Engraving Mr. and Mrs. Charles G. Prasse Collection, fiftieth anniversary gift CCCC0
1955.450 Etching and aquatint Mr. and Mrs. Charles G. Prasse Collection CCCC0
1962.93 Lithograph Mr. and Mrs. Charles G. Prasse Collection CCCC0
1963.591 Watercolor and collage on paper Unframed: 55.9 x 45.8 cm (22 x 18 1/16 in.) Mr. and Mrs. Charles G. Prasse Collection ©
1965.294 Stipple and line engraving, with hand coloring Mr. and Mrs. Charles G. Prasse Collection CCCC0
1972.111 Woodcut Mr. and Mrs. Charles G. Prasse Collection ©
1953.614 Etching Sheet: 58.9 x 42.2 cm (23 3/16 x 16 5/8 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1981.211 Pen and brush and black ink and pencil and charcoal over pencil Mr. and Mrs. Charles G. Prasse Collection ©
1947.345 Drypoint Mr. and Mrs. Charles G. Prasse Collection ©
1959.220 Wood engraving Mr. and Mrs. Charles G. Prasse Collection ©
1960.258 Etching and engraving Mr. and Mrs. Charles G. Prasse Collection ©
1965.541 Lithograph Sheet: 33 x 23.8 cm (13 x 9 3/8 in.); Image: 24 x 19.4 cm (9 7/16 x 7 5/8 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1962.106 Drypoint Platemark: 14.7 x 10 cm (5 13/16 x 3 15/16 in.); Sheet: 27.2 x 18.3 cm (10 11/16 x 7 3/16 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1966.400 Lithograph Sheet: 33.9 x 24.3 cm (13 3/8 x 9 9/16 in.); Image: 23.8 x 19 cm (9 3/8 x 7 1/2 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1982.163 Watercolor Sheet: 34.9 x 50.6 cm (13 3/4 x 19 15/16 in.) Mr. and Mrs. Charles G. Prasse Collection ©
1954.733 Lithograph Sheet: 36.3 x 51 cm (14 5/16 x 20 1/16 in.); Image: 26.7 x 43.5 cm (10 1/2 x 17 1/8 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1964.400 Pencil Mr. and Mrs. Charles G. Prasse Collection ©
1958.164.a Pen and black ink and brush and red wash over traces of graphite Sheet: 28.3 x 47.9 cm (11 1/8 x 18 7/8 in.) Mr. and Mrs. Charles G. Prasse Collection ©
1956.652 Etching Sheet: 24 x 32 cm (9 7/16 x 12 5/8 in.); Platemark: 21 x 28.2 cm (8 1/4 x 11 1/8 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1956.654 Etching and drypoint Sheet: 20.3 x 13.2 cm (8 x 5 3/16 in.); Image: 18.8 x 12.1 cm (7 3/8 x 4 3/4 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1956.264 Engraving Mr. and Mrs. Charles G. Prasse Collection ©
1972.261 Etching and drypoint Mr. and Mrs. Charles G. Prasse Collection CCCC0
1964.110 Etching Platemark: 12.5 x 10.1 cm (4 15/16 x 4 in.); Sheet: 28 x 23.8 cm (11 x 9 3/8 in.) Mr. and Mrs. Charles G. Prasse Collection ©
1966.408 Lithograph Sheet: 35.5 x 25.5 cm (14 x 10 1/16 in.); Image: 25.4 x 20.7 cm (10 x 8 1/8 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1964.111 Etching Platemark: 24.7 x 17.5 cm (9 3/4 x 6 7/8 in.); Sheet: 46.3 x 31.8 cm (18 1/4 x 12 1/2 in.) Mr. and Mrs. Charles G. Prasse Collection ©
1953.615.b Lithograph Mr. and Mrs. Charles G. Prasse Collection CCCC0
1953.615.f Lithograph Mr. and Mrs. Charles G. Prasse Collection CCCC0
1953.615.h Lithograph Mr. and Mrs. Charles G. Prasse Collection CCCC0
1953.615.i Lithograph Mr. and Mrs. Charles G. Prasse Collection CCCC0
1953.615.j Lithograph Mr. and Mrs. Charles G. Prasse Collection CCCC0
1961.143 Lithograph printed in brown on a beige tint stone Sheet: 19.8 x 27.8 cm (7 13/16 x 10 15/16 in.); Image: 16 x 22.1 cm (6 5/16 x 8 11/16 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1964.405 Drypoint and sandpaper Mr. and Mrs. Charles G. Prasse Collection ©
1965.463 Color lithograph Mr. and Mrs. Charles G. Prasse Collection ©
1965.462 Brush and black ink and watercolor and crayon Mr. and Mrs. Charles G. Prasse Collection ©
1981.212 Pencil and charcoal Mr. and Mrs. Charles G. Prasse Collection ©
1966.174 Black chalk and brush and gray wash heightened with white chalk; framing lines in black ink Sheet: 42.7 x 47.4 cm (16 13/16 x 18 11/16 in.); Secondary Support: 42.7 x 47.4 cm (16 13/16 x 18 11/16 in.) Fiftieth anniversary gift for the Mr. and Mrs. Charles G. Prasse Collection CCCC0
1965.546 Lithograph Sheet: 34.1 x 25.4 cm (13 7/16 x 10 in.); Image: 22.5 x 19.3 cm (8 7/8 x 7 5/8 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1966.406 Lithograph Sheet: 35.8 x 25.6 cm (14 1/8 x 10 1/16 in.); Image: 24.3 x 20.4 cm (9 9/16 x 8 1/16 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1966.409 Lithograph Sheet: 26.3 x 34.3 cm (10 3/8 x 13 1/2 in.); Image: 21.8 x 26 cm (8 9/16 x 10 1/4 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1966.401 Lithograph Sheet: 31.3 x 23.2 cm (12 5/16 x 9 1/8 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1965.542 Lithograph Sheet: 33.8 x 25.4 cm (13 5/16 x 10 in.); Image: 26.2 x 21.5 cm (10 5/16 x 8 7/16 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1981.213 Brush and black ink and pen and brown ink and pencil and charcoal Mr. and Mrs. Charles G. Prasse Collection ©
1945.7 Lithograph Mr. and Mrs. Charles G. Prasse Collection ©
1955.653 Wood engraving Mr. and Mrs. Charles G. Prasse Collection CCCC0
1965.545 Lithograph Sheet: 34 x 25.5 cm (13 3/8 x 10 1/16 in.); Image: 24.4 x 20.3 cm (9 5/8 x 8 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1965.59 Etching Mr. and Mrs. Charles G. Prasse Collection ©
1947.149 Chiaroscuro woodcut Mr. and Mrs. Charles G. Prasse Collection ©
1962.290 Watercolor Sheet: 12.7 x 34 cm (5 x 13 3/8 in.) Mr. and Mrs. Charles G. Prasse Collection ©
1950.317 Lithograph Sheet: 27 x 35.6 cm (10 5/8 x 14 in.); Image: 20.2 x 24.2 cm (7 15/16 x 9 1/2 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1956.267 Drypoint Mr. and Mrs. Charles G. Prasse Collection CCCC0
1956.653 Etching Sheet: 32.8 x 48.4 cm (12 15/16 x 19 1/16 in.); Platemark: 30.2 x 36.2 cm (11 7/8 x 14 1/4 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1956.651 Etching and drypoint Sheet: 24.4 x 17 cm (9 5/8 x 6 11/16 in.); Platemark: 17.1 x 12 cm (6 3/4 x 4 3/4 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1968.257 Color lithograph Image: 62.5 x 44.3 cm (24 5/8 x 17 7/16 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0
1946.457 Charcoal heightened with white Mr. and Mrs. Charles G. Prasse Collection ©
1965.62 Etching and aquatint Mr. and Mrs. Charles G. Prasse Collection ©
1956.650 Etching and drypoint Sheet: 32.7 x 48.3 cm (12 7/8 x 19 in.); Platemark: 18.8 x 31.8 cm (7 3/8 x 12 1/2 in.) Mr. and Mrs. Charles G. Prasse Collection CCCC0


The gallery show for November is brought to you by Short Center South, a nonprofit fine arts program that has been serving the Sacramento area for over twenty years.
One of the many purposes of Short Center South is to allow artists with developmental disabilities the opportunity to create their art in a studio like setting. The artists at Short Center have the opportunity to be mentored by professional working artists from the Sacramento area. Artists at Short Center are empowered to develop their own personal artistic style. The artwork exhibited here is a great example of the diverse quality of artistic expressions produced by the artists.
All of the artists who attend the center are adults who have been working on their craft for many years. Some of them have been coming to the center for as long the program has existed. Many have become professional artists in their own right, developing their own style, having numerous exhibitions and selling their work. Proceeds of artwork purchased go directly back to the artists, further encouraging artistic and personal growth. It is always an honor for us to be able to share this incredible art work with the public.
The show will be on display from December 6th to January 1st.


Efficient energy use, sometimes simply called energy efficiency, is the goal to reduce the amount of energy required to provide products and services. Improvements in energy efficiency are generally achieved by adopting a more efficient technology or production process or by application of commonly accepted methods to reduce energy losses.
There are many motivations to improve energy efficiency. Reducing energy use reduces energy costs and may result in a financial cost saving to consumers if the energy savings offset any additional costs of implementing an energy efficient technology. Reducing energy use is also seen as a solution to the problem of reducing greenhouse gas emissions.
It's not only about having the right product—how you use appliances in your home can make a big difference. For example washing your clothes with cold water can save up to 5 times more energy than a warm wash.


Skills : PARIS Participations , Residuals module.
• Comprehensive understanding of PARIS Participations and Residuals module.
• Act as a Functional Consultant and mentor Technical associates in business processes of PARIS modules.
• Extensive experience in defining and customizing business analysis processes with PARIS.
• In-depth experience in multiple PARIS sub-modules - Contracts, Products, Product Groups, Statements, Templates.
• Must have in-depth understanding of embedded business logic residing within Stored Procedures.
• Ability to define and run test cases and test PARIS development artifacts.
• Ability to work with customers, end-users and reverse engineer PARIS and create business process flow diagrams, data flow diagrams , use case diagrams.
• Ready to work in second shift.