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to/from UEA
Contact Information and Map
Norwich and Beyond
UEA has transport links across the city transport links across the county and across the UK.
We'd always recommend using the Park & Ride and local transport services unless you require special transport arrangements, which you can put in place through the Transport Team.
Contact our Travel and
Transport team
Park and Ride Services
Costessey Park and Ride
Park and Ride bus service 511 is the University's free to use alternative to bringing a car to campus for staff, students, and visitors. If you carry a UEA campus card, you will be able to access the 511 service for free to UEA campus.
The service operates Monday to Friday, throughout the year (except for Bank & Public Holidays and UEA Concessionary Days). Buses run up to every 15 minutes at peak times, and up to every 30 minutes off peak and during the University's summer vacation. Travel time to the main campus is around 15 minutes (20 minutes after 1800).
The Park and Ride 510 bus service travels to the Norwich Research Park and Norfolk and Norwich University Hospital (NNUH) every 15 minutes and is suitable for those travelling to the Edith Cavell Building and Bob Champion Building. This service is provided by the NNUH, however UEA staff and students can travel for free on production of their campus card.
Timetable for 510 and 511 services
North Norwich to UEA and NNUH
From 6 February 2023, Konnect bus are introducing a regular service running hourly between Hellesdon, UEA and the NNUH. Route 512 will provide a more sustainable and cost-effective way to get in from the north of the city. Check out the Konnect Bus website for information on routes, timetables, and fare costs.
Timetable for 512 service
Other Park and Ride services
There are other Park & Ride options available from:
Sprowston
Postwick
Harford
Please note these services and any connected services are chargeable. However, all Park & Ride tickets will allow valid travel on Konect services between Norwich Bus Station and UEA. This allows interchange with the following Park & Ride sites.
Please note, connections from these Park & Ride sites require change at Norwich Bus Station.
Explore Konectbus services at UEA campus
Local bus services
Did you know? UEA staff and students can get a 66% discount on an annual First bus pass. This amazing deal is one of the lowest priced annual season ticket available to any university in the UK! These passes can be purchased through the First Bus m-ticket app.
First bus Service 25/26 picks up from the Rail station, going through the city and setting down on campus.
View First Bus website for information on ways to get to UEA through First Bus services, including information on ticket costs.
The 'Hopper' Service
A "hopper" bus service now operates between the main campus and the NNUH Plaza, which enables those who must travel between sites to use First Bus Service 26 at a discounted rate. There is a special flat fare of 50 pence for any single journey between UEA and the NNUH.
The same fare will apply to the three evening services on the orange line (services 21/22). You are advised to show a campus card to obtain the special fare. Further information can be found on the FirstGroup website.
Should you wish to request a personal travel plan setting out travel options to BCRE, please send an email to transport@uea.ac.uk
Konnect Bus
In addition to the new Park & Ride services, the Konectbus Service 3 from Watton (via Hingham and Barford) and Service 4 from Dereham (via Yaxham and Mattishall) will be rerouted to set down and pick up at UEA.
Services 3 and 4 will set down and pick up at the Enterprise Centre/Sportspark every 30 minutes from 22 September. There will also be additional buses running on these services at peak times to every 15-20 minutes.
Services 3 and 4 will enable travellers using the Park & Ride services into/from Norwich via the Bus Station to continue their journey to/from the UEA without incurring any additional charges on the 3 or 4 service.
Anywhere and Cityzone Tickets
Konectbus are also now able to offer discounted Konectbus Anywhere and Cityzone tickets. Anywhere tickets serve people travelling from Thetford, Watton and Dereham whilst Cityzone covers the Norwich urban area, Wymondham and Attleborough, with both tickets viable on all Park & Ride routes. For more information for the services covered by these tickets, please visit the Konectbus website.
These are available to purchase through Konectbus on their website.
If you are a member of the university, you can find more information on public transport, please visit My UEA (log in required)


Duke belongs to Deb's niece Angela and her Mom Laura. He lives in Florida and has been added to Deb's famous "Puppy Pals" collection. You can see his actual photo here. He may be personalized with a name and year. Handmade from polymer clay and designed by Debi Allison. He is packaged in his own little clear acrylic box with his dog house in the background.


This entry was posted on September 6, 2016 by City of College Station. It was filed under Fire, Public Communications and was tagged with After the Fire.
If you're interested in attending one of the events on the Texas A&M Campus, you can register for one of the events here! RSVPs are encouraged but not necessary!


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Our ventilation panels are designed to use a climatec CLT2 to control 4 stages of ventilation. They are designed to be linked to any fan panel, this is done via an analogue to digital converter. The panel features an automatic side which is controlled via the fan panel stages. It also features a manual override which uses a simple open and close button to control the ventilation motor. Even with these features, these panels can be adapted to any application you require.
Our nest box alarm panel are an important addition to any automated farm, alerting you to when the nest boxes don't open to avoid floor eggs, they will also alert you if the nest boxes don't close. They are made to link in to your current enviromental alarm system and are made very simple to use. The only setting that needs adjusting is the independent time clock which should be set to the same as the nest box opening and closing times. There's a 10 minute delay to allow the boxes to fully open/close.
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The winch panel is designed to be a simple motor control box with an addition of limits to avoid winch motors going too far and causing unnecessary damage. These also have a thermal overload with a fault light on the front of the panel, to provide motor protection. They feature an up and a down button with LED lights.
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Any suggestions for an installer up in NNJ? I found a good deal on a Kenwood DNX7160 with all the 370z specific installation pieces. Just need someone to handle the install as I don't touch anything when it comes to wiring/electrical stuff.
Any pics on where you install a loc or whatever into a 370 with bose and nav?
Yes, I head up there a lot for installs if you're still looking.
Sadly no, just right behind the seats before the trunk.
Bump, the answer to the question I get a lot is YES I still do details and car installs.
Finished a few details over the past weeks check them out below.
This weekend I finished up a simple system in a Camaro. The JVC head unit as well as all JBL speakers were removed and replaced with the fallowing.
Rear speakers also has to have materiial removed. Most of the install time was spent in the trunk on my back cutting this out.
Because the customer wanted to keep it simple and on a budget I sadly couldn't do any beauty panels.
2011 Nismo#91 and gr8-wrx like this.
Pioneer AppRadio 3 to Iphone 5C Connection, Help Needed.
Replied to you in the above thread you commented in.


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NewsKripo investigates after fan riots in Aalen
Kripo investigates after fan riots in Aalen
Created: 10/27/2022, 11:50 am
Before the league game on Saturday, there was a fight between rival fans of VfR Aalen and Eintracht Trier in front of the "Kornstadl" on Storchenstrasse. © onw-images.de
After a fan fight, the criminal police are now investigating serious breaches of the peace. You can read about what threatens the thugs here:
more on the subject
After a fan fight – Kripo determined because of breach of the peace
Aalen – For the people who took part in the brawl in front of the "Kornstadl" restaurant in downtown Aalen on October 22, it will be legally uncomfortable. In the meantime, the criminal police are investigating a serious breach of the peace. This was announced by a police spokesman at the request of SchwäPo. The Aalen CID is currently working closely with colleagues from the Aalen police station to view video material that was secured immediately after the fight. The Schwäbische Post reveals what threatens the thugs.

redpajama_set_name: RedPajamaCommonCrawl


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Silver City, N.M. – The Little Rascals beat out the other five teams in this year's King of the Mountain during this week's annual Great Race.
The six teams had to push their cart up Cardiac Hill about 50 yards to the finish line. The only rules were that the teams had to have four guys and two girls, and every member must touch the cart or the team will be disqualifed. The teams had a chance for a second run to earn a better time.
The Misfits went for the first run and came away with a flat 35 seconds. C's Get Degrees aimed to beat this score and were successful as they recorded 34 seconds.
Plan B went next and were unable to beat the Misfits and C's get degrees time as they earned a 35.09.
Little Rascals took the line next and look determined to blow away the competition, which is what they did. They put up a 32.38, which was the fastest time in the event.
The Kash Knights and Pirates looked to take down the time that the Little Rascals earned. However, neither teams were able to beat the time as the Kash Knights ran a 39.8 while the Pirates scored a 40.08.
In the second round, the Misfits dropped in time with a 37 run. C's Get Degrees nearly earned the same score with a 34.4. Plan B, however, jumped up to a 35.01.
Little Rascals received five points, C's Get Degrees three and Misfits one.
Hot pretzels with cheese and WNMU sunglasses were provided at the event for who attended.
Sage Mays, coordinator of the event felt that the event was a success.
The current standing are Little Rascals in first; C's Get Degrees in second; Misfits third; Plan B fourth; Kash Knights fifth; and Pirates sixth.


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   setup: function() {
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redpajama_set_name: RedPajamaGithub


Israeli Prime Minister Benjamin Netanyahu (2-L) visits the scene of a shooting attack at the entrance of the cafe in Tel Aviv, Israel, 02 January 2016. An Israeli-Arab man opened fire with an automatic weapon killing two people on 01 January 2016. A man hunt is still underway for the 29-year old suspect who escaped after spraying the cafe with automatic fire. Israeli police widened a manhunt for an Arab-Israeli gunman focusing their searches on greater Tel Aviv and surrounding areas, Israel Radio reported.
The assailant's lawyer suggests the man was psychologically challenged and this is not a politically significant act; the Prime Minister calls on the minority to be loyal to the State of Israel.
A member of the Arab-Israeli minority in his 20s killed two people and wounded seven in central Tel Aviv on Friday. Such solo-terrorist attacks are not infrequent. The latest stubbing attack in Tel Aviv took place on November 2nd and also resulted in two casualties. What is significant now is that the assailant was an Israeli citizen.


Several years ago, Christmas Day, I set foot on a boat and embarked on a seven-day trip, starting from Bergen and heading towards Kirkenes. I had decided that I wanted to have the experience of moving on a boat through the darkness, traveling somewhere. I tried to use the movement and time spent on the ship in order to think in another way about what I do and why I do it. What gave me the urgency to turn something into art? And why? I wanted to be on a journey and think about how I, as an artist, create entanglements with the spaces, thoughts, the personal stories of people's lives, that become the material in my process of making art. On the boat, I desired a moment of reflection on how I reflect.
At that time, I was halfway through a three-year-long artistic research project at the Bergen Academy of Art and Design and under the auspices of the Norwegian Artistic Research Fellowship Programme; a study programme parallel to other research educations organized as academic Ph.D. programmes. My research project, "Future Guides: From Information to Home1", examined the notion of following as an artistic method from a theoretical and practical perspective. In my project, I was looking at the relation between online archives and the domain of the city, in which I used the geotagging system of mapping online video and an Internet-based mapping of city or space to develop a series of artworks which looked at how a narrative language emerged through the overlapping between different types of mapping systems. I used online video as source material to follow different people, and write situated stories about their lives. Using this method, I developed several artworks, with certain degrees of success. However, I found myself following the same steps: enact the method, carry out the project, reflect on the project, repeat the process again, enact, carry out, reflect, repeat. I had become trapped in a loop. But where was I really going with this? What was missing? Was there anything else? I decided, therefore, to take a nine-month leave in order to shift gears a bit, using the time away from Bergen to focus on another research project which had been on the sidelines for almost a year. I planned to spend several months in Madrid studying a right-to-housing activist network—The Mortgage Victims' Platform, or PAH—that emerged to counter-act an acute eviction crisis happening in cities throughout Spain, and which impacted many people2. The movement attained a critical mass and came on its own as a result of the Spanish indignados movement, May 2011.3 I had been following stories about both the struggles and growing movement and decided that I wanted to spend some time having a closer look, by being physically present in the city. However, at that time, I didn't feel that it had any relation nor relevance to my current artistic research project in Bergen. It was an odd decision for me, and I couldn't articulate why or how I wanted to make such a shift (neither to myself nor to my rector nor dean). Call it an itch. For this reason, I took a temporary leave from my studies, sublet my flat in Bergen, and was now heading to Berlin (via Kirkenes), with the final destination, Madrid.
2. The PAH is an anti-eviction movement which was launched in Barcelona on February 22nd, 2009, with the onset of the financial crisis and bursting of the housing bubble. According to statistics from the General Council of the Judiciary, published in March 2015, 578,546 foreclosure procedures were initiated in Spain between 2008 and 2014. A report on the right to housing and mortgage evictions in Spain was published June 19th, 2015 by Amnesty International Spain.
3. Colau, Ada, and Adrià Alemany. Vidas Hipotecadas: De La Burbuja Inmobiliaria Al Derecho a La Vivienda. 1.st ed. Barcelona: Cuadrilátero De Libros, 2012.
A person on a journey is on two journeys at the same time. One involves a direction and a geographical destination; there is a beginning and an end. The other is much harder to define. It can involve psychic ruptures, emotional turning points, circumstantial meetings, identity crisis, psychological transitions and realignments, which are difficult to anticipate when and how they will occur.4 I am on such a journey and I offer myself to you as a displaced body, moving through unexplored terrain; trying to understand where I am.You might find that my actions, thoughts, and experiences of spaces, agents, and contexts might seem rambling, and with no particular goal. There will be a beginning and end to this text, yet it might sometime seem unstructured, discontinuous. Please bear with me; it should gain some clarity the further we go down the path.
I understand risk in the sense of sitting with something until it becomes quite clear what is 'at stake.' It might be considered highly irresponsible behavior—the inability to articulate a position from the onset—however, research can (and even should) sometimes take on the qualities of a rambling journey, with a beginning and an end, but not particularly (or at least directly) goal-oriented. In referring to the qualities of an essayistic travel (such as the one that we are on now), Corrigan describes a travelling subject in a "continual displacement", who attempts to make the space more "habitable" and "knowable", through the "implicit dialogue of interlocutors" that she meets along the way. It is through these conversations and encounters that research takes on a particular coherency.5 These partners in crime assist me in driving the work towards a clarity, a purpose. It is therefore indispensable that other people are invited to think with me, and potentially take the project elsewhere; in unplanned and unintended directions. This is the risk that we take in finding meaning, by trying to locate the means to exist in and act on the present.
5. Corrigan, Timothy. "To Be Elsewhere." In The Essay Film from Montaigne, after Marker, 105-112. Oxford: Oxford University Press, 2011.
4. Winterson, Jeanette. The Stone Gods, 131, London: Peguin Books, 2007.
One could think about these tendencies that spur me in specific directions and not others, as driven by desire. Desire is a hunger for something; however not in the sense of a concrete 'need' as in a bodily comfort or survival: I am hungry, I need someplace to live. Desire exists on another level of experience that slowly takes on a sense of urgency the more that one follows it.
6. Hustvedt, Siri. Living, Thinking, Looking: Essays. New York: Picador, 2012.
Experience, to experience something, according to Flusser, could be quite easily thought of as a journey in which one embarks on a forward motion towards something. At first glance this is quite straightforward: we have eyes, a nose, we have feet. Our sensory apparatus propel us to see ahead, follow our noses and take steps: to move towards the future. It is a movement predicated on ideologies of progress. Or, if you want to be completely literal about it; time moves forward, and we run with it towards death. During this journey, we encounter obstacles, challenges, turning points, ecstatic discoveries, which we either embrace, leap over or desperately try to avoid. Whatever the case, we follow a pathway in a future direction. However, Flusser continues, in order to imagine a deeper meaning, we have to try to believe that we are not, and can never be moving from the present to the future. It is an existential impossibility since we are almost, no matter how much we try to avoid it, within the present. But what if we think otherwise and turn it the other way? What if, instead of moving towards the future, the future moves towards us? Flusser instead proposes a more in-depth look at the etymology of the German word for future—Zukunft—in which he breaks down the word into its components: "zu" or "to" and "kommen" or "to come." Zukunft in this context means that we are not moving into the future, but the future moves towards us. No matter where we are, we are in the present, and the future approaches us, in our here and now, and in all directions. Our path through life, he summarizes, is not one of progress, but of swarming: we go out in the world, we get lost, and then come back into familiar ground (shall we refer to it as home?) in which we find ourselves again, then exit the homestead to get lost once again.
7. Flusser, Vilem. "Ex-perience." In The Freedom of the Migrant: Objections to Nationalism, translated by Kenneth Kronenberg. Urbana: University of Illinois Press, 2003.
In The Gleaners and I8, a 'wandering road documentary' about gleaning practices, Agnes Varda examines the practice of harvesting the leftovers after the harvest; living off the leftovers of others. In her film, she travels to urban and non-urban areas throughout France, speaking with different people who practice the art of gleaning. She talks with potato harvesters, apple pickers, garbage pickers and end-of-market food cullers. Varda builds up the film's narrative from the excursions she takes to different places and her exchanges with the various people she meets along the way.
One day, she spots a man collecting potatoes in a field and follows him back to an ad-hoc neighborhood of parked caravans of a small community of itinerants that he calls home. Next to this gathering of trailers "filled with hobos," is a community of gypsies living nearby who make it clear that "they are different than us because we travel around." The potato collector previously had a stable life: house, work, and family. However, his problems with alcohol caused him to lose his job, wife, children and finally his home. He went into free-fall after that. Gleaning potatoes was, for him, one way of survival, which he supplemented with begging and dumpster diving.
Later on in the film, Varda stumbles upon a man, with "a large bag eating on the spot" just after the outdoor market in her Paris neighborhood, where she usually shops, closes. She sees him from time to time, at the market, always with his bag, eating. One day, as he is eating parsley, Varda decides to say hello. After their initial meeting, she starts to film him over several weeks.
Sometimes he talks in snatches, but mostly she just silently observes him in action. He picks up food to save money. His income is low, but he needs to eat. He is a vegetarian, so he gets most of what he needs there. He eats a lot of apples. He studied biology. He used to be a teaching assistant. He has a Master's degree. He sells street newspapers to make a living. Eventually, she follows him to the shelter where he lives; where 50% of the occupants are illiterate. He arrived at the shelter eight years ago and had, for several years, been volunteering to teach people living there how to read and write. It is the moment in her filmmaking journey that impresses her the most; this process of following him and ending up at this nocturnal and benevolent activity in the basement of the shelter.
Back at home, she records herself in the mirror, making a note of the grey roots sprouting from her hair, dyed black. She uses the camera as a method for self-reflection, but for estrangement as well. By following herself in the same way that she follows these strangers, Varda needs to become homeless: She must destabilize herself, step outside of her cozy state of selfhood, in order to reflect on what she has become.
8. Les Glaneurs et La Glaneuse. Directed by Agnes Varda. Zeitgeist Video, 2002. Film.
From 2009-12, I made, what I later understood to be, the start of a major shift in the concerns, subject matter, and interests that I wanted to address in both my artistic practice and research. It was not immediate—and perhaps I am just a very slow thinker— however, in hindsight, I realize now that I was walking away from one practice and into another. For a good part of a decade, I developed a body of work in which I would intercept live video emitting from wireless surveillance cameras (in different cities mostly throughout Europe); using this live video material to create walking performances and other performative interventions that highlighted the invisible and unseen narratives that existed within the urban landscape. In a series of works that followed, I used a subset of online videos containing location (geo-tagged) data and posted on YouTube, in which I fused together an Internet-mapping with city space. I could witness what transpired in the video and know where it was located in the world. These artistic projects garnered me a good degree of attention, helped build up my career, and win several awards.
Over the years I became rather adept at observing, watching, and listening in on different things happening around me. This 'skill' (which some consider it a bit creepy) I often apply to circumstances where I am uncertain how to situate myself. I find it sometimes a bit arrogant to act before listening first. I need to look, listen, then act. Then by acting, I learn even more. At least, it works that way for me. It might seem somewhat passive, but I consider it an active form of silence, which is also a form of participation. What started to happen was that I began to speak back to the material in ever more direct ways; for example, by stepping into people's homes or getting more entangled with different people's lives.
In summer 2012, I was immersed in a new project about the stories of seven individuals (okay, men) living in Berlin, which I based on the prodigious amount of (geo-tagged) videos stored on their YouTube channels. One afternoon, I found myself sitting in a cafe, directly across the street of the apartment building of one of the men— a chain-smoking, queer, 40-something, club boy—whom I had been watching online for several months. I pulled out a paper notepad from my rucksack and began to write. It was a stream of consciousness of anything and everything that occurred to me as I was sitting in front of the building; directly in front of the apartment where I knew he lived—or at least this was the address provided by the location data on the video. I wrote about the apartment, or what I remembered of it: the layout of the rooms, what objects were inside, what this person looked like, actions that took place in the rooms. I wrote about me sitting at this cafe, watching the apartment building entrance, observing who entered and exited the building. I wrote quickly, making an inventory of things that were visible to me and things that were not, anything that occurred to me as I sat there, at the cafe. Where was I at this moment? Was I in the apartment? Was I still on YouTube? Where was he? Where was I? What was our relation to each other? To this place?
For the rest of the summer I made pilgrimages to all the places of all the videos. Each day was a different journey. I used these daily excursions as a method of writing—writing as I circulated around Berlin, mapping out the stories as I was mapping out the city. But I was not simply making pilgrimages to the places these people had been to before. Each morning, the moment that I crossed the threshold of my apartment building, I tried to enter into the space of that person; through the video, and wherever that video took me in the city. I was in front of an apartment, I was in an apartment, I was on a playground, I was in a park, I was at a cemetery, in a club, on a subway platform, in front of a railway station, in a large public square or on some empty street, in the early morning. My journeys were to places that these people had been to before. Mirroring their movements and actions, was also my attempt to inhabit the space of that person by trying to experience the city through somebody else's eyes. What did it mean to be in the space of some person or be something else for a moment? I found myself oscillating between trying to imagine or relive events that had taken place on the video, through that person, while at the same time engaging in a self-reflexive dialogue of what it meant to be going on these journeys. I wrote personally; reenacted conversations from the video. I imagined dialogues with the person; wrote letters to them, wrote about us meeting. I even caught sight of one or two of them, walking out their apartment buildings. It was horribly, ethically complex, but I continued anyway.
How can I possibly understand where I am, while still opening myself up to the experience of being lost?
I often find myself stepping off the path, and going in another direction. I am referring to this metaphorically, and quite literally. Sometimes, I will have an impulse to turn down a road, because I have never been down that street before. After I reach the end of the street, I turn down another, then another, then another. Once I have tired with the circumstances of being lost and immersed in new encounters of the lay of the land, I find ways to reestablish my location; return to familiar terrain. If, for example, when exiting my apartment I turn left instead of right, how might my habitual patterns change and allow me to view something from another perspective; take me elsewhere?
The late Anzaldúa writes these words as a queer, 6th generation Chicana and daughter of farmworkers who grew up living in extreme poverty, twenty-five miles from the U.S.- Mexican border. The identity that she inhabits is a turbulent one: her Chicana / Mestiza self—Anglo-Mexican-Indian—contains multiple perspectives, customs, languages, and types of reasoning within the same body. She exists within numerous linguistic and cultural contexts. Neither here nor there, she is never fully accepted by—nor fully satisfied with—a single, fixed identity nor way of being in the world. Living between two languages, cultures, and social systems—yet never fully accepted by either one—Anzaldúa uses this conflictual psychological state of moving between the two sides of the border to develop a Borderland theory that encompasses all types of border crossings: geopolitical boundaries, sexual transgressions, economic, political and social dislocations, etc. The experiences of individuals living between the borders enable them to develop a tolerance for contradictions, for ambiguity; to not remain at the surface level and try to see the deeper structure below the surface. She attributes "those who have been pushed out of the tribe for being different"—for being outcasts, marginalized, and foreign—as those who might develop La Facultad10 (the faculty), of being more sensitized to what is happening around them; giving them the skill to probe at and challenge neatly packed narratives and homogenous readings of body, identity, and place.
As an artist, woman, daughter of a Mexican, 1st generation Chicana, growing up in Canada, and who has lived outside of the country of my birth for much of my adult life, I find myself aligned with Anzaldúa's claim for inhabiting various social worlds, that challenge "monocultural and monolingual conceptions of social reality." But this is, perhaps, not so surprising; that I might want to reach out to those that speak back to me in ways that are comforting or inspiring, or make me feel that I am not alone. Anzaldúa's words have this particular effect on me. We all are in need of belonging, even if it is a 'not-belonging' kind of belonging. I am never 'from' the places in which I live; I have lived and worked in seven countries and counting. There is, for me, a feeling of always being out-of-place; never quite catching on to what others really expect from you. Yet it is perhaps this position of the perpetual 'outsider' that gives me La Facultad of being able to do the kind of work that I do.
This 'state of psychic unrest', of being out of one's element, until you no longer are (the needle is out) is something that perhaps we, as artists, as researchers, all have to go through. It is a persistent and incessant drive towards something that starts to take form the deeper one goes into an artistic process; yet one which involves a necessary stage of stepping off the road map, or losing the map entirely. If I don't have the sensation of being deeply uncomfortable in the moment, aggravated and lost at certain moments, then I don't feel that there are sufficient risks being taken. If nothing festers, there is nothing to expel.
9. Anzaldúa, Gloria. Borderlands: the New Mestiza = La Frontera. Aunt Lute Books, pg 95, 2012.
(Or maybe this is just me being melodramatic).
In July 2013 I joined a pilot research project proposed by the Psychosocial Impact Group of PAH Madrid.
The research project investigated the psychosocial effects of eviction and expanded on the experiences from a workshop on 'mutual support and empowerment,' which Irene Montero, a PAH activist and psychology student, had been running over the past year.11 A multidisciplinary team of students and professionals from various fields–social work, psychology, and political science–comprised the group for the pilot project. The research enlisted a qualitative methodology, based on content analysis of the stories of people affected by eviction within a group discussion format. The four women participating in the pilot project were regular attendees of Irene's workshops and politically active in the PAH.12 After coming to the PAH with their housing problems, they became activists themselves and now dedicated much of their time and energy helping others. The researchers wanted to use the format of a pilot project to test out and build up a set of methodologies for future research. During the group discussions, they asked the participants to describe their experiences of how they are living with eviction, and the psychological consequences produced within their personal situations.
I made video and audio recordings of all four group discussions which took place between Irene (the psychologist) and the four women; two other researchers observed and took notes. The team used the recorded material for analysis, and I used the material to produce different artistic results–a film and script for a public performance. Besides having the recordings as material to work with, I was very intrigued to be part of the development of this particular research. I started to view their use of methodologies, combined with other methodologies used in other campaigns and actions by PAH activists, as comparative to the ones that I was now applying within my own artistic research; to the point where I was now having difficulty making a distinction between the two practices. When did one start and the other end?
11. Former PAH member Irene María Montero Gil is currently a member of Congress for Madrid in the Congress of Deputies and, since 2017, Congress spokesperson for the Unidos Podemos-En Comú Podem-En Marea alliance. Ione Belarra Urteaga who also participated in the pilot project is currently state citizen council member for Podemos and member of Congress for Navarra.
12. Manuela Cuello Rodriguez, Rosario Alcántara Torres, Gladys Cerna Dávila, and Maria Dolores Ramos Chavero participated in the pilot project.
What I discovered (or came to understand as a bridge between my practice and other practices I came in contact with) was how the PAH activists followed similar methods–use of social media, digital mapping, a study of the urban landscape, use of storytellers and storytelling–in their efforts to "locate" something. In their work and ongoing endeavors, to "locate" was (and still is) to make public the everyday effects of the social and economic crisis. In the foreground of the crisis was the crisis of the home. Creating visibilities to what would otherwise be invisible to the public eye became a form of collective empowerment. It was easy for an individual voice to fall on deaf ears, but not a collective struggle. These strategies fascinated me (and continue to do so) and I learned much from them.
13. Stengers, Isabelle. Another Science is Possible: A Manifesto for a Slow Science. Polity, pg 45, 2017.
By following the digital traces left on the Internet, I have often ended up on the doorstep of a stranger's home, and many times inside the home. It occurred at various stages throughout my artistic research project, but it was in Madrid when I started entering these homes in moments of crisis that the question of "home" became the most critical. What is a home? How does one create a home? What happens when you lose it? These questions came to the foreground the moment when a home became destabilized; when members of the public entered, some welcome and others not. There was a collapse of the public and private being wrestled and formed and articulated.
I stepped away from Bergen for nine months. However, I created new paths and formations of community, research interests, ways of working. Mortgaged Lives, a 42-minute documentary, developed from my Spanish research, examines the experience of rupture through the loss of a home, within the Spanish eviction crisis. The film analyzes the psychosocial experience of eviction from three perspectives: psychological analysis, personal testimony, and an actual event. It maps out the psychosocial trauma of homelessness, social estrangement, and the fight against injustice by those who suffer the consequences of the economic crisis within the global economy. The title of the film refers to the translated title of Vidas Hipotecadas; a book by two of the PAH's founders—Ada Colau and Adrià Alemany—which aided me so much in the beginning phases of my research; so much, in fact, that I decided to translate the book into English. In addition to the translated text and film, I produced a script for a public reading performance, Rupture Sessions, using transcripts of the group discussions from the pilot research project by the Psychosocial Impact Group of PAH Madrid.
It is through this journey that my research and work took on a different urgency and coherency, which has affected how I think and work to this day.
It becomes imperative that I invite people in to think with me—to witness, listen, imagine, and reflect—to give attention to or pose further questions and possibilities. Risk is also more fun when carried out with other people. It allows me, allows us, to develop understandings of the moment (or moments) when the material starts to speak back in a different way. Sometimes it turns into art, but sometimes it becomes difficult to immediately recognize what comes out of the process as an artistic outcome. Is this even relevant? Did I just write myself out of an artistic practice? Regardless of the answers to these open-ended questions, it is crucial that I sometimes take the back seat and let others take the wheel. A taxi ride in the pouring rain can perhaps start a process for other destinations and outcomes. It leads me away from one practice with the anticipation of another still to come; coming towards me, out of the darkness.


I use Joomla 3.9.5 and registration is ok. Now when I put in backend K2 user registration form has a new colmun (Personal details) but its not working. When you try ( www.isityours.sk ) put some info and login after that page refresh and register modules are seen. No new user created.
Is perhaps reCaptcha enabled in your Joomla site's Global Configuration?


text:
The euro area's deflation inflexion point
TOPICS:deflationeuro areaeurozone
Posted By: The Corner 24th November 2014
In 1996-97, Japan's inflation rate was creeping down toward zero, but was not yet below it. The same is happening in the euro area now – we expect Friday's headline flash CPI reading to be 0.4% y/y, near its record low (0.3%). In 1997, there were signs of Japanese inflation expectations "de-anchoring" over short horizons, even as longer-term inflation expectations remained well anchored.
One of the key trends in the euro area this year has been a de-anchoring of both short and longer-dated inflation expectations (Figure 1). Then, as now, typical measures of central bank policy appropriateness, such as a Taylor rule, were beginning to send signals that the policy stances of the central banks were becoming too tight. Perhaps most important, in 1997 the prospect of 15 years of deflation in Japan was still considered unthinkable by most, just as it is unthinkable for the euro area today (including by us).
Another key message from our deflation analysis was that the next 1-2 years would likely be crucial for European policymakers. Although this idea extends beyond the ECB, we believed that, ultimately, the central bank would probably have to play a central role if euro area deflation risks did become more acute, as they now have done. In our view, the ECB's response has been good, if not exceptional. Importantly, the ECB has achieved two things that the BOJ did not in the late 1990s: a (modestly) weaker currency and negative longer-dated yields (Figure 2). In Japan's case, negative longer-dated yields were achieved only in 2013, thanks to the BOJ's aggressive QQE policy. Encouragingly, the recent rise in euro real yields and the trade-weighted euro were met by comments last week from ECB President Mario Draghi that there was scope for expanding its current balance sheet expansion policies. Indeed, as the year has progressed, President Draghi has gone out of his way to emphasize that the ECB would get ahead of the deflation risks to avoid Japan's experience (see ECB – worried about excessively low inflation expectations). Still, inflation expectations remain near the cycle lows and, so far, ECB policies have done little to help the persistent underperformance of European equities.
What is at stake? We'd argue quite a lot. Despite important differences between the euro area today and Japan in the 1990s, there is one striking similarity that should matter to investors: the path of equity markets. Indeed, the similarities between Japanese and European equities look ominous, especially for those peripheral European markets that have already experienced deflation, or something close to it .
Adding the US equity market experience makes the stakes even clearer. In all three cases, a significant financial shock raised fears of economic deflation. In the US, these fears ebbed quickly, at last partly driven by decisive monetary action from the Federal Reserve. In Japan, deflation fears turned into reality and the equity market posted a further 50% decline after the economy fell into deflation. By contrast, US equities are now at record highs.
Japanese equities, though, were trading at more than 35x price to earnings as the economy fell into persistent deflation. The bubble-like multiples reflected still-high expectations and a notable savings glut. But the multiple de-rating as deflation took hold exacerbated weakness in Japanese equities. European equity multiples are not nearly as extended and are already in line with those of Japan, which has already experienced years of deflation.
Although household wealth in Europe and Japan is not as heavily weighted toward the equity market as in the US, the fall in Japanese equities likely had some impact on Japanese consumption via the wealth effect, and thus on inflation; the potential drag in Europe from a fallout in equities should therefore be less than in Japan, given much different starting multiples.
If the ECB does manage to alter the path of euro area deflation risks, we think European equities could benefit most, as bond yields have already fallen to near deflation-like levels and European equity multiples seemingly reflect the risk. Against this, if the ECB disappoints, we see further downside risk to European equities, although it is not clear that European equities should follow the same path as Japan given very different starting valuations.
Ultimately, however, our main concern would be peripheral debt. These bonds are clearly pricing in some expectation of ECB action already and, given their longer-term debt sustainability dynamics, it is hard to imagine spreads remaining tight if the ECB fails to deliver decisive policy action in the coming months.
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text:
What's a July 12, 1970 souvenir can of 'Genuine Oregon Rain' worth?
Cans containing 3.37 inches of Genuine Oregon Rain harkens back to a quirky festival Salem once celebrated in mid-July — Rainmaker Day.
What's a July 12, 1970 souvenir can of 'Genuine Oregon Rain' worth? Cans containing 3.37 inches of Genuine Oregon Rain harkens back to a quirky festival Salem once celebrated in mid-July — Rainmaker Day. Check out this story on statesmanjournal.com: https://www.statesmanjournal.com/story/news/2019/07/10/genuine-oregon-rain-can-salem-july-12-souvenir/1660267001/
Capi Lynn, Salem Statesman Journal Published 6:00 a.m. PT July 10, 2019 | Updated 6:25 a.m. PT July 10, 2019
The rusty, 3-inch-tall can in my drawer sloshes when shaken.
That's what "Genuine Oregon Rain" sounds like.
The nearly 50-year-old souvenir harkens back to a quirky festival Salem once celebrated in mid-July — Rainmaker Day.
It started in 1967 after a night city editor at The Oregon Statesman researched a mass of weather bureau statistics and discovered that it never rained in Salem on July 12.
Russell Bieraugel's revelation was a springboard for organizers, including the Statesman and Capital Journal's combined advertising department and the Salem Area Chamber of Commerce.
A can of "Genuine Oregon Rain", a souvenir of Rainmaker Day, July 12, 1970. Photographed at the Statesman Journal in Salem on July 8, 2019. (Photo: ANNA REED / STATESMAN JOURNAL)
A concert, art show and other activities were held that July 12. Businesses pegged special sales around the number 12, such as 12 percent off or prices ending in 12 cents.
A contest was held to predict when it would rain next, with 75,000 submissions.
The festival grew into a four-day event with a parade in 1968, when for the first time since the National Weather Service began keeping records in 1892, a trace of rain was recorded July 12 at the McNary Field weather station at Salem Municipal Airport.
But a trace doesn't officially count in the weather world. It's such a minute amount of precipitation — less than 0.01 inches of rain — it can't be measured.
The festival's motto was tweaked the following year to note Salem had never received a measurable amount of rain on July 12. With each year, a new crop of promotional gimmicks was introduced, including cans of "Genuine Oregon Rain" in 1970.
Statesman-Journal Newspapers ordered some 23,000 and sold them for 25 cents apiece or five for a dollar, advertising them as Christmas presents and party favors.
Local history: A night to remember when Historic Elsinore opened 93 years ago
The cans contain 3.37 inches of Oregon rain, approximately the amount of rainfall in Salem per month. (Mother Nature is consistent 49 years later. Oregon's average monthly rainfall today is 3.31 inches.)
A full-page advertisement billed the rain "As clean and fresh as it falls from the sky, although we don't suggest drinking it, what with pollution and all."
The front of the can's label has a warning: "Not for human consumption." The back recommends using the contents to sprinkle a dry spot in the yard.
Another ad proclaimed "at last someone has canned Oregon's most plentiful product" and that it was destined to become a collector's item.
Like many souvenirs, though, the can of rain has but sentimental value. I salvaged it from a colleague who was planning to toss it, and it's been in my drawer since.
A search of an online auction site netted one result with a buy-it-now price of $9.50, plus $6.50 shipping. It's being sold by someone in Grand Haven, Michigan.
Perhaps they're a former Salem resident, or maybe they received it as a gift from a relative who lived in Salem.
Genuine Oregon Rain was a catchy campaign, better than mascot attempts Rufus Rainbeetle and Roscoe Raindrip.
Support local journalism: Stay on top of community news and the people who live here with columnist Capi Lynn. Become a Statesman Journal subscriber and get unlimited digital access to stories that matter.
Rufus didn't last long, despite an attempt to name the Oregon rain beetle as the state bug. Then-Gov. Tom McCall was vocal with his opposition because the beetle feeds on the state's precious Douglas fir trees.
Roscoe was a 6-foot-tall green monster referred to as the abominable rainmaker.
Festival organizers and participants surprisingly wished for measurable rainfall each year. Rain dances were performed, "I like rain" buttons were handed out, and the "Magical Mystical Rainmaking Machine" was cranked up.
The Rainmaker Day festival lasted five years until sponsorships went dry in 1972.
In the decades that followed, only a trace of rain fell a handful of times on that day. The Statesman continued to track the record with headlines like "Another rainless July 12 in the record books" in 1980 and "Salem maintains record — no rain on July 12" in 1992.
With a rainless reputation, July 12 was considered the perfect day to plan a family reunion or an outdoor wedding in Salem. It still is.
But you might also consider July 29, which has just three measurable days of rain in 126-plus years of record keeping and shares the title of Salem's driest day.
More local history: Navy WAVE instructor taught instrument flying to WWII pilots
City officials and downtown business owners resurrected Rainmaker Day in 2003, for one year only. A state climatologist said at the time Salem was the only city in Oregon to have such a perennially dry day.
Three years later, however, the 113-year streak with no more than a trace of rain was doused. Six-hundredths of an inch was recorded July 12, 2006, at McNary Field.
Twice since there has been measurable rain, including 0.68 inches in 2009.
"That's actually a pretty wet day for any July day," said Dave Elson, a meteorologist with the National Weather Service in Portland.
And in 2011, 0.13 inches were recorded in Salem.
So what can we expect this July 12?
"At this point," Elson said, "we have a dry forecast for Friday."
Seeking answers: Two years after Cynthia Martinez vanished, her family waits
"Forward This" taps into the heart of the Mid-Valley — its people, history, and issues. Contact Capi Lynn at clynn@StatesmanJournal.com or 503-399-6710, or follow her the rest of the week on Twitter @CapiLynn and Facebook @CapiLynnSJ. To support her work, subscribe to the Statesman Journal.
Read or Share this story: https://www.statesmanjournal.com/story/news/2019/07/10/genuine-oregon-rain-can-salem-july-12-souvenir/1660267001/
Semi driver cited after Marion County crash
Sex, lies and cellphones reported at Coffee Creek
Suspect in custody after standoff with Marion County deputies
Salem's Eco-Earth needs asbestos abatement
Pedestrian struck, killed on I-5 near Woodburn
Driver identified in McKay Road NE crash


I only had a weekend therefore I should wander somewhere near Singapore, and then I saw Batam as I browse thru the internet. A visitor from the Philippines (my boyfriend that time, to be exact, which I am more than happy we parted ways, haha, kidding!) also went with me.
I booked a room at Turi Beach Resort. I think most of the resorts/hotels fronting the beach are quite expensive. If you wanna dig on cheaper accommodations, you must book somewhere in the city area. However, I'm not sure if there are nice public beaches in Batam. I just love the simplicity of Turi Beach Resort and the touch of the Indonesian culture (though i got a li'l scared of some statues). Well, so far, all hotels I have stayed in Indonesia actually have many Indonesian art and sculptures. So i think generally, Indonesians do preserve their culture even in the most modern edifice.
our room. . yeah, kinda romantic. . brrr. .
the view from the balcony of our little nipa hut. .
i still have no idea what this figure actually represent, but i see this almost everywhere in Indonesia. Apologies to our Indonesian friends (if in case this is some sort of religious sculpture or myths), but i actually find it scary. huhu. .
yup, i am scared of this one too. . huhu. .
the view of Turi Beach Resort from the viewing area at the end of this bridge.
We also visited some Buddhist temples, drove go kart, shopped some souvenirs and of course spent most of our time sitting lazily by the beach.


text:
Q: How do I use THasAttributeFilter in Spring4d I would like to query some attributes (aka annotations) in a class I'm writing.
I can do it the complex way, but I'd like to use Spring4D instead.
It has a unit called Reflection that looks like it has what I need, but I don't know how to use it.
I've looked on the net, but there are no examples on how to use this unit.
I found:
THasAttributeFilter

Which looks like this:
  THasAttributeFilter<T: TRttiObject> = class(TMemberSpecificationBase<T>)
  private
    fAttributeClass: TAttributeClass;
  protected
    function Accept(const member: T): Boolean; override;
  public
    constructor Create(attributeClass: TAttributeClass);
  end;

Great, so I create a filter like so:
type
  Capability = (CanDoA, CanDoB);
  TCapabilities = set of Capability;

[Capabilities(CanDoA)]
TMyClass = class(TParent)
strict private
  class var fCapabilities: TCapabilities;
....
public
  property Capabilities: TCapabilities read GetCapabilities;
end;

I can create a HasAttributeFilter like so:
HasAttr:= THasAttributeFilter<TMyClass>.Create(CapabilitiesAttribute);
... ?? now what ??

How do I use Spring4D to test the attribute without having to write the zillions of lines that classical RTTI writing (as e.g. per Nick Hodges' book) requires?

A: These filters are implemented using the Specification Pattern.
See also Spring.DesignPatterns.pas.
They are used when you need delegates like in the IEnumerable<T>.Where() method.
Here is a code snipped from Spring4D itself (Spring.Container.Builder):
var
  condition: TPredicate<TRttiMethod>;
  method: TRttiMethod;
  ...
begin
  condition := TMethodFilters.IsInstanceMethod
    and TMethodFilters.HasAttribute(InjectAttribute)
    and not TMethodFilters.HasParameterFlags([pfOut, pfVar])
    and not TMethodFilters.IsConstructor;
  for method in model.ComponentType.Methods.Where(condition) do
    ...

You can see that different specifications can be combined with boolean logic to form one expression: method has to be an instance method and has to have the InjectAttribute, must not have out or var paramaters and should not be a constructor.
This combined specification can then be assigned to a TPredicate<T> which can then be passed to the Where method.
The TSpecification<T> which is returned by each of the TMethodFilters is a record with operator overloading which makes the boolean logic and assigning it to a TPredicate<T> possible.
Using the specification pattern leads to very readable and composable code because you keep everything separated. The looping does not get cluttered with the internals how to determine if its a constructor or what kinds of parameters the method has because every specification is encapsulated into its own class.
P.S. Methods is a property from the TRttiTypeHelper from Spring.Helpers which returns IEnumerable<TRttiMethod>.

redpajama_set_name: RedPajamaStackExchange


text:
Psathyrotes är ett släkte av korgblommiga växter. Psathyrotes ingår i familjen korgblommiga växter.

Kladogram enligt Catalogue of Life:

Bildgalleri

Källor

Externa länkar

Korgblommiga växter
Psathyrotes

redpajama_set_name: RedPajamaWikipedia


text:
September 2, 202111:01 AM UTCLast Updated ago
Duterte daughter says has 'running mate' offers for Philippines 2022 election
Philippines President Rodrigo Duterte arrives with daughter Sara Duterte-Carpio to attend the enthronement ceremony of Japan's Emperor Naruhito in Tokyo, Japan October 22, 2019. Carl Court/Pool via REUTERS/File Photo
MANILA, Sept 2 (Reuters) - Philippines leader Rodrigo Duterte's daughter has named several politicians, including her father's closest aide and preferred successor, whom she said have offered to run with her in next year's presidential election.
Sara Duterte-Carpio, mayor of Davao City, is leading opinion polls but has yet to disclose her political plans ahead of the October deadline to file for candidacy.
Duterte-Carpio, 43, said on Facebook that lawmakers Sherwin Gatchalian and Christopher "Bong" Go had "personally expressed their offer to run as my vice president".
It was unclear when Go made the offer, but Duterte-Carpio's post late on Wednesday comes a few days after Go rejected the ruling party's endorsement as presidential candidate. read more
She said other possible running mates include former defence minister Gilbert Teodoro, who made his offer via common friends, and the son and namesake of late dictator Ferdinand Marcos.
Go said he was open to the idea.
"When I learned that there were some aspirants who wish to be Mayor Sara's vice president in case she runs for the presidency, I expressed my willingness to be considered," he said in a statement on Thursday.
Asked at a business forum if he might contest the presidency himself, Marcos, better known as "Bongbong", said a presidential run was a possibility.
Duterte-Carpio has been quoted in media as saying she was open to running.
"Whether or not she has already decided on her plans of running, there really is clamour from many sectors," said political analyst Edmund Tayao.
"Many politicians think she will be a formidable presidential candidate."
Her 76-year-old father is prohibited by the constitution from seeking a second term, but his opponents believe he could extend his grip on power through an election of an ally.
He has declared he will seek the vice presidency, if daughter Duterte-Carpio does not run for president.
Duterte remains popular despite his notoriously bloody anti-narcotics campaign and growing criticism over the country's coronavirus epidemic, one of Asia's worst.
Reporting by Neil Jerome Morales; Editing by Michael Perry, Martin Petty


Preheat the oven to 375 degrees F. Spray a 10-inch cake pan with nonstick spray and set aside.
In a KitchenAid Stand Mixer, beat the granulated sugar, butter and egg until combined. Mix in the milk, vanilla extract, self-rising flour and apples. Add apples to your preference.
Pour the batter into the prepared pan and spread evenly with a spatula. Sprinkle brown sugar and cinnamon evenly over the top. Use a toothpick to swirl the brown sugar and cinnamon.
Bake for 35 minutes or until a toothpick inserted into the middle comes out clean. Transfer the cake to a rack to cool completely; then cut and serve.
Spices, like ground nutmeg and cloves, can also be added to create warmer flavors.


Preheat oven to 425 degrees. Coat a baking sheet with non stick spray.
In a shallow dish, combine bread crumbs, and spices. Place egg whites in another dish. dip chicken in egg whites, then in bread crumb mixture. Place chicken on baking sheet.
Bake 40 to 45 minutes or until no longer pink. Serve immediately.
Serving size is 2 pieces.
Its very quick and tasty.


text:
Good Sam is a 1948 American romantic comedy-drama film starring Gary Cooper as a Good Samaritan who is helpful to others at the expense of his own family. The film was directed by Leo McCarey and produced by McCarey's production company, Rainbow Productions. It received mixed reviews, with critics alternately liking and disliking the film based on whether they viewed it as a serious story or a spoof. The film was one of the top box-office draws of 1948, grossing $2.95 million.

Plot
Sam Clayton is too good for his own good. A sermon by Rev. Daniels persuades him to help others in every way he can, including his wife Lu's good-for-nothing brother, Claude, who's been living with them rent-free for six months, and their neighbors the Butlers, who need a car for a vacation when theirs breaks down.

Sam is a department store manager whose boss, H.C. Borden, wants him to sell more and socialize less. Sam's a shoulder for clerk Shirley Mae to cry on when her romance breaks up. He also gives a $5,000 loan, without his wife's knowledge, to Mr. and Mrs. Adams, who need it to save a gas station they bought.

Lu is fed up with Sam's generosity, particularly when he ends up paying for the Butlers' car repairs, then letting the mechanic come over for home-cooked meals. The last straw for Lu comes when she learns they have a chance to put a down payment on a new house, except Sam has lent their nest egg to the Adamses.

Sam is unhappy, too. He's annoyed with the Butlers, who have crashed his car and can't pay to fix it. He also wants Claude to move out. Shirley Mae's troubles come to his door after she overdoses on pills. Though the Adamses surprise him with a check for $6,000 to repay their loan, Sam uses some of the money to pay for the annual Christmas charity dinner after he is robbed of the money he collected from employees and the bank refuses to give him a loan. He ends up in a bar, drinking copiously. A Salvation Army marching band playing Christmas songs brings him back home. There the bank manager promises that he will receive the loan he asked for, and Borden surprises him with a promotion to vice-president of the store.

Cast

Production

Development
Good Sam was written by Ken Englund based on a story by Leo McCarey and John D. Klorer. Sinclair Lewis was asked to work on the script but refused, stating: "[A] man who tried to lead in our times the life of an apostle would be an idiot and would be considered by others to be one".

Casting
McCarey's production company, Rainbow Productions, borrowed Ann Sheridan from Warner Bros., to play the wife of Gary Cooper's character. According to the American Film Institute, Cooper's career was "floundering" at the time, and while he was filming Good Sam he signed a "significant contract" with Warner Bros.

For the scene in which a Salvation Army marching band accompanies Cooper's drunken character home, director McCarey assembled a 25-piece band composed of students from several high schools in the Los Angeles area.

Filming
The film was shot in Los Angeles from August 4 to October 1947. In January 1948, McCarey reportedly filmed additional scenes to provide alternative endings for the film. Preview audiences were then asked to state which of the two endings they preferred. The unused ending is not known.

Interior scenes of the church were modeled after the interior of the city's St. James Episcopal Church. The Rev. J. Herbert Smith, pastor of All Saints' Episcopal Church of Beverly Hills, was a technical advisor.

Filming was interrupted by Cooper's appearance as a friendly witness before the House Un-American Activities Committee on October 23, 1947.

Release
The film was released on September 1, 1948. The original 130-minute cut is stored at the Library of Congress. The film was reissued with a runtime of 112 to 114 minutes.

The film grossed $2.95 million in domestic and international receipts, giving it a ranking of no. 23 on the list of highest grossing films of 1948.

Critical reception
Critical reviews were mixed.

Bosley Crowther of The New York Times evaluated the film positively, calling it "a mischievous sort of satire" and pointing out that the main character, who behaves like a saint towards everyone, should not be taken seriously. Crowrher wrote: "The principal danger in this picture is that people will take it seriously as a nobly intended tribute to the Good Samaritan type. And that is understandable, for the story is such a cliché that it may not be easily distinguished as an outright travesty. ... But if you'll realize at the outset that the hero of this comic tale is not supposed to be taken as a proper example at all but is really something of a lampoon—a spoof of a popular movie type—then you'll certainly get more pleasure out of the antics than if you don't. Crowther praised Cooper's performance as a spoof of "every do-gooder that he has played since Mr. Deeds, plus a couple of memorable do-gooders that Jimmy Stewart has played". He also lauded Sheridan's performance for cueing the reader to the fact the film should not be taken seriously, writing: "As a matter of fact, it is the lovely and willful sarcasm in her approach—the non-Pollyannaism—that keys the whole purpose of the film". He called McCarey's staging of the interactions between the main character and his wife, and with others, "bright, explosive—and absurd".

A 1950 review by the  Narandera Argus and Riverina Advertiser of New South Wales also praised the film as "smashing in its comic effect", "heartwarming and human".

The Santa Cruz Sentinel gave the picture a weak nod, writing: "The film has several good laughs, and no doubt some people will find it amusing and even philosophical. Others will find it episodic, confused and even embarrassing". Variety blamed Cooper's performance for slowing the film's pacing, due to his "languidness and too obviously premeditated performance in a pic that in itself is unusually long".

Contemporary reviews also noted the miscasting of Sheridan, who typically played "sassy" characters but in this film was cast as a "bland" housewife. Variety felt the stylishly-outfitted Sheridan looked more at home "in a Christian Dior salon" than in the kitchen cooking eggs.

In 1982, The RKO Story criticized McCarey's coaching of the actors for "bungling" the potential satirical comedy, resulting in Cooper giving "one of the most dopey, insipid performances of his long career".

Writing in 2001, Cooper biographer Jeffrey Meyers calls Good Sam "one of Cooper's worst [films]"; a "labored, repetitive, one-joke movie". Comparing it to Cooper's "naïve and idealistic" performance in Mr. Deeds Goes to Town, Meyers describes Cooper's acting in this film as "merely goofy". Meyers quotes a Cue magazine review which chided Cooper for overacting, writing: "Mr. Cooper is now a grown man and his boyish bashfulness, sheepish grins, trembling lip and fluttering eyelids are actors' tricks he can surely do without"; Meyers blamed Cooper's maneuvers on the actor's efforts to "compensate for a poor script".

Among 21st-century critics. Leonard Maltin calls the film "an almost complete misfire" and a "lifeless comedy". PopMatters writes that the film " ...balances comedy, pathos, and irony so freely within each scene that you don't know how the movie expects you to react. This ambiguity of affect marks the cinema of Leo McCarey. He's so fascinated by observing the nuances of human reactions, and how the emotions of different characters feed and counterpoint each other, that he lets scenes run on quite long; you get the feeling he'd just as soon they never end.

Writing for the CinePassion website, Fernando Croce on the other hand, asserts that "[t]he leisurely treatment allows for the flowering of digressions like Ida Moore's sketch of a wizened sly pixie or Dick Wessel's beautiful rendition of Edgar Kennedy's monumental slow-burn at the wheel of a bus".

As of December 2020, review aggregator Rotten Tomatoes rates the film 60 percent fresh.

Adaptations
Good Sam was adapted for a September 25, 1950 presentation on Lux Radio Theatre starring Sheridan and Joel McCrea. It was also adapted for a 30-minute episode on Stars in the Air on March 13, 1952, starring Sheridan and David Wayne.

References

Sources

External links

1948 films
1940s romantic comedy-drama films
American romantic comedy-drama films
American black-and-white films
Films directed by Leo McCarey
Films scored by Robert Emmett Dolan
RKO Pictures films
1948 comedy films
1948 drama films
1940s English-language films
1940s American films


TD Ameritrade (NYSE:AMTD) missed analyst expectations last quarter, but will try to make up for it when it announces its latest results on Tuesday.
Analysts currently expect TD Ameritrade to come in with earnings of 26 cents per share on revenues of $665.6 million. Analysts gave estimates ranging from 24 cents per share to 30 cents per share. Over the past three months, the average estimate has moved down from 30 cents.
In the second quarter, profit fell 20.4% to $136.7 million (25 cents a share) from $171.7 million (30 cents a share) the year earlier, missing analyst expectations. Revenue fell 6.2% to $674.6 million from $719.5 million.
Analysts are bullish on the stock as nine analysts rate it as a buy and there are no sell ratings. Analyst sentiment has been waning recently, as the average rating has dropped slightly over the past three months.
Company Fundamental Trends After last quarter's drop snapped a string of revenue increases, the company will look to move in the right direction again. Revenue rose more than twofold in the first quarter and 15.5% in the fourth quarter of the last fiscal year before falling in the second quarter. The company will look to get back to form after a profit drop last quarter ended a string of income gains. Before dropping in the second quarter, net income grew 43.6% in the fourth quarter of the last fiscal year and 4.8% in the first quarter.


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After a recording mishap in the previous week, Buck and Steve begin a journey together that will be sung of in legends and songs throughout the ages. The guys discuss things like chickens, PEA, Talk Like A Pirate Day (which basically breaks down into grunts and unintelligible words), then in the first ever Big Honkin SHow podcast exclusive the guys discuss a product that must be seen to be believed. Feel free to check out the video below so that you can see and believe.


Take the road from the Mediterranean coast to La Turbie high above Monte Carlo. Half close your eyes and you can almost see Grace Kelly and Cary Grant in that wonderful film To Catch A Thief.
The car, if memory serves, was a Jaguar XK120.
It is a road that evokes images of cars. In a way, this bit of France is the spiritual home of Mercedes. For it is where the Mercedes name was born 100 years ago, brought into life by Emil Jellinek, the Austrian consul in Nice, well-known car enthusiast and entrepreneur.
In 1900 he sold 28 Daimler cars, raced under the name of Mercedes - which also was the name of his 11-year-old daughter. He ordered five cars from Daimler in Stuttgart, Germany, which were delivered just before Christmas in 1900.
A legend - and the oldest surviving brand name in automotive history - was born. Driving the same roads 100 years later, also in a car with a three-pointed star, helps put our achievements in perspective.


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Prescott Fire Department, Central Arizona Fire and Medical, and Life Line Ambulance Joint Press Release
Prescott area emergency medical service providers including the Prescott Fire Department, Central Arizona Fire and Medical Authority, and Lifeline Ambulance have noted an increase in the number of responses to people found in their place of residence suffering from cardiac arrests and other serious life threatening health conditions. We have also observed an increase in
At Teen Lifeline, teens help in ways only they can
A group of teenagers huddled around a table, some typing essays, others binge-watching a favorite Netflix series. One teen pored over "Frankenstein" for her English class. Each was deeply immersed in their tasks, but when a phone rang, the mood of the room quickly switched. Red lights blinked on each landline and a tri-tone melody
The other pandemic: Loneliness widespread with loss of social connections
The pandemic has affected different people in different ways, causing financial stress due to job loss, sliding grades, relationship pressures and worries that vulnerable loved ones could contract COVID-19. But one factor that has affected Americans across the country is the loss of social connectedness. Even before the pandemic shuttered schools, restaurants and workplaces last
Opinion – 2020 Was Difficult; It Was Not the Worst Year Ever
Humans don't rule the world, it turns out. COVID-19 is too small to see, as President Trump pointed out. It has still killed more than 300,000 Americans in less than a year. It also ended the longest economic boom in American history and threw millions of people out of work. Millions of people who kept
Queen Elizabeth pays tribute to 'kindness of strangers'
One of the traditional fixtures of any Christmas Day is to see Queen Elizabeth II and her family go to church. Not this year. The coronavirus pandemic has made sure of that. However, the queen, 94, did fulfill what is considered her most cherished Christmas Day duty. Addressing the nation — as well as the
With focus on COVID-19, experts fear opioid crisis may worsen unseen
A deadly epidemic has been on the rise this year in Arizona – but this one has drawn scant media attention. With the world focused on COVID-19, local and national experts say a growing number of opioid overdoses and deaths is being overlooked. "COVID-19 has taken up a lot of our space, but oftentimes it's


text:
Q: why is my convertView == null on getView method? I have an Activity with viewList + Custom Adapter.
I want to update the viewList on runtime (using callback when some resources are done downloading). I call the ui-thread to invoke this method:
    public void refreshListIcons() {

            if (categories != null) {

                SettingsValue[] values = adapter.getValues();
                for (int i = 0; i < values.length; i++) {
                    values[i].icon = ResManager
                            .GetSkinDrawable(categories[i].iconName + ".bin");
                }

                adapter.setValues(values);

                mListView.setAdapter(adapter);
                adapter.notifyDataSetChanged();
            }
    }

and then the adapter.getView method is called:
but why is convertView==null ?
one the first time the activity is created I understand.
But now this is my second time (runtime update).
@Override
    public View getView(int position, View convertView, ViewGroup parent) {
        if (convertView == null) {
            convertView = inflater.inflate(R.layout.settings_item, null);
        }
...
}

It causes re-inflating too many times and crashes my app.
my entire adapter's code:
package com.waze.settings;

public class SettingValueAdapter extends BaseAdapter {

    private SettingsValue[] values;
    private LayoutInflater inflater;
    public SettingValueAdapter(Context context) {
        inflater = LayoutInflater.from(context);
    }

    public SettingsValue[] getValues() {
        return values;
    }

    @Override
    public int getCount() {
        if (values == null) {
            return 0;
        }
        return values.length;
    }

    @Override
    public Object getItem(int arg0) {
        return values==null? null : values[arg0];
    }

    @Override
    public long getItemId(int arg0) {
        // TODO Auto-generated method stub
        return 0;
    }

    @Override
    public View getView(int position, View convertView, ViewGroup parent) {
        if (convertView == null) {
            convertView = inflater.inflate(R.layout.settings_item, null);
        }
        SettingsValue item = values[position];
        CheckedTextView name = (CheckedTextView) convertView.findViewById(R.id.itemText);
        ImageView iconView = (ImageView) convertView.findViewById(R.id.itemIcon);
        if (iconView != null && (item != null) && (item.icon != null)) {
            iconView.setImageDrawable(item.icon);
            iconView.setVisibility(View.VISIBLE);
        } else {
            iconView.setVisibility(View.GONE);
        }
        name.setText(item.display);
        name.setChecked(item.isSelected);
        View container = convertView.findViewById(R.id.itemContainer);
        if (position == 0) {
            if (position == values.length-1) {
                container.setBackgroundResource(R.drawable.item_selector_single);
            } else {
                container.setBackgroundResource(R.drawable.item_selector_top);
            }
        } else {
            if (position == values.length-1) {
                container.setBackgroundResource(R.drawable.item_selector_bottom);
            } else {
                container.setBackgroundResource(R.drawable.item_selector_middle);
            }
        }
        container.setPadding(0, 0, 0, 0);
        return convertView;
    }

    public void setValues(SettingsValue[] values) {
        this.values = values;
        notifyDataSetChanged();
    }
}

A: I guess you shouldn't set the adapter again. Instead modify your refresh method as:
public void refreshListIcons() {

        if (categories != null) {

            SettingsValue[] values = adapter.getValues();
            for (int i = 0; i < values.length; i++) {
                values[i].icon = ResManager
                        .GetSkinDrawable(categories[i].iconName + ".bin");
            }

            adapter.notifyDataSetChanged();

           /*
             adapter.setValues(values);
             mListView.setAdapter(adapter);
             adapter.notifyDataSetChanged();*/
        }
}

Also add a viewHolder class in your adapter.


Volvo Cars, the premium car maker, today revealed the new S60 luxury sedan at the company's first American manufacturing plant outside Charleston, South Carolina. The new South Carolina plant is officially inaugurated today. The combined car launch and factory opening reinforce Volvo Cars' commitment to the US, an important market for the company and its new sedan. The new S60 is the first Volvo car made in the United States. "The new S60 is one of...Read.


Not too long ago, FASHION Magazine asked: How do you wear the all white trend and this is how I responded.
When I wear the white trend I turn to texture! I love this lace because it elevates what would otherwise be a simple white dress.
The details on the pattern scream summer and is elegant enough to wear to an afternoon garden party.
White can be unflattering, so wearing white in a flattering cut is key to pulling off the all white trend. Shift dresses are my go-to during all year round and that is why this white lace dress works so well for me.
Jameela's wearing: Dress, Zoharous. Jewelry, Alora Boutique. Shoes, Diesel.
Do you like the all white trend?


text:
Videos / Multimedia Case Studies
Valor Collegiate Academies: Charter Schools Intentionally Designed to Serve Diverse Students and Families
As public schools of choice, charter schools can implement a school model that aims to recruit, enroll, serve, and maintain a diverse student body while being held accountable for student achievement. A small but growing number of charter schools have been founded with the explicit purpose and intentional design to serve an all-encompassing variety of backgrounds, including, but not limited to, racially, culturally, linguistically, and socioeconomically diverse student body (hereafter referred to as "intentionally diverse" schools).
Research finds that intentionally diverse schools benefit both students from low-income families and their more affluent peers in building academic and cultural competency. All students in diverse settings benefit from cross-racial and cross-cultural understanding, breaking down stereotypes, and decreasing bias and prejudice.[i] Students from low-income families see improvements from working with children from middle-income families where parents are likely to have larger vocabularies, have time and resources to be more involved in school, and set greater expectations for their children to attend college.[ii] Students from middle-income families who are educated with less affluent peers are able to work with more diverse people throughout adulthood.[iii]
This case study features Valor Collegiate Academies, an intentionally diverse charter management organization (CMO) that operates two high-performing charter schools in Nashville, Tennessee. Valor opened its first school in 2014-15 with a mission to serve a diverse student body and has made many decisions through its founding and operation to achieve that mission. Valor Flagship Academy, the first Valor school, produced outstanding academic results, including the highest standardized test scores in the city, in its first year of operation. This case study presents voices of many participants in Valor's work. This case study features interviews with (in alphabetical order):
Kasar Abdulla, Director of Community Outreach, CMO Team
Daren Dickson,* Chief Culture Officer, CMO Team
Todd Dickson,* CEO, CMO Team
Knick Dixon, Assistant Principal, Valor Voyager Academy
Mariah Green, Lead Teacher: 5th and 6th Grade Writing, Valor Flagship Academy
Leslie Mitchell, Parent
Lauren Smith, Chief of Staff & External Affairs, CMO Team
* Todd and Daren Dickson are identical twin brothers.
1. Introduction: Diverse by Design: Charter Schools with Missions to Serve a Racially, Culturally, Linguistically, and Socioeconomically Diverse Student Body
This segment introduces Valor schools' student body, mission, and community. It discusses key decisions and metrics that Valor leadership and school staff use to design and maintain schools that enable all students to thrive and learn from each other's diverse backgrounds. CMO and school staff members also discuss the benefits of having a diverse student body and the challenges that their diverse charter schools have faced.
2. Foundations of a Diverse School: How to Attract Families from Different Backgrounds and Enroll a Diverse Student Body
In this segment, Valor CMO and school leaders discuss the context and decision-making process for implementing their school diversity policies and practices. For example, the selection of facilities, transportation, and instructional model are all tools that charter schools can use to appeal to families from different racial, cultural, linguistic, and socioeconomic backgrounds. Valor CMO leaders talk about the school's community outreach and enrollment strategies, and how these processes have impacted their schools' diversity.
3. Serve Diverse Students Well: How to Support Staff to Serve Students and Families with Diverse Needs and Experiences
Serving students and families from diverse backgrounds requires commitment from everyone in the school. This segment explores the programing and structures that Valor schools use to serve students, engage parents, and support staff to ensure that diversity is a meaningful, daily experience. For students, this includes supports for English Learner students and students with disabilities, as well as strategies for minimizing tracking in the classroom. Parents have opportunities to volunteer, join cultural associations, and share their culture and stories with the school community. Dedicated staff members are tasked with attracting and hiring diverse staff members, and all staff receive ongoing training on cultural humility as part of the staff and student culture that values and celebrates diversity. Network staff survey students, parents, and staff throughout the year to learn more about their experiences at the school and to adjust school practices and offerings to accommodate community needs.
4. Conclusion: The Future of Charter School Student and Staff Diversity
Continuous improvement is important for all areas of charter school operations, including student and staff diversity. This segment looks at Valor schools' academic results, ways that parents and staff experience diversity at the school, and why diverse educational settings are impactful for students. Importantly, school leaders give advice, based on their experiences, to other charter schools that are working to serve diverse students.
The content of this case study does not necessarily reflect the views or policies of the U.S. Department of Education (ED), nor does any mention of curricula, trade names, commercial products, or organizations imply endorsements by the U.S. government. This case study does not constitute a formal statement of federal law, legal requirements, or ED policy and should not be construed as creating or articulating the legal requirements or policy from ED.
[i] U.S. Departments of Justice and Education (2011). "Guidance on the Voluntary Use of Race to Achieve Diversity and Avoid Racial Isolation in Elementary and Secondary Schools." Available at http://www2.ed.gov/about/offices/list/ocr/docs/guidance-ese-201111.pdf.
[ii] Kahlenberg, R. (2012). "From All Walks of Life: New Hope for School Integration." American Educator, Winter 2012-13. Available at https://www.aft.org/sites/default/files/periodicals/Kahlenberg.pdf.
[iii] Wells, A.S. et al. (2009). "Boundary Crossing for Diversity, Equity and Achievement." Charles Hamilton Houston Institute for Race and Justice. Available at http://www.school-diversity.org/pdf/Wells_BoundaryCrossing.pdf.
Grades served:
Focus Area: Discipline, Positive Models and Practices


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