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Thor Delta B – jako rakieta cywilna nazywana Delta B – amerykańska trójstopniowa rakieta nośna. Pochodna rakiety Thor Delta.

Chronologia
 13 grudnia 1962, 13:30 GMT; s/n 355/D15; miejsce startu: Przylądek Canaveral (LC17A), USAŁadunek: Relay 1; Uwagi: start udany
 14 lutego 1963, 05:35 GMT; s/n 358/D16; miejsce startu: Przylądek Canaveral (LC17B), USAŁadunek: Syncom 1; Uwagi: start udany
 3 kwietnia 1963, 02:00 GMT; s/n 357/D17; miejsce startu: Przylądek Canaveral (LC17A), USAŁadunek: Explorer 17; Uwagi: start udany
 7 maja 1963, 11:38 GMT; s/n 366/D18; miejsce startu: Przylądek Canaveral (LC17B), USAŁadunek: Telstar 2; Uwagi: start udany
 19 czerwca 1963, 09:50 GMT; s/n 359/D19; miejsce startu: Przylądek Canaveral (LC17B), USAŁadunek: TIROS 7; Uwagi: start udany
 26 lipca 1963, 14:33 GMT; s/n 370/D20; miejsce startu: Przylądek Canaveral (LC17A), USAŁadunek: Syncom 2; Uwagi: start udany
 21 grudnia 1963, 09:30 GMT; s/n 371/D22; miejsce startu: Przylądek Canaveral (LC17B), USAŁadunek: TIROS 8; Uwagi: start udany
 21 stycznia 1964, 21:14 GMT; s/n 373/D23; miejsce startu: Przylądek Canaveral (LC17B), USAŁadunek: Relay 2; Uwagi: start udany
 19 marca 1964, 11:13 GMT; s/n 391/D24; miejsce startu: Przylądek Canaveral (LC17A), USAŁadunek: Beacon Explorer A ; Uwagi: start nieudany – niewystarczający ciąg 3. członu

Bibliografia

Rakiety Delta


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Q: Hostname shows up twice in reports but not request URI I'm seeing the hostname twice on my GA reports, like this:
domain.comdomain.com

It's also happening on my view that only includes traffic from a single subdomain:
subdomain.domain.comsubdomain.domain.com

Request URI is not showing up in either view (it looks like everything is getting lumped together).
I'm using GTM to fire the tracking code in the root domain, and Unbounce's GA integration for the subdomain (it's our landing page subsite). The only thing I could think of is an error in our hostname prepend filter in both views, I'm using LunaMetric's recipe for prepending hostnames to request URI: https://www.lunametrics.com/blog/2015/12/10/basic-google-analytics-filters/
But I double-checked and it's correct (at least, it matches the recipe). In our unfiltered view, everything shows up correctly (URI without hostname prepended). Other filters I'm using are ones that lowercase everything (hostname, campaign medium/source/name/etc., and an IP filter to strip out internal traffic).
Any ideas why this might be happening? I'm at a loss. Thanks!

redpajama_set_name: RedPajamaStackExchange


According to Tufts research, it takes an average of 36.3 days to lock a database at the end of a trial (Phase II and Phase III). It also takes an average of 68.3 days to build and release a study database. These delays add up and cost the industry in many ways, with the total capitalized cost to develop a single drug now at $2.56 billion versus $1.04 billion in 2005.
Clinical trials have grown in complexity faster than technology has evolved, especially with the industry's increased focus on rare disease and gene therapies. The total number of endpoints has grown. Eligibility criteria have increased. And, the number of data points collected has nearly doubled -- from 494,236 in trials between 2001-2005 to 929,203 in trials between 2011 and 2015! According to Tufts, the inability to effectively handle today's high volume of data is one of the biggest challenges with clinical data management systems.
Vertex Pharmaceuticals, a U.S.-based biopharmaceutical company focused on finding treatments for cystic fibrosis, solved this challenge. In 2017, even though Vertex was performing better than the industry averages, the company was experiencing similar issues as many of its peers – i.e., external data source integration and compatibility issues, slow, manual handoffs, duplicate data entry at sites, excessive rounds of UAT checks, and longer database lock times than they liked. So, the company challenged itself to shorten key timelines. The results include a 40% reduction in time to build a database and a 31% reduction in time to lock study data.


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Jan 27, 2023 Event
Setsubun Festivals at Dazaifu Tenmangu Shrine
Setsubun is a festival celebrated on February 3, the traditional end of winter and beginning of spring. Across the country, homes and shrines are cleaned to sweep out bad luck and ...
Dec 19, 2022 Event
Dazaifu Tenmangu – New Year's Fire Festival
The Onisube Shinji festival takes place at the beginning of each year inside the grounds of Dazaifu Tenmangu. The event, recognized as one of Japan's three main fire festivals, wel...
Nov 25, 2022 Local News
Dazaifu Tenmangu Shrine to Undergo Major Renovation
Dazaifu Tenmangu Shrine will undergo a major renovation in 2023, and the shrine's main hall will be under construction from next spring. On November 22, a completed drawing of the ...
Nov 4, 2022 Now Reports
Fukuoka Autumn Leaves Guide 2022
Koyo refers to the changing autumn colors of deciduous trees in Japan. Leaves turn spectacular shades of red, yellow and brown - depending on species - before falling to the ground...
Sep 30, 2022 Event
THE FLOWER BOX EXHIBITION IN DAZAIFU – A world of art through the flower box –
The invention of the flower box in year 2000 by flower artist Nicolai Bergmann is now a staple gift choice, a creation seen as a pivotal point in the development of flower art. Nic...
Jul 19, 2022 Local News
Dazaifu City Raises 8.58 Million Yen for Students From The Ukraine
Dazaifu City donated ¥8.58 million to support Ukrainian exchange students at the Japan University of Economics. The fund, which was raised through a crowdfunding project and donati...
May 19, 2022 Local News
Flying Plum Tree of Dazaifu Bears Five-Year Record Bounty of Fruit
On the 18th, a ritual of harvesting the fruit of the sacred Tobiume (flying plum tree) at Dazaifu Tenmangu Shrine was held. As the tree branches were shaken by a 3.5-meter-long gre...
May 12, 2022 Event
Tobiume Picking Ritual at Dazaifu Tenmangu Shrine
The ritual consists of collecting plums from the "Tobiume (flying plum tree)," which is said to have flown overnight from Kyoto in honor of Sugawara Michizane, the deity of Dazaifu...
Dazaifu Tenmangu Art Program vol.11 Mika Tajima "Appear"
To "Appear" means to become visible and to be perceived, or to be made clear by evidence. In the Eleventh Dazaifu Tenmangu Art Program, the latest installment in a series that bega...
Mar 16, 2022 Local News
University in Dazaifu To Provide 70 Students From Ukraine with Free Education
The Japan University of Economics announced that it would accept 70 Kyiv National Linguistic University students. The university will invite Japanese-language learners from Ukraine...

redpajama_set_name: RedPajamaCommonCrawl


The body of a Class 8 student, who had been missing for a day, was found hanging from a tree in a village in Muzaffarnagar district of Uttar Pradesh today, police said.
Police said they suspect the girl was raped and then killed in Majlispur Tofir village.
According to girl's family, she had gone to relive herself on Thursday morning and did not return.
An investigation is on, police said.


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History Professor Studies Ancient Graffiti in Israel
Professor Karen B. Stern's research helps historians paint a more complete picture of the ancient world.
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For Karen B. Stern, making her way through the ancient tunnels and caves of ancient mortuary complexes in Israel is all in an ordinary day's research. Her goal is to find and study carvings—pictures and texts—inscribed at the burial sites, carvings that the history professor calls graffiti, because unlike epitaphs, the inscriptions were made after the tombs or monuments were finished. Some of these carvings date back more than 2,000 years. Many are crudely executed. Still, they are no less important to the field of archeology.
Considered, until recently, a form of defacement or desecration, the graffiti in mortuary complexes were part of a more acceptable and widespread cultural practice than archaeologists originally suspected, contends Stern, who obtained her Ph.D. in religious studies from Brown University in 2008.
Karen B. Stern, professor of religious studies at the Brooklyn College history department.
Stern ready to climb down a cliff to access the Beth Shearim necropolis, located near Haifa, Israel.
Entering one of the chambers in one of Beth Shearim's burial caves, a complex that contains hundreds of burials from Roman Palestine and its surroundings.
Graffito in Greek above an arcosolium (arched recess used as a place of entombment) in catacomb 13 of Beth Shearim: 'Whoever changes this her place [the body of the woman buried in the grave below]; he who revives the dead will judge [him].'
Graffito of a man in Beth Shearim.
Graffito of a menorah in Beth Shearim.
Stern and Dr. Avner Ecker of the Hebrew University of Jerusalem find some graffiti in a Beth Shearim cave.
Stern with Dr. Emma Maayan Dror from the University of Haifa looking for graffiti in Beth Shearim.
Stern taking a break after crawling through caves at Beth Shearim.
"Had they been considered a defacement by the people of that era they could've been easily removed," says Stern.
Instead they went untouched, leaving to posterity dedications that memorialize the dead, curses inscribed as warning to people who wanted to pillage or desecrate tombs, and even the names of rabbis mentioned in both Jewish and early Christian writings.
While her interest was originally sparked by graffiti found at the synagogue discovered at the Roman outpost of Dura-Europos in today's Syria, Stern, who has received a 2014 grant from the National Endowment for the Humanities—has done much of her research at Beth She'arim, a vast necropolis carved in the hills near Haifa, in northwest Israel. Its subterranean chambers, once accessed by steps and pathways, contain hundreds of burials from Roman Palestine and its surroundings.
Only one-third of the complex network of caves dating back to the second century B.C.E. has been explored, says Stern, who has also participated in archaeological excavations in Petra (Jordan) and Greece. And though nearly every tomb has been robbed, the graffiti remain largely untouched.
"The people who made these graffiti were intent on leaving their personal imprint in burial caves, and this could provide insight as to how people in that era understood and commemorated death."
Mostly written in Greek, Hebrew, and Aramaic (the Levant's lingua franca of the first millennium B.C.E) the graffiti are frequently placed around door jams or ceilings of tombs, suggesting there was a functional component related to transitions.
"They are a deliberate vestige of veneration and commemoration," says Stern, who has received previous grants for the project from the Max Planck Institute, as well as from the PSC-CUNY (the CUNY faculty and staff union), the Tow faculty fund, and the Whiting Fellowship, which helped her purchase much of the equipment she needed to conduct her research.
Recently, she found graffiti in the Church of the Holy Sepulcher in Jerusalem, and in the Church of the Nativity in Bethlehem, which she visited with a reporter for the British Guardian and CCTV, the Chinese news network.
"This just confirms that the use of graffiti is not only more extensive than previously thought but that it also cuts across cultural identities and time."
In large part thanks to her work, these graffiti are now a part of the historical record, "that will help us complete the picture we have of antiquity," says Stern, who will include her research in her forthcoming book, Writing on the Wall: Graffiti and the Forgotten Jews in Late Antiquity, to be released by the Princeton University Press.
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Eureka Entertainment have re-released some of the revered late-period works of Kenji Mizoguchi in duel-format, BD/DVD double-disc editions featuring two films each, all made by the master filmmaker after he began working for Daiei Studios during a period which has since become known as the second Golden Age of Japanese cinema, in the wake of the international acclaim accorded Kurosawa's "Rashomon in 1953. This material amounts to some of the most beautiful, elegantly crafted works of cinema ever made anywhere, let alone in Japan, where the competition was particularly stiff at the time, with the likes of Kurosawa, Ozu and Ichikawa all producing some of their greatest masterpieces within years of each other. The release under review features two of Mizoguchi's finest works from this period, of which, 1954's "Sanshô Dayû" ("Sansho the Baliff") is probably the most acclaimed, while the film downplayed as the disc's 'second feature', 1953's "Gion Bayashi" ("Gion Festival Music"), turns out to be an almost equally fascinating departure from the director's more usual feudal period settings, being a modern day account of the changing face of the world of the Geisha set during the American Occupation in the immediate post-war period. It's quite a shock, come the film's opening slow pan across the rooftops of Kyoto, with ancient mountains lining the valley in the distance, to suddenly notice the modern vehicles traversing the roadways!
Although the twelve films he made for Daiei near the end of his life are sometimes acclaimed as the crowning glories of his career, Mizoguchi often expressed dissatisfaction at the compromises he sometimes felt forced to make in the perpetual struggle to earn the right to express his artistic vision unmolested by commercial concerns. During a career in which the director was unusual for having worked for a great number of big studios before coming to rest at Daiei, where his producer friend Nagata Masaichi was now one of the company's top executives, Mizoguchi had often found himself forced to sacrifice his preference for formal experimentation in order to stay in work, especially during the war years when he was required to churn out propaganda films. But even in the 1950s the director still had to bow every now and then to commercial pressures from the studio executives, and Mizoguchi's attitude to "Gion Bayashi" seems to have been somewhat poisoned -- according to comments made for an interview he gave for Kinema Junpo around this period -- by certain changes to the storyline that were forced upon him by the casting of Daiei's new rising star of the moment, Ayako Wakao.
Based on Matsutarō Kawaguchi's source novel (the writer also co-wrote the film's screenplay with Yoshikata Yoda), "Gion Bayashi" was intended as an updated version of one of Mizoguchi's greatest films of the 1930s, "Sisters of Gion" (1936): an archetypal essay in the geisha house sub-genre, which critic Tony Rayns brackets -- rather sourly -- as being of a type that modern audiences would probably be tempted to place alongside such modern-day fare as "Memoirs of a Geisha", where-in the trials and tribulations of a young apprentice 'maiko' are documented as she struggles to make her way up the ladder of progress from callow newbie in need of strict formal training in the skills of her profession, to the seasoned pro who becomes much-tutored in the realities and the expectations of geisha clients who sometimes require a little more than just refined manners and social graces with their tea and entertainment.
In Mizoguchi's original version, the main character was to have been a tough, sometimes unlikable character, usurping the place of her patron and taking full advantage of an era in which the old customs and former traditions were being increasingly challenged by post-war economic realities, now developing under the westernising influence of the US backed occupation. But the film company was unwilling to let its new star appear in such an unsympathetic light, viewing such a story as being bad for the image it aimed to create for her as the 'New Face' of the studio. Instead, after their unwanted interference, Wakao's portrayal of young sixteen-year-old Eiko, becomes instead yet another icon of Mizoguchi's by now familiar theme of the oppression of women in a society constructed around apparently inescapable customs designated by strict patriarchy. Mizoguchi's films often venerate women in the most poetic terms for their efforts to forge a path through such thickets of social and economic traps, set up by men to ensnare them in the rituals of conditioning and tradition. Yet there is also frequently a sense of inevitability in his heroines' eventual decline, as the cards are stacked against any real escape and even the most well-meaning male figures in Mizoguchi films are often ultimately the cause of female suffering and neglect.
You won't find many sympathetic male characters inhabiting the world of "Gion Bayashi" though. The film takes a bitter-sweet look at the changing mores and roles of the age-old Japanese female profession, just as the balance of power between geisha and client is starting to be destabilised by the emergence of a consumerist model of society, founded in westernised democracy. On the one hand this new world provides young Japanese women such as Eiko, for the first time, with the expectation of being allowed to shape their own path in life in a more fluid and dynamic changing post-war society, as opposed to resignation to the submissive role which historically defined their persons through traditional geisha culture, as it had been practiced and maintained for centuries previously; on the other hand, though, the traditional geisha could at least before have seized a certain amount of control over her own affairs and her interactions with clients by gaining herself a good reputation in the practice of her profession in what was, after all, an all-female matriarchal subgroup -- running the Gion pleasure districts through its networks of 'ochaya', or teahouses -- and thus becoming much sought after for her skills as specialised provider of refined arts and entertainment forms, and a performer of elaborately ritualised gesture and ceremony etc. With such exclusivity there also comes the ability to pick and choose when and whether one might deign to accept an offer to sleep with a particular client, for example; and such a proposition could (in theory) quite easily be turned down. But, as we see in the film, a consumerist model starts to undermine such arrangements; the old skills start to carry less weight and importance as unadorned prostitution becomes a more common and, subsequently, an expected part of the transaction between geisha and client.
"Gion Bayashi" charts these complex changes through the melodrama which engulfs Eiko (Wakao) and her patron Miyoharu (Michiyo Kogure), a senior geisha and former friend of Eiko's dead mother, who in life was also a much admired geisha around the Gion district. Eiko's uncle has tried to obtain sexual favours from the sixteen-year-old as recompense for paying her mother's funeral expenses, so the girl has run away and turns up on Miyoharu's doorstep begging to be admitted to her mother's best friend's okiya as her apprentice -- 'maiko' -- geisha.
Having been unable to prevail upon Eiko's louche failed businessman father to cover the cost of the year-long training this will entail by becoming Eiko's guarantor, Miyoharu feels nevertheless honour bound to do everything possible to save the girl from falling into prostitution at her sleazy uncle's behest. Accordingly, she enrols her in the necessary classes needed in order for Eiko to learn all the traditional arts of the geisha -- from the arcane social graces and the musical, dance, and flower arranging skills, to the traditional Japanese tea ceremony of the ochaya. However, the cost of all this, and the ensuing arrangements for her ceremonial debut -- a cheery ritual in which the elaborately dressed and decorated young geisha (who has now been given a special 'geisha alias' of Miyoei, by which she will henceforth be known to her clients) is taken on a tour of the teahouses of the pleasure districts of Kyoto and formally introduced at each one – require Miyoharu to cover their costs by appealing to her own Okā-san -- Madam Okimi -- for a loan. This financial necessity on the part of Miyoharu is the first brick in an edifice of mutual financial and social dependencies which eventually lead the much respected Miyoharu into exactly the same position of sexual subservience she's been struggling to save Eiko from in rescuing her from her uncle's advances.
The calculating Madam Okimi (Chieko Naniwa) is in cahoots with a powerful and influential regular customer at her teahouse establishment, Mr Kusuda (Seizaburō Kawazu) – a middle-aged businessman who has already taken rather too keen an interest in the young debutante under Miyoharu's patronage by getting her drunk during her induction. Kusada and a business associate are regaling upon a bright young businessman by the name of Kanzaki (Kanji Koshiba), who has a penchant for geisha girls and is about to be made the director of a prosperous company, leaving him in an ideal position to be able to furnish Kusada and his friend's company with a lucrative contract they are attempting to obtain through favours. Unfortunately for Miyoharu, Kanzaki is previously known to her as a troublesome former client who, a year previously, had been unable to pay the fee for her services and had to be unceremoniously booted out of her okiya after a clumsy attempt to assault her for turning down and mocking his romantic overtures. When it is revealed that Miyoharu's debt to Okimi is really a displaced one owed to Kusuda – for it is from him that Madam Okimi obtained the money to pay for Eiko/Miyoei's training and induction – and that Kusuda's ultimate aim is to become Eiko's exclusive patron (which will 'entitle' him to all the little 'perks' such a position inevitably suggests), the trap is sprung and is revealed slowly closing upon both women.
Subsequently, a train trip to Tokyo for a music festival, organised by Kusuda for the entire group and only very reluctantly agreed to by Miyoharu, reveals to Eiko just what her 'patron' expects of her, while a horrified Miyoharu also finds herself obligated -- because of her un-payable debt to Kusuda -- to facilitate the wishes of the businessman Kanzaki, who remembers her from their first encounter and is becoming increasingly sexually obsessed with her. This is a film, then, about the attempts of self-sufficient women to empower themselves by co-opting those traditions of patriarchy one might normally think of as limiting their capacity for self-determination, but then finding that the society which is newly emerging from the shadow of the second world war is, ironically, forcing them back into sexual submissiveness, due to the pervasive influence of money brought about by the 'democratisation' of their profession.
Mizoguchi's original intent of documenting geisha being set against geisha, as the younger woman protagonist adapts to the new order and usurps the position and clients of her benefactor, has all but vanished thanks to the studio's insistence on presenting their young star Ayako Wakao, who plays Eiko, with a positive image. There are still remnants of that previous intent though in Eiko's drunken mocking of Miyoharu's 'old-fashioned' values, in a scene which takes place after they return from Kusuda's wining and dining on the night of her induction; and of course Madam Okimi's ruthless pursuit of the financial largesse of rich clients such as Kusuda at the expense of the young geisha and even her former student (Miyoharu) emphasises how this changing climate also upsets the matriarchal status quo, while at the same time maintaining the two leads as venerated examples of genuine feminine virtue and innocence. The way in which the other young geishas in the film are encouraged to prostitute themselves to rich clients in order to procure financial security bubbles away in the background even during Eiko's apprenticeship, as she encounters others among her class who have been told by Madam Okimi to, for example, sleep with an elderly rich client purely for the purpose of obtaining his patronage. When Eiko attempts to rebel, Okimi completely ignores the etiquette of the pleasure districts and uses her influence to have Miyoharu and Eiko's okiya blackballed by the business community, plunging them into poverty through an inability to obtain clients.
While the heroines remain pure of heart (if not of body), the males are generally a lousy lot to a man: Eitarô Shindô gives a marvellous performance as Eiko's feckless businessman father (a role that evokes Mizoguchi's childhood hatred of his own father, whose business failings plunged the family into poverty and forced Mizoguchi's sister into the adoption market), smilingly dismissive when begged for help to rescue Eiko from her uncle's advances, ingratiating and cloying when he insists, after discovering his daughter has become successful as a geisha, that he deserves to benefit financially from her good fortune. Kusuda is also particularly loathsome in the manner in which he uses his wealth to exploit the women under his control in Madam Okimi's teahouse. Kusuda clearly likes young girls and the way in which he indulges in childlike games with many of the young geisha in Okimi's establishment cannot but help conjure up unsavoury speculations about the precise nature of his interests in them.
The themes of the film are perhaps best encapsulated by the way in which the relationship between Miyoharu and Kanzaki develops across its 83 minutes. Circumstance conspires to place the older and once respected geisha in the same position by the end of the film as her young charge was shown threatened with at the start of it. When Eiko first turned up at her door begging for help, Miyoharu was just in the process of removing Kanzaki from her premises: he had no money to pay her, and it was clearly she who was in control of the situation despite Kanzaki's attempts to manhandle her (which were considered disgraceful and shaming by her servants). But by the end of the film, the power balance has completely reversed and Miyoharu must prostitute herself to Kanzaki in order to save Eiko being handed on to Kusuda. Perhaps the ultimate irony in all this, though, comes during the scene in which Kanzaki finally gets to have his way with the noble Miyoharu, and reveals that it was her dismissive attitude towards him a year previously when he couldn't pay her, that drove him on to make a financial success of himself: 'you made me like this!' he claims.
Mizoguchi uses deep focus photography and often places his cameras low down among the narrow lanes and passageways of the Gion pleasure district to create perspective shots that leave the impression of an impenetrable warren of constricting buildings and which feel like looming prison walls, closing in around the dainty white-faced geisha who live and work among them. Music is used remarkably sparingly and when Ichirô Saitô's score does intrude it is largely diegetic in origin. One might pick fault with the overly simplistic characterisations forced on Mizoguchi by the studio, but the director's unerring subtly and the cinematic grace with which he goes about bringing the tale to the screen -- with long takes and exquisitely composed shots -- largely recompenses the viewer for such compromises,and highlights affecting performances from all the cast, particularly Michiyo Kogure.
The film that gets top-billing, if you like, on this release is Mizoguchi's next work, "Sanshō Dayū", released in 1954. Having fulfilled his obligation to the studio, which favoured films like "Gion Bayashi" with a contemporary setting in order to attract young people to the cinema, the director was once again returning to his favoured historical period drama subject matter, which, ironically enough, was the kind of film more likely to earn him acclaim on the international stage, despite there being a resistance in modern Japan to stories that harked back to the old feudal period it was now trying to replace with an American-imported form of modern democracy. "Sanshō Dayū" is based on a version of an ancient Japanese folkloric fable, written in 1911 by novelist Mori Ogai, although Tony Rayns recounts amusingly on the accompanying video talk for this film, that Mizoguchi was horrified to discover that the original draft of the script (which followed the story pretty closely) had children as its main protagonists throughout, since Mizoguchi apparently absolutely hated children! The director turned once again to his long-time collaborator Yoshikata Yoda to redraft the script so that the children get to grow up in the second half of the film!
Although Mizoguchi does not draw on the formalism of his famed 'one scene, one cut' aesthetic here, the film does nonetheless provoke the qualities of a poetic elegiac tragedy, similar to that of "Ugetsu". There are long single shot takes that establish absolutely breathtaking tableaux; scenic outdoor landscapes and studio-created exteriors are often blended seamlessly through the employment of the combination of talents encompassed in the work of Mizoguchi's regular cinematographer Kazuo Miyagawa, the film's editor Mitsuzô Miyata and production designers Shozaburo Nakajima & Kisaku Ito. The general outlook suggested by the work, which derives from the old Buddhist fable on which the tale is based, is one of stoic acceptance of the suffering of life and the randomness inherent in the vagaries of fate. In this lost feudal world, unfairness is as pandemic as starvation: bad things routinely happen to good people and as a matter of course the cruel and unfeeling prosper and flourish at the expense of the gentle and the just. And yet the urge to dream of a better life dies hard; and sometimes tiny, brief moments of togetherness can be obtained if a spark of endurance can be nurtured in a twilight gloom of otherwise perpetual attrition of the spirit. This idea is pretty much what Mizoguchi succeeds in implying throughout this stunning film -- one of the very best from his late career, made just two years before the director's death.
The story takes place in the harsh world of 10th Century feudal Japan during the Heian period, when the Imperial Capital was based in Kyoto and the country divided between Government owned regions of land and the private estates that existed outside their jurisdiction -- ruled by feudal lords who employed their own stewards (or bailiffs) in their manors to oversee the poor, low caste peasant populations that do all the work there. Mizoguchi establishes a wistful dreamlike air of regret through the simple expediency of telling the first act of the tale in the form of a series of vignettes that represent the memories of the wife of the aristocratic former governor of the Kyoto region as she thinks back to earlier times during a long journey with her family, taken by foot through stunning landscape, in order to re-join her husband a number of years after his enforced exile in the far-off land of Tsukushi.
Taira Masauji (Masao Shimizu) was once a fair and noble Governor, much loved by the poor peasants who worked the land during a time of famine and great hardship. However, Masauji was ousted by influential men in the military for refusing to sanction higher taxes on rice to pay for the army's unending campaigns, and for vetoing the conscription of more peasant men for the war. The parents of Masauji's wife feel betrayed and shamed by his sudden fall from grace, and so before he leaves for the land of his exile, Masauji tells his wife Tamaki (Kinuyo Tanaka) to take their two children – infant son Zushio (Masahiko Tsugawa) and baby daughter Anju – back to her parents prefecture; but not before he has taught his son the noble, gentle philosophy by which he has sought to life his life, and which is summed up by the aphorism 'without mercy, man is but a beast'. The humane ruler gives his tiny son a family heirloom of remembrance, handed down through the generations – a gold statuette of the goddess of mercy, Kwannon -- and he impresses on the boy the importance of keeping it about his person at all times, until they meet again.
As mentioned, Tamaki is recalling this episode from many years previously as she and her two young children and an elderly female servant slowly traverse a scenic landscape which Mizoguchi shoots as a series of evocative painterly backdrops to the mother's mournful ruminations, captured with dazzling, majestic crane shots in which beauty and sadness walk side-by-side. The story then briefly takes a turn which, to western eyes, feels like Gothic fairy tale horror: in the woods, the quartet meet a local woman who warns that bandits and slave traders roam the area and that lodging houses have been banned from taking guests because a number of these rogues have been posing as travellers and attacking local people. Tamaki is forced to set up a camp for the night out in the woods, but her luck seems to have taken a turn for the better when an elderly Shinto priestess stumbles upon the group and offers everybody shelter and warm gruel at her nearby abode. The helpful old woman even organises the boat trip that will be needed in order for them to reach Tsukushi safely.
However, the serene, dreamlike atmospherics are about to be interrupted by brutal reality: the priestess has secretly already sold them all to these boatmen -- who are really nothing but a duo of violent and brutish slave traders. The family group is separated and forced onto different boats, their servant is dumped overboard and Tamaki transported to Sado Island where she will be forced to work as a prostitute; the two children are eventually sold on, in the province of Tango, to a feudal manor overseen by the cruel and tyrannical Sansho (Eitaro Shindo), a toad-like, completely bald but white-whiskered overlord, who runs the estate like a labour camp.
We get only brief updates from now on informing us of the sad fate of Tamaki, who is eventually cruelly rendered lame for trying to escape once too often from her life as an impoverished courtesan; instead Mizoguchi concentrates on portraying the bleak world of back-breaking labour under conditions of stark privation which are to be endured by Zuzhio and Anju under Sansho's unforgiving yoke – a life of brutalisation, starvation and exhaustion, where the sick are taken out and left to die when they are of no further use to the estate, and even the most minor transgression is likely to be paid for at the mercy of the branding iron. There seems no hope of ever escaping or being rescued from this life of torture: when a Government official comes to inspect Sansho's methods, he expresses only delight at how the steward has been able to bring in more tribute than any other estate. Indeed, the tyrant is rewarded with a trip to the capital and the inspector is keen to learn from him so that his methods can be tried elsewhere! Just as a supposedly trustworthy priestess is revealed to be someone wholly given over to selfishness and uncaring greed, so it also appears that there is no recompense to be expected from the authorities either.
The one chink of light is Sansho's son and second-in-command, Taro (Akitake Kono). The sensitive young man, disgusted by his father's cruelty, takes pity on the two children and finds out about their aristocratic birth and about their wise father's credo – a man is not a human being if he is without mercy. These words shame the powerless Taro for his part in the injustice being perpetrated by his family, but he can only try to encourage the youngsters to endure this world for a few years more, although he aids them by giving them new names (the two have previously kept their birth names secret) that do not reveal their family's aristocratic origins. Zushio becomes Mutsu, named after his place of birth, while sister Anju becomes Shinobu, which means endurance.
The rest of the film becomes about how people learn to survive spiritually through the physical pain and hardship in a transient life. One of the most moving and emblematic moments comes when a despairing Shinobu, unable to find any trace of the existence of her now barely-remembered mother from interviewing a newly arrived slave girl from Sado Island, one day hears her singing a mournful folk song to herself about the tortures of life, which is clearly a reconstruction in song of the story of Shinobu's family and their separation from each other, which even mentions both herself and her brother by their now half-forgotten original names! The slave girl tells Shinobu that slaves have always sung this song on Sado Island to lift their spirits, but that no one remembers from where it came. This becomes the trace of their long-lost parents that ignites the spark of hope which eventually brings Mutsu back from his embattlement in darkness and cynicism; this new hope of reuniting himself and his sister with their mother gives him the courage to attempt an escape when charged with the routine dumping of a dying peasant woman's body in a nearby, symbolically overgrown and neglected, Buddhist graveyard.
Even this development is laced with a bitter legacy though. To avoid giving away under torture her runaway brother's intended destination of a nearby Imperial temple, Shinobu voluntarily gives up her life in the most low-key and poetic of images: silently wandering into a still lake and disappearing beneath the surface of the water in a manner that surely must have been noted by Wes Craven when he used a similar visual motif during "The Last House on the Left". The rest of the film takes the winding course of all good folklore, dealing in great twists of fortune, serendipitous reunions and heartbreaking tragedy. Unaware of his sister's fate, Mutsu does actually manage to escape and, aided by good fortune, to rise in status once again and assume his now long-dead father's former position as state Governor of the very region in which Sansho's estate happens to be situated. What happens next is charged with a perfectly elaborated low-key mix of poetry, tragedy and pathos. Mutsu's rise in status brings about his nemesis Sansho's fall, in a manner that parallels that of Mutsu's own father; and yet there is little to celebrate -- these events have come at the cost of the lives of both Mutsu's father and his beloved sister. The film ends with one of the most heart-breaking bittersweet images in all of cinema as the grown-up son looks for his mother among the garishly painted faces of the middle-aged courtesans inhabiting the apparently otherwise desolate Sado island, having given up his position as Governor in order to come here to find his remaining parent and hand her the statuette, given to him by his father as an infant a lifetime ago.
The duel-disc Masters of Cinema release of these two great masterpieces presents a Blu-ray version featuring both films, and DVD copies of each. "Sanshō Dayū" looks simply superb in HD. The transfer is immaculate, rich in new detail and perfectly balanced in its blacks and grey tones. It's a real boon to have a film so rich in period detail -- from perfect reconstructions of Heian period aristocratic costume to gorgeous set design and lighting schemas -- so perfectly presented, especially since the film is one of Mizoguchi's most ravishing to look at; every still could make an excellent painter's composition. The same is not really true of "Gion Bayashi" which comes from a print that is quite soft and battered-looking, although it only really disappoints in comparison to the glorious reproduction of the film it happens to be partnered with. Extras consist of two video talks by Mizoguchi expert Tony Rayns (12 minutes and 29 minutes respectively) in which the critic examines the context in which the films were made and how they relate to Mizoguchi's own biography, in particular, his own relationship with and attitude towards prostitutes and prostitution. We have the theatrical trailer for "Gion Bayashi" and a fascinating but all too brief teaser trailer for the same film, in which Mizoguchi is shown behind the scenes, interacting with his cast. The package will also contain a booklet of rare archival imagery and the full text reproduction of the 1915 story by Mori Ogai that provides the basis for "Sanshō Dayū". It's a toss-up between "Ugetsu Monogatari" and "Sanshō Dayū" as to which of Mizoguchi's late period films is his greatest masterpiece, but the latter certainly wins hands down when it comes to HD presentation. This is a perfect release of a stunningly perfect film.


_The Prince of Peace_. 12mo, boards....60c.
_Messages for the Times_. 12mo, boards, each....35c.
enlarges upon the present-day breaches of the First Commandment.
of this great principle has never been more understandingly set forth.
aims and ideals of righteous government.
followed if the crown of manhood is to be attained.
REV. DAVID JAMES BURRELL, D.D., LL.D.
SIR WILLIAM M. RAMSAY, D.D., LL.D.
REV. PROF. JAMES STALKER, D.D.
REV. HARRIS E. KIRK, D.D.
PROF. C. ALPHONSO SMITH, PH.D., LL.D.
REV. PROF. J. GRESHAM MACHEN, D.D.
The tenth series is presented in this volume.
transmitting these principles to others.
the Sunday School and Christian friends during these trying days.
Christ and the need of a Saviour.
in grace and in the knowledge of God.
acceptable in thy sight, O Lord, my strength, and my redeemer."
III. WHAT THINK YE OF CHRIST?
government, between man and society, and between man and his Maker.
compels belief in a Law Giver.
ignorance than to defend atheism.
ask a second one until he answers my first.
Christian to have a beginning point for his philosophy.
behold the civilization that man has wrought.
when a human heart reaches out and links itself to every other heart.
understand the egg, but we all like eggs.
know that it is so.
without worrying about the mystery in them.
the bosom of the earth?
you will find just two questions in it: _Can_ God perform a miracle?
overcomes the law of gravitation when he lifts a stone?
not have time to worry about the things that we do _not_ understand.
To build a world for unbelief."
by a force not only superhuman but beyond the power of man to conceive.
fruitful nut-tree and the graceful palm.
the sweet association of the fireside, and He gives to all the friend.
breath should praise the Lord.
all spirits upward to His throne.
through the hearts and minds and tongues of His children.
of men and over the history of nations.
the Heavenly Father, and, by obedience, lays hold upon His promise.
walls that are stronger than the walls of stone.
his mind, and with _all_ his strength,--and to love he must believe.
of his being and dominates every impulse and energy of his life.
can lead one to communion with the Heavenly Father through prayer.
that he is a rewarder of them that diligently seek him."
afraid of evil tidings: his heart is fixed, trusting in the Lord" (Ps.
Like those who fell in battle here.
The blast of triumph o'er thy grave."
life by a surrender of their faith.
is filled with a heaven-born longing for souls.
Joseph gives us a splendid illustration of strength inspired by faith.
dungeon rather than surrender his integrity.
God--that he must restrain his power and respect the rights of others.
their victims may be to protect or avenge themselves.
totally different from that which is binding upon the individual.
His decrees can stay the arm of strength in individual or nation.
at home and abroad, is impossible without the spirit of brotherhood.
His followers, interest in the coming of God's kingdom stands first.
God's kingdom the uppermost thought in their minds throughout the day!
the universe he closes the door of hope upon himself.
the person wronged and have his littleness and selfishness laid bare.
again as I am sure that we live to-day.
this earthly frame has crumbled into dust.
or one tittle shall in no wise pass from the law, till all be fulfilled"
sufficient evidence of its inspiration.
make as good a book to-day.
from a source that is higher than man?
transportation methods of the world.
taken possession of the air.
illumination from the sun and carries our messages around the globe.
produce a book worthy to take the Bible's place.
splendour announces that noon is here?
the Holy Ghost" (2 Peter 1:21).
can he know them, because they are spiritually discerned (1 Cor.
irresistibly to the open mind.
at a time, until it is only a speck and then--invisible.
the throne of God and takes hold of verities that the mind cannot grasp.
longer the Book of books: it is simply "a scrap of paper."
the supernatural. He is a doubter and spreads doubts.
Professor Reeve, in a strong article in Volume 3 of "Fundamentals"
in the theoretical, not in the religious; in reason, not in faith.
advice for such a man."
to an extent, well fitted to cause anxiety for the future."
preaching, became a professor in a theological seminary in Japan. Dr.
again with a clear and firm belief in the old-fashioned gospel"
("The Three-Hour Sermon," page 8).
of trying to make breaches in the wall."
prodigal son come back so suddenly after going away so deliberately.
makes both possible; and the proof is sufficient to establish both.
with tears, Lord, I believe; help thou mine unbelief."
critics would make it, is impotent to save.
still lives, and His Book is still precious to His children.
one has been able to overthrow it, or burrow under it or go around it.
happiness of the individual and his service to society.
a king (1 Sam. 8: 11, 17).
enormous sins, he is described as "a man after God's own heart."
ripe for overthrow, the taskmaster's demand for "bricks without straw"
gives the final impulse and opens the way.
music and an integrity that even Satan himself could not corrupt.
hosts who remained loyal even when the conspicuous became faint-hearted.
twenty-five centuries have not disturbed.
Mighty God, The Everlasting Father, The Prince of Peace."
against nations or learn war any more.
remorse that life becomes unbearable.
follower. In Paul, we see a giant intellect aflame with a holy zeal.
Christians the full gospel equipment.
be barren nor unfruitful in the knowledge of our Lord Jesus Christ.
perseverance and supplication for all saints.
unto the heavenly vision." It was the key to his whole life.
him to appreciate love and to define it as no other mortal has done.
Corinthians, is not approached by any other utterance on this subject.
few of the word pictures that have inspired the artist's brush.
Christ--tragedy of tragedies, triumph of triumphs!
two opposing forces that have ever contended for dominion in the world.
and supplies a working plan to each human being.
assurances of the present and our hopes for the future.
verse, "In the beginning God created the heavens and the earth,"
that can be so easily understood, explained and defended.
disease or death; and yet, he is supreme above all other things.
put within the reach of man.
act, by each individual who is confronted by the facts of His life.
question that I devote this hour to the inquiry.
away sorrowful: for he had great possessions.
but an honest person could such a story be told?
most mysterious in Israel--the eternal people whose child He was.
of a man labouring under a delusion as to his real character?
adopted by Carnegie Simpson in his book entitled, "The Fact of Christ."
denied. Christ lived; that is admitted. He taught; we have His words.
titles bestowed upon Him. No other explanations can account for Him.
to die rather than surrender the faith that He put into their hearts.
Him in any other way.
love the things they used to hate and hate the things they used to love.
Christ who can do that _now_ could have broken the bonds of the tomb.
in the heart of every believer. The three act in unison.
monkey is a degenerate man as that man is an improved monkey.
sight of the throne of God.
finite mind can comprehend the plan of the Infinite.
when his spiritual life departs the mind as well as the body rots.
because the story of Jesus is a natural one that it has touched mankind.
righteousness, and sanctification and redemption."
But we have higher authority still--we have the words of Christ Himself.
being "shed for many for the remission of sins."
deal whether we understand them or not.
upon the brink of sin?
constantly of that which refreshes and invigorates and asks for nothing.
imagining the life and character revealed in the Gospels?"
oppressors--a fact which Christ explains in a word.
good for us will come in due time.
application to all time becomes more and more manifest.
age; parental authority could no longer be exerted for his protection.
hearts than any sermon delivered since the song was written in 1877.
on a hill and to the light that illumines the entire house.
are to be given the earth for their inheritance.
The mourners are to be comforted and the merciful are to obtain mercy.
honourable of appellations, the children of God.
come between man and his Maker.
not that thy whole body should be cast into hell (Matt. 3: 29).


This Saturday at 8 a.m., all students and parents of David Emanuel Academy (DEA) are invited to participate in a campus work day. Gloves, yard equipment, and power tools will need to be brought with those in attendance. Lunch will be provided.


text:
Томоки Ивата (; 7. април 1997) јапански је фудбалер.

Репрезентација
За репрезентацију Јапана дебитовао је 2019. године. За национални тим одиграо је 2 утакмице.

Статистика

Спољашње везе

Рођени 1997.
Јапански фудбалери
Фудбалери ФК Јокохама Ф. маринос
Одбрамбени играчи у фудбалу

redpajama_set_name: RedPajamaWikipedia


Many people find that helping others helps them to deal with their depression. An example that often comes up is feeding homeless people. While this is good advice, try to get involved in an already existing project and don't take on more than is emotionally sustainable for you. Also, try not to make it explicitly political. The idea here is to help others, not turn it into a political project. While giving out food for the evangelical church down the road is probably not the best idea, there are lots of liberal community groups one can get involved with. There are plenty of other options, too: after-school programs, libraries, support work and advocacy, litter removal, volunteering at a hospice or hospital, work with ex-convicts, etc. As always, if you feel community work is causing more stress than it's alleviating, scale back your involvement.
Anecdotal as well as clinical research often claims that exercise is just as, if not more, effective than anti-depressants. The problem, however, is taking that initial step to get started. Sometimes it's helpful to find a friend and sign-up to a course together. Alternatively, make yourself a schedule, selecting a specific time to go for a walk, ride a bike, lift weights, or play basketball.
While we think it's always important to have activities outside of politics, there are many possibilities to integrate exercise into your political life. Many organisations offer self-defense courses, for example. If that's not your forté, you can start a regular exercise session within your political group or trade union. And it doesn't have to be super formal either—a weekly pick-up game of basketball or football/soccer in the park is fine, too. Finally, you could consider doing a charity run. It'll probably be liberal, but there are plenty of at least partially worthy causes out there which might help to motivate you to get out there and train.
While there's nothing inherently wrong with drugs and alcohol in a broad sense, understanding how they affect you and your mental health is a really important part of managing your emotional state. If alcohol tends to make you depressed or upset (either while drinking or afterward), avoid it.
Similarly, psycho-active drugs like ecstasy or acid can have a negative effect on your mental state. And downers (certainly opiates) are probably not a good idea. But, of course, this can go either way. Everyone reacts differently to drugs. Everyone finds their different ways of coping. The key is to be aware and conscious of the effect drugs have on your body and your mental state. Many people report that, when used proportionately, alcohol or marijuana can help them relax at the end of the day. However, if you're finding you can't get through the day without it or if your recreational drug use is exacerbating your depression, it's probably best avoided.
Finally, we again wish to emphasize that this pamphlet is not a substitute for professional help. While mental health workers have contributed in the writing process, we don't claim to have the expertise to speak definitively on the above issues. As always, if your depression is severe or you're thinking of hurting yourself, speak to someone ASAP.


I guess even Oscar winning actors like Philip Seymour Hoffman want to be part of guaranteed box office success sometimes. EW.com reports that Hoffman - who I love - has signed on to The Hunger Games: Catching Fire, as Plutarch Heavensbee. Heavensbee is the politically crafty Head Gamemaker who oversees the 75th Annual Hunger Games.
According to EW, "Hoffman is the first new actor to officially join the wildly popular franchise, alongside stars Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Woody Harrelson, Lenny Kravitz, Elizabeth Banks, and Donald Sutherland. EW didn't mention Stanley Tucci - I hope he'll be back. I'm sure this Hunger Games will be just as fun and campy as number one but with actors like Hoffman, Sutherland, Tucci, Harrelson along for the ride...just think what they could do with a really well written script. I hate to be pessimistic but the chances of that happening aren't that good. They'll want to repeat the formula but will be overly comfortable because of the huge built in fan base not just of the book, but of the first movie which was a phenom!
Actress Jena Malone has reportedly signed up to play tribute Johanna Mason — EW first reported that Malone was in the running for the role — but Lionsgate has yet to confirm that casting." Lionsgate may not have confirmed but it's on IMDB so I bet she's a go. She's not a name yet but take a look at her picture and I bet you'll react as I did. 'Oh yeah, I've seen her." She's been working quite a while and there's something quirky and really memorable about her face. Which should serve her well because she is going to play the lead in a film called The Lonely Hunter. She'll be playing Carson McCullers. The film is about Southern writer Mccullers - who wrote The Heart is a Lonely Hunter and Member of the Wedding - and her tumultuous marriages to the same man, her friendship with literary icons like Truman Capote and Tennessee Williams. What a role! Forget Hunger Games ... I can't wait for this one!
The Hunger Games: Catching Fire begins as Katniss Everdeen has returned home safe after winning the 74th Annual Hunger Games along with fellow tribute Peeta Mellark. Winning means that they must turn around and leave their family and close friends, embarking on a "Victor's Tour" of the districts. Along the way Katniss senses that a rebellion is simmering, but the Capitol is still very much in control as President Snow prepares the 75th Annual Hunger Games (The Quarter Quell) — a competition that could change Panem forever.
I haven't seen or read The Hunger Games, but Philip Seymour Hoffman is one of my favorite actors of all time, so maybe his presence will initiate me into this franchise!
I enjoyed the Hunger Games, both the book and the movie. I will probably read the second one closer to the film's release but no great rush. A quick, short lived bout of escapist fare.
Oh, and P.S. -- your recent comment on my blog inspired me to disable my word-number verification thingie.
I know -- those things really do annoy me.


Don't you just want to curl up in this room? I love the mellow colors, the various seating arrangements, especially that conversation sofa, and the warmth of the space. No surprise that LUXE magazine also loved it enough to publish it and it's designer, Marianne Simon, earlier this year.
Marianne and I met years ago at Blogfest, hosted by Kravet, and have remained in touch. She was another of the special friends that I got to see and spend time with during my time in Seattle. She began her own design firm, Marianne Simon Design, ten years ago and hasn't looked back.
Doesn't Marianne have a knack for really gorgeous, but equally livable interiors?
I think that's one of the things I appreciate the most about her work. I'd actually like to live there!
I must admit that I would actually love to move right in to any of Marianne Simon's Spaces. They exude such a lovely all is calm environ. Nothing too trendy or out of place and everything has that "just right" about it.
Thanks for sharing such a wonderful trip!
Got to meet Marianne for lunch one day while she visited NY and she is a doll…a very talented doll:) So happy to see her work being recognized, it is beautiful and everything is as livable as it is beautiful and elegant.


12 Blessed is the one who perseveres under trial because, having stood the test, that person will receive the crown of life that the Lord has promised to those who love him (NIV).
Don't give up! Don't throw in the towel! I know that it gets challenging sometimes. Burdens become too much to bear, but just hold on because you are closer to your breakthrough. You are not going to breakdown, but breakthrough!
Wait on God and trust Him for deliverance!
Father, we declare and decree that we will not breakdown, but breakthrough! God is our refuge! We are going to wait on You because we are closing than we think. We are victorious and not victims. We are the head and not the tail. We are the lenders and not the borrowers. Father, You are our strength and portion. So we say Thank You!


Is cashflow modelling the key to turning us into financial planners?
In last month's blog I considered whether we are an industry or a profession.
I argued that for many the journey from adviser to planner is already well underway, while an increasing number have already arrived at their destination. That shift from advising on products, tax and investments to a more strategic approach, based on sound financial planning principles, has occurred partly due to the wider adoption of cashflow modelling tools.
Before I continue, let me make it clear that I'm aware of the sensitivities around the term: "cashflow modelling". I know many planners prefer alternatives. However, for clarity I am of course referring to software such as Truth, Voyant and CashCalc, and for the sake of brevity, I'll continue to use cashflow modelling for the remainder of this article.
In many ways, the introduction of RDR followed a few years later by Pension Freedoms made the wider adoption of cashflow modelling, and the move toward financial planning, inevitable. They are of course the two pillars which hold up your client's financial future; both are equally important and without them, your client's future will be less assured.
Naturally, there are opposing views (when was it ever any different in our profession?) and there are those who dismiss the need for cashflow modelling. Many cite the fact client circumstances constantly change and financial plans consequently become quickly outdated. Others believe their clients are too wealthy, or too poor, and don't need cashflow modelling. These are all valid points of view, which I respect, but nevertheless disagree with.
• Are we on-track to achieve our targets?
• How would potential threats affect our plans?
• Which areas of our business are performing well, and where could improvements be made?
To answer those questions, I have a wealth of information at my disposal, including strategies, plans and financial forecasts. Why should it be any different for my personal finances? It isn't, and nor should it be for most consumers.
Cashflow modelling doesn't have to be complex. In many respects the simpler the plan, the easier it is for clients to understand and stick to. However, it's a vital component of true and effective goals- based financial planning.
• It provides clarity on the progress they are making towards their goals. When they initially meet you, most clients will be in the dark about whether their current arrangements will meet their financial objectives. Cashflow modelling will answer that question.
• It allows for additional possibilities and scenarios, both positive and negative, to be tested and understood.
• It provides confidence and reassurance that their financial future is in safe hands.
• It allows them to visualise their financial future in the form of images and graphics, which are so important to those people who find interpreting sets of numbers and tables difficult.
• Help facilitate more meaningful, goals-based, conversations.
• Change the focus of review meetings from investment performance toward goals-based financial planning (as regular readers will know, we firmly believe that those advisers and planners who let go of their investment management, will take control of their business).
• Help you grow your business through increased referrals and recommendations as those clients who you help achieve their goals see the benefits of financial planning.
Of course, the transition to becoming a true financial planner is about much more than simply adopting cashflow modelling software.
It starts with a change of mindset (or at least a continuing evolution) from that of an adviser to a planner. Developing the necessary financial planning skills takes years. In fact, we should never stop learning and I'm not sure it can ever be perfected.
Then there's the practical stuff; changing advice and service propositions, migrating old clients, training staff, updating your marketing strategy and proposition…all these things take time and effort.
The pay off though is massive; more clients will achieve their ambitions, your business will be stronger and your own job satisfaction may well improve too.
So, back to the original question; is cashflow modelling the key to turning us into financial planners?
No. But it's certainly part of the answer.
The movement from financial advice to financial planning, and consequently from an industry to a profession, takes much more than the adoption of software. It's a complete change of mindset (for you and your clients), processes and proposition. However, used correctly cashflow modelling software certainly has a vital part to play.
I've seen the reaction of those clients who have had the veil of mystery over their financial future lifted. It has got to be one of the most rewarding aspects of what we do.


The Recovery Month Spirituality Breakfast is Presented by Minnesota Recovery Connection, the Augsburg College StepUP Program and the 2015 Recovery Month Sponsors. All proceeds cover the cost of the breakfast and any remaining funds benefit the recovery community through MRC's work to strengthen the recovery community through peer-to-peer support, public education and advocacy. KEYNOTE SPEAKER: Major John Donovan: Major John Donovan is a person in long-term recovery with over 39 years of sobriety. He is passionate about recovery and speaks and lectures frequently to military related audiences. Additionally, Maj. Donovan founded the Recovery Community Network (RCN) in St. Cloud. This organization is devoted to strengthening the recovery community in Central Minnesota. Maj. Donovan earned his commission in 2000 and has deployed three times since 9/11 once to Bosnia and twice to Iraq. Major Donovan is a graduate of the Officer Basic Course, the Army Public Affairs Course, the Command and General Staff College and the Defense Equal Opportunity Management Institute. He holds a master of education degree from Boston University and his military decorations include the: Meritorious Service Medal, the Army Accommodation Medal, the Iraq Campaign Medal and the NATO Medal. After 27 years in the service of the Armed Forces, Maj. Donovan will retire in January of 2018.


I needed to mention rental machines that you can get at most grocery stores and other various places. These are not a negative idea for in between professional cleanings, but they just may not compare otherwise. A couple of technical measurements: a rental steam cleaning equipment has a PSI of among 15 - 60. Option pressure the water is taken into the carpet at. Upon our truckmount, we arranged the pressure between three hundred and fifty and 400 PSI. The vacuum ability is deliberated in inches of drinking water lift, and the flow is going to be cubic feet per minute. On a rentals machine, these are between 20 and 35 inches as well as the airflow is unimpressive. The truckmount has about two hundred inches of water lift and 250 CFM of airflow. A truckmount has about 4 or 5 times the cleaning ability of a lease. Also, with most local rental machines, you use the hot water out of your faucet which might be 160 to 180 F, consequently by the time it hits the carpet it's down to a hundred and twenty or 130 degrees or less. Our truckmount warms the water to 205 amounts, and by the time it hits the carpet it's only down to about 180 to 200 degrees depending on the period. Keep in mind that the cleaning ability of the water doubles for each and every 10 degrees hotter the tank is. So although accommodations machine can be helpful, it does not change a regular professional cleaning. Obviously like trying to clean the own teeth with an ultrasonic cleaner and common pick. If I tried that I'd probably end up with worn out teeth and holes during my cheeks.
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8 . ? Uncle Wang . You got up so early . ? A . How do you do ? C . Nice to meet you . 9 . There is nothing for him . B . It's pleasure . D . Not at all .
5 . Where did the two families have a picnic ? . A . A mountain nearby C . A park nearby B . A country nearby D . A city nearby (二) King Midas Midas was a powerful king , both rich and greedy . Once he did a great favour for Bacchus , the god of wine . Bacchus offered Midas his choice of a reward . Midas answered at once . He asked that whatever he touched be turned into gold . Bacchus agreed , though he was sorry that Midas had not made a wiser choice . Midas was eager to put his newly gained power to the test . He pulled a branch from a tree . The branch became gold in his hand . He picked up a stone ; it turned to gold . He touched the grass . It , too , turned to gold .
10 . Today when we say that a person has the "Midas Touch" , we mean that .
A . the person is very poor B . gold is the most important thing to that person C . everything that the person touches makes money D . the person has the power to do everything Ⅳ . 短文改错 Kate is going to the big shop to buy some apples today . First she check to see what she needs buying . How many bread does she need ? How much butter ? What kind of vegetable ? Is there enough fruit ? Next , Kate makes a shoping list . She is going to buy two chicken , two heads of cabbage , four tomatos , and two pieces of bread . She is also going to need two bottle of milk and a dozen ( 一打 ) egg . Then , she thinks about money . How much money does she need ? Ten dollar ? No , maybe twenty . There are not a lot of money in her purse . She'll had to stop at the bank . 7 . 8 . 9 . 10 . 11 . 12 . 13 . 14 . 15 . 1 . 2 . 3 . 4 . 5 . 6 .


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John Murray, 11th Duke of Atholl
The Duke of Atholl
1997 photograph by Allan Warren
11th Duke of Atholl
Iain Murray, 10th Duke of Atholl
Bruce Murray, 12th Duke of Atholl
(1929-01-19)19 January 1929
15 May 2012(2012-05-15) (aged 83)
Margaret Yvonne Leach
Lady Jennifer Murray
Lord Craig John Murray
John Murray, 11th Duke of Atholl (19 January 1929 – 15 May 2012) was a South African-born hereditary peer of the Peerage of Scotland, hereditary Clan Chief of Clan Murray, and Colonel-in-Chief of the Atholl Highlanders. As Duke of Atholl, he commanded the only legal private army in Europe. He acceded as the 11th duke on February 27, 1996, succeeding his second cousin, once removed, Iain Murray, the 10th duke.
The Duke was born in Johannesburg, South Africa, as the only child of Major George Murray (1884–1940) and Joan (d. 2000), the daughter of William Edward Eastwood, of South Africa. They were married on 17 January 1928. His father was killed on active service in the Second World War.
He was the grandson of Reverend Douglas Stuart Murray, Rector of Blithfield, Staffordshire, who was the grandson of the Right Reverend George Murray, who was the son of the Right Reverend Lord George Murray, the second son of John Murray, 3rd Duke of Atholl.[1]
He was educated at Michaelhouse (1941 - 1946) in the Kwa-Zulu Natal midlands. His time spent at the school allowed him to gain an appreciation for cricket and the outdoors.
He graduated with a Bachelor of Science degree in Engineering from the University of the Witwatersrand, a leading South African University.[2]
After taking his degree, Murray worked as a land surveyor.[3]
Arms of the Dukes of Atholl.
On 15 December 1956 in Pretoria, he married Margaret "Peggy" Yvonne Leach (born Louis Trichardt, 8 July 1935), the only daughter of Ronald Leonard Leach of Louis Trichardt, Transvaal, South Africa (Pretoria, 31 August 1910 – Louis Trichardt, 18 December 1964) and wife (Lovedale Park, Louis Trichardt) Faith Kleinenberg (Louis Trichardt, 20 July 1913 – Louis Trichardt, 11 June 1968) and paternal granddaughter of Charles Ronald Leach (Whittlesea, 26 March 1887 – Eshowe, 7 December 1953) and first wife Louise Adelaide Zeederberg (? - Whittlesea, 5 June 1922).[4][5][6][7][8] They had three children:
Lady Jennifer Murray (born 8 February 1958), who has married and has children
Bruce Murray, now 12th Duke of Atholl (born 6 April 1960), who has married and has children
Lord Craig John Murray (born 1963), who has married and has children
In 1996, on the death of his kinsman, a second cousin, once removed, Iain Murray, 10th Duke of Atholl, Murray succeeded as 11th Duke at the age of 67. However, the day before the death of the 10th Duke, it was announced that he had given his ancestral seat of Blair Castle and most of his estates to a charitable trust, thus effectively disinheriting his heir. He had been unimpressed when his heir had indicated that he had no desire to leave South Africa for Scotland. The new duke thus inherited little but the titles and the right to raise a private army.[1]
Atholl continued to live in South Africa, while making annual visits to Scotland. He died on 15 May 2012 in a South African hospital at the age of 83. He was succeeded in his titles by his elder son, Bruce Murray, Marquess of Tullibardine.[1]
As Duke of Atholl, he commanded the only legal private army in Europe, the Atholl Highlanders. The army is based at Blair Castle, the ancestral home of the dukes of Atholl. The Duke did not inherit Blair Castle, which passed to a charitable trust.[9] However, every year the Duke visited from South Africa to stay at Blair for the traditional display put on by his army.[1][10][11]
The Duke was also the hereditary Clan Chief of Clan Murray.[12]
^ a b c d "The Duke of Atholl". The Daily Telegraph. May 17, 2012. Retrieved May 20, 2012.
^ thepeerage.com: John Murray, 11th Duke of Atholl
^ New York Times dated 28 February 1996 Duke of Atholl, 64, Rich Scot With Castle and Private Army
^ Dukes of Atholl - website of Cracroft's Peerage
^ Burke's Peerage and Baronetage
^ "Amanda-M-Du-plessis - User Trees - Genealogy.com". familytreemaker.genealogy.com. Retrieved 2018-10-22.
^ "South African Settlers". southafricansettlers.com. Retrieved 2018-10-22.
^ Independent 28 February 1996 Duke of Atholl Died Aged 64
^ VisitScotland Perthshire: Three Generations of the Atholl family to be on parade at Blair Castle
^ Blair Atholl: Events Archived 2010-04-13 at the Wayback Machine
^ Clan Murray Society NA: Clans and Septs Archived 2010-01-23 at the Wayback Machine
Wikimedia Commons has media related to John Murray, 11th Duke of Atholl.
Hansard 1803–2005: contributions in Parliament by the Duke of Atholl
Peerage of Scotland
Iain Murray Duke of Atholl


Ev – What web browsers support EV SSL Certificates?
Most modern-day web browsers support EV SSL. However there are only a few that change some area of the address bar or title bar to a shade of green if they see a VALID EV SSL certificate.


Being mistreated at work is one of the worst things you can go through. You know it isn't right but you need this job and you feel powerless. The longer it goes on, the more lonely and depressed you feel.
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This is the page to read if you are considering entering, or have entered, and want to know all the finer details about the Ruapehu Ring of Fire. Yes it is quite long, but there is quite a bit that you need to know about this epic adventure around in the Central Plateau of New Zealand. Please also make sure you read our SAFETY page.
Online entries have now closed. Late entries are available at registration 1-8pm Tongariro Room, Chateau Tongariro.
First 100 only across all distances.
There is a limit of 900 people that will be accepted for the Ring of Fire, due to the conditions of our DOC concession, so please enter early to avoid disappointment. We will advise when nearly full.
Relay price is per team (not per person). Teams may consist of 2-3 people. You will need a team captain for event liaison and one person will pay for the team during the entry process.
11.00am Official Event Welcome Powhiri & morning tea at Otukou Marae, Otukou Road off SH 47.
Directions to Otukou Marae click here Otukou Marae Directions.
1:00pm to 8:00pm Event registration & compulsory gear check in Tongariro Room, Chateau Tongariro, Whakapapa Village, State Highway 48, Mt Ruapehu 3951.
At the registration, we will check all of your entry details, check that you have the compulsory gear required and issue you with a race number and transponder for timing purposes. Note: all individual 72k, 50k, 24km ultra runners need to register and show their compulsory gear and ID in person. Relay teams have the option of registering with one team member showing the compulsory gear & ID for each team member.
There will be TWO compulsory to attend race briefings the day before the event in the Chateau Ballroom. The times for these are 5pm and 8pm. Choose ONE to attend. The briefing will go for approximately 30-40mins maximum. Only one team member from relay teams needs to attend briefing. You must label your dropbags (we provide individualised stickers at registration) and leave your dropbags with us at registration by 8pm on Friday.
3:35am 50km Ultra Bus leaves Chateau for 50km Ultra Start, stopping at National Park and Ohakune to pick up entrants.
5:30am 50km Ultra start from the Turoa Ski field.
8:00am 24km Solo bus departs from Chateau to Tukino Road.
11:00am Cut off time for 72km Ultra and Relay starting leg 2 at Ohakune Road.
3:00pm Cut off time for 50km Ultra starting leg 3 at Tukino.
6:00pm Cut off time for 72km Ultra and Relay starting leg 3 at Tukino.
NB. Cut off for this event is midnight.
11:00am to 11:45am Awards ceremony in Chateau Ballroom.
Those runners who have booked bus transport from the Chateau to the start of the 24km race start will depart the Chateau at 8:00am to arrive at the Desert Road / Tukino Road at 9:00am. Then transfer into a 4WD bus at 9:15 to be taken up the mountain to start their race at 10:00am.
Remember that no runner vehicles are to go up the Tukino road as it is a rough 4WD road and there is no parking space at the start line / relay transition.
Check out HERE for more accommodation options.
There will be three aid stations on the course containing medical support, food, water and electrolyte drinks. The distances between Aid Stations is approximately 24km.
The Ohakune Mountain Road Aid Station will include; Water, Tailwind, snakes lollies, chips and sandwiches.
The Tukino Road will have all of this as well as hot soup and coke.
The finish line will have water and Tailwind and hot soup.
We are not providing cups at the Aid Stations because we are trying to minimise the waste created from the event. Please bring your own cup or cups. Note that we will have water, Tailwind, coke and soup at the 2nd Aid Station at Tukino so a cup will be important. There are some very good silicone cups for sale in NZ.
The cut off time to finish is Midnight for all distances. Athletes still on the course at Midnight will be escorted to the closest point of removal from the course. Note that this may mean reversing off the course.
72km Solo Ultra and Relay : You have 20 hours to complete the 72 km alpine trail, much of which is quite technical. You need to average 16.24minutes per km in order to beat the final cut off, which means most solo entrants will need to run the easier sections.
50km Solo Ultra: You have 18 hours to complete the 50km. You need to average 21.24minutes per km to beat the final cut off. Competent trail walkers could walk the entire 50km event and we encourage walkers to enter.
24km Solo: You have 14 hours to complete 23.5km. You need to average 35.7minutes per km.
Minimum age is 16 years on the day of the event for relay and 24km. Minimum age for 72km and 50km Ultra is 18 years on day of event.
New Zealand's lakes, rivers and streams are under threat from freshwater pests. Pests like didymo can be sneaky little critters. A wet shoe infected can spread pests into a river or stream. These pests can clog out waterways, smothering fish, insect and plant life out of them and making them ugly and difficult for us to enjoy. Pests can be microscopic at an early stage so you can't be sure that a waterway hasn't got a pest in it. Almost all the freshwater pests there are in New Zealand are spread by people so what we do counts.
Please ensure that all of the gear you bring, especially your shoes, are clean and dry before you come to the event. All of your equipment will be checked before you register. You must bring your race day shoes to registration for check, clean, dry procedure.
In respect for the Tongariro National Park, CLEAN SHOES must be brought as part of the registration process.
Clean means free of dirt, sand, & seeds.
If you have been through other freshwater in the last 72hrs please use Check Clean Dry(CCD) methods to clean.
Our friendly CCD team will check your shoes prior to registration, and have cleaning equipment for your use if needed.
We will have a drop bag service which will take your drop bags to the two Aid Stations at Ohakune Mountain Rd and Tukino Rd, and return them to the Finish at the Chateau Tongariro at the completion of the event by 8:00pm. Please bring your drop bags to registration on Friday night by 8pm. Make sure the bags are sealed, compact and have your name on them. We will also provide ID stickers. You will ned your event number to pick up your drop bags at the finish line on Saturday.
The Chateau Tongariro located at the Start line has a top quality Café and restaurant and should meet all of your culinary needs. For event weekend The Chateau Tongariro have a number of fantastic eating options available.
When heading to the end of the leg one located on the Ohakune Mountain Road, you will pass through National Park Village and Ohakune which have many cafes, bars and restaurants that sell a wide range of food.
The end of leg 2 is at the Tukino Road in the middle of the Desert and does not have any services available, however you will pass though Waiouru which does have basic food available.
Fuel stations are available at Turangi, National Park Village, Ohakune and Waiouru.
Do not start this race if you are unwell or injured. You place yourself and others at risk.
Do not use Non-Steroidal Anti Inflammatory Drugs (NSAIDs) (Ibuprofen, nurofen, diclofenac, voltaren, naproxen) – sure to cause trouble!
Drink to thirst. Drink varied fluids, take on food during the race, have a varied intake.
Be prepared for the conditions. Hot, cold, dry or wet – have a plan for a range of conditions.
Look out for each other. If you are concerned about any runner, please notify the medical team.
The race doesn't end at the finish line. Pack warm clothes for basking in your success at the finish.
Do not drive home if you are fatigued. Have someone drive you or stay the night at the event.
Merchandise needed to be preordered, please collect at registration. A small amount of merchandise will be available for purchase.
72km Solo Ultra, 50km Solo Ultra, 24km first male and female to receive a trophy.
72km relay winning male, female and mixed team to receive a trophy.
72km Solo top three overall male and female to receive a trophy.
50km Solo top three overall male and female to receive a trophy.
There will be product prizes given out before the event to early entrants.
In order to compete in the 72km or 50km Solo you must be 18 years or older on the day of the event.
In order to compete in the 24km or 72km relay you must be 16 years or older on the day of the event.
It is vital that you prepare well for this race. Preparation needs to include the training required to be fit enough to complete the distance you have chosen. Ultra distance running does place stress on the body so if you have any doubts, you should consult your health professional. You also need to have all of the compulsory gear required by the event. Please refer to the compulsory gear list.
And don't forget to bring your 'can do attitude' – that will get you a long way!
1 March onwards – No refunds are given.
There will be no entry deferments to the following year or other events.
Transfers of entries to other athletes will be accepted for the Relay only.
You can change your distance option and/or relay team members up until 28 February at no charge. Any changes after 28 February will incur an admin fee of $40. If increasing the distance, then you must pay the difference in fees plus a $40 admin fee. No partial refunds will be provided if you reduce your distance option.
There are no refunds on the Squadrun coaching trial.
Note that the reserve course may be made up of 3-6 laps of a 12-24km course or something similar.
*1 The Event Collective Ltd will make every possible effort to ensure this event takes place. However certain circumstances may arise which means the event will have to be cancelled. These circumstances include, without limitation; fires, flood, storms, volcanic activity, explosion, acts of God, war, governmental actions or non-performance by third parties. In the rare case that the event is cancelled, then refunds will be provided to event entrants minus an administration fee.
We know you want to get as close to your athlete as possible. However there are only 3 access points on the course for you to see you runner – the start, end of leg one (Ohakune Mountain Road) and end of leg two (Tukino Road). Please note that to access Tukino Road, you will need to get a 4WD shuttle from State Highway One – Desert Road/Tukino Road intersection and a small fee will apply – see Transport notes below.
There will be NO pacers in this event.
Ready for a 5:30am start time for the 50km Ultra.
There is no private vehicle access to the Tukino Road Aid Station (end of leg 2, start of leg 3) due to the lack of room at the Changeover Point/Aid Station location. No competitor or supporter vehicles for the event are permitted to go up the Tukino Road. Those who do so will be identified & disqualified from the event. Athletes and supporters who wish to get to the Aid Station 2 will park just off State Highway One (The Desert Road) at the junction of the Tukino Road/SH1. They will then take a 4WD shuttle bus up to the Aid Station and take a shuttle to return to their vehicles. The shuttle will depart every 30 minutes from the Desert Road between the hours of 8:00am and 5:30pm.
This shuttle service is free for all teams relay entrants and 24km Solo entrants who must present their race bib to board the shuttle.
This service will cost $10 for all other supporters. Purchase through the shop link below or at registration on Friday night. (Cash only). Participants in the 50km Ultra can drive to the start line at the Turo Ski Field at the top of the Ohakune Mountain Road.
Arrives 9:00am at the start of the Tukino Road, then entrants will transfer to a shuttle bus that will take runners up the Tukino Road to the 24km Solo start line for a 10:00am start (Wave B).
Participants in the 24km Solo may drive to the bottom of the Tukino road and park there, then get a shuttle up the Tukino Road at 8:30am for a 9:30am start (Wave A).
Note this is also Aid Station 2.
Buy your bus tickets through your registration or our online shop.
Whilst we will have portaloos located at all the major start points, aid stations and road ends along with the composting toilets at the DOC huts on around the mountain track, we still need to ensure that there is zero human waste left in this pristine environment. So if you need to go the toilet away from actual toilets, you will need to basically poo in a bag. (based on the event you are participating in you will receive a pre-determined number of bags when you register that can be used. There will be enough to do your business and then bag it and place it in a dry bag (optional and supplied by you) that you will stow in your backpack to place in the next DOC toilet you reach on the track network. We know this might not be a fun procedure, but nor are a whole lot of land mines around the course that pollute the environment. We appreciate your consideration and cooperation.