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Support, mastery, leadership
By Barnett Berry5 Minutes
By Meredith Kohl
In this guest post, Meredith Kohl, a former teacher and current CTQ policy assistant, reflects on the new education documentary Mitchell 20, as well as her own teaching experience.
Capturing a profession in transition and highlighting the untapped collective power of teachers committed to their craft, the powerful Mitchell 20 documentary, and the leadership of Daniela Robles, reveals that teachers are a primary solution to the complex challenges that our schools and students face.
In the film, National Board Certified Teacher Daniela Robles encourages 20 of her colleagues to undergo the National Board certification process together, sparking a spirit of collaboration and improvement. Mitchell 20 resonated deeply with me because in five years of teaching, I never felt like I was part of the solution. I was a Teach For America recruit, and I had high aspirations for teaching as a career once I entered the classroom and saw the possibilities. But in my short tenure in an urban district, I felt isolated, unsupported, and confined to the bottom of a bureaucratic power pyramid.
The top-down education system had something to do with it, sure. And a school climate characterized by frequent (but irrelevant and inadequate) professional development and the careless manipulation of teacher expertise definitely contributed to my feelings of helplessness.
But it was more than these factors. As a teacher new to the profession, I did not see myself as part of the solution because my attempt to master my craft went largely unsupported. Once I was deemed "effective" by my administration, the resources and individualized support needed to further improve my practice were simply not there.
Over time, experience made many aspects of teaching easier, but I came to realize that weaknesses in my practice—for example, working with second-language learners and using effective techniques for teaching reading—were going unchecked and unaddressed by my school leadership. My concerns as a classroom instructor were unresolved, and time for meaningful inquiry and collaboration with my colleagues was not provided.
Without mastery, how could I articulate the learning occurring in my classroom or the complexities of my craft? How could I leverage expertise I did not possess to transform my school? How could I change the conversation? How could I change my teaching, and the teaching of my counterparts? How could I change outcomes for my students?
As TEACHING 2030 co-author Shannon C'de Baca recently pointed out, "Teacher voice should be secondary to craft. First, teachers must master their craft, then we need them to reform policy."
The best teachers are continually improving, but what happens when they want to but can't find meaningful and long-term avenues to do so? I regret that in my high-need school I never heard about the National Board process, that I was unaware of communities like the Teacher Leaders Network, that a colleague like Daniela never came and knocked on my classroom door to present a collaborative challenge for improvement.
There are thousands of unsupported, early-career teachers in our highest-need schools unsure of where to turn in order to take their practice to the next level. Until they are able to do so, their voices will not be heard.
So how do we reach them?
We must spread stories like Mitchell. Not only to change the conversation, but also to change the behavior of thousands of dormant teachers who have yet to realize their leadership potential. Collectively, teachers must understand how they can take control of their practice when support is not available at their school. They must create cohorts like the Mitchell 20, dedicated to professional growth and learning. Teachers, especially newer ones, must have time and support for self-examination, reflection, and collaboration so that they can improve their practice. All of this is necessary for teachers to lead the transformation of learning communities across the country.
So license a screening, share the trailer, tell early-career teachers about the National Board process, and challenge them to be part of the solution by mastering their craft, finding their voice, spreading their expertise, and stepping forward to lead.
Barnett Berry
Barnett Berry currently serves as founding director of ALL4SC at the University of South Carolina. Prior to founding CTQ in 1999, Barnett served as a high school social studies teacher, think tank analyst, senior state education agency leader, and university professor. Barnett has written extensively on teaching policy, accountability, and school reform as well as co-authoring two books, Teaching 2030 and Teacherpreneurs. He serves on numerous national advisory boards and task forces, and consults with other organizations in the service of public education and the teaching profession.


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You are previewing: The Sixth and Seventh Books of Moses
The Sixth and Seventh Books of Moses
Joseph H. Peterson
Hardcover Book Size
7.2 x 1.2 x 10.5 inches
The Lesser Key of Solomon
The Book of Abramelin
Incubi and Succubi or Demoniality
Testament of SOLOMON
The Sixth and Seventh Books of Moses, arguably one of the most popular magick books ever published, contains two secret apocrypha ascribed to Moses, perhaps pseudepigraphically. Extensively illustrated with over 100 magical seals, signs, and sigils.
For people interested in folk magic. The Sixth and Seventh Books of Moses, arguably one of the most popular magick books ever published, contains two secret apocrypha ascribed to Moses, perhaps pseudepigraphically. The book consists of a collection of texts, which claim to explain the magick Moses used to win the biblical magick contest with the Egyptian priest-magicians, part the Red Sea, and perform other miraculous feats. It includes instruction in the form of invocations, magick words, and seals for calling upon the angels to affect worldly ends, from the sublime (calling down a plague of locusts and frogs upon your enemy) to the mundane (getting more money).
Many manuscripts and printed pamphlet versions circulated in Germany in the 1800s, and an English translation by Johann Scheible first appeared in New York in 1880 that had not been corrected or re-edited until now. In creating this restored, corrected edition, Joseph Peterson drew on Scheible's final edition of the text and his original sources. It will be of great interest to those who have suffered through prior editions and anyone looking for a traditional source of Western magick.
* Used in various modern traditions of American folk magick, from Pennsylvania Dutch hexmeisters and contemporary eclectic magicians, to voodoo practioners and African American root workers. * Updated or fresh translations from original German, Latin, and Hebrew sources and restoration of censored or left out passages in earlier editions and 35 pages of text never before translated. * Describes the biblical magick ascribed to Moses and its application. * Extensively illustrated with over 100 magical seals, signs, and sigils.
Joseph Peterson has been studying esoteric texts for decades, intrigued by the Renaissance intellectual and experimental approach to spirituality. He has translated many religious and esoteric texts, and loves trying to unravel their often complex relationships and influences.
Peterson has a degree in Chemical Engineering from the University of Minnesota, where he also studied various languages and religions. He lives near Rochester Minnesota.
Grimorium Verum
Initiation into Hermetics
Franz Bardon
Three Books of Occult Philosophy
Heinrich Cornelius Agrippa von Nettesheim
Israel Regardie
The Greek Magical Papyri in Translation
Hans Dieter Betz
Sinistrari of Ameno

redpajama_set_name: RedPajamaCommonCrawl


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Жакли́н (Дже́ки) Ло́кхарт (, урождённая Жакли́н Стил, , Дже́ки Стил, ; ) — шотландская кёрлингистка, второй в команде Великобритании на Олимпийских играх 1998 года, третий в 2006 и 2010 годах, а также скип и четвёртый на показательных соревнованиях на Олимпийских играх 1992 года.

Достижения
 : золото (); серебро (); бронза ().
 : серебро ().
 : золото (1985, 1986, 1992, 1998, 2002, 2004, 2007, 2010), бронза (, ).
 : золото ().
 : золото (2001, 2006).
 Чемпионат Европы по кёрлингу среди юниоров: серебро (1983).
 : золото (1983).
 : золото (), бронза (, ).

Примечания

Кёрлингисты по алфавиту
Кёрлингисты Шотландии
Кёрлингисты на зимних Олимпийских играх 1992 года
Кёрлингисты на зимних Олимпийских играх 1998 года
Кёрлингисты на зимних Олимпийских играх 2006 года
Кёрлингисты на зимних Олимпийских играх 2010 года
Чемпионы мира по кёрлингу
Чемпионы Европы по кёрлингу
Чемпионы Шотландии по кёрлингу
Участники розыгрышей Континентального кубка по кёрлингу

redpajama_set_name: RedPajamaWikipedia


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HomeExplainers
The Man from Toronto summary and ending explained
By Prabal Sharma
| Last Updated: June 25, 2022
Image source: Netflix
Netflix's The Man from Toronto is an action comedy that follows a case of mistaken identity. When a washed up fitness sales executive (Kevin Hart) gets mistaken for the titular international criminal, his life flips upside down. However, the situation gets worse when the real Man from Toronto (Woody Harrelson) comes looking for him.
Teddy Jackson (Hart) is a loveable screw up who works as a sales guy for Marty's gym. He uploads videos online promoting outlandish fitness ideas which are borderline dangerous.
On his wife Lori's (Jasmine Mathews) birthday, he books a cabin in Onancock, Virginia for a romantic getaway but before that, goes to talk Marty about his brilliant business idea — no contact boxing.
The gym owner is bewildered at the concept and berates Teddy about the flyers he made as they don't have the gym's address or phone number. To make Teddy's day worse, he ends up firing him.
Elsewhere, we are introduced to Randy aka the Man from Toronto (Harrelson), a dangerous criminal who specialises in torture. On an assignment, he extracts information from a man with just his terrifying words.
Teddy comes back home but doesn't tell Lori that he's out of a job and the two prepare to leave. Meanwhile, Toronto gets a call from his handler who assigns him a two phase information extraction job worth a million dollars each, also in Onancock.
The couple arrives at the destination and Teddy leaves Lori in a day spa for two hours. He then goes to check out the cabin to make sure it is perfect before his wife arrives.
Unfortunately, due to the reservation page being blurry, Teddy drives towards the wrong cabin which turns out to be the one where Toronto is supposed to carry out the extraction. The person who greets Teddy mistakes him for the criminal and clicks his picture to send to his superior.
Teddy, unaware of the situation, checks out the cabin and is shocked to find a beaten and tied-up man in the basement. Realising that there has been a mistake, Teddy plays along for the fear of his life and subtly tries to convince the hostage to speak up lest they both be killed.
As he acts the bad guy, he somehow manages to extract the information — which is a code — but the FBI raid the place before any further developments can take place. The Feds talk to Teddy and reveal that they know he's not the criminal.
They let him know that his picture was sent to a Venezuelan Colonel Sebastián Marín by the man who let him into the cabin. The Colonel is a wanted man as he staged a coup to overthrow his own government. It was prevented by the US intelligence but he escaped with his wife.
The Man from Toronto was the only way to bring out Marín. They request Teddy to continue acting like the criminal and meet the Colonel in Washington DC the next day. After being told that there are lives at stake, he agrees but asks for a few tax and debt related favours in return.
Furthermore, Toronto arrives at the scene a bit too late and does some hacking to discover Teddy's identity. Meanwhile, an FBI agent is stationed with Lori to escort her to DC for a shopping spree.
The next day in DC, Teddy is briefed, fitted with a tracker and sent to meet up with Marín's associates. Toronto arrives and observes the situation as well. Unaware of the second phase, Teddy is shocked to find that he's to fly to Puerto Rico to extract information from another target before he can meet the colonel.
Toronto hijacks the car of the agent overseeing Teddy, chucks him out and follows Marín's party. He shows up to confront Teddy mid-flight and amid the confusion, a fight ensues which nearly kills everyone.
However, Toronto uses his skills to eliminate everybody except Teddy who reveals that he's genuinely stuck in this due to bad printer ink. They land the plane in Puerto Rico and Toronto threatens Teddy to continue with the facade and get information from the second target, Mr. Green.
If you still have doubts about the ending, here's a full breakdown.
The Man from Toronto ending explained in detail:
Thumb wars
Toronto prepares Teddy for the extraction and gives him an ear piece to wear. Teddy goes into a conference room inside a hotel where he meets the captor who has four hostages.
Teddy, posing as Toronto, is asked to use his techniques and figure out who Green is among them, which he succeeds in doing with Toronto instructing him in his ear. However, the people notice the ear piece and get aggressive but Toronto walks in and shoots everyone.
They then talk to Green who reveals that his partner — who was captured in Onancock — and him worked for DARPA (Defence Advanced Research Projects Agency), developing untraceable seismic explosives.
Two years prior, their former boss, General Hanson recruited them again to help in a top secret project for an elite client who was Marín. They had plans to bomb the Venezuelan embassy in Washington which led to Green and his partner installing fail-safes for the detonator — a coded sequence and Green's thumb print.
Toronto doesn't kill Green after hearing this but chops off his thumb. Teddy is shocked but before they can go further, they are attacked by the Man from Miami, another assassin sent in by the handler to ensure the completion of the job.
After a prolonged shootout sequence, they manage to secure the thumb and fly back to Washington to meet with Marín. The handler calls Toronto to enquire about the job and Teddy, from his years of sales experience, senses that she lied to him. His warning however falls on deaf ears.
On the plane, Toronto calls Teddy out for being a coward and never following through with things he sets his sights on. He even warns him that the wife he is so desperate to get back to may leave him some day if this continues.
In DC the duo goes to meet Lori for dinner who is with her friend Anne (Kaley Cuoco). The latter shows interest in Toronto who allows himself to be a little calm. He reveals that he's always wanted to be a chef and to open a high-end restaurant but fears it won't be good enough.
As they start dancing, Teddy notices Miami again and runs with Toronto to the back of the restaurant. Miami confirms Teddy's suspicions that the handler sent him in worrying that Toronto has done another Minnesota.
In the fight that follows, Miami manages to steal the thumb as the Feds, who have been watching Teddy since he arrives at the restaurant, finally move in. However, Teddy and Toronto steal a police car and drive to the meet-up with Marín.
In the car, Toronto reveals that in Minnesota, he was hired to kill a chronic gambler who owed a lot of money to the wrong people. He was close to pulling the trigger when he noticed a kid in the car.
Thinking about how witnessing his grandfather's death at the hands of a bear made him into a stone cold murdered, he decided to let the target go and break the cycle. In the present, Toronto promises that he won't let anyone die tonight. He just wants the money so he can open a restaurant and opt out of this dangerous life.
Teddy agrees to switch identities with him for one last time. At the Monarch hotel, Miami and the handler meet Marín and give him the thumb. The opening ceremony of the Venezuelan embassy gets underway but before Marín can blow it up, Teddy shows up as Toronto, claiming that Miami and the handler are frauds.
As Teddy continues his blabbering, the FBI infiltrate the room and put an end to the conspiracy. In the ruckus, Toronto takes the money and escapes. The Feds escort Teddy back home but Lori finds out the truth about his job and leaves him a message that she needs some space.
Meanwhile, Teddy also finds out that the thumb belonged to one of the captors who Toronto killed and not Green, proving that the bomb wouldn't have gone off anyway.
Rogue assassins
The handler calls Toronto and warns him to bring the money back. He refuses and she sends multiple assassins after Teddy. The next day, Lori texts Teddy that she's catching a train to her mom's and he runs to the station to stop her.
Unfortunately, he is confronted by Miami who attacks him for Toronto's whereabouts. Luckily, Toronto shows up to save Teddy and knocks Miami out. Their day just gets worse from there as more assassin's show up.
Toronto and Teddy rush inside Marty's gym and an all-out battle ensues. After a stunning one shot fight sequence, the duo manages to defeat all the assassins but the handler herself shows up with a grenade launcher, demanding her money.
They run for their lives and enter a factory where they hit a dead end on a ramp over steaming boilers. The handler closes in with a gun and Toronto hands her the keys to his car Debora, stating that the money is in the trunk.
Meanwhile, he quietly tells Teddy to pull a lever nearby which causes the floor under the handler to retract, dropping her into a boiler and killing her. However, there is a gas leak inside the factory owing to multiple gunshots and it explodes, throwing the duo out.
Teddy comes clean that despite all the killing, this experience has pushed him to be a better man. Before he can rush to stop Lori however, the Man from Tokyo shows up, asking for Toronto. However, he is nowhere to be seen but drives in with Debora to run over the Japanese assassin.
He hands Teddy the car to go stop Lori as the police closes in. In a rush he accidentally parks the car in the middle of a railway crossing and runs to apologise Lori, telling her that he needs her.
Meanwhile, the train arrives and crushes Debora, leaving crumpled metal in its wake. As Lori and Teddy look on horrified, the police apprehend Teddy. The plot then experiences a time jump to a year later.
Lori is pregnant, Anne is dating Toronto and they all dine in his new high-end restaurant. Teddy hands him the first down payment for his car and Toronto, still bitter about Debora, tries to choke him.
The film ends with Teddy running a successful no contact boxing class called Teddybox as Toronto calls him during a live session and expresses his bitterness about Debora's destruction once again.
Also Read: The Umbrella Academy season 3 summary and ending explained


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do abbreviation census
The fundamental premise of a census is that the population is not known and a new estimate is to b… Approximately 4,400 U.S. Unit 7 63 1901:-there was a considerable revision of the occupational headings to correlate the census statistics with those of other government departments and so by 1911 the number of separate occupations mentioned under these headings now rose to 472 (from 382 in 1901 and 347 in 1891), to "census." OCCUPATION. The population of the United States was recorded as 3,929,214 as of Census Day, August 2, 1790, as mandated by Article I, Section 2 of the United States Constitution and applicable laws. . Some census records also abbreviate occupations due to the lack of space on census forms. The original purpose of the census was to help determine parliamentary representation based on population. For example, old street directories and city directories always abbreviated common first names. Do is short for Ditto which means that it is the same as the line above. Deciphering Language & Nativity Codes Appended to 1930 Census in One Step Stephen P. Morse, PhD Joel D. Weintraub, PhD David R. Kehs, PhD. AL: Abbreviation found on the U.S. census from 1900 to 1930. Census dates Find out when the school census will open for each term and what to do in unusual circumstances. The a.k.a. Web. The codes used follow: MH - coal miners who were also the heads of their households STANDS4 LLC, 2021. Ancestry is the place to go! Censuses have been taken by the colonial, provincial, and national governments of Canada for a variety of reasons, including taxation and levying for militia service. I have worked out the car mkr is but baffled on the ry. "The law required that every household be visited, that completed census schedules be posted in two … That little two-man company that presented their invention to the Census Office back in 1850 goes by the name of IBM today." / 1841. This was done to save space and paper. We release the most up to date data every month and you can find the latest here. 3.1 The civilian population. Not known: n.k. This is the only way to be sure that everyone has been included as otherwise those not responding would not be followed up on and individuals could be missed. Many of those early records have not survived, including port… To view census images you can search by location or enumeration district number (if you already know it). School enrollment data tables that examine the characteristics of people enrolled in school at all levels using statistics from the Current Population Survey. You might not be able to learn every French abbreviation and acronym, but you can get a good head start by memorizing this list of the most common ones. Lost in alphabet soup? Examples: IQs, RTs, CSes. Visit Getting Started and Census Research 101 if it's your first time using this website. A small case b. STANDS4 LLC, 2021. We're doing our best to make sure our content is useful, accurate and safe.If by any chance you spot an inappropriate comment while navigating through our website please use this form to let us know, and we'll take care of it shortly. Press Release | February 02, 2021. These records do include the civilian populations of: England; Wales See more. Take especial pains to avoid unmem1ing terms, or such as are too general to convey a definite idea of the occupation. 5 Feb. 2021. As you must know by now, the 1939 Register is NOT included in any of the Findmypast subscriptions: in other words, it's like the 1911 Census, when that was launched in 2009, and the 1901 Census when that was launched in 2002 - you'll need to buy credits in order to view the images. census synonyms, census pronunciation, census translation, English dictionary definition of census. I don't see my question! U.S. Department of Commerce Economics and Statistics Administration U.S. Census Bureau Prepared by the Geography Division LEGEND N E W E N G L A N D REGION DIVISION STATE. Web. Census records can provide family relationships, age, year of birth, description of property, religion, and place of birth. In this handy reference list, we provide abbreviations for several hundred occupations. Therefore, census takers often found it necessary to use abbreviations to get all of the required information onto the census form. All census years. Do not add an apostrophe. How do I begin exploring the 1940 census? It comes after words like place of origin including England, Tenn., Ill., NJer., so in the handwritten 1950 Oklahoma Territory census, it makes sense. Before that, census enumerations were conducted in different areas in various years. It does, however, show exact dates of birth where census returns simply give a person's age. Define census. 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Mendi Rodan (né Rosenblum, le  à Iași en Roumanie; décédé le  à Jérusalem) est un chef d'orchestre et violoniste israélien né roumain.

Biographie
Mendi Rodan (Rosenblum) né en Roumanie, était l'un des trois enfants de Salomon et Miriam Rosenblum. Mendi a commencé à jouer du violon à l'âge de cinq ans. Ses parents se sont assurés que tous les enfants aient un soutien scolaire pour les langues, les mathématiques, l'éducation physique et la musique. En 1941, le père de Mendi et plusieurs de ses proches ont été assassinés dans les pogroms perpétrés contre les Juifs de Iași. Mendi, sa mère et ses frères ont survécu à la guerre, mais ont souffert de difficultés financières extrêmes.

Après la libération de la Roumanie de la domination fasciste, Rodan a commencé des études d'ingénieur, mais finalement il les a abandonnées. Parmi ses professeurs pour la musique on trouve Mirce Bersan, ainsi que le violoniste arménien Garabet Avakian. Il a étudié la direction d'orchestre avec le chef Constantin Silvestri à l'Académie nationale de musique roumaine à Bucarest. Dans le domaine de la musique de chambre, Rodan a été l'élève du compositeur juif Mihai Andryko. En 1957, Rodan a poursuivi des études avancées pour la direction d'orchestre et la musique de chambre à l'Université de musique Franz-Liszt de Budapest, en Hongrie.

En 1953, Rodan a épousé Judith, avec qui il a eu deux enfants. À cette époque, il a changé son nom de famille en nom roumain, soit Rodan.

Carrière en Roumanie
À l'âge de 16 ans, Rodan est devenu premier violon de l'Orchestre symphonique national de la Roumanie. À l'âge de 24 ans, il est devenu son chef. Pour augmenter son salaire, il donnait des cours particuliers en mathématiques. En 1958, il a demandé un permis d'immigrer en Israël. À la suite de la demande, il ne fut plus membre de l'orchestre national à Bucarest et il a été forcé de se déplacer à Bacau jusqu'à son départ.

Carrière en Israël
En 1960, Rodan fait son alya en Israël avec sa famille et s'installe à Jérusalem. En 1961-1963, il est le chef de l'Orchestre de chambre de Ramat Gan. De 1963 à 1972, Rodan a été le chef d'orchestre et le directeur musical de l'Orchestre de la Radio d'Israël à Jérusalem. À partir de 1964, il a été chef d'orchestre invité de l'Orchestre philharmonique d'Israël au Festival d'Israël et au concours Arthur Rubinstein. En 1972-1976, il a été chef d'orchestre invité régulier par l'Orchestre philharmonique d'Oslo en Norvège. De 1977 à 1991, il a servi comme directeur musical de l'« Israël Sinfonietta Beer-Sheva ». De 1980 à1983, il a été consultant pour la musique au Centre de musique de Jérusalem - Mishkenot Sha'ananim. De  1985 à 1989, il a été le directeur musical et le chef d'orchestre de l'Orchestre national de Belgique. Au cours de cette période, il a été le directeur artistique de l'Orchestre du Corps de l'éducation de l'armée israélienne . De  1993 à1997, il a conduit l'Orchestre philharmonique d'Israël. Ente 1993 et 2005, il a été le directeur musical et chef principal du Rishon Lezion Symphony Orchestra.

Mendi Rodan a dirigé l'Orchestre philharmonique de Londres et l'Orchestre symphonique de Vienne. Il a servi en tant que professeur invité pour la direction d'orchestre dans de nombreuses universités, y compris l'École de musique Eastman à Rochester, (État de New York) et l'Université Brigham Young à Salt Lake City, Utah. Il a dirigé l'Académie de musique et de danse de Jérusalem, et a fait partie du Conseil pour l'art et de la culture du Ministère israélien de l'Éducation et du Conseil israélien de l'enseignement supérieur. De 2004 jusqu' à son décès, il était professeur de direction à l'École de musique Buchman-Mehta de l'Université de Tel-Aviv.

En 2006, Mendi Rodan a reçu le Prix Israël.

Source

Références

Liens externes

Chef d'orchestre israélien
Chef d'orchestre roumain
Violoniste classique israélien
Violoniste classique roumain
Étudiant de l'université de musique Franz-Liszt
Pédagogue en musique classique
Lauréat du prix Israël
Naissance en avril 1929
Naissance à Iași
Décès en mai 2009
Décès à 80 ans
Décès à Jérusalem


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An Interview with artist Katie Halton
Interview by Katie Kirk
KK: How would you describe your work to other people?
KH: My work is representational and playful. As far as subject matter, I draw from a lot of sources—animals, humans, dream scenes, nightmares, and familiar objects. The materials I use are acrylic and marker on canvas. My sculptures are mixed media sculptures; I use common, everyday materials like wire, bubble wrap, plaster, cardboard, and paper-mache. I also like to describe them as humorous. They reference a lot of different periods and styles like the history of art, pop-culture, punk, and graffiti.
KK: So you have just started as a first year MFA student here at SAIC. There was a lot of discussion at the beginning of the year about how many representational painters there are this year. Why do you choose to paint more representationally?
KH: Representation allows an immediate connection for the viewer. This is missing for me in abstract. Abstraction feels like it is all about the formal elements. When you bring imagery in they can react to the painting on a different level. This level of accessibility is necessary for my work.
KK: Subject matter in your paintings seems to be extremely important. How do you choose your subjects?
KH: I pull from my dreams, nightmares, movies, books, music and experiences. Then I filter all of these through my imagination. I'm especially into psychedelic rock, punk and Jamaican music. I was also trained in classical piano so music has always played a central role in my art.
KH: How exactly do you see music translating into your pieces?
KK: It's about the feeling the songs give me. I like to think about translating this emotion into the painting- the emotion I want to be conjured for the viewer. For example the painting I am working on now. I put the Dark Side of the Moon album on the right side as a reference to a kind of mood. The scene is really surrealist, weird, and creepy so the imagery references this mood.
KK: How do you incorporate ideas you read in books into your paintings?
KH: Books have always really helped me get my imagination going. Sometimes I find something in a book and I'm like whoa that is strange imagery, I'm going to put that in a painting. What really inspires me is the non-art stuff…the stuff of life!
KK: This big painting seems like it could be drawn from parts of nightmare with the hanging limbs. I like the tension your paintings have between being creepy and playful at the same time.
KH: I often put nightmare imagery into the paintings. I have had reoccurring fish nightmares for a really long time. Once I dreamed I was in this high-class penthouse where the window/wall was looking out onto the outside, except the outside was underwater. There were fishes and sharks swimming around and a fish started to bang its head against the glass to break through—and then I woke up. I used that for a whole premise of a painting a few years ago (I Dream of Fishes).
KK: So how did you start choosing the animals to put into your paintings? Were those from your dreams too or books?
KH: Well in deciding what to do for my undergraduate degree, I almost went into biology or zoology. I have always been really into animals. I've also always had really unique pets- lots of reptiles and exotic animals. So I've always been interested in the intersection of the animal world and the human world. You can really see this in my painting Night Time Playground with Skunks. (The painting shows a group of skunks scurrying across a moonlight playground). For me, a central question is—what are the tensions that exist when wild animals have to navigate man made spaces? On one hand the skunks are going across what to them is just the earth, but on the other hand, to us, it is a curated space for little humans. I really like this idea of animals existing in man made spaces. This theme exists again in my painting London Parakeets. There was this crazy thing in London in the newspapers about the overbreeding of parakeets, so there were parakeets everywhere—on buses, flying around etc.
KK: Your work seems to have this literalness to it. There is something refreshing about that. There is so much painting not trying to be painting and trying to be something else. It is nice to see painting that sort of is what it is.
KH: Yes I agree.
KK: So how did your subject matter continue to progress?
KH: So then I started to incorporate a lot of animals being used as decoration- animal hides, patterns, skeletons, taxidermy, etc. I would start with an object, say a taxidermy moose head and then I would build a scene around it (Hunting Lodge).
KK: There seems to be a lot of imagination in these; you take a lot of liberty displacing objects and figures from their normal reality.
KH: I'm always using my imagination—depicting the way I want my world to be. Sometimes I'm painting stuff I want in my house or how I would want the world to be. In this one here with the aquarium dance floor, I was interested in depicting a high-class interior. I was using a lot of imagery of cliché objects of interior design. Or like the fringe on the lamp, made out of twist ties behind you there.
KK: What is the significance of the body in your paintings?
KH: In a lot of my paintings, I look at the human body as animal. So looking at human beings as meat/blood like animals, not as these celestial beings floating on the earth. I show a lot of skeletal frames and muscles in the body to get this point across (Reflection as Meat and Bones).
KK: I can see that in the painting you are working on now. You've got arms hanging down as blinds and the half-man torso sitting propped on the couch.
KH: I'm really obsessed with thinking about the body, themes of body parts, discomfort, and pain.
KK: What was it like exploring those issues in the 14 pieces you did for the Stations of the Cross?
KH: I actually felt this real connection to the paintings while making them. I'm not a religious person, but I really connected to the bodily struggle in the story. This series was also really important to me because it gave me a ton of confidence in drawing. I painted them on wood and I really wanted the ground to come through. I only had one shot to lay the marks down.
KK: That confidence really comes through. The confidence and spirit of the line is really obvious in all your recent paintings too. There isn't a sense that these were labored over and changed too many times. It feels like you lay the line and paint down and move on to the next part.
KH: Yeah totally, that's what I've been trying to figure out in paint. How do you incorporate the spirit of a line, the immediacy of drawing into paint?
KK: It seems like it becomes more about these large shapes you have then. Laying out these shapes and leaving them. Not overworking them. That seems like a similar gesture.
KH: That is working. I've been asking my advisors a lot about this question lately and that is one thing we've been working on this semester. How can I translate the spirit of my drawings into my paintings? They're encouraging me to draw with paint, so I am figuring out strategies to do that. I used to kind of cheat a lot by using the markers to depict linework… or I'm not sure maybe it's not cheating.
KK: It's not cheating! Also, you seem to have a lot of elements of the home recreated in your sculptures. Where do these come from?
KH: It started because I've always had these fantasies of creating life size tableau scenes of interiors. Since moving to Chicago, I've been thinking a lot about my life here. I live in the dorms and I have my studio in MacLean so I spend a lot of time in these sterile white cubes. I'm creating these things for comfort—to create the feeling of furnishings, plants, animals, etc. It just feels so barren here.
KK: That's funny they are like comfort furnishings instead of comfort food.
KH: Yeah right, and when people come in they always go sit by the (paper) plant. Because we all just have this subconscious feeling that plants are peaceful and comforting. I like the associations these objects bring. I'm always asking why do certain objects make you feel a certain way even if it is not the actual thing, but just a representation of that thing?
KK: It seems like it's all about peripheral vision too.
KH: Right, like you see the (paper mache) deer out of the corner of your eye and feel comforted by the feeling there is an animal or pet in the room.
KK: So tell me a little about your past and how you ended up here at SAIC?
KH: I was never trained as a painter. I started painting in 2006. I was a photo major and did a lot of wedding photography. Then I messed my back up and couldn't work full time so I started creating paintings and drawings. At first it was really a distraction from pain. I started showing the paintings in Ann Arbor. Then people started seeing them and I started to get commissions. I applied to some residencies and go into Vermont Studio Center. It was my first residency in ten years. I wanted the freedom to make weird things and I felt like a residency would give me the space and time to do this. This was in May of 2013 and it really changed my trajectory. At Vermont Studio Center I met so many people that had their MFAs and this got me thinking about maybe going to pursue mine. My work also changed a lot. It got much more personal. It became bigger and more psychological. I was really encouraged by people there to go back to school. I found that the community I had at Vermont was something I was really craving and wanting.
KK: So why did you pick SAIC?
KH: Being from Michigan, I've always wanted to be in Chicago, but I wasn't going to just move here without having a job or for school, etc. I also have a lot of friends here so that was a pull to the city as well. SAIC has a really good reputation and ranking. I went to University of Michigan, which is a state school, for my undergraduate. So I felt like I needed to go to a really competitive top school for my graduate degree. Also, in 2003 I went to Ox-Bow on a full fellowship. This was my first exposure to some of the people from SAIC and it was a great experience. So I had a good introduction to SAIC many years ago.
KK: What are your goals after graduating?
KH: I want to teach at the college level and be able to make creative work that doesn't have to be marketable. I don't want to have to comprise my vision for the market. This is one thing I learned from doing so many commissions. Also, I'm going to continue with painting and sculpture. The sculptures are actually perhaps more interesting to me right now. I'm constantly questioning how I am going to merge these things.


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You are here: Home / Religion / Group protests actions of Dubuque Catholic Diocese
Group protests actions of Dubuque Catholic Diocese
A small group went to St. Josephs' Parish south of Dubuque this morning to stage a "sidewalk news conference" over the latest case involving accusations of priest abuse. A man who now lives in Texas has sued the diocese charging a priest molested him in the 1960s. The priest, William Roach, has since died. Steve Theisen with SNAP, the Survivors Network of Those Abused by Priests, says the diocese is trying to put blame on the victim instead. "They're trying to put the onus on the victim instead of the perp," Theisen says. He says the defense argued that the victim, who was 17 at the time, was not a child. "We think that's very wrong to say that basically fifteen, sixteen and 17-year-old kids are fair game." The lawyers for the Dubuque diocese are also using a novel tactic in trying to deflect the accusation. They're saying that Monsignor Roach was not an employee of the diocese — that he was an independent contractor. "We find that very misleading," Theisen says. Theisen says such "hardball" tactics prevent young victims from coming forward. Theisen says the archbishop has the legal right to defend the priest and the archdiocese. "But… he doesn't have the moral right," Theisen asserts. "What he's really telling every little kid right now is that nobody's going to believe you and we're going to fight you tooth and nail." Theisen says it's the wrong message to be sending out today to children who may be abused by people, and not necessarily by the religious. Roach was pastor at St. Joseph's Parish from around 1968 till 1978. SNAP members say they want the diocese to handle the case fairly, and also to release names of priests sent to the Vatican by the parish to be defrocked, so victims of other abuse cases can heal and other children may be protected.
Filed Under: Religion


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"Пургатоли" је југословенски ТВ филм из 1977. године. Режирао га је Милан Јелић а сценарио је написао Љубиша Козомара.

Улоге

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|Славко Симић ||
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|Добрила Шокица ||
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|Феђа Тапавички ||
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|Давид Тасић ||
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|Васа Вртипрашки ||
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|Велимир Животић ||
|}

Спољашње везе

Југословенски филмови
Српски филмови
Филмови 1977.
Телевизијски филмови
Српски телевизијски филмови
Српске телевизијске комедије
Филмске комедије


Certified Nursing Assistant with 8+ years experience in hospital of over 500 beds and the area's only level 2 Trauma Center, 5+ years experience in Nursing Homes with a Alzheimer's unit and skills unit, 3+ years experience in caregiving in clients homes. Outgoing and people person, Have a Certified Nursing Assistant Certification in Arizona in Good standing. CPR Certified. Level-headed health professional who remains calm and effective in extremely difficult and stressful situations. Strong belief in importance of companionship and support in patient care.
I Am a Team Player, A Hardworker, Love Taking Care of People, Get along with everybody, and most of all Love the Elderly.
Where can I find a Abrazo Central Campus Certified Nursing Assistant resume example?


Cheyenne and Arapahoe people in circle around flagpole, at the Indian Congress of the Trans-Mississippi and International Exposition.
- 59157 U.S. Copyright Office.
- Copyright by F.A. Rinehart, Omaha.
1 photographic print : gelatin silver. | Cheyenne and Arapahoe people in circle around flagpole, at the Indian Congress of the Trans-Mississippi and International Exposition.
Muhr, Adolph F., -1913, photographer. Ghost dance - Cheyennes & Arapahoes . , ca. 1898. Photograph. https://www.loc.gov/item/00649562/.
Muhr, A. F., photographer. (ca. 1898) Ghost dance - Cheyennes & Arapahoes . , ca. 1898. [Photograph] Retrieved from the Library of Congress, https://www.loc.gov/item/00649562/.
Muhr, Adolph F., -1913, photographer. Ghost dance - Cheyennes & Arapahoes . Photograph. Retrieved from the Library of Congress, <www.loc.gov/item/00649562/>.
Bird Head, Sioux 1 photographic print : gelatin silver. | Bird Head, a Sioux Indian, three-quarter length portrait, standing, facing left, holding calumet, at the Indian Congress of the Trans-Mississippi and International Exposition.
Susie Shot in the Eye, Sioux 1 photographic print : gelatin silver. | Susie Shot in the Eye, a Sioux Indian, half-length portrait, seated, facing left, at the Indian Congress of the Trans-Mississippi and International Exposition.
Songs from the Indian tribal ghost dances Berliner disc recordings of ghost dance songs made for the U.S. Bureau of Ethnology by Professor James Mooney, Smithsonian Institution, July 5-11, 1894.
Traditions of the Arapaho, collected under the auspices of the Field Columbian museum and of the ... Also available in digital form.
Cheyenne mission souvenir. Also available in digital form.
Hoistah, an Indian girl, Also available in digital form.
The Cheyenne wars atlas. Also available on the Internet.


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Valentine's Day Films in Manchester
Home > Manchester > Cinema | Romantic | Valentines Day
by Rachael Sneddon (subscribe)
I'm a freelance writer working in Manchester.
Event: 10/02/2017 - 11/02/2017
Enjoy a Victorian Valentine's Day
If you don't fancy joining thousands of other couples at restaurants around Manchester this Valentine's Day, why not head to one of these special screenings at Victoria Baths.
Head to Victoria Baths this Valentines
The newly-restored Victoria Baths provides a beautiful backdrop for special events. At Christmas, they held special showings of Home Alone and Elf, which quickly sold out, so you can expect these events to do the same.
There will be three screenings over the 10th and 11th February, with a variety of films to suit most tastes – 10 things I Hate About You, Moonrise Kingdom and Disney's Beauty and the Beast.
Tickets are already on sale, so don't hang around – they're bound to sell out quickly.
Local DJ, Jimmy the Gent, will be on hand to make sure the ambience is just right, with his pick of romantic tunes whilst Proove Pizza, Caribou Poutine and Ginger's Comfort Emporium be there to make sure everyone's appetites are satisfied. Cosy up with a glass of prosecco from the Village Screen bar, and get set to enjoy one of these romantic films.
8.30pm (doors open 7pm) - 10 Things I Hate About You
See this Nineties high school rom-com on the big screen. Based loosely on Shakespeare's The Taming of the Shrew, 10 Things I Hate About You tells the story of new kid at school, Cameron, who becomes smitten with the popular Bianca. The only problem is that she has been forbidden to date until her ill-tempered older sister Kat does. Cameron enlists troublemaker Patrick to help him in his quest for love. Will Cameron get his girl, and can Patrick thaw Kat's heart?
4.30pm (doors open 3pm) – Beauty and the Beast
Disney's classic love story is brought to the big screen. It's going to be hard not to sing along, as Lumiere invites you to be their guest. Join the Beast in his castle, and watch as Belle slowly begins to see the prince inside. A perfect Valentine's treat for families everywhere.
9pm (doors open 7.30pm)- Moonrise Kingdom
Set in the summer of 1965, Moonrise Kingdom is the story of two 12 year olds who fall in love and make a pact to run away together. Starring Bill Murray, Frances McDormand, Edward Norton and Bruce Willis, this hilarious and quirky film portrays the power of young love beautifully.
Mezzanine level tickets are priced at £13.50 for adults and £10.50 for students, children and seniors.
Pool level tickets are priced at £14.50 for adults and £11.50 for students, children and seniors. Online booking fees apply.
Tickets are available now and can be bought online here.
subscribe to Rachael Sneddon's articles
When: 10th and 11th February
Where: Victoria Baths, Manchester
Cost: £10.50- £14.50
Cinema (subscribe)
Near Manchester (subscribe)
Romantic (subscribe)
Rusholme East (subscribe)
Rusholme West (subscribe)
Valentines Day (subscribe)
February (subscribe)
More articles by Rachael Sneddon
Ordsall Hall
The Woodland Spa
Greenwood Family Park (Gelli Gyffwrdd)
Take a Bark Crawl in Manchester
Five Family Days Out in Manchester For All Weathers
Liverpool World Museum
View all articles by Rachael Sneddon
Beauty and the beast � thanks for the tip!
0 replies reply
by Stephanie Kiss (score: 0|4) 1813 days ago
Lake McIntyre (Adelaide)


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Maynard Scotts takes up unconventional Ministry
TAUNTON desserts company Maynard Scotts has changed its name to Ministry of Cake following a management buy-out last year. Managing director Chris Ormrod takes the title Prime Minister, with a Cabinet, including Ministers for Finance, Transport and Creativity.
Mr Ormrod said the company has moved beyond the boundaries of the Maynard Scott business, founded by master baker WT Maynard 165 years ago. It now makes a range of 200 cakes, pies, pastries and cheesecakes, supplying the catering,
restaurant and pub trade with the equivalent of 58 million slices of cake a year. "In a world of mass-produced cakes, we wanted to create a business identity that allowed us to stand out from our competitors and, at the same time, have some fun," said Mr Ormrod. "We believe that cake shouldn't be taken too seriously!"
The Ministry of Cake employs 181 staff on its site on the outskirts of Taunton, Somerset. Turnover is currently £15 million, a 25% increase over 2005. Recent contracts include supply deals with TGI Fridays and with British troops stationed in the Middle East.


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Q: On touch listener and update other row item in recyclerView Hi i have recyclerView row item consists of a play Button(Which change to stop and Play as toggle) and a play seek bar and TextView.
The each row plays different audios .
When i click on play button of respective row i am able to stop the other row audio ..
Addressing to the problem ..
When i am playing a audio of a respective row, the button of earlier row has to stow a play symbol (in the sense it has to change the state ) please help me how to update the other rows of recyclerView when the other item is clicked
  @Override
public void onBindViewHolder(final ViewHolder holder, final int i) {

    if (holder.viewType == ROW_TYPE){
       // holder.play_button.setImageResource(R.drawable.play_button);

        if(i == selected_item){

        }
        else {
           // holder.play_button.setImageResource();
        }
        JSONObject obj;
        String mp3_url = null, caption = null, thumbnail_url = null;

        try {
            obj = voicesArray.getJSONObject(i);
            mp3_url = obj.getString("mp3_url");
            caption = obj.getString("caption");
            thumbnail_url = obj.getString("thumbnail_url");

        } catch (JSONException e) {
            e.printStackTrace();
        }

        holder.list_text.setText(caption);
        imageLoader.DisplayImage(thumbnail_url, holder.list_image);

        final String finalMp3_url = mp3_url;
        holder.play_button.setOnClickListener(new View.OnClickListener() {
            @Override
            public void onClick(View view) {

                selected_item = i;
               int ii = holder.getOldPosition();
               // holder.play_button.setImageResource();

              //  updateItem(ii);

                if(player != null){

                    player.reset();
                    holder.play_button.setImageResource(R.drawable.play_button);
                    myAudioPlay(holder, finalMp3_url);
                }

                else {

                    myAudioPlay(holder,finalMp3_url);
                    /*if (player == null) {
                        player = new MediaPlayer();
                        playAudiFile(finalMp3_url);
                        holder.play_button.setImageResource(R.drawable.pause_button);

                    } else if (player.isPlaying()) {
                        holder.play_button.setImageResource(R.drawable.play_button);

                        player.stop();

                        Log.d("player", "" + player);
                        player.reset();
                    } else {
                        holder.play_button.setImageResource(R.drawable.pause_button);
                        playAudiFile(finalMp3_url);
                    }*/
                }

            }
        });
    }

}

A: Apparently the purpose of a recyclerView is to recycle the views to minimize memory usage required for rendering view so setting an image in the view is not an apt solution,Their are many solutions for your problem the One i would pick(Pseudo code) is given below
Step 1. Create a Boolean value in your model class
bool isPlay=true;

Step 2. When you are playing an audio loop through your Model for the recycler adapter and set the value for isPlay accourdingly
for(object obj in listOfModels)
 if(obj.Id!=idOfthePlayingView)
        obj.isPlay=false;

Then notify your adapter
yourRecyclerAdapterObject.notifyDatasetChanged()

redpajama_set_name: RedPajamaStackExchange


Viva Vegas Diner was designed by owners Leye D Johns and Martin Heywood to bring the Las Vegas dining experience to Blackpool. Having studied classic American diners in Las Vegas something that really made the experience memorable, alongside amazing food and service, was when the servers spontaneously broke into sing-song. To ensure that this unique experience is very special for our guests it requires an audition process to find talented singing servers that captivate and amaze their unsuspecting audience. The audition process was designed to be fun and enjoyable for the auditionees and audience too.
experience. The thrill of your waitress/ waiter performing beautiful music all in-between serving your food is an experience that our guests can't find anywhere else and is something that they all thoroughly enjoy, it does however require talented staff to achieve.
The first stage consisted of an afternoon of performances in front of Viva staff members and members of the public who came to show their support. There were 4 women who attended to audition. Each performer was asked to prepare and sing two songs of their choice accompanied by a backing track. To make the experience more authentic we ask all auditionees to wear all black as if they were about to serve the tables.
As you would expect the afternoon was full of standing ovations, the odd forgotten word but most of all great entertainment.
The auditionees all had different styles and preformed renditions of a range of songs including Hairsprays' "You can't stop the Beat", Gnarls Barkleys' "Crazy", Elvis' "Blue Suede Shoes", Marc Cohns' "Walking in Memphis" and Jackson Fives' "Blame it on the Boogie". The audience all showed their support by singing, dancing and clapping along to all of the performances.
Leye D Johns ended the afternoon of Auditions by thanking all those who attended. He announced that Martin, the cast from upstairs and himself would have a meeting to discuss the auditionees and who we feel would be a good fit in the Viva Vegas Diner.
The next stage is to offer the successful singers a position and to start integrating the singing servers into the atmosphere of the venue.


Confined space entry is an enclosed area with inadequate space and ease of access. It is a place where the entry of personnel is restricted and without safety no one can enter to the place. Confined space entry is of meticulous apprehension in occupational safety and health due to the hazards that they pose to the victim. Further, confined space entry also pose hazard by the intend of the space, work activities can also pose grim safety hazards that must be taken into account when identifying safety measures that must be taken.
For access in Confined Spaces.
With two mounted pulleys at the head of the Tripod in the prolongation of the main leg for passing a cable.
Having two auxiliary eye bolts as anchorage points.
Aluminum Alloy cast head, fully adjustable Aluminum telescopic legs.
Steel support-shoes provided with rubber sole to increase friction and impart more stability.
Strength of anchorage point greater than 10 kN.
Every Tripod is provided with inbuilt fixture for attaching our winch PN 801 (can be supplied without this fixture on Special request).
Every Tripod is provided with Tripod Bag No. PN 904.
KARAM introduces the new K-Pod which provides a safe and sure system for easy access to confined spaces. The K-Pod is an ideal choice to provide overhead anchorage which can be mounted on different bases and it conforms to EN 795 Class B.
The K-Pod is made of highly corrosion resistant Stainless Steel, and can swivel a complete 360 degrees on its mounted base, hence providing a versatile reach and access.
The unique feature is that the height of the Cantilever arm of the K-Pod is adjustable at 3 defined points, with upper height adjustment of 2.3m, middle arm adjustment of 1.9m, and lowered arm adjustment at 1.5m. This enables the use of the K-Pod even in those areas where the roof height is small. The K-Pod can be easily mounted on the floor as well as on the wall through special floor and wall mounting brackets which are made available as per need. The K-Pod can also be mounted on the floor of heavy vehicles, hence making it extremely versatile in use.
This Kit is meant for personnel who are required to move into confined spaces. The Kit seeks to protect the personnel from falling into deep and narrow confined spaces thereby ensuring full safety to a worker into such areas of an activity.
Comprehensive KIT for lifting and lowering materials and personnel.
Provides Safety to the personnel from falling into confined spaces.
Comes with Sturdy bag with Slings for easy carrying.
This Kit is meant to fulfil all the purposes and requirements of personnel engaged in maintenance jobs at height. Provides ultimate comfort level to personnel working at height thereby fulfilling all his needs. The specialized rescue equipment used in this Kit enables immediate rescue of personnel when suspended at height after suffering a fall.
This Kit is designed for the personnel engaged in working on high rise tower with an extra facility of bigger Hooks & easily adjustable Lanyards to suit the requirement of the working individuals.
This Kit contains equipment as per the requirement of the personnel engaged in working at height. Equipped with all the products that are required by the personnel for rescue as well as maintenance jobs.


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Archbishop Romero's beatification 'to take place on May 23'
A volunteer holds posters of Archbishop Oscar Romero at a church in San Salvador (CNS)
Salvadoran Archbishop Oscar Romero will be beatified in San Salvador on May 23, the day before Pentecost, according to the newspaper of the Italian bishops' conference.
Italian Archbishop Vincenzo Paglia, the postulator or chief promoter of the archbishop's sainthood cause, was expected to officially make the announcement March 11 during his visit to San Salvador, Avvenire reported.
"Wait for very good news today from El Salvador," he tweeted earlier today.
On February 3, Pope Francis formally confirmed that the murdered Salvadoran archbishop was killed "in hatred of the faith" — and not for purely political reasons.
While Archbishop Romero's sainthood cause began in 1993, it continued for years as church officials combed through thousands of documents related to his life. The effort began moving forward under Pope Benedict XVI. In May 2007, he said: "Archbishop Romero certainly was a great witness to the faith, a man of great Christian virtue."
The process advanced rapidly with the election of Pope Francis in 2013, the first Latin American pope in history. From the first moments of his papacy, he showed interest in declaring Archbishop Romero a saint.
Pope Francis signed the decree recognising Archbishop Romero as a martyr, which meant there was no need to prove a miracle for his beatification. However, a miracle is ordinarily needed for canonization as saint.
Archbishop Romero, an outspoken advocate for the poor, was shot and killed March 24, 1980, as he celebrated Mass in a hospital in San Salvador during his country's civil war. Archbishop Paglia said in early February that the two decades it took to obtain the decree were the result of "misunderstandings and preconceptions."
During Archbishop Romero's time as archbishop of San Salvador — from 1977 to 1980 — "kilos of letters against him arrived in Rome. The accusations were simple: He's political; he's a follower of liberation theology."
All of the complaints, Archbishop Paglia said, slowed the sainthood process.
However, promoters of the cause, he said, collected "a mountain of testimony just as big" to counter the accusations and to prove that Archbishop Romero heroically lived the Christian faith and was killed out of hatred for his words and actions as a Catholic pastor.
"He was killed at the altar," Archbishop Paglia said, instead of when he was an easier target at home or on the street. "Through him, they wanted to strike the church that flowed from the Second Vatican Council."
The archbishop announced the date of the beatification on the eve of the anniversary of the assassination of a close personal friend of Archbishop Romero: Jesuit Father Rutilio Grande, the first priest executed by death squads, March 12, 1977.
Fr Grande was a fiery champion of the poor and oppressed and used the pulpit to denounce actions of the government, death squads in his country, violence from the outbreak of civil war and military occupation of churches. His death had a profound impact on Archbishop Romero, who later said, "When I looked at Rutilio lying there dead I thought, 'If they have killed him for doing what he did, then I, too, have to walk the same path.'"
Julian Filochowski, who chairs the Archbishop Romero Trust, welcomed the setting of the date for the the beatification.
"With the beatification of Oscar Romero, Pentecost 2015 will be a time of ecstatic joy for the people and the Church in El Salvador and far beyond its borders," he said.
"My prayer is that it will bring genuine national unity in El Salvador and that Archbishop Romero will usher in the long overdue reconciliation to heal the still-open wounds of the country's twelve year civil war.
"Pope Francis is giving us Blessed Oscar Romero, who will be venerated with enormous affection and admiration across the universal Church as an icon for 'a poor Church for the poor'."
There will be an ecumenical service to mark the martyrdom of Archbishop Oscar Romero on March 21 at 11am at St Martin-in-the-Fields, London, with Cardinal Vincent Nichols as the preacher. The service will be part of a week of events organised by the Archbishop Romero Trust taking place across Britain from March 21-27. For a full list of events, visit romerotrust.org.uk
Archbishop Romero
'Inspirational' Archbishop Romero remembered on anniversary of his murder
Salvadoran Archbishop Oscar Romero was killed in the hatred of the faith 35 years ago today
Statue of Archbishop Romero vandalised again
Archbishop Romero 'is very much loved by a majority of Salvadorans, but hated by a small minority,' says campaign group
Follow example of Archbishop Romero and pray for the poor, says cardinal
Cardinal Vincent Nichols speaks at ecumenical service for Oscar Romero


text:
Vice Chairman's Message
Executive Director's Message
Convictions & Dreams
School Hours & Uniform
Medium, Subjects
Syllabus is important as a guideline. But if it becomes the be-all and end-all of everything, then education loses its sheen. Our learner-centric approach at Venkat International Pubic School goes beyond the mere syllabi, making learning cosmopolitan, in tune with the needs of to-day's fast-paced world, and helps the young minds learn and enjoy what is taught all the more. We call this approach Total Education. It has paid us rich dividends every year.
The Board Examination results of this year have been as commendable as in the earlier years. Our success rate like previous years was a full 100% with a very high percentage of "Distinctions" and "First Classes".
Credit for this should be equally shared by the enlightened policies pursued by the Management, the untiring efforts of a splendidly dedicated band of teachers, a bunch of scholars with the never-say-die attitude deeply inculcated in them and a caring, committed lot of parents willing to sacrifice anything for the betterment and benefit of their wards.
A well-stocked library with endless reference materials, large and well-equipped laboratories in Physics, Chemistry, Biology, Computer Science and Geography giving the students hands-on experience of the theoretical portions learnt earlier and an ambience matching international norms, have paid us rich benefits. We are justifiably proud of them. We are determined to keep this momentum going at Venkat International Pubic School.
Grooming Tomorrow's Leader – Venkatamma Prathibha Puraskara
Fulfilment of a Coveted Journey
This award was instituted a few years back to felicitate the toppers appearing in Board Examinations every year. It has seen the light of day as a day of commemoration of the revered memory of the Mother of the Founder Chairman of our Institution. She displayed foresight of a high order stressing the paramount importance of education in every individual's life.
If you have any queries or suggestions, please feel free to call us
Join us in the social media
© 2020. Venus International School. All Rights Reserved.


text:
Top 20 Los Angeles attractions
Grand Park Los Angeles
Select ratingGive Grand Park Los Angeles 1/5Give Grand Park Los Angeles 2/5Give Grand Park Los Angeles 3/5Give Grand Park Los Angeles 4/5Give Grand Park Los Angeles 5/5
Visit Grand Park, a beautiful oasis in downtown Los Angeles, with the fountain featured in Pretty Woman!
Downtown Los Angeles has undergone some major revitalization.
One of the great success stories is the revitalized Grand Park, which has 12-acres of lawns over 4 city blocks, including botanic gardens, a fountain, splashpad, cafe, dog park and super cool playground.
This is the perfect place to hang out on a hot day!
Grand Park is like an outdoor living room, where the whole community comes together for musical events, to enjoy a picnic, relax on a park bench, or take kids to the splashpad and playground.
It's located at 200 N Grand Ave, Los Angeles, CA 90012.
10 best things to do at Grand Park Los Angeles
1. Start at the spectacular overlook on Grand Avenue.
The overlook on Grand Avenue has an amazing perspective of the cascading terraces of Grand Park, all the way down to City Hall, with the dramatic fountain in the foreground. Grand Park connects all the art galleries and music halls at the top of Bunker Hill, to the Civic Buildings at the bottom of the hill, like City Hall.
This is the fountain featured in a scene with Julia Roberts and Richard Gere in the 1990 hit, Pretty Woman.
Grand Park Los Angeles: 10 BEST Things to Do
2. Dip your feet in the splashpad below the Arthur J. Will Memorial Fountain.
Kids love to splash around in the lower membrane pool, made from 6,200 square feet of granite. The upper fountain pools are off limits, so you can only hang out in the lower pool.
3. Grab some refreshments at the Starbucks, conveniently located next to the splashpad.
Find a relaxing place to sit amongst the bright pink tables and chairs scattered about outside Starbucks, or retreat inside to air conditioned comfort.
4. Visit the Arthur J Will fountain at night when it's beautifully illuminated.
It's worth returning at night when the Arthur J Will fountain is illuminated in striking colors, making this a magical setting. This 1960s-era fountain was restored in 2012, at a cost of $54 million, and has a 60-foot stream of water that shoots up from the central fountain.
5. Attend an outdoor event like a movie or concert on the upper Performance Lawn.
Grand Park incorporates a lot of open green spaces, with an upper Performance Lawn for movie nights and concerts, and a lower Event Lawn that can host up to 15,000 people. Check the latest events.
6. Hang out at an incredible 75-foot long picnic table at Grand Park!
Gather together a group of friends, and plan a meal at the 75-foot long picnic table on the lower terrace of Grand Park, just off N Broadway.
7. Check out the cool playground on the lower terrace.
This brightly colored playground has a 12-foot slide, super cool tunnels and mounds, and a fun treehouse tower. It's for kids aged 2 to 12, located between Spring Street and Broadway.
8. Take fido to the gated dog run at Grand Park on the lower terrace.
Dogs are in for a treat at the Grand Park dog run, located between Spring Street and Broadway, with benches and shaded areas.
9. See incredible views from the 27th floor observation deck at City Hall.
Stunning City Hall is at the end of the Grand Park promenade on N Spring Street. This art deco building was completed in 1928, and was once the tallest in L.A. City Hall has a free observation deck on the 27th floor with amazing views of Grand Park and L.A. It's usually open during business hours.
10. After visiting Grand Park, visit other great attractions in downtown Los Angeles.
There's so much to see in the newly revitalized downtown Los Angeles, like The Broad (art gallery), Angels Flight (railway), and The Last Bookstore.
Address: Across the road from the L.A. City Hall, downtown L.A.
More Parks & Nature in Los Angeles
Japanese Garden Los Angeles
Earl Burns Miller Japanese Garden
Beverly Hills Sign
Descanso Gardens
Greystone Mansion
Exposition Park
Lake Shrine
Wayfarers Chapel
Tongva Park
< Back to Los Angeles
Getty Museum
The Last Bookstore
TCL Chinese Theater
Los Angeles Museum of the Holocaust
Natural History Museum Los Angeles
Venice Skate Park
Huntington Library
The Broad
Space Shuttle Endeavour
The Grove LA
Annenberg Beach House
Griffith Observatory
La Brea Tar Pits
Malibu Country Mart
LA Farmers Market
Venice Beach Pier
Dolby Theater
Venice Beach Canals
Point Fermin Lighthouse


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