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You are here: Home / Books / Annie's Choices (Settlers Book 4)
Annie's Choices (Settlers Book 4)
April 24, 2020 By Tricia McGill Leave a Comment
In book 4 of the Settlers Series, we catch up with most members of the extended family from the previous three books. Annie at 18 is the eldest Carstairs girl. She has lived out at Bathurst west of the Blue Mountains, where she was born just after her Mama, Bella and Papa, Tiger settled there back in 1824. After visiting her brother Tim and his wife Jo just before Christmas 1843, Annie decides to stay in Port Philip, seeking adventure much as her brother did when he set out with Jo the previous year. Annie has inherited her mother's independent streak, a character trait that sometimes leads her to make the wrong choices.
Jacob O'Quinn works for her brother, and the likeable young carpenter catches Annie's eye. Jacob is quiet and reserved in his manner, having spent his life with his widowed mother. When handsome Zachary McDowell, the complete opposite to steady Jacob comes along, he sweeps Annie off her feet. Heedless of advice given by others, Annie makes a choice that turns out to be the worst she could ever make.
Restless, Annie decides to return to her home, and Jacob makes the decision to escort her. The journey back across the mountains proves to be a lot more eventful than she assumed it could ever be. The road itself may have seen improvements through the years but there will always be unexpected incidents to turn life around on its axis. A suspected murder brings the might of the law down on the shoulders of the young couple.
Genre: Fiction, Historical Romance, Romance


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Elmira Notre Dame football season preview
Andrew Legare
alegare@stargazette.com | @SGAndrewLegare
Notre Dame has a young roster with only four seniors
Head coach Mike D'Aloisio enters the season with 214 career wins
D'Aloisio said his team could be dangerous if it progresses
Notre Dame will play home games at refurbished Brewer Memorial Stadium
Elmira Notre Dame
Class D, Division VIII
LAST SEASON: 7-2
After forfeiting its opener last year because of low numbers, this has been a more optimistic preseason for Elmira Notre Dame. The Crusaders have a solid 23-player roster and the excitement of playing home games at refurbished Brewer Memorial Stadium.
There is the matter of trying to replace four seniors who spearheaded the Crusaders' run to a division title: quarterback Hunter Thomas, running back Tom Agan, receiver Derek Marshall and linebacker Brian Hale. This season the Crusaders have four seniors total.
"We lost a lot and we're very young this year," said head coach Mike D'Aloisio, who enters his 33rd season with 214 victories. "I think we have some good athleticism, but the confidence and experience isn't there yet with them. If that comes along I think we could be dangerous. We pride ourselves in not making a lot of mistakes. Right now we're making too many mistakes this late in the practice season."
Sophomore Chris Whitson showed glimpses of his talent last season and will play in both the offensive and defensive backfields. Senior Cam Reid missed much of the 2013 season with a shoulder injury but is back at running back and defensive back. Joe Prunier, another senior, is a returning two-way starter who will play end on offense and defensive back/linebacker on defense. D'Aloisio said sophomore quarterback Tyler Jones is progressing as he tries to learn his reads.
Sam Bruner returns to football for his senior year after sitting out last fall. Tim Davis, a sophomore, is expected to make an impact at receiver/running back. Ty Kunzman, a newcomer to the school, will contribute at offensive line and linebacker. Matt Labadie will play on the offensive line and at linebacker after seeing time last year. The offensive line will be filled with new faces.
"We have young kids and whether they can physically withstand a full season, time will tell," D'Aloisio said. "They worked hard in the offseason. We just have to utilize our quickness and get into people. We're mismatched up front probably, but it's up to me to find ways to be creative and get the ball to people where they can be successful."
— Andrew Legare
at Newark Valley
at Odessa-Montour
Spencer Van-Etten
at Groton

redpajama_set_name: RedPajamaCommonCrawl


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It's Time–The Pluto/Uranus Square Is Here–Angie's Sacrificial Mindfuck–Unloosing The Human Experience
| Astrology, Awakening Dreamers, Chiron In Pisces, Pluto In Capricorn, Uranus in Aries
When a circle is a square.
The skies here are dark, oppressive and cloaking something behind their grey pallor. The heat has been oppressive too. Negative ions scatter and run for cover. The Southwestern version of the Santa Ana blew into town yesterday, blasting currents with dense, torpid heat. Later in the day, I hear rumors about a massive meteorite striking Mexico, though it cannot be confirmed. A good friend swears she can't see past the end of the month and she's not the only one. Days become hours, become minutes, become seconds, become the present now.
Friday, I was driving through the heat of the night listening to Dr. Dog and their melancholic strains hinted at some sort of aftermath, like they were channeling it's inevitability;
"Where'd All The Time Go?"
It's starting to fly.
See how the hands go;
Waving goodbye.
And you know I get so forgetful
when I look in your eyes.
Now she's walking backwards
through a parade.
And I'm stuck in the shadow
blocking the shade.
And there ain't no way to sweep up the mess that we've made
She gets dressed up like a pillow so she's always in bed
Flowers for the sick and dead
She's on the go, way too fast and way too slow
She'll turn to stone at hospitals and funeral homes
and when the fog rises somebody sighs who is not in disguise anymore
There's nothing to keep you
from falling in love.
It starts at the bottom
and comes from above.
br>Like pieces of a puzzle, like a hand in a glove
She'll turn and stop at hospitals and funeral homes
and when the tide rises somebody sinks and is gone in the blink of an eye
We're on the clock.
Tomorrow marks the big day, the Pluto/Uranus square, hitting us right in the collective pineal gland.
What's going to happen?
Well, if you can read the script, there's at least five possible endings, unlike ABCIA's new series, "Motive" where you know who did it, but not why, we're still conjuring and scrying the un-lived hours staring back at us from the future.
The Moon is currently in Virgo, where it's nervy, edgy, mercurial and restless. Moon in Virgo is all those "Worst Case Scenario Books." The Virgo Moon pants for disaster planning and worry. It's greatest satisfaction is having enough order so that the emotional landscape is manageable and not a chaotic maelstrom. Once a semblance of order is achieved, then the Virgo Moon can go about what it also does naturally; serve others. Tomorrow, the Moon will be at 29 degrees Virgo at 11:11AM, Washington, DC time. I chose the 11:11 time due to the Uranus/Pluto square at 11 degrees of both planets. What's interesting is when a chart is cast for that time, the ascendant and descendant are also 11 degrees each as well (Leo/Aquarius). The MC and IC are at 1degree (Taurus/Scorpio). One and one is of course two or eleven. 11 + 11 + 11 = 33.
There's a very strong stellium in Gemini, all occupying the 11th House. Here we have the two, great augurs of social change, Gemini and Aquarius, co-habitating. As I have been trying to point out for a while now, both signs are key players in the altering of social consciousness and time. Gemini hacks our reality through distorted mirrors, which reflect back an image that resembles us, but isn't. The latest version of this technique being employed was what just happened with Angie Jolie (Gemini!) lopping off both breasts because she has the possibility of contracting cancer based a on gene test, which revealed that she had the potential of having cancer based on the same gene that did her mother in.
Of course the dirty little secret is that the test she took is related to a gene patent and the very same test is part of the Obamacare plan, where women will be required to take the test, which is roughly $1,000 a pop. What happens if they test positive int he same way that Angie did? Will they be required to have preventive surgery? Remove the ovaries? Remove mammary glands? Why Angie Jolie? And what is really going on?
There's a rumor on the down and dirty byways of the alt research world that Angie and Lindsay and Britney and their army of contemporary fembots are actually clones and the things they do to and with them are not fit for print. Let's just say that it involves not just same sex acts, but same self. They will also pit clone against clone. They will also control the master copy by doing something to the clone on a physical level and while it seems overly simplistic, there's a sympathetic relationship that all the clones have with one another, like voodoo dolls. Now before you summarily dismiss this insane notion, pick the real Angie out of this line-up without channeling Google.
So what if what Angie did, never happened? Or what if it happened, but not with her? Do you get my drift? And even if it did happen, and she was that one that had the elective, pre-emptive surgery, what's the Net result and intended affect? Well, Angie has invested a lot in her identity of being an uber-mom, adopting and popping babies from the third world, to the next womb. I did a series of posts on her and Brad sometime back that chronicled most of this and now she has had made the ultimate sacrifice by lopping off her breasts and removing her software. She's held up as an exemplar and courageous, making a pre-emptive strike against the sleeper cells that would ultimately terrorize her biology and threaten the safety of not just her, but the children she still needs to nurture and care for, well along with her entourage assistants and house staff.
She gave up some of her freedom for the security of cancer not being able to attack the bastions of her procreativity.
Will millions of women across America salute her and follow suit? Will this be the new normal? If so, then what? Do you need to buy shares in the Shenzen Bojia Trading Company? What will women do when it comes to breast feeding? Will formula be the new manna for mamas? I seriously doubt that women are naive enough to so easily dispatch with their birth rights and yet this development is just a little disturbing and it comes home to "my body" and "my right."
On nearly the same day as Angie's confessional got published, two seemingly unrelated events took place. The city of New York ruled that women can parade topless in public if they wish. It was under the aegis of equal rights sex laws, like the ones that will make all bathrooms unisex at some point. It was a typical, Jupiter in Gemini kind of day; take some breasts away, unloosen and free some others. And then, there's this:
Yes. that's a teen boy that's pregnant. It's part of a an ad campaign that just came out, right around the same time that Angie became less of a woman. Well, we get more of a man in some ways I guess. Can I just say that I'm looking forward to taking a nice, relaxing bath in Jupiter's Cancerian waters. I enjoy a good mindfuck asmuch as the next person, but I'm ready for Jupiter to move onto more nurturing waves and vibrations. How about you? In some ways, what happened with Angie almost feels like blow against the oncoming tide of love with Jupiter in Cancer. Speaking of Jupiter in Cancer, here's a group in New Jersey civilly and disobediently disrupting a local hearing on guns and the 2nd amendment by drowning out the chair of the meeting with the pledge of allegiance. We'll be seeing much more of this as Jupiter moves into Cancer, the USA's ruling sign.
Much of this has been fueled by what's taken place recently with the IRS scandal targeting conservative groups. This is a manifestation of Pluto in Capricorn going up against it's opposite sign (Cancer). The IRS is the plutocratic mechanical arm that descends down into the private reserves of the populace. It's a Scorpioinic reach into bullish reserves. And, its a full on scandal that's endemic of Pluto in Cap. While that is smoldering, Benghazi is still smoking as well. Here we see Uranus in Aries, the quick and violent assault upon the US embassy is indicative of the power of Uranus in Aries, lightning swift strikes of violence and people sitting back in cushy lounge chairs with double lattes watching the scene blaze on via satellite imagery. Technology as the carrier wave of violence and threat.
It's these two scandals that will square off against the White House and when that happens, things can get tricky….very tricky.
I don't think we've ever seen so many things line up in such discordia in recent memory. Something has to give.
While Pluto and Uranus are doing their thing, Chiron is also jamming up against Venus, Mercury and Jupiter. There's something about this alignment that is absolutely revelatory and not in an angels humming hymnals in your ear while you wade through the early morning commute. There's something about this critical square that extrudes the secrets of the 8th House and floods the 11th with truth, shame, lies, deceit and distortion. Spin will be firing at an all time high. Refraction/distraction.
Now, I would not bee a very good therapist if I did not offer some form of therapeutic direction, now would I? So what's in it for you? Clones are losing their boobies, nuclear war is waiting just around the corner like a hungry wolf, the tides may or may not rise and then there's that pesky asteroid made of out of some supernatural blackness set to come swing by this way on the 31st. Is that enough for you? So what to do?
I say be ready to shed your idea of being human at any given moment. And what I mean by that, or rather what I don't mean by that is not to reject and dispose of your humanity, but to let go of a particular definition of being human. I think that's coming to an end, because the things we've defended ourselves against are also ending. Our institutions are failing. Our leaders are corrupt. The rule of law alternates between a taser in the solar plexus, to the unseen hands of corporate criminals stealing whatever they want, whenever they want it, without fear or reprisal. The relative normalcy we have defined ourselves against is obliterated, it's now a part of our past and any desire to bring it forward is really just a failed sort of nostalgia. We're not going back, ever.
Be ready. Be fluid. Be mobile. Be alert. I'm using "Be" a lot aren't I? We need to shake ourselves loose from the prisons of this dimensional agreement and even if we don't "ascend" a new age fairy tale if you ask me, we need to be ready and open to meet our own demise as we have defined and do so with as much love and courage as we can muster, because beyond that is the great unknown. That's where we're headed and with it comes a whole new set of protocols and variables. We don't have to throw the baby out with the bath water per se, because the bathwater is still pretty good with Neptune in PIsces, but maybe we can reconfigure the bath water into a portal that we can stare into and get scenes from our future selves, because as God only knows, we need some advice the other side for what's to come.
Hang on space ranger and rangerettes, we're about to reach lift off capacity.
6 thoughts on "It's Time–The Pluto/Uranus Square Is Here–Angie's Sacrificial Mindfuck–Unloosing The Human Experience"
This was VERY compelling reading. Lauyrn Hill's latest song offer "Neurotic Society" came to mind, its lyrics… look 'em up, you'll see, and hear. Then a video that I recently stumbled upon, with Michael Tsarrion, its title escapes me, but he speaks about "how to REALLY watch movies," then he mentions the "gay way," again, COMPELLING. If I can find it, I'll send it to you.
Thanks for these courageous shares.
Heart goes out to Lauryn.
Pre-emptive/preventive surgery reminds me of the current doctrine of pre-emptive strikes. Is there a correlation? I am not sure… and I don't claim to be an expert on the "just war" philosophy or approach, but I know that it has a lot to do with the moral right to defend ourselves — our person, others, our property, or our nation, should we be under direct threat. It does not (it seems to me) justify killing a potential enemy or attacker before he has attacked or deciding in advance to target certain individuals via drone strikes without just cause — without proving that the person is really someone who is plotting our overthrow and involved in criminal behavior. The person should be captured and taken to court, not killed in advance.
Again, not sure if/how this ties in — haven't had a chance to think it through — but the war on one's own breasts – the first strike mentality against our very body really "strikes" me as strange and unnatural. Wouldn't working on one's diet be the first response rather than removing one's breasts?
The other thing is that Angelina Jolie is a very Venusian woman. Not just because of the fact that she has adopted all of those kids, but because of how she looks and what she represents.
Killing Venus, killing love, maiming Venus, maiming love, maiming beauty, maiming the feminine/the mother, marring beauty, marring fertility… treating one's body as a strictly material object. Taking life and death into one's hands — claiming the power to cut of one's limbs, body parts, at will.
We are in a very strange time, indeed….
Yes Catherine, you picked up on my lead. And it's the pre-emptive motive, which is Mars based. So we have Mars dominating over Venus or the unrealized masculine encouraging the desecration of the true feminine. Women around the world should view this skeptically, not just from a biological perspective, but from a spiritual one as well.
Gunma Bunkyoku
Are you aware of a TV show on BBC America called Orphan Black? It just finished its first season. It's about a bunch of CLONES who discover each others' existences because one of them is killing the rest of them off. I know this post is kind of late, and no one might ever read it, but it lends another layer to the rumors you referred to.
Here is the link to the show you mention.


testosterone cypionate is a topic covered in the Davis's Drug Guide.
Quiring, Courtney, et al. "Testosterone Cypionate." Davis's Drug Guide, 16th ed., F.A. Davis Company, 2019. Anesthesia Central, anesth.unboundmedicine.com/anesthesia/view/Davis-Drug-Guide/109270/all/testosterone_cypionate.
Quiring C, Sanoski CA, Vallerand AH. Testosterone cypionate. Davis's Drug Guide. 16th ed. F.A. Davis Company; 2019. https://anesth.unboundmedicine.com/anesthesia/view/Davis-Drug-Guide/109270/all/testosterone_cypionate. Accessed April 22, 2019.
Quiring C, Sanoski CA, Vallerand AH. Testosterone Cypionate [Internet]. In: Davis's Drug Guide. F.A. Davis Company; 2019. [cited 2019 April 22]. Available from: https://anesth.unboundmedicine.com/anesthesia/view/Davis-Drug-Guide/109270/all/testosterone_cypionate.


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Knights of Columbus Council #9088 has chosen Our Lady of Victory School to receive all profits from the Annual Fat Tuesday on Tuesday, February 28, starting at 4:30 p.m. at Holy Family Church's Activity Center. The meal will be served for dining in or taking home. Menu: fried chicken plates at $9 per plate; chicken/sausage/shrimp gumbo for $8; chicken and sausage gumbo for $8 and bread pudding with rum sauce for $4.


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← "Fulfillment was already there": Debord and 1968
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Artists and Urbanization
Posted on July 4, 2018 by Andy Merrifield
In the late 1980s, the philosopher Gilles Deleuze did a series of quirky filmed interviews with Claire Parnet, a journalist at the French daily, Libération. Eight hours of documentary footage emerged, an Abécédaire, in which Deleuze extemporises on all things A to Z, Animal to Zigzag. Here Deleuze is perhaps at his most fascinating best. We get a rare glimpse not only inside the life (and living room) of a notoriously media-shy thinker; we enter inside his own head, too, inside his own thought-process, watch him ad-libbing, smiling and ruminating, unrehearsed before the camera. It's something refreshingly different from today's canned, bland TEDx gabbing.
Deleuze is always inspiring, and I like to watch him when I'm feeling down about the world. So, a little while ago, I checked out his Abécédaire again, homing in on the letter "G," for "Gauche"—"Left," wondering what Left might still mean today. "What does it mean for you to be 'Left'?" Parnet taunts Deleuze. "I'm going to tell you," he says, "that there's no government of the Left. A government of the Left doesn't exist, because to be Left isn't an affair of government."
But let's start with what it means not to be Left, Deleuze says. This is to think of the world "a bit like your postcode. You begin with yourself… the street where you live, the city, the country, other countries further and further away." On the other hand, "to be Left [être de gauche] is the direct opposite." It's to perceive the horizon, to move inwards from the outside, to imagine the planet, "the continent, your country, region, city, street… you." "Left," says Deleuze, is an affair of perceiving that horizon, of keeping your vision of yourself and the world expansive, large. It's to live with the vastness of the planet, with its immensity.
Perhaps this is one way in which we can reimagine urbanization, understand its immensity. Perhaps we can understand what is happening to our cities as a reflection (and reinforcement) of what is happening to our global political-economic system. Cities today are defined by the closing of the circle of a particular form of capitalism; less a model of industrial or agricultural production, more as something predicated on the production of space, as a system that produces planetary geography as a commodity, as a pure financial asset, using and abusing people and places as strategies to accumulate capital. This process quite simply embroils everybody, no matter where. That's its immensity.
In a sense, cities don't so much spread themselves out as grow because they become vortexes for sucking in everything capitalism offers: its land and wealth, its capital and power, its culture and people—its dispensable labour-power. It's this sucking in of people and goods, of capital and information that fuels the city machine, that makes cities so dynamic as well as so destabilising, because the energising and totalising force of cities expels people, secretes people who are somehow residual to this system, dispensable to it.
"Residues" are remainders who live out the periphery, people who feel the periphery inside them, who identify with the periphery, even if sometimes they're located in the core. Residues exist in the world of work: precarious and downsized workers, informal and gig economy workers, workers without regularity, without any real stake in the future of work. Residues are refugees rejected and rebuked, profiled and patrolled no matter where they wander, people forced off the land, thrown out of their housing (by impersonal property markets and violent eviction), whose homes have been repossessed, whose living space teeters on the geographical and economic edge.
Plenty of artists fill the ranks of residues and now know how capitalism's cutting edge is frequently a bleeding edge for art. True, high art can be exploited as super profitable cultural capital; but progressive art, Left art, leaves many artists—painters, installation artists, performance artists, writers, poets, etc.—out on the margins, struggling to earn living inside the meanness and aggressive bluster of global capitalism.
Artists have special needs for space, not only for living space but for spaces to create, display and perform their art in, spaces to practice their art in, and that's why artists have historically been very vocal in demanding their "right to the city," since they feel the pinch in urban areas alongside other modest means people. And that's why artists often find affinity with these other people. Artists have been forced to think about their place in the world, in the city, about their links for other communities, about their relationship to the class system. Urban areas offer artists access to markets and to audiences, to fellow-traveling artists, to like-minded creative people. Yet urban areas with soaring rents and property values also put intense pressures on artists that makes them sometimes wonder whether they'll ever have the means to create at all.
Meanwhile, political demands are now placed on artists. Indeed, artists can make a crucial contribution as residues, because their art can help other residues recognize one another, find one another. Artists can open up lifelines where residues can encounter one another. Artists can create imaginative spaces of encounter, events, objects and happenings that give expressive form to this vortex of planetary urbanization, helping residues navigate and survive in this vortex.
Radical art can do this by formulating forcefields of resistance, creating new ways of perceiving those planetary horizons that Deleuze said Leftists should perceive.
Deleuze knew that all great art was about creation, was about formulating new concepts of Becoming, about how Leftists never really cease "becoming minorities" [devenir-minoritaire]. In his Abécédaire, Deleuze says that, maybe, minorities will never actually make up the majority. To be Left, and be a Left artist, is to affirm your Being by Becoming a minority, alongside other minorities, other residues, be proud of it, wear it as a badge of honour. It's to assemble and form an ensemble with your fellow minorities, to express your becoming out in the world together.
The poet Charles Baudelaire long ago suggested that the modern artist should aspire to become "a spiritual citizen of the universe," that they should create a cosmopolitanism which doesn't only touch the horizon: occasionally it pushes beyond that horizon, opens up new doors of the perception. Baudelaire drafted what might well be the greatest single definition of what art should be: something only completely true in another world. This sets the tone for artists today, for the artist as marginalized creator, for the artist who's equally a truth-teller, a rebel, a he or she who isn't afraid to stand up to the corrupting forces of money and power, and who, in many ways, has nothing to lose. Truly independent artists are free to let us glimpse—maybe even grasp—that other world. Before us now lies a massive expansion of urban life across the planet, an opening up of our urban horizons and frontiers, matched by a closing of the political mind, a withering of the established political will.
Ruling forces seemingly everywhere appear intent on blowing this planet apart, cowering before provincial smallness rather than embracing cosmopolitan vastness. Art can keep things large and intact. It can create visions expressive of a mutually shared planet in which people who look different, who talk different from one another, who don't know one another, who may even hate one another, have more in common than they might think.
This likeness is an ever-growing mutuality of disadvantage, of despair, of suffering and, perhaps, of hope. There's affinity here even if it's rarely acknowledged. Art and artists can help us identify how this affinity might get recognised, how it gets mediated, undermined, upended by forces upending the planet, forces that conspire together, that throw everybody into a scary mix. The hope against hope of art is that it can help inspire a new urban sovereignty in which people strive to become wholly human.
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Владимир Иванович Романенко (род. 3 февраля 1945 года, Новороссийск, РСФСР, СССР) — советский и российский военачальник и общественный деятель. Начальник Береговых войск и морской пехоты ВМФ России (1995—1996 гг.), Начальник Береговых войск и морской пехоты Черноморского флота ВМФ СССР и России (1986—1995 гг.), Первый заместитель Командующего Береговыми войсками и морской пехотой Тихоокеанского флота (1985—1986 гг.), . Генерал-майор.

Биография

Происхождение
После рождения 3 февраля 1945 года в городе Новороссийске сына, которому дали имя Владимир, родители вернулись в родной Севастополь. Дед Комякевич Казимир Казимирович был артиллеристом на броненосце Черноморского флота «Ростислав» и дослужился до звания кондуктор. Оставив военную службу в 1912 году получил от царя две десятины земли в Севастополе под Малаховым курганом, где прошло детство Владимира. Отец подполковник Романенко Иван Фёдорович проходил службу на Черноморском флоте с 1925 по 1956 годы. Во время Великой отечественной войны командовал отрядом десанта, прикрывающим отход основных сил при обороне Одессы. Покидал Одессу на одном из последних торпедных катеров. Затем воевал в составе Азовской флотилии, участвовал в обороне и освобождении Новороссийска. Был командиром флотского полуэкипажа в Фальшивом Геленджике, где готовились морские десанты на Малую землю и Эльтиген.

Образование
В 1963 году после получения среднего образования в школе № 41 города Севастополя Владимир Романенко поступил в Черноморское Высшее военно-морское ордена Красной Звезды училище имени П. С. Нахимова. Во время обучения входил в состав команды училища по водному полу, которая стала сильнейшей в Вооруженных силах СССР в 1967 году. Тренером команды являлся заслуженный тренер СССР, капитан 2 ранга Махорин Анатолии Иванович. В течение 1963—1964 гг. он подготовил сборную ватерполистов, которая через год стала выступать на чемпионате Советского Союза в классе «Б». На тот момент команда являлась единственной студенческой командой в СССР, способной на одном уровне выступать с известными мастерами в чемпионате страны. В 1967 году под руководством Анатолия Ивановича Махорина команда ЧВВМУ по водному полу в составе курсантов Валерия Иванова, Владимира Бобкина, Владимира Романенко, Виктора Волкова, Виктора Лушникова, Николая Миронова, братьев Владимира и Эдуарда Афанасьевых и Валерия и Александра Марченко завоевала первенство и стала чемпионом ВВМУЗов СССР.

По окончании училища в 1968 году лейтенант Романенко В. И. получил специальность «ракетно-артиллерийское вооружение» и был распределен для службы на Дальний Восток.

Военная служба
Службу начал лейтенантом на артиллерийской батарее Тихоокеанского флота на острове Сахалин. В 1970 году был назначен командиром вновь сформированной артиллерийской батареи, которая в полном составе была высажена на остров Итуруп Курильской гряды. Под руководством комбата Романенко В. И. был успешно освоен новый район дислокации и боевого применения, неоднократно осуществлены артиллерийские стрельбы в рамках боевой подготовки и общефлотских учений

В 1972 году был направлен в качестве военного советника в Сомали. На протяжении двух лет обучал военному делу и инструктировал высшее руководство страны и личный состав военно-морского флота Сомали. Исполнял обязанности военного атташе и полномочного представителя СССР в порту Бербера, в Аденском заливе. По завершении миссии в 1974 году был отмечен правительственной наградой за образцовое исполнение возложенных обязанностей.

С 1974 по 1982 годы последовательно командовал ракетным дивизионом, был начальником штаба полка, командиром полка, заместителем Начальника береговых ракетно-артиллерийских войск ТОФ. С 1985 по 1986 годы — первый заместитель Командующего Береговыми войсками ТОФ. В этот период в ходе учений руководил крупными десантными операциями с высадкой морских десантов в составе 55 димп ТОФ на о. Сахалин, о. Итуруп, в Приморье.

Полковник Романенко В. И. поступил в Военно-морскую академию имени Маршала Советского Союза А. А. Гречко в 1982 году и закончил её в 1984 году по специальности «командная». В 1986 году был назначен Начальником береговых войск и морской пехоты Черноморского флота. Под его руководством подразделения и части береговых войск и морской пехоты приняли участие в масштабных учениях Вооруженных сил СССР в 1988 году.

В ходе этих командно-штабных учений "Осень-88" Начальник береговых войск и морской пехоты ЧФ полковник Романенко В. И. подготовил и осуществил высадку морского десанта в районе пос. Григорьевка под Одессой. Черноморский флот задействовал практически весь состав сил и средств, чтобы по всем военно-морским правилам высадить десант. Оборону держали подразделения Одесского военного округа. Это был самый крупный морской десант, высаженный на учениях в Советском Союзе после Великой Отечественной войны. В августе 1989 года руководил высадкой аналогичного морского десанта в период показа выучки Вооруженных сил СССР Горбачеву М. С.

В августе 1991 года во время ГКЧП генерал-майор Романенко В. И. руководил действиями всех силовых структур на аэродроме Бельбек под Севастополем, обеспечивал задачи по охране и контролю ситуации на аэродроме Бельбек, встрече и сопровождению прилетающих делегаций, а также отлету Президента СССР Горбачева М. С. в Москву.

В период раздела Черноморского флота 1991—1995 годов, морская пехота под его командованием явилась надежным инструментом Командующих Черноморским флотом адмирала И. В. Касатонова и адмирала Э. Д. Балтина по сохранению флота в составе Вооруженных Сил России.

В 1993—1995 годах успешно руководил боевыми операциями морской пехоты флота в Абхазии и Грузии, за что неоднократно был поощрен командованием.

В 1995—1996 годах командуя Береговыми войсками и морской пехотой ВМФ России, успешно завершил вывод частей морской пехоты ВМФ из первой Чеченской кампании.

Награды

Награждён орденами Красной Звезды (1982), «За службу Родине в Вооружённых Силах СССР» III степени (1989), 17 медалями, а также орденом Святого благоверного князя Даниила Московского (РПЦ).

Общественная деятельность
После завершения военной службы, с февраля 1997 года по апрель 2008 года, работал в Институте стран СНГ первым заместителем Директора Института. За этот период была проделана большая работа по поддержке соотечественников за рубежом, созданию и обновлению законодательной базы РФ, решению практических вопросов отстаивания интересов России в странах СНГ.

С начало 2000 Владимир Иванович стал читать лекции для слушателей в Дипломатической Академии МИД России, а также вести научную работу в Институте актуальных и международных проблем Дипломатической Академии МИД России, где в 2009 году защитил диссертацию по проблематике черноморского региона в контексте российской национальной безопасности и стал кандидатом политических наук.

С октября 2013 работает в должности заместителя председателя Общероссийской общественной организации ветеранов «Российский союз ветеранов».

9 мая 2014 года в составе делегации Российского союза ветеранов принял участие в праздновании Дня Победы и 70-летия освобождения Севастополя от немецко-фашистских захватчиков.

Семья

 Жена — Романенко Людмила Ивановна, учитель истории и обществознания, высшая квалификационная категория, почетный работник общего образования Российской Федерации — дочь подполковника  Козовника Ивана Григорьевича, который 22 июня 1941 года в 3 часа 14 минут, командуя 74-й зенитно-артиллерийской батарей 61-го зенитно-артиллерийского полка Черноморского флота в Севастополе, первым в Советском Союзе открыл огонь по фашистским самолетам. Боевой путь Ивана Григорьевича включает оборону Севастополя, Новороссийска, освобождение Кавказа, Крыма и Севастополя.
 Две родные сестры — Попова Тамара Аркадьевна и Романенко Ольга Ивановна, обе получили медицинское образование и стали врачами.
 Два сына — Романенко Игорь Владимирович 1966 г. р., Романенко Андрей Владимирович 1976 г. р.
 Пятеро внуков — Владимир, Владислав, Игорь, Иван и Дмитрий.
 Старший внук Владимир продолжает семейную военную традицию.

Научная деятельность
Тема диссертации: «Новое геополитическое пространство черноморского региона в контексте российской национальной безопасности: политологический анализ».

Примечания

Ссылки

 Клуб Адмиралов. Члены правления
 Как Россия спасла Шеварднадзе
 В Севастополе прошли торжества, посвященные Дню Морской пехоты России
 Уроки мужества
 Пока придут новые корабли, Черноморского флота «не будет»
 Можно ли сплотить страны СНГ?
 Проблемы Крыма
 Генерал Романенко: Запад стремится укрепить свои позиции в Закавказье
 Кризис в Аджарии может быть решен без кровопролития, считает российский эксперт
 Грузинское руководство по-прежнему на кормах у Запада
 Новое геополитическое пространство черноморского региона в контексте российской национальной безопасности: политологический анализ
 Руководство Общероссийской общественной организации ветеранов «Российский Союз ветеранов»

Выпускники Черноморского высшего военно-морского училища имени П. С. Нахимова
Выпускники Военно-морской академии имени Н. Г. Кузнецова
Участники Первой чеченской войны
Морские пехотинцы СССР и России
Морская пехота Российской Федерации
Начальники береговых войск
Преподаватели Дипакадемии МИД РФ
Общественные деятели России

redpajama_set_name: RedPajamaWikipedia


We moved! We no longer are in the center of the city of San Francisco. We are still in the city but a couple of miles from the action, which is super nice for several reasons: it's quieter here, we have a yard, and I get to explore a completely new area to photograph!
The other day I went for a walk with my son and I climbed some hills, which meant I was rewarded with some amazing views. After all, no matter where you live in San Francisco, with over 50 hills in the city, there are always climbs and views to enjoy! I even got to see the ocean at some point! Here are some photos I took while out walking.
Here are some photos of the beautiful greenery that abounds in Santa Barbara! I took these at the beach, the mountains, the parks and on hiking trails. Where you look, you always find green spaces in Santa Barbara!
If you are ever in Santa Barbara, make sure you take some time to visit the Mission and the Rose Garden that are located directly across the street from the Mission. The Mission Rose Garden offers dozens of different varieties of well-tended roses and an amazing view of the mountains and (on a clear day) of the ocean as well.
Here are some photos of the roses that I took during our weekend in Santa Barbara. Aren't they stunning?
The coastal trail in Half Moon Bay is a great place to take in amazing ocean views, and it's also a wonderful place to watch sea birds fly by. Last time I was there, lots and lots of pelicans flew by, providing multiple opportunities to capture their beauty with my camera.
For more photos, visit my Etsy store or go to my website.


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Sprinkle fillets with 1 tsp. seasoning. Combine remaining seasoning, flour, and cornmeal. Dredge fillets in flour mixture, shaking off excess. Melt butter with oil in a large skillet over medium-high heat; add fillets, and cook 3 to 4 minutes on each side or until fish flakes with a fork. Squeeze juice from lemon over fillets, and garnish, if desired. Serve immediately.
Substitute 4 (8-oz.) skinned and boned chicken breasts for tilapia. Proceed with recipe as directed, cooking 8 to 10 minutes on each side of until done.
Substitute 4 (8-oz.) bone-in center-cut pork chops for tilapia. Proceed with recipe as directed, cooking 8 to 10 minutes on each side or until done.


text:
Q: Is there any way to focus spannable text for accessibility in Android? I have a String with multiple Links. I am using SpannableText and It is working perfect except accessibility talk back.
Is there any way to give accessibility to Links?

A: Create a class like below
package com.go.disney.disneycruise.util

import android.content.Context
import android.graphics.Rect
import android.os.Bundle
import android.text.Layout
import android.text.Spanned
import android.text.style.ClickableSpan
import android.view.accessibility.AccessibilityEvent
import android.widget.TextView
import androidx.core.view.accessibility.AccessibilityNodeInfoCompat
import androidx.customview.widget.ExploreByTouchHelper
import com.disney.wdpro.dlog.DLog
import com.disney.wdpro.support.accessibility.ContentDescriptionBuilder
import kotlin.math.max
import kotlin.math.min

/**
 * An accessibility delegate that allows [ClickableSpan] to be focused and
 * clicked by accessibility services.
 *
 * @author arun.muraleedharan.
 */
class LinkAccessibilityHelper(
    private val linkTextView: TextView,
    private val context: Context,
    private val linkAccessibilityId: String? = null
) : ExploreByTouchHelper(linkTextView) {

    private val viewRect = Rect()

    override fun getVirtualViewAt(x: Float, y: Float): Int {
        val text = linkTextView.text
        if (text is Spanned) {
            val offset = getOffsetForPosition(linkTextView, x, y)
            val linkSpans = text.getSpans(offset, offset, ClickableSpan::class.java)
            if (linkSpans.size == 1) {
                val linkSpan = linkSpans[0]
                return text.getSpanStart(linkSpan)
            }
        }
        return INVALID_ID
    }

    override fun getVisibleVirtualViews(virtualViewIds: MutableList<Int>) {
        val text = linkTextView.text
        if (text is Spanned) {
            val linkSpans = text.getSpans(0, text.length, ClickableSpan::class.java)
            for (span in linkSpans) {
                virtualViewIds.add(text.getSpanStart(span))
            }
        }
    }

    override fun onPopulateEventForVirtualView(virtualViewId: Int, event: AccessibilityEvent) {
        val span = getSpanForOffset(virtualViewId)
        if (span != null) {
            val spannedTextAccessibility = getTextForSpan(span).toString() + LINK
            event.contentDescription = spannedTextAccessibility
        } else {
            DLog.e(TAG, "LinkSpan is null for offset: $virtualViewId")
            event.contentDescription = linkTextView.text
        }
    }

    override fun onPopulateNodeForVirtualView(
        virtualViewId: Int,
        info: AccessibilityNodeInfoCompat
    ) {
        linkAccessibilityId?.let { info.viewIdResourceName = it }
        val span = getSpanForOffset(virtualViewId)
        if (span != null) {
            val contentDescriptionBuilder = ContentDescriptionBuilder(
                context
            )
            contentDescriptionBuilder.append(getTextForSpan(span).toString())
            contentDescriptionBuilder.appendWithSeparator(LINK)
            info.contentDescription = contentDescriptionBuilder.toString()
        } else {
            DLog.e(TAG, "LinkSpan is null for offset: $virtualViewId")
            info.contentDescription = linkTextView.text
        }
        info.isFocusable = true
        info.isClickable = true
        getBoundsForSpan(span, viewRect)
        if (viewRect.isEmpty) {
            DLog.e(TAG, "LinkSpan bounds is empty for: $virtualViewId")
            viewRect[0, 0, 1] = 1
        }
        info.setBoundsInParent(viewRect)
        info.addAction(AccessibilityNodeInfoCompat.ACTION_CLICK)
    }

    override fun onPerformActionForVirtualView(
        virtualViewId: Int,
        action: Int,
        arguments: Bundle?
    ): Boolean {
        if (action == AccessibilityNodeInfoCompat.ACTION_CLICK) {
            val span = getSpanForOffset(virtualViewId)
            if (span != null) {
                span.onClick(linkTextView)
                return true
            } else {
                DLog.e(TAG, "LinkSpan is null for offset: $virtualViewId")
            }
        }
        return false
    }

    private fun getSpanForOffset(offset: Int): ClickableSpan? {
        val text = linkTextView.text
        if (text is Spanned) {
            val spans = text.getSpans(offset, offset, ClickableSpan::class.java)
            if (spans.size == 1) {
                return spans[0]
            }
        }
        return null
    }

    private fun getTextForSpan(span: ClickableSpan): CharSequence {
        val text = linkTextView.text
        if (text is Spanned) {
            return text.subSequence(
                text.getSpanStart(span),
                text.getSpanEnd(span)
            )
        }
        return text
    }

    // Find the bounds of a span. If it spans multiple lines, it will only return the bounds for the
    // section on the first line.
    private fun getBoundsForSpan(span: ClickableSpan?, outRect: Rect): Rect {
        val text = linkTextView.text
        outRect.setEmpty()
        if (text is Spanned) {
            val layout = linkTextView.layout
            if (layout != null) {
                val spanStart = text.getSpanStart(span)
                val spanEnd = text.getSpanEnd(span)
                val xStart = layout.getPrimaryHorizontal(spanStart)
                val xEnd = layout.getPrimaryHorizontal(spanEnd)
                val lineStart = layout.getLineForOffset(spanStart)
                val lineEnd = layout.getLineForOffset(spanEnd)
                layout.getLineBounds(lineStart, outRect)
                if (lineEnd == lineStart) {
                    // If the span is on a single line, adjust both the left and right bounds
                    // so outrect is exactly bounding the span.
                    outRect.left = min(xStart, xEnd).toInt()
                    outRect.right = max(xStart, xEnd).toInt()
                } else {
                    // If the span wraps across multiple lines, only use the first line (as returned
                    // by layout.getLineBounds above), and adjust the "start" of outrect to where
                    // the span starts, leaving the "end" of outrect at the end of the line.
                    // ("start" being left for LTR, and right for RTL)
                    if (layout.getParagraphDirection(lineStart) == Layout.DIR_RIGHT_TO_LEFT) {
                        outRect.right = xStart.toInt()
                    } else {
                        outRect.left = xStart.toInt()
                    }
                }

                // Offset for padding
                outRect.offset(linkTextView.totalPaddingLeft, linkTextView.totalPaddingTop)
            }
        }
        return outRect
    }

    companion object {
        private const val TAG = "LinkAccessibilityHelper"
        const val LINK = "link."

        // Compat implementation of TextView#getOffsetForPosition().
        private fun getOffsetForPosition(view: TextView, x: Float, y: Float): Int {
            if (view.layout == null) {
                return -1
            }
            val line = getLineAtCoordinate(view, y)
            return getOffsetAtCoordinate(view, line, x)
        }

        private fun convertToLocalHorizontalCoordinate(view: TextView, x: Float): Float {
            var coordinateX = x
            coordinateX -= view.totalPaddingLeft.toFloat()
            // Clamp the position to inside of the view.
            coordinateX = max(0.0f, coordinateX)
            coordinateX = min((view.width - view.totalPaddingRight - 1).toFloat(), coordinateX)
            coordinateX += view.scrollX.toFloat()
            return coordinateX
        }

        private fun getLineAtCoordinate(view: TextView, y: Float): Int {
            var coordinateY = y
            coordinateY -= view.totalPaddingTop.toFloat()
            // Clamp the position to inside of the view.
            coordinateY = max(0.0f, coordinateY)
            coordinateY = min((view.height - view.totalPaddingBottom - 1).toFloat(), coordinateY)
            coordinateY += view.scrollY.toFloat()
            return view.layout.getLineForVertical(coordinateY.toInt())
        }

        private fun getOffsetAtCoordinate(view: TextView, line: Int, x: Float): Int {
            var coordinateX = x
            coordinateX = convertToLocalHorizontalCoordinate(view, coordinateX)
            return view.layout.getOffsetForHorizontal(line, coordinateX)
        }
    }
}

After that implement it like below
ViewCompat.setAccessibilityDelegate(
                textView, LinkAccessibilityHelper(
                    textView, context, "linkId"
                )
            )

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text:
Система запобігання обмерзанню або система запобігання утворення льоду створюється для того, аби запобігти налипанню атмосферного льоду на поверхнях літака (особливо передніх кромках), таких як  крила, пропелери, лопаті несучого гвинта, забірниках повітря двигуна і інших системах, які контролюють середовище. Якщо лід здатен утворити налипання, що матиме значну товщину, він може змінити форму профілю і керуючих поверхонь, зменшуючи ефективність, вплинути на системи контролю або змінити характеристики керованості літака. Системи захисту від льоду запобігають його утворенню, або дозволяють літаку розтопити лід, перш ніж він виросте до небезпечної товщини.

Аварії від обмерзання літаків виникають при поєднанні декількох факторів: збільшення ваги, збільшення опору, зменшення або втрати підйомної сили, і зменшення або втрати тяги від накопичення льоду на планері, аеродинамічних профілях, пропелерах (якщо вони є) і на крилах, в залежності від типу льоду який утворюється (паморозь чи чистий лід, та ін), що залежить від специфічних метеорологічних умов. Також обмерзання може викликати зниження потужності при утворенні льоду на системі забору повітря (турбіни чи поршневого двигуна), або локально в системі подачі палива в двигуні.

Різновиди

Пневматичні системи антиобмерзання

Пневматичні колодки або "черевики" зазвичай виконують із шарів з синтетичного каучуку, з однією або декількома повітряними камерами між шарами. Якщо використовують декілька камер, вони зазвичай мають форму смужок вздовж довгої сторони «черевика». Його зазвичай розташовують по передній кромці крил літака і стабілізаторів. Камери швидко наповнюються повітрям і звільнюються, або одночасно, або по черзі в заданому порядку. Швидка зміна форми «черевика» створена для того, аби розірвати адгезійний шар між льодом і покриттям з каучуку, що дозволяє льоду відпасти за вітром, що створюється довкола літака під час руху. Однак, лід повинен відпадати з передніх поверхонь без затримок, оскільки він може намерзати позаду від захищених зон. Повторне замерзання льоду, зокрема, було фактором, що спричинив катастрофу літака American Eagle Flight 4184.

Деякі ранні конструкції пневматичних черевиків стали причиною появи явища, відомого як льодяне перекривання (). Якщо лід не накопичувався так, щоб мати достатню товщину і ламкість, рухомий лід міг утворювати таку форму, що ставав недосяжним для рухомих секцій колодок. Ця проблема зазвичай вирішується збільшенням швидкості дії надування/здування, і шляхом чергування інтервалів надування/здування сусідніх камер.

Такі пневматичні системи найбільше застосовні для літаків, що мають малу і середню швидкість руху, особливо для тих, що не мають механізації на передній частині крила. Тому, така система найчастіше зустрічається на турбо-гвинтових літаках таких як Saab 340, Embraer EMB 120 Brasilia, і British Aerospace Jetstream 41. Пневматичні системи антиобмерзання іноді зустрічаються на більших літаках, і менших турбоджетах, таких як Cessna Citation V, та на деяких більш старших турбоджетах. Такі пристрої рідко використовуються в сучасних літаках.

Цей пристрій був винайдений компанією Goodrich Corporation (до того відомою під назвою B.F. Goodrich) в 1923.

Електро-термічні

В Електро-термічних системах використовують резистивні кола, сховані в конструкції планера, що генерують тепло при подачі на них електричного струму. Тепло може вироблятися безперервно аби захистити літак від обмерзання (режим анти-лід), або періодично аби розтопити лід, коли він з'являється на основних поверхнях (de-ice). Друга операція зазвичай обирається через низьку споживану потужність в порівнянні з попередньою, оскільки системі необхідно лише розтопити шар льоду, який контактує з поверхнею, аби вітром здуло решту льоду.

Літак Boeing 787 Dreamliner є прикладом комерційного літака, який використовує електро-термічну систему захисту від обмерзання, яку постачає GKN Aerospace. В даному випадку, резистивний нагрівальний контур вбудований всередині скляної і карбонової композитної структури крила. Компанія Boeing стверджує, що така система використовує вдвічі менше енергії, ніж традиційні системи відводу повітря (що нагрівається двигунами), і що опір та шум також зменшується.

В літаках, що мають металеву обшивку, нагрівальні кола із травленої в метал фольги з'єднуються із внутрішньою частиною обшивки. Такий підхід дозволяє потенційно зменшити споживання енергії на нагрівання, в порівнянні з вбудованими колами завдяки можливості працювати при значно більшій потужності.

Відомою електричною системою запобігання обмерзанню для загальної авіації є Thermawing. Вона використовує гнучку електропровідну графітову фольгу, що прикріплюється до передньої кромки крила. Електричний обігрівач нагріває фольгу і розтоплює лід.

Нові версії таких системи використовують покриття із карбоновими нанотрубками. Тонкий філамент скручується в рулони, і утворює плівку товщиною 10 мікрон, що еквівалентно листу паперу A4. Плівка погано проводить електрику через повітряні зазори між трубками. Замість того, поява струму призводить до майже миттєвого підвищення температури. Вона нагрівається вдвічі швидше ніж ніхром, нагрівальний елемент, який вибирають для систем запобігання обмерзанню під час польоту, це дозволяє використовувати вдвічі менше енергії при одній десятитисячній ваги. Кількість матеріалу, якого вистачить, аби покрити крила аеробуса, матиме вагу . Матеріал коштує приблизно від 1% ціни ніхрома. Нагрівачі з аерогелем можуть працювати безперервно при малій потужності, аби запобігати утворенню льоду.

Система відбору повітря

Система відбору повітря застосовує метод, який використовують на більшості великих реактивних літаків, аби утримувати основні поверхні вище температури обмерзання). Гаряче повітря подається із системи реактивного двигуна через трубки пікколо, що прокладені через крила, хвостові поверхні, і вхідний отвір двигунів. Повітря виводиться через отвори в нижній частині крила.

Пасивні
В пасивних системах використовуються гідрофобні поверхні. Спеціально розроблені матеріали, які характеризуються високим рівнем водостійкості і природним ефектом самоочищення можуть відштовхувати воду, тим самим усувають можливість обмерзання.

Ще один різновид пасивних систем враховують кількість часу, необхідного аби крапля води при контакті із холодним матеріалом замерзла і пристала до нього. Не гладкі грубі поверхні, із гребенями скорочують час при якому вода залишається в контакті. Коли вода потрапляє на будь-яку поверхню, вона сплющується в пласку форму, потім знову повертає округлену форму і відстрибує. Гребні розбивають великі краплі на дрібні. Дрібні краплі переформовуються і відскакують геть на 40 відсотків швидше ніж великі. В природі цю особливість можна продемонструвати на прикладі різниці в формі лотоса і настурції. Листи останньої є грубішими і покриваються льодом менше ніж гладкі листи лотоса.

Електро-механічні
В Електро-механічних системах видалення льоду (EMEDS) використовують механічну силу аби збивати лід із аеродинамічних поверхонь. Як правило, виконавчі механізми розташовані під обшивкою. Механізм приводиться вдію, щоб викликати ударну хвилю на поверхні і розколоти лід. Cox and Company, Inc. з Плейнвью, в Нью-Йорку розробили легку систему із малим споживанням яку назвали EMEDS, яка є першою системою захисту від обмерзання, що отримала сертифікацію FAA за 50 років, і застосовується на сьогоднішній день на багатьох комерційних літаках (FAA частина 23 і частина 25) and military aircraft.

Innovative Dynamics розробили легку і малопотужну систему з використанням виконавчих механізмів, яку назвали EIDI.

Гібридні електромеханічні системи усунення обмерзання поєднують із електричними нагрівальними елементами. Нагрівач запобігає накопиченню льоду на передніх кромках крила, а механізми системи EMED усувають лід, який акумулюється позаду частини поверхні, що нагрівається.

Див. також
 Обледеніння

Примітки

Посилання
 SAE paper on Electro-Thermal Ice Protection by Strehlow, R. and Moser, R.

Конструкція літальних апаратів


text:
WhatsOn Film
Maximo Park Film Premiere + Live Q&A
@ Tyneside Cinema
Tyneside Cinema is delighted to host the film premiere of 'As Long As We Keep Moving', a short film by local band Maximo Park. The band will also be joining us for an exclusive Q&A after the film.
Paul Smith, the band's front man and Patron of Tyneside Cinema, decided to use the premiere as an opportunity to raise funds for Tyneside Cinema. We are incredibly grateful to Maximo Park for their support of Tyneside as an independent cinema and charity and can't wait to be the first to show this fantastic film.
Tickets to attend the film plus exclusive Q&A are £15 and include a signed poster. There will also be an opportunity to buy a copy of the film and other merchandise signed by the band on the night.
10 Pilgrim Street
NE1 6QG


text:
DePaul Blogs
E-Fax
Information Services > Services > Voice and Digital Communications > Digital Signage
Digital Signage at DePaul
Information Services has partnered with Nanonation to provide a full featured solution for Digital Signage. A department can create its own digital signage network and manage multiple screens for different locations through one easy web based interface known as CommandPoint.
If you are interested in setting up digital signage for your area/department, please email DigitalSignage@depaul.edu, and a tech specialist will schedule an appointment with you to go over your needs with you.
What is required to implement Digital Signage?
The basic requirements are a TV screen/monitor, a player (departments can use existing workstations if they meet the system's requirements) and a Nanonation license.
What kind of costs should be expected to begin using the CommandPoint solution?
The costs can vary depending on the number of displays, what type of equipment is used for the display, and where the displays are located.
One Time Setup Costs - Signage setup may need to be planned for, including network cabling and power outlets, depending on where the unit will be located. These hookup costs can vary greatly depending on the building and location. Information Services will work with you to obtain a quote from Facility Operations so that you can understand how much these cabling and hookup costs will be.
License Fees - Each display will require a license, which costs $450 for the initial setup and an additional $320 per year in maintenance support. Information Services will cover all player licensing costs.
Player - Departments will also need to provide a video display and a player. If a department does not have an existing computer to use as a player, one recommended unit is the Dell 3060, which is roughly $440. Details can be found here. Click on the Dell filter and select OptiPlex 3060 Micro - DIGITAL SIGNAGE ONLY or contact computerpurchasing@depaul.edu
Is any training available for the CommandPoint product?
The vendor has created a user guide to get started and a training video that will allow your department to manage your signs.


text:
Luise Fleck, also known as Luise Kolm or Luise Kolm-Fleck, née Louise or Luise Veltée (1 August 1873–15 March 1950), was an Austrian film director, and has been considered the second ever female feature film director in the world, after Alice Guy-Blaché. Her son, Walter Kolm-Veltée, was also a noted film director. Technically, however, the second female feature film director in the world after Alice Guy-Blaché was chronologically Ebba Lindkvist, having debuted as a film maker one year before Luise Fleck.

Life

Austria, Wiener Kunstfilm and Vita-Film: to 1926
Luise was born in Vienna, the daughter of Louis Veltée, proprietor of the city panopticon, descended from a family originating in Lyon, who had settled in Austria in the early 19th century. Her brother was Claudius Veltée, also later known as a film director.

Even in her childhood she helped her father in his business by working on the till. In January 1910, she and her first husband, Anton Kolm, along with the cameraman Jacob Fleck and her brother Claudius, set up the Erste österreichische Kinofilms-Industrie, the earliest significant film production company in Austria, with financial support from a number of sources, including Luise's father. It was renamed the Österreichisch-Ungarische Kinoindustrie GmbH a year later, and at the end of 1911, after a major financial reconstruction, was renamed the Wiener Kunstfilm-Industrie.

The company's first productions were short documentary pieces made in Vienna and other parts of the Austro-Hungarian Empire. Competition was tough, as the new company was up against the very large international French film companies that dominated the Austria market at the time.

The French companies were expelled from Austria at the beginning of World War I, but there was new competition in the form of the extremely wealthy Sascha-Film company, also Austrian. During the war the two companies struggled for dominance in the newsreel and propaganda markets, but the superior financial resources of Sascha-Film saw them firmly in the leading position by 1918, and carried them through the economic and political collapse of Austria immediately following the end
of the war. Wiener Kunstfilm was obliged to dissolve, but Anton Kolm was able to re-structure its finances and relaunch the company as Vita-Film in 1919.

Work began immediately on prestigious new film studios at Rosenhügel in Mauer, but in 1922, as a result of severe disagreements with their financial backers, Anton and Luise Kolm and Jacob Fleck severed their connection with Vita-Film. Anton died later in the same year. Luise and Fleck married in 1924 and left for Berlin in 1926.

Germany 1926-33; Austria 1933-40
In Germany Luise Fleck and her husband worked for Berlin production companies, particularly for Liddy Hegewald and UFA. During this period they made between 30 and 40 films, sometimes as many as nine in a single year. When Hitler took power in 1933 they returned to Vienna, as Jacob Fleck was Jewish, but continued to produce for "Hegewald-Film" in Vienna and Prague, while Luise's son Walter Kolm-Veltée, who had taken a qualification in sound production at Tobis-Tonbild-Syndikat, was nominally responsible for direction.

When in 1938 the National Socialists also took power in Austria in the Anschluss, and control over the Austrian film industry passed virtually overnight into the hands of the Reichskulturkammer, there was no more work for them.

Exile 1940-47
Jacob Fleck was interned in 1938 in Dachau Concentration Camp, but was released in 1940, when he and Luise went into exile in Shanghai. They co-operated with the Chinese director Fei Mu in the co-direction of the film Söhne und Töchter der Welt ("Sons and Daughters of the World"), which before the establishment of the People's Republic of China was the only collaboration between Chinese and foreign film makers. Its premiere took place on 4 October 1941 in the Yin Du Theatre in Shanghai.

Return to Austria 1947-50
In 1947, the same year in which Austria's first post-war film studio opened the Flecks returned to Vienna to plan their comeback, which however never materialised, although a few films were made under the name of a revived Neuer Wiener-Kunstfilm. Luise Fleck died in 1950, Jacob Fleck three years later.

Works
In 1911 her first credited work as co-director was released: Die Glückspuppe ("Good Luck Doll"). Other dramas followed in the same year: Der Dorftrottel ("The Village Idiot"), Tragödie eines Fabriksmädels ("Tragedy of a Factory Girl") and Nur ein armer Knecht ("Just a Poor Fellow"). In 1913 were premiered her works as director and producer "Der Psychiater" ("The Psychiatrist") and Das Proletarierherz ("The Proletarian Heart").

During World War I, she directed the pro-Habsburg propaganda dramas Mit Herz und Hand fürs Vaterland ("With Hand and Heart for the Fatherland") (1915) and Mit Gott für Kaiser und Reich ("With God for Kaiser and Reich") (1916). In 1918 appeared Der Doppelselbstmord ("The Double Suicide").

She also made use of Austrian literature in Die Ahnfrau ("The Ancestress"), based on the play of the same name by Franz Grillparzer, and Lumpazivagabundus, both from 1919. From 1911 to 1922, the year in which her husband Anton died, Luise is known to have directed over 45 films, and the number may have been considerably higher.

Luise Kolm, as she was then called, was principally responsible for the studio's production of socially critical dramas that dealt with questions of class conflict and ideological questions, unlike the standard productions of other film studios of the time. The actor Eduard Sekler, who worked for Wiener Kunstfilm, described her in this way: "Luise Kolm was a brilliant all-round talent while her husband Kolm just looked after the money - she did everything, she cut and spliced the films, wrote the intertitles and helped her brother in the laboratory. Without her drive and initiative it's doubtful if the firm could have remained in existence." Further works by her were the film adaptation of Arthur Schnitzler's middle-class tragedy Flirtation in 1927 and When the Soldiers in 1931. The Priest from Kirchfeld appeared in cinemas in 1937. It was Luise and Jacob Fleck's first sound film production of the well-known anti-clerical play of 1870 by Ludwig Anzengruber, after two silent films 1914 and 1926. It was intended as anti-Nazi and pro-Catholic "Austria propaganda", but was not perceived as such by the critics, who misinterpreted and discounted it.

Altogether Luise Fleck wrote at least 18 screenplays, directed 53 films and produced 129 films. Some sources assume far higher figures, allowing for her work being often uncredited.

Selected filmography
 Die Glückspuppe (1911)
 The Wedding of Valeni (1914)
 The Priest from Kirchfeld (1914)
 With Heart and Hand for the Fatherland (1915)
 On the Heights (1916)
 The Tragedy of Castle Rottersheim (1916)
 The Vagabonds (1916)
 Summer Idyll (1916)
 With God for Emperor and Empire (1916)
 The Stain of Shame (1917)
 Lebenswogen (1917)
 The Black Hand (1917)
 In the Line of Duty (1917)
 The Spendthrift (1917)
 Rigoletto (1918)
 Double Suicide (1918)
 Don Cesar, Count of Irun (1918)
 The Ancestress (1919)
 The Master of Life (1920)
 Eva, The Sin (1920)
 Let the Little Ones Come to Me (1920)
 Doctor Ruhland (1920)
 Trance (1920) aka Anita The Dancing Death (1920)
 The Voice of Conscience (1920)
 Spring Awakening (1924)
 The Priest from Kirchfeld (1926)
 The Orlov (1927)
 A Girl of the People (1927)
 The Prince's Child (1927)
 Flirtation (1927)
 The Beggar Student (1927)
 The Merry Vineyard (1927)
 Doctor Schäfer (1928)
 The Beloved of His Highness (1928)
 Yacht of the Seven Sins (1928)
 The Little Slave (1928)
 The Most Beautiful Woman in Paris (1928)
 His Majesty's Lieutenant (1929)
 The Happy Vagabonds (1929)
 The Tsarevich (1929)
 Crucified Girl (1929)
 The Right to Love (1930)The Citadel of Warsaw (1930)
 When the Soldiers (1931)
 An Auto and No Money (1932)
 Our Emperor (1933)
 The Priest from Kirchfeld (1937)

Notes

Sources
 Nepf, Markus. Die Pionierarbeit von Anton Kolm, Louise Velteé/Kolm/Fleck und Jacob Fleck bis zu Beginn des 1. Weltkrieges. Thesis. Vienna 1991, 200 S. (ÖFA Wien)
 Teng; Guoqiang. Fluchtpunkt Shanghai. Luise und Jakob Fleck in China 1939–1946. In: Film-Exil SDK (4/1994)
 Dassanowsky, Robert von. Female Visions: Four Female Austrian Film Pioneers''. In: Modern Austrian Literature. Vol. 32, No. 1, 1999

External links

https://www.filmportal.de/person/luise-fleck_7abc98f3fb8049f0bed0cc45443351d3

1873 births
1950 deaths
Austrian film directors
Austrian film producers
Austrian women film producers
Austrian women film directors
Austrian people of French descent
Film people from Vienna
Filmmaking duos

20th-century Austrian screenwriters


You, my faithful readers, I am sure don't need a recap. But for the sake of completeness, Antony & Cleopatra is a tragedy of mad love and betrayal set during the run-up of the Roman Empire. Mark Antony has shacked up with Cleopatra in Egypt, deaf to all entreaties from his homeland. When Antony's wife, Fulvia, dies suddenly, he at last hears the call of duty and returns to Rome. Octavius Caesar sees an opportunity to strengthen the Triumvirate (and keep Antony closer at hand) by offering his sister's, Octavia's, hand in marriage.
But Cleopatra's pull proves too beguiling; Antony leaves Rome and Octavia, delivering an unforgivable blow to both brother and country.
Antony struggles with the impossible choice between loyalty to Empire and loyalty to love, making the play a study of character and politicking, certainly. But Antony & Cleopatra also contains startling poetry and a heart-wrenching death scene that I would argue takes pride of place in Shakespeare's oeuvre.
What's more, Antony & Cleopatra is fast-paced, almost suspenseful (even though, it being Shakespearean tragedy, we know how the major players will meet their end). The drama moves deftly between Egypt and Rome, and one of the curiously modern charms is how Antony refers to Cleopatra as his "Egypt." Doesn't that say it all?
Under Michael's Kahn's direction, the setting is classical and the acting is strong.
There are many more poetically prophetic moments such as these, but I'll leave you to discover them for yourselves. Antony & Cleopatra is running as part of the Roman Repertory along with Julius Caesar now through July 6. Both a must-see.
BTW, I'm off next week for another quick dash across the pond to my favorite city in the world, London. I'll be sure to update you on all the literary happenings upon my return.
Antony & Cleopatra also contains startling poetry and a heart-wrenching death scene that I would argue takes pride of place in Shakespeare's oeuvre.


Trauma, mental health issues and addiction are quite common in the LGBT+ community. But for a variety of reasons, the prevalence of these issues is rarely discussed and examined as frankly and openly as it should be.
Trauma, mental health issues and addiction are quite common in the LGBT+ community. But for a variety of reasons, the prevalence of these issues is rarely discussed and examined as frankly and openly as it should be. It's no wonder that a group so often stigmatized by society at large – people who have historically been labelled as having a psychological disorder because of their sexuality or gender identity – would feel uncomfortable acknowledging that they suffer from a significantly higher rate of mental health issues than the general population. But in order to heal, it's necessary for us to drag these issues out of the shadows, work openly and publicly to raise awareness, and work towards solutions.
1. Are LGBT+ Persons More Prone to Trauma Than Other Communities?
Yes, yes, yes! While research in this field is relatively new, the vast majority of evidence that has been gathered indicates that LGBT+ people, and youth in particular, are far more likely to experience trauma and a wide range of accompanying symptoms and behaviors. A study by the Gay, Lesbian and Straight Education Network found that 55% of LGBT+ youth feel unsafe at school, with 74% experiencing verbal harassment and 16% reporting that they had been physically assaulted while attending school. Difficulties with the education system, unaccepting families, and a lack of social support lead to greatly increased rates of homelessness among LGBT+ youth, as studies have shown that 40% of homeless youth are members of the community. As students move on to college and university, trauma and stress still affect the community at higher rates. Studies from Harvard and the University of Michigan have shown that LGBT+ students are significantly more likely to experience sexual assault, and to attempt suicide.
3. What Stigma Do LGBT+ Individuals Face Addressing Trauma and Mental Health Issues?
While huge strides have been made in society, there is no doubt that antiquated attitudes and views continue to damage and traumatize people in the LGBT+ community. Because of the stigma that exists, many LGBT+ people feel a great deal of pressure to portray themselves and their lifestyles in a positive light. There is a feeling in the community that discussing higher rates of depression, suicide and addiction will give ammunition to recalcitrant homophobes and people who still hold the mistaken belief that homosexuality is some form of mental defect. Matthew Todd, the author of (the brilliant and highly recommended) "Straight Jacket", a meditation on how identity issues harm gay men, writes that "coming out, what I needed was therapy – not (as the homophobic Christian speaker told me at school) to erase my homosexual inclinations, but to accept and come to terms with them." Because of the sense that sexual minorities are constantly under attack from society at large, many high-profile organizations try to depict only the positive aspects of LGBT+ culture. This is an understandable but misguided choice. Denying the shame and trauma internalized by so many from such an early age (and the massive internal wounds that result from it) is clearly the wrong decision.
There are obviously two answers to this question. In the long-term we need to build a more just and compassionate society that doesn't shame, abuse, and traumatize young LGBT+ people. But for the millions of people who already have the scars which come with growing up as a member of a stigmatized minority, what can we do? The first step is to acknowledge that we are facing a public health crisis centered around what Todd describes as "the toxic combination of mental distress, drugs and alcohol abuse." The LGBT+ community needs to raise awareness, both within itself and society at large, of the extent of the trauma which goes hand in hand with growing up as a member of a sexual minority. We need to get over internalized shame, and the fear of re-enforcing negative stereotypes, and shed light on these issues far too many people wrestle with in private desperation. The creation, funding, and maintenance of mental health services that meet the unique challenges of our community is a matter of life and death. Addiction treatment, therapy, counselling and outreach are necessary measures for overcoming the trauma suffered by far too many. Creating services tailored specifically for the community is a necessary step, as many people are rightly skeptical of therapists and counsellors who for far too long saw homosexuality and gender dysphoria as defects to be de-programmed or medicated away. It is essential that gay and trans people take control of their own mental health, and heal each other.


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Monrose est un groupe allemand composé de Mandy Capristo, Senna Guemmour et Bahar Kızıl. Ce groupe fusionne le R'n'B et la Pop. Il s'est formé en 2006 à la suite de l'émission Popstars. Ce groupe comptait représenter l'Allemagne au Grand Prix de l'Eurovision avec la chanson Even Heaven Cries, mais il a perdu contre Roger Cicero.

Membres

Mandy Grace Capristo Née le  à Mannheim, est une chanteuse italo-germanique. À neuf ans, elle a commencé par prendre des cours de danse. Elle a gagné en 2001 à l'âge de onze ans le concours Kiddy Contest avec la chanson "Ich wünsche mir einen Bankomat", contenant des reprises des groupes No Angels et Daylight in Your Eyes et apparaît dans l'album du concours avec la chanson "Moskito". L'album atteint la première place des hits autrichiens.  Les lecteurs de la revue pour homme FHM choisissent alors l'ado mineure en  parmi les 100 femmes les plus sexy et atteint la dixième place. Elle fut ensuite l'une des gagnantes de la version allemande de l'émission de téléréalité Popstars. En 2009, elle a été élue femme la plus sexy par les lecteurs du magazine allemand FHM.

Senna Guemmour Née le  à Francfort d'un père algérien et d'une mère marocaine, elle perdit son père alors qu'elle n'avait que douze ans. Elle a été influencée musicalement par son frère Zakarya, très vite intéressée par la culture hip-hop et la musique. Auditionnée pour la première fois en 2003, elle ne fut pas retenue mais retenta sa chance en 2006 et participait à l'intégralité de l'émission et fut retenue pour le groupe Monrose.

Bahar Kızıl  Née le  à Freiburg. Originaire d'une famille turque d'Antalya, elle a commencé à apprendre à l'âge de douze ans le ballet classique dans sa ville. Son prénom signifie "saison" en Perse. Elle a chanté avant l'émission Popstars dans quatre groupes différents. Elle est l'une des gagnantes de la cinquième saison de l'émission.

Discographie

Albums

Singles

Récompenses

4 Platin for Temptation
2 Platin for Shame
4 Gold for Shame
1 Gold for Strictly Physical(Album)
1 Gold for Hot Summer
1 Gold for Popstars – The Making of Monrose (DvD)
Echo 2007 Nominiert  Second place( Deuxième place)
Bravo Otto 2007 Silber 'Best Band'
Bravo Otto 2008 Silber 'Best Band'
Comet Award 2008 'Best Song Hot Summer'
Vivalicious Style Award 2008 for 'Best Style'
Bravo Otto 2009 Bronze 'Best Band'
Comet Award 2009 'Best Band'
FHM Sexy Women of the Wold 'Mandy Grace Capritso 1 ' (Bahar Kizil 3, Senna G. 26)

Notes et références

Voir aussi

Liens externes

Groupe allemand de pop
Participant à Popstars
Trio musical allemand
Groupe musical formé en 2006
Girl group allemand
Groupe musical allemand des années 2000


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Disposing of radioactive waste can be a costly and time consuming effort if not managed properly. In addition to logistical considerations, meeting compliance requirements of state and federal regulations can be a daunting task. Lauren Kelly offers valuable insight into the proper procedure for identifying, handling, and disposing of radioactive waste properly.
Lauren Kelly is an expert on radioactive waste programs. She is a Certified Hazardous Materials Manager and previously was the manager of a hazardous materials program in an environmental safety program in New York City. Additionally, she has been a speaker at numerous CSHEMA conferences. Kelly explains that the use of radionuclides in a wide variety of research applications can lead to the generation of radioactive waste.
waste don't consider the most cost effective ways of managing it.
the different waste streams and discuss the most cost effective disposal methods.
"A lot of researchers will use a variety of different types of radionuclides as tracers for their research," explains Kelly. "Those tracers may be used in animals during a research project. Additionally, radioactive waste may be generated when radionuclides contaminate undesirable areas or materials or when used to detect the presence of contamination."
The first step toward bringing a program into compliance is identifying all types of radioactive waste. While some examples are obvious, such as contaminated rags and gloves, a full audit should be performed to verify that all streams are accounted for.
Dry solid waste such as contaminated bench pads, gloves, etc.
"The personnel who pick up radioactive waste and place it into containers may not give much thought into how it will be managed downstream. Therefore, training staff members on how to better segregate the waste can result in savings for the organization. Hands on training in the field is often the best type of education, where techniques can be demonstrated.
"For example, laboratories may generate radioactive waste containing I-125, Cr-51, or Na-22 waste. These was streams may present a potential exposure issue to the researchers. If those researchers know they can count on reliable service from waste handlers, they will dispose of their waste streams on a more regular basis. This reduces their potential exposure and helps them discard of the waste in a safe and cost effective manner.
"It's important that researchers and handlers know what the organization's waste reduction program is and the importance of accurately labeling and segregating waste. For example, it may be required that they fill out a header on a waste label that lists the researcher's name, their location, the isotope, their activity, and the type of waste that they're working with. This type of information is helpful so if a waste handler finds something inconsistent or noncompliant with the waste stream they can go back to the researcher for more information.
"Videos can be a very helpful way for radiation safety officers to demonstrate proper techniques to researchers or waste handlers. Examples could include properly setting up a radioactive material research bench, how an area should be delineated with 'Caution: Radioactive Material' tape, how to clean up small spills, how to use a Geiger counter to check for the presence of contamination, and more.
"Posting short video clips on a website is very helpful. Radiation Safety Officers typically have a wealth of knowledge and have a lot of practical experience and can demonstrate some of those finer techniques which will help a program not only be safe, but compliant, too.
"Many organizations that generate a lot of radioactive waste don't consider the most cost effective ways of managing it. I recommend bringing in an entity that specializes in managing radioactive waste programs, such as Veolia. They can evaluate the different waste streams and discuss the most cost effective disposal methods.
"For example, if you have dry solid waste in metal drums, it must be compacted and then disposed of in a landfill. A less expensive method of disposal may be to use fiber containers that can be incinerated. You would then only need to dispose of a small amount of ash as opposed to the entire compacted drum. This could also reduce liability to the organization in the "cradle to grave" management process.
"It's important to work with a knowledgeable partner like Veolia that knows the ins and outs of every state's regulations. For example, in New York generators may opt to use the mixed waste exemption, which is very beneficial. There are several specific criteria to follow outlined in the regulations, but it allows the generators of mixed waste (hazardous and radioactive materials) to potentially manage their mixed waste as regular radioactive waste through decay in storage or while accumulating waste potentially over their 90 or 180 day generator clock, so that they can package waste in a more cost effective manner for disposal.
"If a generator knows that every couple of weeks a researcher generates a gallon's worth of mixed waste, it would be cost effective to wait and dispose of a full drum as opposed to a three-quarter full drum by utilizing the mixed waste exemption.
Ask for help from a company that specializes in managing radioactive waste programs, such as Veolia. They can evaluate the different waste streams and recommend the most cost effective disposal methods.


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Community media, fact-checkers see biggest spike from coronavirus traffic
A breakdown of March traffic suggests trust and audience relationships
When countries locked down people flocked online to get the latest news. All types of media saw huge spikes, but independent media and fact-checkers saw by far the biggest.
Last week we took a look at how the March traffic bump experienced by media across the world played out among European countries and types of publication.
The results showed a wide disparity between countries, with those that locked down earlier (and/ or saw more cases) experiencing a much steeper increase in traffic. Media in France, Italy, Spain and Ukraine all saw jumps of over 50%, with Spain and Ukraine being above 70%.
(Note: this was based on SimilarWeb data for a small sample of outlets – for the full discussion on methodology and findings see our earlier article).
Similarly, the type of media outlet played a big role. Tabloids generally fared poorly, with 10-30% traffic spikes, followed by "leaning right" media.
On the other hand, public broadcasters and left-leaning media did exceptionally well, suggesting people found them more trustworthy and hence a more fitting source for information during a global pandemic.
That brings us to the question – how did independent/ community media do? And, for that matter, what about fact-checkers?
Source: The Fix Research
First, let's briefly go over the typical problem in discussing independent media – namely that "independent" is kind of meaningless (it's also not particularly helpful for audiences either). Without going through all the arguments, let's just say we assumed that media that are reader-funded (or donor-funded with some reader contributions), and not part of a large conglomerate, fit the bill.
As previously, we took a media per country (for 10 countries) to get a sense of what was happening across the continent. It's worth noting that such media tend to be smaller, and with more volatile numbers, so results are just indicative of the general trend.
That said, the numbers tell a pretty clear story. On average, independent media saw a jump of 79% from February to March – more than even public broadcasters which jumped 65% on average.
Potentially muddying the numbers is the fact that many of these media have been on a growth trajectory. For example, Germany's Krautreporter and Czechia's Denik N (a daughter of the Slovak Dennik N), both grew in February vs. January, while most media shrunk during the shorter and traditionally downbeat month.
This makes it harder to distinguish the "corona-effect" from the growth trajectory, though COVID-19 undeniably played an overwhelming role (average across Jan-Feb was -9.3%). This suggests that strong audience trust paid off.
Having found this, we decided to look at another type of player, who should have fared even better during a crisis – namely fact-checkers. So we looked at 10 fact-checking websites (all verified by Poynter's International Fact-Checking Network, which has members in most countries, but not all, which is why we needed to change the list somewhat).
We expected a strong showing during such uncertain times, but the average 223% (!) increase exceeded even our expectations.
Moreover, while this was partially the result of a low base – many fact-checkers are relatively niche players, but that's not really the story.
Indeed, some of the bigger players saw some of the most impressive jumps – Spain's maldita.es went from 1.7 million to 9.7 million sessions over a month (!). That's a +470% increase.
These numbers were far from outliers, Italy's Pagella Politica rose 260% from 180,000 to 650,000, while the United Kingdom's Full Fact went from just under one million to above three.
This suggests that pure-play fact-checkers played an important role in spreading verified information, fulfilling the role they were designed for (there have been doubts about their effectiveness, given that they tend to be relatively small vs. mainstream publications).
Further analysis is needed to break down the implications, but in both cases it seems that the crisis has shown an appetite for new media offering (and a readiness to pay for them – memberships have been on the rise, too).
A rare piece of positive news in an otherwise grim media landscape.
Here are the media we selected. We tried to balance picking the biggest media (by sessions) for each category, but in some cases preferred to take slightly smaller, but more recognizable options – please send us your feedback.
Independent/ community: theferret.scot (UK); krautreporter.de (DE); mediapart.fr (FR); dor.ro (RO); denikn.cz (CZ); zetland.dk (DK); slidtsvo.info (UA); krytykapolityczna.pl (PL); infolibre.es (ES); valigiablu.it (IT)
Factcheckers: fullfact.org (UK); correctiv.org (DE), demagog.cz (CZ); elinikahoaxes.gr (GR); faktograf.hr (HR), faktisk (NO); voxukraine.org (UA); demagog.org.pl (PL); maldita.es (ES); poligrafo.sapo.pt (PT); pagellapolitica.it (IT)
Tagscommunity_media • coronavirus • digital • fact-checking • thefix_research • traffic
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The Salvation Army is welcoming the undertaking by Consumer Affairs Minister Kris Faafoi to introduce caps on high interest, short-term "pay-day" loans in the Government's first 100 days.
The Salvation Army Social Policy Unit's policy advisor for consumer issues Ronji Tanielu says capping of interest rates and greater protections for vulnerable consumers is something The Salvation Army has consistently advocated for over a number of years.
"It is unconscionable to have no legal maximum of interest rates on these loans, especially given how they affect vulnerable consumers and perpetuate the poverty cycle," Mr Tanielu says.
The major reason for not introducing a cap in the past has been the fear that lenders would exit this short-term market. "We do not accept this. Our experience is that lenders are only too keen to lend, but no-limit interest rates can create excessive loans that can destroy families and does not solve their immediate crisis," he says.
In the pay-day loans market there are operators who currently set interest levels significantly past what could be termed reasonable or acceptable to most New Zealanders. A cap would mean New Zealand joins countries such as Australia and the United Kingdom, which already have caps and restrictions in place.
The Salvation Army's financial mentoring and community loan scheme daily assists people in desperate personal circumstances who are experiencing oppressive debt levels, sometimes equivalent to a yearly interest rate of 300 to 600 percent. "This does not help a family; rather, it puts them at risk of entering a long term and crippling cycle of debt and financial difficulties," Mr Tanielu says.
The proposed capping of interest on pay-day loans will help curb predatory lending practices targeted at low-income households forced to borrow.