text:
Mark D. Walker was a Peace Corps Volunteer in Guatemala and spent over forty years helping disadvantaged people in the developing world. He came to Phoenix as a Senior Director for Food for the Hungry, worked with other groups like Make a Wish International and was the CEO of Hagar USA, a Christian-based organization that supports survivors of human trafficking.
His book, Different Latitudes: My Life in the Peace Corps and Beyond was recognized by the Arizona Literary Association for Non-Fiction. Over the last year his articles, "The Making of the Kingdom of Mescal: An Adult Fairy Tale", "Luis Argueta: Telling the Stories of Guatemalan Immigrants" and "Maya Gods and Monsters" were featured in the Revue Magazine. Two other articles were published in WorldView Magazine. An essay, "Rhythm of the Grass: Letters from Moritz Thomsen," was published by the Peace Corps Worldwide while another one, "My Life in the Land of the Eternal Spring" was published in Ragazine as was "Life's Little Travel Lists" in Literary Yard. Yet another article appeared in "Crossing Class: The Invisible Wall" anthology published by "Wising Up Press and most recently, "The Yin of Travel: Traveling in Tandem" will be published by Literary Traveler.
His honors include the "Service Above Self" award from Rotary International. His wife and three children were born in Guatemala and reside in the Phoenix area. You can learn more at www.MillionMileWalker.com and follow him on Facebook at https://www.facebook.com/millionmilewalker/


text:
Mary Hallock-Greenewalt's Nourathar
An Excerpt from The History of Motion Graphics:
Between 1919 and 1927 Mary Hallock-Greenewalt (1871 – 1951) filed eleven patents, primarily containing innovations in electrical lighting, while performing as a piano soloist with both the Philadelphia and Pittsburgh symphony orchestras. Some of these patents describe complex systems of electrically switched lights, remote controlled motors that can switch filters and change gobos in lamps, and a central switching board capable of manipulating all the lamps at the same time. Her various patents were formal descriptions of the elements (including a system of notation based on scores for music) that created a new, technological art form. These components were all created to produce the carefully orchestrated graduations of colored light that are the foundation of her system of visual music, which she named "Nourathar"—a combination of Arabic words meaning "essence of light."
What is especially notable about her instrument for performing this light music, the "Sarabet" (named in honor of her mother Sarah Beth), is that even though trained and employed as a concert pianist, Hallock-Greenewalt did not employ the piano keyboard as the basis for her control system, instead designing a table-sized interface with slider bars and thumb dials to control her lighting system. These sliders would show the intensity of light against a graduated scale. Any lamp could be switched on at any level of brightness. The illumination could be adjusted by directly moving the sliders, through use of a pedal, and with toggle-switches that worked like individual keys. The resulting illumination allowed a continuous adjustment from none to full. The Sarabet underwent continuous refinement and tinkering, with the various improvement and modifications resulting in four discrete patents for the different variations in her design. Because it was an electro-mechanical system, setting it up for a performance would often require modifications and significant changes to the placement and number of lamps in order to achieve a full coverage of the performance space's architecture and the geometry of the concert hall. The Sarabet enabled the central control and adjustment of the network of lights in two ways: (1) the 1500 watt lights were controlled based on three increments of light intensity; (2) each lamp used a motorized color wheel capable of changing colors drawn from the entire spectrum: violet, blue, green, yellow, orange and red filters, but these lamps did not otherwise employ filtering of any kind, relying on the graduated fades and direct switching on and off to achieve its effects. The mixture of hues would happen as the light played across the surface of the architectural space or screen.
In patent no. 1,385,944, she proposed a scoring system for Nourathar that was adapted from music notation. The purpose of this system was to enable repeat performances of the same work of Nourathar; at the same time, it also facilitated the synchronization of these performances with orchestral music. The notations corresponded to the design and markings on the Sarabet's control system.
This scoring system corresponds to the aesthetics of Nourathar: it was broken into three banks of light corresponding to the physical lamp placement throughout the performance space—front, center and rear. Since her performances often happened in movie theaters and used the movie screen, this division could equally be "top, middle, bottom." The notations also identify varying levels of illumination, with corresponding intensities: starlight, moonlight, twilight, auroral, diurnal and superbright.
Nevertheless, the Sarabet is a typical example of how the electro-mechanical devices constructed during this period were engineering in the direct service of a specific system of aesthetics; the aesthetics of the work are literally built into the machine itself. The decisions about what types of relationships between sound and image are acceptable must be made by the artist a priori to the construction of the device: in the case of the Sarabet and Nourathar, it is an aesthetic based upon the gradual and nuanced play of colored light, but does not involve the projection of imagery or forms in motion. This is an important distinction between Hallock-Greenewalt's art of Nourathar and Thomas Wilfred's Lumia, which was built around the projection of abstract forms in motion.
The emphasis in Nourathar is the unmodulated use of light in architectural space—the play of colored light across the smooth expanse of an arched or domed space, often accompanied by music. These performances were environmental, rather than image or symbol-based. While it is possible for the lamps developed by Hallock-Greenewalt to use gobo filters to give shape the light, she did not develop this potential—instead, she focused on fields of color, more like some of the abstract expressionist painters who were to follow, decades later. Nourathar is an early example of architectural lighting being used aesthetically, and as a result, its influence on motion graphics is primarily through Hallock-Greenewalt's technological innovations, rather than aesthetics.
Significantly, Hallock-Greenewalt recognized that there is no relationship between color and music unlike many of her contemporaries. Her recognition that color does not have an octave, and that the choices being made to synchronize color and sound were arbitrary, guided by the taste of the composer/performer reveal the significance she has for the emergence of a visual, rather than color, music. Her central recognition in the aesthetics of Nourathar was that the harmonic mixing of sound does not have a parallel with light, which additively combines to produce new, independent colors, rather than musical harmony. Her development of the rheostat is connected to her solution to this divergence between sound and light: the different tonal values of sound find an analogue in the light-to-dark scale of light intensity. The Sarabet would not allow any two colors to be shown at the same intensity at the same time. Each position in her scale allowed for only one lamp to be at that level at a time, thus building Nourathar's aesthetic of tonal values into the mechanics of the Sarabet.
The central element of Nourathar, the graduated play of light, required the development of a new type of lighting control: the "rheostat," which enabled Hallock-Greenewalt to fade the lamps from full intensity to darkness. Closely related to this ability to control tonal values was the mercury switch invented to prevent the noise from the remote controlled electrical contacts that turned lamps on and off, thus enabling the use of her Sarabet in orchestral and concert settings without interfering in performance of the music. Both of these patented innovations were almost immediately stolen by both Westinghouse and Edison companies for use in their theatrical lighting divisions.
These patents were so revolutionary for lighting control that they were almost immediately stolen for use in theatrical lighting manufactured by General Electric. She sued them for patent infringement, but the first judge for her case could not believe that Mary Hallock-Greenewalt, a woman, could have invented so complex and difficult an electrical device as the rheostat. His opinion was overturned on appeal, and Hallock-Greenewalt won this suit.
Following her success with the first suit, she sued another visual music artist, Thomas Wilfred (1889 – 1968), for infringing her patent (no. 1,345,168/revision 16,825) on a system for connecting light and music that she filed in 1916 and received in 1927. This first device employed a hand-painted film that would be viewed in much the same way as one of Edison's Kinetoscopes—by looking directly down, into the machine, at the film strip itself as it passes over the light—and did not involve projected imagery at all. As in her later scoring system, the notation and timing on these film strips is musical, 4:4 time, rather than the intermittent sampling of 24fps common to motion pictures. The light that would come out of the machine, playing across the wall above it, would have resembled the unmodulated play of light common to later examples of Nourathar.
Thomas Wilfred with Vertical Sequence, Opus 132 (1941)
However, her suit against Wilfred for infringement is not surprising given the technical design of his instruments. The desire for primacy of invention is a common feature of all these inventors, both in their claims and in their responses to critics looking at what they have built and recognizing similarities between it and those of others. Wilfred's objections to his Lumia being identified as a type of "mobile graphics" makes the similarity between the Clavilux and the Sarabet clear; at the same time, his objections to the term "mobile graphics" suggests sophistry:
We may aptly apply Mr. Blake's new term "Mobile Graphics" to the motion painting process—the abstract and non-objective film and the animated cartoon—but the term does not apply to Lumia if we are to accept Webster's definition of the word Graphics, because the Lumia composer neither paints nor draws his composition—he records it in a special notation, akin to musical notation. This notation—letters and numbers on vertical staffs—is placed on the rack over the Clavilux keyboard and the player then performs the composition by moving the sliding form, color and motion keys as the notation indicates. He has the same latitude for personal interpretation of the composer's work as the pianist has in music. Optical elements are actuated in a battery of projectors, and the composition takes visual form for the first time as the rays of light from the projectors reach the screen surface.
[Michael Betancourt, ed. Thomas Wilfred's Clavilux, (Holicong: Wildside Press, 2006), pp. 33-34.]
Falling back on a dictionary definition as the basis for rejecting a general description of Wilfred's work is, almost by definition itself an example of sophistry. Nevertheless, it is the description of the Clavilux that is of greater interest in this discussion: the instrument consists of a series of lamps that are controlled from a central board composed, not of "keys" as Wilfred calls them, but slider bars. The similarities between the Sarabet and the Clavilux continue: the lights are fully remote controlled from this central board, and the composition is written out as a series of discrete instructions based on a model derived from musical notation! While Wilfred's system and Mary Hallock-Greenewalt's are examples of a convergent process—both share a common foundation in orchestral performance, and their devices are a response to the same context that produced other abstraction generally and color music variants in particular—the lawsuit against Wilfred also has an inevitable quality to it since he was directly competing with Hallock-Greenewalt for concert venues.
But because his defense to her lawsuit focused on aesthetics, rather then solely on technology, and because it is difficult to entirely separate the aesthetic demands that drove the technical innovations from those inventions, she lost this second suit precisely because Nourathar does not involve the projection of form. Her patent was amended in 1934 to include a disavowal of the "use of stereoscopically focused images such as are known as painted pictures and the like, projected between lenses as distinguished from the substantially shapeless flood of light," direct evidence of her lost suit against Wilfred.
The History of Motion Graphics

redpajama_set_name: RedPajamaCommonCrawl


text:
Lancelot Ribeiro
Hidden Treasures from the Camden Collection
Lancelot Ribeiro, Grey Landscape, 1985
The prolific Hampstead painter Lancelot Ribeiro was one of the most original of the Indian artists who settled in Britain in the post-war period. An exhibition of his life and work is on display at Burgh House as part of the year-long 'Retracing Ribeiro' programme, supported by the Heritage Lottery Fund and being celebrated as part of the 2017 UK-India Year of Culture, in partnership with The British Museum, V&A, Central Saint Martins and Camden Archives. The exhibition will explore Ribeiro's legacy through an extensive programme of exhibitions, film and talks.
After settling in Britain after the Second World War, Indian born Lancelot Ribeiro produced a vast body of figurative and abstract works. Although Ribeiro's fame never rose to that of his contemporaries such as Anish Kapoor or FN Souza during his lifetime, his work is increasingly popular amongst collectors, dealers and critics. Over the 50 years of his career, Ribeiro worked with traditional oil painting and acrylic, producing explosive surreal works, wood sculptures and ceramics. He is currently seen as one of the most innovative Indian artists of the last half-century living in Britain.
After moving to Chalk Farm in 1950 to study accountancy, Ribeiro initially lived with his half-brother, the painter Francis Newton Souza, where Ribeiro's path was soon diverted to that of art. After attending life drawing classes at Central Saint Martin's he started painting professionally from 1960 onwards. His show at the Bombay Art Society Salon was completely sold out and attracted rave reviews. His artistic career was underlined by his fascination with poetry and artistic innovation, often leading him to experiment with a variety of styles, techniques, media and pigments. Known for his fast-paced working methods, Ribeiro grew increasing dissatisfied with the drying times and lack of colour brilliance in traditional oil paints and started to experiment with acrylic materials. He worked closely with large paint manufacturers such as ICI, Courtaulds and Geigy to improve the material's quality. His polyvinyl acetate (PVA) acrylic has been called 'one of the most significant advances in artistic technique of the twentieth century'.
The Camden Collection holds two works by Ribeiro, both of which will be on display at Holborn Library 10 April - 27 May 2017 as part of the 'Retracing Ribeiro' programme. Landscape with red sky and Grey Landscape, both from 1985, show the depth of color and subtle layering techniques Ribeiro was known for, with bright reds and soft yellows that recall the skies and sands of his homeland India. Part of a new abstract phase the artist began in the eighties, these compositional multi-dimensional landscapes were produced on laminated card and combined watercolours, varnishes and inks to produce dynamic townscapes, reduced to the base of the image, dominated by a seemingly active sky. They explore issues of identity, cultural marginalisation and colonial history, while at the same time expressing deep feelings of poetic longing.
The two works in the Camden Collection reflect the artist's engagement with both India and the UK. Inspired by the walks Ribeiro took with his daughter Marsha on Hampstead Heath, they reflect the melancholy and desires of a man on the other side of history, looking out over a land that reflected both colonial oppression and the future of not only himself but his family. His paintings recall a changing world in which borders are redefined and cultural migration and collaboration is ever still a pressing issue. This limited series is currently the focus of the 'Retracing Ribeiro' exhibition, supported by the Heritage Lottery Fund, at Burgh House & the Hampstead Museum.
Burgh House exhibition, 25 October 2016 - 19 March 2017
Camden Archives exhibition, 10 April - 27 May 2017. Talk by David Buckman, Ribeiro's biographer, 25 April 2017.
For the full programme, visit www.lanceribeiro.co.uk. For more information on the UK-India Year of Culture please visit http://uk-india.britishcouncil.in/
The Camden Art Collection comprises a rich variety of works dating from the late 1950s to today, by artists who have had a strong connection to the borough, including Sandra Blow, Jean Cooke, John Bratby, Maggie Hambling, Derek Jarman, Prunella Clough, Terry Frost, Adrian Heath, Wilhemina Barns-Graham and limited edition works on paper by David Hockney and Patrick Caulfield. For more information visit our online archive.
Header image: Lancelot Ribeiro, Landscape with a red sky, (1985), Courtesy of Camden Collection


text:
Aude Konan
May. 23, 2019 07:13PM EST
Photo by Stephane Cardinale - Corbis/Corbis via Getty Images.
Black Women Are the Future of French Cinema—When Will Cannes Catch Up?
In this op-ed, OkayAfrica contributor Aude Konan reflects on the progression of diversity in French cinema a year after the Noire N'est Pas Mon Métier demonstration at Cannes Film Festival.
A year ago, 16 French actresses of African descent walked the red carpet at Cannes to talk about a new project they authored, Noire N'est Pas Mon Métier (Being Black Is Not My Job), where they shared their experiences with racism and sexism in the film industry.
In an era where the movements #MeToo and #OscarsSoWhite gained global momentum and led to some change in the Academy Awards, it was a first considering that outside of Aissa Maïga, French actresses seldom get any visibility and speaking out against racism put them at risk of being blacklisted, like the actor Luc Saint Eloi's unfortunate experience 20 years ago.
The red carpet moment was generally well received in France and in the rest of the world, with the main actresses getting large media coverage with features in Le Monde, Le Figaro and even Vogue U.S. The presidents of the Cannes Film Festival welcomed the actresses. No promises were made by any of the gatekeepers in French cinema, but the actresses were hopeful.
Since the book's release, the actresses have been busy working, some of them lucky enough to be able to portray fully fledged characters, others being reduced to play the "black woman" stereotype over and over again. Recently, one of them, Karidja Touré, well known for being in the film Girlhood, mentioned that she was pretty good at mimicking an "African accent." Semantics aside—and the fact that there is no such a thing as an African accent, as Africa is still not a country—it is pretty revealing: despite the wonderful coverage these actresses had, has the movement contributed to any change?
French cinema is a dinosaur refusing to die and change—still longing for the glorious days of the new wave to come back. The industry makes the same films over and over again, ripped with tired racial stereotypes and boring stories about emotionally stunted middle class thirty-something Parisians, films that can't even be successfully distributed outside of France.
Mati Diop and the cast of 'Atlantiques' attend the screening of during the 72nd annual Cannes Film Festival.
Photo by Dominique Charriau/WireImage via Getty Images.
French movies portraying Black people neatly fit them in three categories: either drug dealers or thugs from the banlieues (the projects), illegal migrants or, a special category invented for Black women: desperate prostitutes. All these categories fit into showing Black pain as trauma porn for non Black audience, who, no matter how much they might struggle in their lives, will at least feel better about the fact they are not suffering like Black people. Even the blockbuster Les Intouchables, featuring Omar Sy playing the trope of the magical negro (a "nice" surprise since it avoids the aforementioned tropes) couldn't be made into a viable American remake because the racism and ableism in it makes the film look like it belongs to the 80s. The rest of the world is moving, but French cinema is not.
It explains partly why so younger audiences and in general many Black French people would rather watch films on Netflix than supporting a homegrown industry so adamant in misrepresenting them in any way, shape, or form. And also why this year, the Cannes Film Festival has been adamant in stopping the platform from submitting films. In addition, France's President Emmanuel Macron has asked European countries to unite to fight against Netflix and Disney by setting up a 225 million euros fund for the creative industries. It's worth mentioning that his own documentary about his winning campaign during the 2017 elections is on the platform—a documentary that contributed to improve his popularity. Netflix has since then decided to release their first French film. In the war between the French film industry and Netflix, the latter will win. It's only a matter of time. The only question that matters is: why is the industry not trying to reshape itself, write inclusive stories representing all kind of French people, including the Black ones? Why not being more diverse to beat Netflix? Is it so hard to admit that the films they make are boring and racist and thus, reshape them?
In that aspect, the Cannes Film Festival is the epitome of French cinema, many of the films selected having the same self-absorbed, boring stories. It is worth noting that Cannes itself is part of the Provence Alpes Côte d'Azur, an administrative region where the far right party Rassemblement National (formally known as the National Front) is popular. Cannes is a city so racist that Black people walking to clubs or bars with a party of more than one are routinely being denied entry as if the city was an idyllic version of Alabama in the 1960's. Some clubs even have a quota of non-white people they accept. The only ones that are always allowed are—the security. Yet, for the past few years, the Cannes has decided to embrace diversity—like including Maimouna N'Diaye, a Senegalese actress and director, to be a member of the Jury at the festival.
Mati Diop's Atlantiques is the first film made by a woman filmmaker of African descent to be selected at the Cannes' Competition program. It is worth noting that the Diop is mixed race and has gotten some backlash for saying that she doesn't identify as Black or white but as a French woman. The one drop rule is a universal concept in every country where whiteness has found ways to sustain itself, but its impact is lessened in France—where the notion of being mixed is just as valid as being Black. Thus, many people who have partial Black identity will rightfully so, like Diop, identify as what they are: bi or multiracial. It doesn't mean that she is rejecting one's identity, but rather accepting both. She was disappointed and perplexed to learn about the milestone she has hit, but hopes that things will change.
Al Hassan Ly, director Ladj Ly and Issa Perica attend the photocall for 'Les Miserables' during the 72nd annual Cannes Film Festival.
Photo by Daniele Venturelli/WireImage via Getty Images.
Atlantiques is about a young Senegalese woman longing for a lover who is risking his life migrating to Europe for a better life. Another film, Les Misérables, by Black French filmmaker Ladj Ly is about the tensions between police officers, gang members and the people living in a French banlieue (projects). Ly has said, "French cinema nowadays is a bore, and there is no Black or maghrebi people on screen...they're always reduced to harmful stereotypes."
At first glance, both Les Misérables and Atlantiques might seem to fit into the idea that Black people on screen have to deal drugs or be illegal migrants, but Atlantiques, however, is a warm, beautiful movie that avoids the usual clichés, telling a wonderful, bittersweet coming-of-age story about a young woman learning to be comfortable with herself, her choices and her sexuality.
Having these stories on screen is a nice move, but many have noted that compared to other international festivals, Cannes' progressive pace is incredibly slow, but pales in comparison to what Netflix and even Youtube offers to Black people yearning for content that truly represent them and gives them a humanity often denied.
Will the diversity seen this year at Cannes have the same impact as Noire N'est Pas Mon Métier? Will more films made by French filmmakers of African descent be made?
Only time will tell. And it's ticking.
cannes cannes 2019 cannes film festival african diaspora african film noire n'est pas mon métier mati diop diversity film film industry french cinema
(Photo by Rodin Eckenroth/Getty Images)
Chinonye Chukwu Will Direct the First Two Episodes of HBO Max's Upcoming 'Americanah' Series
Here's the latest news surrounding the highly-anticipated limited series, starring Lupita Nyong'o, Uzo Aduba and more.
Nigerian-American director Chinonye Chukwu is set to helm the first two episodes of the upcoming limited series Americanah, starring Lupita Nyong'o.
Chukwu is the award-winning filmmaker, behind the critically-acclaimed film Clemency, which won the 2019 Sundance Grand Jury Prize, making her the first Black woman to win the award.
Photo by Michael Kovac/Champagne Collet for Getty Images.
Cynthia Erivo Responds to Stephen King's Tweet on Diversity
The British-Nigerian actress begs to differ with the veteran author's tweet on diversity and 'quality' in this year's Oscar nominations.
British-Nigerian actress Cynthia Erivo has responded to veteran author Stephen King's recent tweets on the issue of diversity and this year's Oscar nominations.
King has been subject to considerable backlash since his controversial tweet about how he would "never consider diversity" when it comes to evaluating art of awards citing that, "It seems to me that to do otherwise would be wrong."


text:
Home›PHP programming›Genius Brands' Stan Lee Superhero Kindergarten exceeds 40 million views on Kartoon Channel!
Genius Brands' Stan Lee Superhero Kindergarten exceeds 40 million views on Kartoon Channel!
"I knew the viewership would be great, but even I didn't think we would get that level of views with just 11 streaming episodes so far,"… Arnold Schwarzenegger
BEVERLY HILLS, Calif., July 13, 2021 (GLOBE NEWSWIRE) – From the April 23 premiere on Kartoon channel!, Genius Brands International, Inc. ("Marks of Genius") (NASDAQ: GNUS) Stan Lee's Superhero Kindergarten, with and executive produced by Arnold schwarzenegger, continues to develop its audience reaching a new stage of more than 40 million views to date.
Celebrate the last Stan Lee's Superhero Kindergarten Important step, Schwarzenegger said, "Over 40 million views in just a few months is an incredible achievement, and I am very honored to receive it. I want to thank the whole team for the fantastic job. I know Stan Lee himself would be so proud. We have 15 more episodes left in our first season, so this is just the start! Make sure to log in, only on Kartoon Channel, "It's Kartoon Channel!" with a "K! "
Audience for Stan Lee's Superhero Kindergarten since the premiere of the action-adventure comedy series has exceeded expectations with 11 episodes of the first season currently available and 15 more episodes are slated to debut this year. The show is also credited with bringing a greater than 900% increase as unique users on the Kartoon channel! ecosystem. Plus, it's the most watched show on Kartoon Channel! and last week episodes of Stan Lee's Superhero Kindergarten represented the ten most watched episodes on the streaming platform.
Margaret Loesch, Executive President of Kartoon Channel !, as well as Former President of Marvel Entertainment and Founding President and CEO of Fox Kids said, "Smart comedy is a good deal and it's one of the smartest comedies I've seen in a very long time."
Kerry Phelan, newly appointed EVP & General Manager of Global Franchise Management at Genius Brands, mentionned: "Stan Lee's Superhero Kindergarten is a rising star in the television world and with great content, she is enjoying great commercial success.
Genius Brands will continue to roll out new episodes every week, with Episode 12 releasing this Friday. The series is available by downloading the free Kartoon channel! streaming app on Apple and Android devices; on Amazon Prime, on televisions and connected devices from Samsung, LG, Roku, Tubi, Amazon Fire Stick; on Youtube; and more; or by visiting www.kartoonchannel.com.
Stan Lee's Superhero Kindergarten is aimed at kids and families and focuses on the adventures of six unique children as they learn to master their super skills, as well as their ABCs. With the help of their teacher Arnold Armstrong (aka 'Captain Fantastic', the greatest superhero to ever live!).
It all started five years ago when Arnold Armstrong faced off in a final fight against his nemesis, the evil Dr. Superior, who left him helpless. No one knew that during the fight, particles of superenergy swooped down on a group of unsuspecting toddlers. Now these toddlers are Kindergarten students at Greenville Elementary School who, with the help of Arnold Armstrong, must learn to control their powers as they embark on awesome adventures! Arnold Armstrong's mission: to train these children to use their superpowers safely without revealing their identity. They learn the values of teamwork, health, diversity and anti-bullying while protecting their city from rivals and the infamous Dr Superior who has returned as Danforth's director of the Academy of the senior children of the city.
Fun for the whole family, the series opens up the superhero genre to a whole new demographic and draws kids in with action and comedy, while parents can enjoy the quality of content that is synonymous with Stan Lee. The first season of the series includes 26 half-hour episodes that began with a two-episode double feature film and [delete]will be rolled out CHANGE TO rolls out a new episode on a weekly basis every Friday.
Stan Lee's Superhero Kindergarten stars Schwarzenegger, conducted by the voice of Jean Landis, one of the most successful directors of all time, with Steven Banks, former editor-in-chief of Sponge Bob SquarePants, as the series' chief writer. The series is produced by Genius Brands and POW! Entertainment in association with Oak Productions of Schwarzenegger. Gill Champion, CEO of POW! Entertainment; Andy Heyward, President and CEO of Genius Brands; Schwarzenegger; and Paul wachter Main Street advisers serve as executive producers.
About the Kartoon channel!Available anywhere and everywhere kids are today, Genius Brands' streaming network, Kartoon Channel !, is a family entertainment destination that delivers lasting moments of humor, adventure and discovery for the whole family. 'childhood.
Offering thousands of episodes of carefully curated free family content, the channel offers animated classics for little kids, including The Wubbulous World of Dr. Seuss, Babar, Mello Dees, Super Simple Songs and Baby Genius, and hit content. for older kids, like Pac-Man, Angry Birds and Yu-Gi-Oh, to original programming like Stan Lee's Superhero Kindergarten, with Arnold Schwarzenegger, KC! Pop Quiz coming in spring 2021, and Shaq's Garage, with Shaquille O'Neal for 2022. Kartoon Channel! also offers STEM-based content through its Kartoon! classroom, including Baby Einstein, and more.
Kartoon channel! provides positive and useful content that is widely available and easily accessible across all platforms (Comcast, Cox, DISH, Sling TV, Amazon Prime, Amazon Fire, Apple TV, Android TV, Android Mobile, Google Play, Xumo, Roku, Tubi , Samsung Smart TV and LGTV).
Kartoon channel! can also be streamed to TVs and mobile devices by downloading the app, or to desktops by visiting www.kartoonchannel.com
About Genius Brands InternationalGenius Brands International, Inc. (Nasdaq: GNUS) is one of the world's leading children's media companies that develops, produces, markets and licenses children's entertainment properties and consumer products for media and distribution. by retail. The company's "content with a purpose" portfolio includes Stan Lee's Superhero Kindergarten, starring Arnold Schwarzenegger, on Kartoon Channel! ; Shaq's Garage, with Shaquille O'Neal on Kartoon Channel! ; Rainbow Rangers on Kartoon Channel! and Netflix; Llama Llama, with Jennifer Garner, on Netflix; the award-winning Baby Genius brand for toddlers; STEM adventure comedy series Secret Lab by Thomas Edison; and Warren Buffett's Secret Millionaires Club entrepreneurship series. Through licensing agreements with leading partners, Genius Brands' intellectual property figures also appear on a wide range of consumer products destined for the global retail market. The company's Kartoon channel! and Kartoon Classroom! are available to over 100 million US TV homes through a wide range of distribution platforms including Comcast, Cox, DISH, Sling TV, Amazon Prime, Amazon Fire, Apple TV, Apple iOS, Android TV, Android Mobil , Google Play, Xumo, Roku, Tubi, YouTube, KartoonChannel.com, Samsung smart TVs and LG TVs. For more information, please visit www.gnusbrands.com.
Forward-Looking Statements: Certain statements contained in this press release constitute "forward-looking statements" within the meaning of federal securities laws. Words such as "may", "could", "will", "should", "believe", "expect", "anticipate", "estimate", "continue", "predict", "foresee" , "plan", "plan", "intention" or similar expressions, or statements regarding current intention, belief or expectations, are forward-looking statements. Although the Company believes that these forward-looking statements are reasonable, we should not place undue reliance on these forward-looking statements, which are based on information available to us as of the date of this press release. These forward-looking statements are based on current estimates and assumptions and are subject to various risks and uncertainties, including, without limitation, our ability to generate income or achieve profitability; our ability to obtain additional financing on acceptable terms, if any; the potential issuance of a significant number of shares, which will dilute our shareholders; fluctuations in the results of our operations from period to period; general economic and financial conditions; our ability to anticipate changes in popular culture, media and films, fashion and technology; competitive pressure from other content distributors and within the retail market; our dependence on and relationships with third party production and animation studios; our ability to market and advertise our products; our reliance on third parties to promote our products; our ability to keep pace with technological advances; our ability to protect our intellectual property and other risk factors set out in the "Risk Factors" section of the Company's most recent annual report on Form 10-K and in the Company's subsequent filings with Securities and Exchange Commission (the "SEC"). Thus, the actual results could be materially different. The Company expressly disclaims any obligation to update or modify statements, whether as a result of new information, future events or otherwise, except as required by law.
CONTACT WITH THE MEDIA:[email protected]
INVESTOR RELATIONS CONTACT:[email protected]
A photo accompanying this announcement is available on https://www.globenewswire.com/NewsRoom/AttachmentNg/a68ea338-e3fa-4244-ad99-9c330810d9bf
GENIUS BRANDS 'SUPER-HEROES KINDERGARTEN FROM GENIUS BRANDS EXCEEDS 40 MILLION VIEWS ON KARTOON CHANNEL!
Source: Genius Brands International, Inc.
Why you need a jsconfig.js when using VSCode
Abbott commits $ 11 billion in federal stimulus funds to Texas schools
Get a Job: Join Seismic Squirrel as a Senior Gameplay Designer
Company highlights
Marymount of Santa Barbara changes name to ...
Information on the earthquake: moderate mag. ...
Top 10 programming languages in 2022 for business applications
SuperSport unveils exciting Paralympic Games broadcast plans
Upgraded Jerry Garcia Amphitheater set to reopen, hoping to attract bigger shows to McLaren Park
Fresche begins development and modernization of new RPGs with X-Elevate
Overview By The Future Growth Of Programming Language Training Market With Current Technology And Trends From 2021-2026 | Analytics ...
Alabama asks federal government if COVID funds can be used for prisons
Israel, Bahrain lose immunization status without booster
Dutch retailer Hema to be acquired by bondholders
Rob Manfred: MLB commissioner defends Braves' tomahawk chop, name


text:
BNP Paribas in India News & Press
You are here: Home › News & Press › News & Press Releases › Jonathan Warburton appointed Head of Banking for EMEA, Corporate Finance
November 29, 2012 - Territory
Jonathan Warburton appointed Head of Banking for EMEA, Corporate Finance
BNP Paribas Corporate and Institutional Banking ("BNP Paribas CIB") is pleased to announce the appointment of Jonathan Warburton as Head of Banking for EMEA within BNP Paribas CIB's Corporate Finance division. Jonathan will be responsible for leading origination and supporting BNP Paribas' key banking clients in the EMEA region. Jonathan will report directly to Jean-Sebastien Dietsch, Head of Financial Institutions for Corporate Finance. He will be based inLondon.
Jonathan's appointment is consistent with Corporate Finance's continued commitment to growing its business in a number of key strategic sectors, such as FIG. The strengthening of the team – Marco de Rossi was recently appointed Head of Insurance for Northern Europe – further reinforces BNP Paribas CIB's ambitions to provide the whole spectrum of investment banking services for key FIG clients across the EMEA region supported by its strong global network.
Jonathan has almost 25 years of investment banking experience with a particular focus on FIG in the CEEMEA region. Jonathan joins BNP Paribas CIB from Rothschild where he spent nearly 4 years as Head of Emerging Markets FIG. Prior to Rothschild, Jonathan spent 20 years at Citi, initially at Schroders, where in 2002 he was appointed Head of CEEMEA FIG within the investment bank. Over the course of his career he has advised on a number of key transactions such as the sale of CSOB to KBC, the sale of Bank of Alexandria to Intesa Sanpaolo and Citibank's acquisition of a 20% shareholding in Akbank.
Jean-Sebastien Dietsch, Head of Financial Institutions, commented:
"I am excited to have Jonathan joining the team. The current period provides great business opportunities in the banking sector and Jonathan's wealth of experience, particularly in emerging markets will be of great value to our clients."
Jonathan Warburton, commented:
"I am delighted to be joining BNP Paribas. With a robust platform in place and the strength of the BNP Paribas Group behind us, I look forward to helping our clients achieve their strategic objectives across a wide range of geographies."


Do you find yourself in a situation where you are looking to eat healthy, but your budget gets in the way?
Well, mySupermarket has got you covered! Not only can you be able to enjoy dietary options at a low cost, but you will also take care of your wallet in the process. It's a win-win situation for everyone.
Cook your meals from scratch– Although it will take you more time than buying ready-made meals from the supermarket, it will be worth it! Making meals from scratch not only gives you the opportunity to decide what you want to put into your food, but it also gives you a sense of accomplishment.
Save your leftovers– OK, so whilst your food might not be as good as it was the first time around, getting to enjoy it for a second time is almost as fun! So stock up on plastic containers, and cut down on your food waste- keeping your body and wallet happy all the while.
Coupons are great money savers– Aside from the regular mySupermarket vouchers, go ahead and seek out coupons online. There's money waiting for you out there, so take advantage of it. That being said, just because something is on sale, doesn't mean that you need to buy it. Eating healthy on a budget means that you need to be conscious of what you're buying, and making sure you really do NEED those items.
We hope that we've enlightened you a bit, and encouraged you to save up on your next grocery shop! Saving money AND eating healthy really is a bargain ☺.


A 'social marketing' approach uses non-traditional methods of marketing based on understanding culturally diverse communities. This guide focuses on three key elements of this type of audience development: research (making use of publicly available information); tools/methodologies (use of print, direct mail and PR/media); and sustainability (long-term relationships and partnerships).
Ten top tips for social marketing - an outline of key things to consider when developing and delivering an audience development campaign.
An insight into the three key elements of audience development - research, tools/methodologies and sustainability, along with practical tips drawn from 15 years' experience of running diversity development programmes, and clear channels to enable you to embed audience development across the organisation, achieving a vital sense of ownership across all departments.
Hardish Virk has over twenty years' experience of managing marketing, PR and audience development campaigns having worked with heritage, festival, visual arts, dance, music, theatre organisations and practioners in the UK and Europe. He also continues to advice on organisational development, internal communications and issues around diversity. Hardish is currently an Arts Journalist for a national quarterly magazine.


What is the Part Time Jobs & Volunteering Work Fair?
Part-time jobs in the local area: Paid jobs that can fit around your study commitments (on days when you do not have lectures / seminars, in the evenings and at weekends). These jobs may also be available (part or full time) over the vacation-periods (Christmas, Easter or Summer).
Vacation-period jobs: Paid jobs over the Christmas, Easter or Summer vacation periods. Work may also be available during term-time on a part-time basis.
Voluntary Work: Unpaid volunteering opportunities to fit around your study commitments.
Each employer will staff a stand at the Part Time Jobs & Volunteering Work Fair to promote and provide information about their vacancies. Some employers will be handing out application forms, some will accept your CV and others will just want to chat to you and take your contact details.
These vacancies can provide valuable opportunities to gain experiences and develop employment skills that can help you stand out from other applicants in the graduate job market in the future.
Staff from Careers & Employability will be available on the day to answer quick questions about finding suitable work experience, making job applications and other job / career related issues.


text:
Solo: A Star Wars Story (2018) – Ron Howard
Posted bySofia June 20, 2018 August 17, 2020 Posted inAction, Adventure, Film Reviews, Sci-Fi, Star WarsTags:Alden Ehrenreich, Donald Glover, Emilia Clarke, Film Reviews, Ron Howard, Solo: A Star Wars Story, Star Wars
Solo: A Star Wars Story disappointed at the box office in comparison to the other Star Wars films, and there seems to be a lack of buzz surrounding the franchise, either due to Star Wars fatigue, or the lack of excitement about the direction the franchise is heading in (with prequels such as a Boba Fett movie in the pipeline). The film had a lot of production issues, as the co-directors Christopher Miller and Phil Lord were fired mid-production for having a different vision to Lucasfilm, and reportedly pushing the boundaries too far, making the film more improv heavy and tonally akin to a Guardians of the Galaxy film. Ron Howard was thus hired to direct and do reshoots to get the film more in line with the script by Lawrence Kasdan and his son Jonathan. Solo: A Star Wars Story, despite the problematic nature of its making, is a decent film. While I had a few nit-picky issues, overall I really enjoyed the film's aesthetics and tone, as well as the charming characterisation of Hans, played by Alden Ehrenreich.
From the opening I appreciated the look of the film and the filter used, as well as the editing. At the beginning the editing feels snappy and fast-paced with very quick shots that are apt for the story-line. The visuals and cutting of the film thus work really nicely to set the tone for the film. There is a darker shading to the film at times, as the film deals with the underworld of criminal activity. I really appreciated the coherent finish of the film, especially considering the production issues. There is humour throughout which adds to the films light-hearted feel, and the plot feels balanced and well-paced. However, there are a few points that I found to be unconvincing, such as what happens with the character of Val (Thandie Newton). In fact there are a few characters that I do not feel were essential to the plot, but at no point did the film feel too hectic or bloated with characters, I just would have cut some out to add more depth to those central to the story-line.
The film gives an insight into the adventures of Solo and shows how he meets characters like Chewbacca (Joonas Suotamo) and Lando (Donald Glover). There is also romance with the character of Qi'ra (Emilia Clarke), and the film builds upon Solo's relationships and develops his backstory. His drive and ambition for a better life are palpable, and Ehrenreich's performance portrays an excitement and eager nature to the character of Han, whose portrayal by Harrison Ford previously felt more pessimistic. The Solo film accordingly gives a few reasons that Solo would become slightly more cynical and adds a vitality to the depiction of a younger Solo.
Due to it being a prequel the weight of certain dramatic moments is limited, as we know the fate of many of the characters due to the other Star Wars films. Hence, we know which characters will definitely survive, and can guess at the outcome of the others. While this did take away a certain suspense from the film, I still found the plot enjoyable, and while some have argued that this prequel was not necessary to the franchise, (and I do not argue that it is), it is still an entertaining, watchable summer blockbuster that I believe does not deserve the negative cloud surrounding it.
Jurassic World: Fallen Kingdom (2018) – J.A. Bayona
Love, Simon (2018) – Greg Berlanti


text:
This article is more than 1 month old
'Travel apartheid': Nigeria condemns England's Covid red list
Nigerian high commissioner hits out as arrivals into UK face quarantine in effort to contain Omicron variant
Coronavirus – latest updates
See all our coronavirus coverage
The high commissioner for Nigeria, Sarafa Tunji Isola, at Buckingham Palace during a video call with the Queen from Windsor Castle. Photograph: Dominic Lipinski/AFP/Getty Images
Mon 6 Dec 2021 05.54 EST
Last modified on Mon 6 Dec 2021 07.16 EST
Nigeria's inclusion on England's red list after cases of the Omicron Covid variant were linked to travel from the country has been condemned as "travel apartheid".
People arriving in the UK from Nigeria have to spend 10 days in hotel quarantine at a cost of £2,285 and have two negative PCR test results, as part of measures that came into force from 4am on Monday.
The Department of Health said 21 Omicron cases in England were found to be linked to travel from Nigeria. There are 134 reported cases in the UK.
The Nigerian high commissioner to London, Sarafa Tunji Isola, said he agreed with the UN secretary general, António Guterres, who criticised measures imposed by various countries against African nations as "travel apartheid".
Isola told BBC Radio 4's Today programme: "The reaction in Nigeria is that of travel apartheid. Because Nigeria is actually aligned with the position of the UN secretary general that the travel ban is apartheid, in the sense that we're not dealing with an endemic situation, we are dealing with a pandemic situation and what is expected is a global approach, not selective."
He added: "[Omicron] is classified as a mild variant – no hospitalisations, no deaths. So the issue is quite different from the Delta variant. I mean, the position has to be taken based on scientific and empirical evidence. It is not a kind of panicky situation. We must have the facts."
The UK minister for policing, Kit Malthouse, said the phrase "travel apartheid" was "very unfortunate language".
"We understand the difficulties that's created by these travel restrictions, but we're trying to buy a little bit of time so that our scientists at Porton Down can work on the virus and assess how difficult it's going to be for us to cope with as a country," he told Today.
Yvette Cooper, the shadow home secretary, said Labour supported the measures because there was a need "to stop there being lots of additional new cases" of Omicron to slow its spread. "That's what happened in the first wave, it's also what happened in the Delta wave," she said.
Dozens of countries have imposed sweeping travel restrictions on African nations, some of which have yet to detect any cases of the variant. It has reignited the debate over the effectiveness of border closures and measures have been met with outrage and claims of scapegoating regions after South Africa raised the alarm about the new variant.
Guterres said bans that isolate specific countries or regions are "not only deeply unfair and punitive, they are ineffective". He added: "We have the instruments to have safe travel. Let's use those instruments to avoid this kind of, allow me to say, travel apartheid, which I think is unacceptable."
His comments echoed those of Tedros Adhanom Ghebreyesus, the director general of the World Health Organization, who said last week it was "deeply concerning" that southern African countries were being "penalised by others for doing the right thing", and called for countries to take "rational, proportional risk reduction measures in keeping with international health regulations".
The WHO's technical lead on Covid-19, Maria Van Kerkhove, said travel bans had limited the ability of South African researchers to ship virus samples out of the country. "We do not want to see countries penalised for sharing information, because this is how WHO and our partners make assessments and how we provide advice," she said.
Leaders of African countries have also condemned the bans as unfair. The South African president, Cyril Ramaphosa, said on Sunday the measures were "deeply disappointing", adding: "The prohibition of travel is not informed by science. Nor will it be effective in preventing the spread of this variant. The only thing the prohibition on travel will do is to further damage the economies of the affected countries and undermine their ability to respond to and also to recover from the pandemic."
The president of Malawi, Lazarus Chakwera, wrote on Facebook: "Covid measures must be based on science, not Afrophobia."


text:
(500228) 2012 JV1 es un asteroide perteneciente al cinturón de asteroides, descubierto el 18 de abril de 2012 por el equipo del Spacewatch desde el Observatorio Nacional de Kitt Peak, Arizona, Estados Unidos.

Designación y nombre
Designado provisionalmente como 2012 JV1.

Características orbitales
2012 JV1 está situado a una distancia media del Sol de 2,585 ua, pudiendo alejarse hasta 3,013 ua y acercarse hasta 2,157 ua. Su excentricidad es 0,165 y la inclinación orbital 7,564 grados. Emplea 1518,29 días en completar una órbita alrededor del Sol.

Los próximos acercamientos a la órbita terrestre se producirán el 2 de junio de 2047 y el 30 de junio de 2130, entre otros.

Características físicas
La magnitud absoluta de 2012 JV1 es 17,7.

Véase también
 Lista de asteroides del (500201) al (500300)
 Cuerpo menor del sistema solar

Referencias

Enlaces externos
 Circunstancias de Descubrimiento: Planetas Menores Numerados

Asteroides del cinturón principal
Objetos astronómicos descubiertos por el Spacewatch
Objetos astronómicos descubiertos desde el Observatorio Nacional de Kitt Peak
Objetos astronómicos descubiertos en 2012
Wikiproyecto:Asteroides/Artículos de asteroides

redpajama_set_name: RedPajamaWikipedia


Master-E-Networks is located at the address 3505 Olsen Blvd in Amarillo, Texas 79109. They can be contacted via phone at (806) 352-3775 for pricing, hours and directions.
For maps and directions to Master-E-Networks view the map to the right. For reviews of Master-E-Networks see below.


I agree about Saphir cream (the one in glass jars). It does have more pigment than most on the market, available in many shades and black as well.
(02-09-2019, 02:42 AM)willyto Wrote: Seems quite extreme and looks like the finish has been stripped off.
I don't see any mention of this in the boots description Simon. I would make 100% sure that people who buy the black version are aware of this details because otherwise they might be disappointed.
To be fair, the description does refer to them a brown with a dusting over of black, but I'd definitely have been more explicit about this.... might be worth, even, having the photo above on the website so potential buyers can see it. It's not for me, but maybe the guys who want their leather jackets to do this might fancy matching boots (though to date I've only seen engineer boots with this aesthetic).
For anybody who wants to take it back to black, I would recommend looking into the car restoration scene: my dad used to use a cream that came in a tube which both rejuvenated dried and crack seats and brought the colour up like new. A few years ago I did the same with an old bike jacket using a bottle of stuff called Black Leather Jacket - brush on, leave to dry, buff with a soft cloth, good as new. not used it on shoes, though.
Edward where do you see the bolded part of your message? Genuinely asking because I don't see it.
Vintage black could mean anything.
Wasn't it on the original description, before the website update? I remember seeing something similar.
You're right, it's not there now. I was sure I read it on the website, but maybe it was an earlier draft on the forum instead, then? I would definitely alter it at that rate. As you say, 'vintage black' could mean anything - a really good, glossy black, satin black, black that has faded to grey.... I'd also insert the word 'teacore' in here as a pull-in for the leather set who like that look. If they're ready to buy jacket that us meant to look decades old within a month or two, they might want boots to match.
Toe on shoe on the left stripped of dye/paint. Toe on shoe on the right stripped and painted with one coat of "narvsvärta".
About two coats of narvsvärta, added with brush. One more coat was added, but with a cloth instead (to make sure there weren't any marks after the brush.
There we go. Wiped of with a wet cloth and then treated with shoepolish, looking basically like new.
Btw, you know what I think fucked them up/created that worn look so fast? Shoe polish. Or rather, the solvent in the polish I used.


May you find great value in these inspirational Rise Quotes from my large datebase of inspiring quotes and sayings.
But he who kisses the joy as it flies Lives in eternity's sun rise.
Every unfortunate event does not give rise to lawsuit.
Young leading cadres have risen up by helicopter.
They should really rise step by step.
there will always be traditional enemies.
to give rise to problems.
it can rise again from the Wastepaper Age.
but the moral laws are written on the table of eternity.
the men would be compelled to grant it.
want the jobs currently taken by illegal aliens.
stand alone and greet the coming night in the last remaining light.
but the reconciled one is truly vanquished.
the sooner it dies for another to rise in its place.
Men may rise on stepping stones of their dead selves to higher things.
Everybody's for democracy in principle.
It's only in practice that the thing gives rise to stiff objections.
to rise and break their fetters.
The great are only great because we are on our knees.
is no longer constrained by the price of paper.
I think the rich are too rich and the poor are too poor.
I think most of them are going to die.
but a challenge to rise to.
A challenge we must rise to.
comparable to the rise of human life on Earth.
and then they attack others.
war and peace, rise and fall, only that person has truly experienced life.
the teenager was a captive in a hostile world of adults.
indicate little else than the variability of the weather.
America may be slow to rise to a challenge.
nothing can stand in our way.
and you will never sit down without one.
and seize the opportunity that milestones truly are reached.
unfaltering purpose when the waves rise high.
to the rise of the Nazis.
Thank you for visiting these Rise Quotes - Inspirational Quotes about Rise.


text:
Comedy Drama In English Literature
admin April 14, 2019 April 14, 2019 Comments Off on Comedy Drama In English Literature
She was a member of the college's improvisational comedy troupe called My Mother's Fleabag. where he studied English with an emphasis on African American literature. At college, Legend served as.
Allow me to make a comparison that would make most English, Theater and. Think about all the drama and suspense that came along with the encounters between two of the greatest of all time. Comedy.
Comedy: Comedy, type of drama or other art form the chief object of which, according to modern notions, is to amuse. It is contrasted on the one hand with tragedy and on the other with farce, burlesque, and other forms of humorous amusement. The classic conception of comedy, which began with Aristotle in
The Divine Comedy (Italian: Divina Commedia [diˈviːna komˈmɛːdja]) is a long narrative poem by Dante Alighieri, begun c. 1308 and completed in 1320, a year before his death in 1321.It is widely considered to be the preeminent work in Italian literature and one of the greatest works of world literature. The poem's imaginative vision of the afterlife is representative of the medieval world.
Dramatic literature: Dramatic literature, the texts of plays that can be read, as distinct from being seen and heard in performance. The term dramatic literature implies a contradiction in that literature originally meant something written and drama meant something performed. Most of.
This webpage is for Dr. Wheeler's literature students, and it offers introductory survey information concerning the literature of classical China, classical Rome, classical Greece, the Bible as Literature, medieval literature, Renaissance literature, and genre studies.
The Prom: Vocal Selections from Broadway's New Musical Comedy (2019) 15 songs from this Broadway musical. Theater of the Word: Selfhood in the English Morality Play (ReFormations: Medieval and.
Drama definition: A drama is a serious play for the theatre , television, or radio. | Meaning, pronunciation, translations and examples
One of the main concerns of M.A. candidates for entrance exam in English literature is to know what sources to read in their preparation course. Since the exam requires candidates to have a word-for-word knowledge of certain sources, a thorough
"Comedy," Rivers once said. "When I didn't use my Girl Scout's uniform as a uniform, I used it as a tent." She graduated in English Literature before taking a series of jobs including working as a.
Sarah Peverley is Professor of English Literature at the University of Liverpool and a. and a remake of the 1984 comedy Splash featuring Channing Tatum as a merman – merfolk are poised to dominate.
An introduction to the art of reading imaginative literature: poetry, drama. genres of comedy, tragedy, and history. Attention to questions of form, genre, sources, and theatrical practice; to the.
Her current research concerns Dante's role in contemporary poetry, Dante and the visual arts, and the representation of the body in the Divine Comedy. She is Margaret E. Deffenbaugh and LeRoy T.
Despite the horrors of war, young Syrian refugees have embraced clowning, comedy and theatre A Syrian refugee girl. "I have a Masters in English literature. I am a psychologist," he explained.
An exploration of the character Christopher Boone, from the novel and play 'The Curious Incident of the Dog in the Night-Time'. Both the actor who originated the role and the director of the National.
English 101: English Literature has been evaluated and recommended for 3 semester hours and may be transferred to over 2,000 colleges and.
The drama about unexplained phenomena was riven by unexplained. where he was rewarded a BA in English Literature in 1982. Soon after, he went to Yale to obtain an MA — although his PhD work remains.
Possibly even more than rhyme, even more than measures derived from the ballad, the deepest, most traditional poetic form in the English tongue's literature is blank verse. her splendid tribute to.
SUNDERLAND actress Lauren Waine can't wait to get her teeth into her latest role – as a vampire hunter pursuing Dracula in the comedy play Dracula. where she is studying English literature, media.
Neville's arcadian pamphlet was a fabulist account by a fictional Dutch sailor who comes upon an isle that had been settled by an English. literature," but there is no literature from a real Utopia.
Curate Shakespeare As You Like It As You Like It is a pastoral comedy by William Shakespeare believed to have been written in 1599 and first published in the First Folio in 1623. The play's first
Fifty Years & Other Poems Sep 11, 2017. The First Person Who Will Live to Be One Hundred and Fifty Years Old. in fall 2017, and The Animal After Whom Other Animals Are Named, A
List Of Books By Charles Dickens The University of Worcester asked 2,000 adults which book they'd most like to pass on to their children, and the top 10 is a strange mix of Tolkien, Austen, Orwell
the first English novel set in America. Behn's work straddles the genres: beside drama and fiction, she also excelled in poetry and she made several important translations from French libertine and.
B.A.PART II ENGLISH LITERATURE PAPER-I (DRAMA) MM. 50 Unit-I Ten short answer questions based on the entire course Unit-II Tragedy and types Comedy and types Tragi-comedy Expressionist Drama Drama of Ideas
Comedy definition, a play, movie, etc., of light and humorous character with a happy or cheerful ending; a dramatic work in which the central motif is the triumph over adverse circumstance, resulting in a successful or happy conclusion. See more.
They include a mix of English 3, Drama, Film & Literature, Creative Writing among others. So, they this year chose a show that is considered a comedy but has very dramatic moments. The actors said.
A brief history of English literature. Introduction. This study guide is intended for GCE Advanced and Advanced Supplementary (A2 and AS) level students in the UK, who are taking exams or modules in English literature.
Course Summary English 103: Analyzing and Interpreting Literature has been evaluated and recommended for 3 semester hours and may be transferred to over 2,000 colleges and universities.
The new comedy is the network's most popular television show. The movie includes a lot of physical comedy. We couldn't help laughing out loud at the comedy of the situation.
An English teacher put it best when she wrote on the Blue Mass Group blog, "I teach English because I love literature of all genres — drama, fiction and poetry — and I love to teach kids how to.
The period known as the English Renaissance, approximately 1500—1660, saw a flowering of the drama and all the arts.The two candidates for the earliest comedy in English Nicholas Udall's Ralph Roister Doister (c. 1552) and the anonymous Gammer Gurton's Needle (c. 1566), belong to the 16th century. During the reign of Elizabeth I (1558–1603) and then James I (1603–25), in the late 16th.
FOLK PLAYS In England the folk-plays, throughout the Middle Ages and in remote spots down almost to the present time, sometimes took the form of energetic dances (Morris dances, they came to be called, through confusion with Moorish performances of the same general nature).
Formal Latin literature began in 240 BC, when a Roman audience saw a Latin version of a Greek play. The adaptor was Livius Andronicus, a Greek who had been brought to Rome as a.
Skyfall: won the film prize at the South Bank Sky Arts awards. Photograph. picking up the comedy prize. Tom Stoppard's BBC2 adaptation of Ford Maddox Ford's Parade's End won the drama award, in an.
Greek Mythology Female Characters It appears that the production incorporates ancient Greek mythology that forms its core content. Women of Greece" reveals its narrative about three great female characters through a female solo. Greek
My Girl Ice Cream Poem
Girl On The Train Book Club Discussion


text:
The need to effectively promote the many diverse career opportunities within the aerospace industry to young people is an ongoing objective for the Royal Aeronautical Society's Skills & Careers department. In 2006, the Society approached Radius to review their youth materials and to find more effective ways in which to communicate with their target audience.
We came up with a solution to update the materials and make them more relevant to young people by splitting the audience into two age groups – 5-10 and 11-19 years old. We developed two visual identities with a distinctive tone of voice for each group: bright and bold with character illustrations for the younger ages, and a more sophisticated and aspirational feel for the older age group.
Launched at Farnborough Air Show, the materials proved highly successful, generating significant interest from school children. From this initial project Radius developed an ongoing relationship with the Society, and we have worked on a number of initiatives aimed at helping young people learn about – and be inspired by – the many possible career paths they might take in aviation and aerospace.
Campaign sub-brand
Secondary schools career materials
Primary school booklet
Secondary schools poster
Career path booklets
St John Ambulance


text:
Соревнования по стрельбе из пневматической винтовки с 10 метров среди женщин на летних Олимпийских играх 2016 года прошли 6 августа в национальном центре стрелкового спорта в районе Деодоро. В соревнованиях приняла участие 51 спортсменка из 37 стран. Это был первый разыгранный комплект наград на Играх в Рио.

Чемпионкой стала 19-летняя американка Вирджиния Трэшер. Олимпийская чемпионка 2012 года в данной дисциплине китаянка И Сылин заняла третье место. Второй стала олимпийская чемпионка 2004 года в этой дисциплине Ду Ли.

Призёры

Изменения в формате
В январе 2013 года Международная федерация спортивной стрельбы приняла новые правила проведения соревнований на 2013—2016 года, которые, в частности, изменили порядок проведения финалов. Спортсменки, прошедшие в финал, теперь начинают решающий раунд без очков, набранных в квалификации, а финал проходит по системе с выбыванием. Все стрелки выполняют две серии по три выстрела, после чего начинаются одиночные серии. После каждого второго выстрела из дальнейшей борьбы выбывает одна из финалисток. После 18 выстрелов остаются два стрелка, которые выполняют ещё по два выстрела. Спортсменка, набравшая наибольшее количество очков, становится обладательницей золотой медали.

Рекорды
До начала летних Олимпийских игр 2016 года мировой и олимпийский рекорды были следующими:

Расписание
Время местное (UTC−3)

Соревнование

Квалификация
В квалификационных соревнованиях спортсменки выполняют 4 серии по 10 выстрелов. Результат каждого выстрела измеряется с точностью до десятой. В финал выходят 8 спортсменок, показавших лучший результат.

Финал
Результаты в квалификации не учитываются. В первых двух сериях финала спортсменки выполняют по три выстрела. Далее начинается выбывание спортсменок. После каждого второго выстрела стрелок, набравший наименьшую сумму баллов за все предыдущие серии, прекращает борьбу за первое место. После 8 серий остаются две спортсменки, которые выполняют ещё по два выстрела. Стрелок, набравший наибольшую сумму баллов, становится обладателем золотой медали.

Примечания

Ссылки
 Стрельба на официальном сайте летних Олимпийских игр 2016 года
 Олимпийский турнир на сайте Международной федерации спортивной стрельбы (ISSF)


text:
PlayStation 4	Reviews
"Ni no Kuni II: Revenant Kingdom" Review
Home / "Ni no Kuni II: Revenant Kingdom" Review
by Danreb Victorio | PlayStation 4 Reviews | 0 Comments | 15 May 2018
This is not exactly something you expect to see in a Ni no Kuni game, much less in the first 10 minutes.
Ni no Kuni: Wrath of the White Witch was a game with undeniable charm that featured an art style that was especially breathtaking for its time. With a lot of the same staff back, Ni no Kuni II: Revenant Kingdom looks to capitalize on what made the original so good in combination with the fact that JRPGs are sort of making a comeback with the recent success of titles like Persona 5 and NieR: Automata.
A sequel only by name, Ni no Kuni II takes place more than a century after the events of the original game with the esteemed kingdom of Ding Dong Dell essentially being the only commonality between the two titles.
The game begins with a clip of the president of an unnamed nation on a bridge heading to a city closely resembling a dense metropolitan area like New York City or San Francisco. Just as his limousine arrives at the city, it's bombed.
Yep, things escalate quickly.
All of a sudden, the president finds himself in the corner of a castle. He makes his way to a room where he finds a blonde boy (with cute cat ears) dressed in royal garb, who we eventually find out is Prince Evan Pettiwhisker Tildrum, the heir to the throne of Ding Dong Dell–well, at least he was the heir to the throne before you find out you were in the middle of a coup where the king gets overthrown and Evan was to be murdered.
Again, things escalate quickly.
Once again, the world of Ni no Kuni is nothing short of artistically extraordinary.
While all this sounds heavy, the actual content of the story is lighthearted, which is expected of a Ni no Kuni game until you find out that other than its Studio Ghibli-inspired art style, the two games hardly share any similarities.
While there are definitely some commonalities with its predecessor, to say that Ni no Kuni II is just like the original would almost be an insult. The most notable difference lies in its action-based battle system replacing the original game's turn-based system. I'm normally not one to support such a drastic change in a series with open arms, but luckily this is an IP that has only spanned two games (not including the original that was on the DS), so it's not like people should be totally married to one aspect of gameplay.
The combat system is a slightly simpler version of what you'll find in the Tales series. Battles take place in an area with invisible walls–which you can run at in attempt to flee, and the majority of the action comes from you tapping on the square or triangle button. Your attacks are limited to your magic and your equipped weapons, which you can manually change at the press of a button, or you can put them on automatic mode to have the computer choose what it thinks is the best weapon for the situation.
The problem with the battle system is that while it's definitely much more involved than its predecessor's turn-based system, its intricacies hardly ever get featured because the game is just too easy. Even bosses fall pretty quickly, and it was mainly through cocky and stupid play that led to the rare instances where I did die. Throw in the fact that you can spam your use of healing items, and the game pretty much reaches a Final Fantasy XV level of auto-pilot. There aren't any difficulty settings either, so if you're looking for a challenge, that unfortunately doesn't happen until the post-game.
Most frustrating about the lack of difficulty is that there's a lot of quality ideas in the battle system, particularly with the Higgledy system. Higgledies are tiny creatures you'll come across early in the game with magical properties, and picking and choosing the right higgledies for each situation really could've been an aspect to care about, but because you can kill just about anything in the game pretty easily without much help doesn't say much about the legitimacy of having such a cool feature.
Even Chibi characters can't make Ni no Kuni II's skirmishes garner enough smiles.
Strangely enough, Ni no Kuni II actually has a second battle system in the form of skirmishes that mostly take place on the game's World Map. This form of gameplay resembles a cross between a real-time MOBA and Pikmin, as you really aren't doing anything aside from positioning your units in the right place for success. I personally found these segments to be borderline useless and the worst part of the game, which made it increasingly frustrating that the game's tutorial treats regular battles like a complex science when all you're really doing is hacking, slashing, and healing when needed.
The two action features aside, it's the kingdom building feature that makes Ni no Kuni II really shine. Events in the game force Evan to create his own kingdom with Roland by his side as a personal advisor, and it'll be your job to recruit various NPCs you'll meet in the game to live in and contribute to your kingdom. Not only will have you your castle to manage, but you'll eventually manage weapon shops, the town square, war barracks, and just about every building that makes a kingdom strong. You'll even be upgrading these buildings as you gain more support, and the developers added a pretty clever timed system to space out your upgrades–that way you aren't doing to many things at once, and it also allows you to explore the world to seek out more people to bring to your kingdom.
The act of kingdom recruitment comes in the form of the game's sidequest and jobs system made even more approachable by the fact that you can fast travel to almost any significant place. All the favors you do for people can lead to all kinds of rewards, but the coolest of which is recruiting them to your kingdom. There are over 100 people to recruit, so it's easy to get lost in time trying to make your kingdom the best one around.
Perhaps the coolest thing about the people you can bring to your kingdom is the fact that all of them visually have a unique look to them. The artists at Level-5 all did a fantastic job with the character design, and it leaves much to be said about the fact that a bunch of the people you recruit end up being a whole lot more likable than some of the people you have in your main party–in fact, the majority of the people in your active party are pretty boring as far as the story goes.
Similar to the art direction of the many great RPGs Nihon Falcom has developed, Ni no Kuni II's high standard of visual quality definitely rears its head here, and Level-5 definitely should be commended on the game's look, especially considering the fact that there aren't even any fully animated anime cutscenes here. It's not quite Dragon Ball FighterZ good, but it's definitely up there.
What Makes It Worth My Time And Money?
It takes some time to get there, but once you get the ins and outs of what Ni no Kuni II has to offer, it'll be hard to get it off your mind. Not only does it feature a solid and fairly unique narrative, but the battles are fun (despite their ease) and the whole kingdom building thing really ended up being more addictive than anybody anticipated.
While this sequel has its clear improvements over the original, I was still more thoroughly impressed with Wrath of the White Witch. Even though the predecessor was more childish, I personally enjoyed the journey and its characters a whole lot more.
If you're not into optional sidequests, perhaps Ni no Kuni II's kingdom builder will change your opinion on that.
Still, there's some fun to be had with Ni no Kuni II for more hours than the initial 30 you'll take with the main story, and it'll also be quite a while before the next big JRPG comes out, so you might as well build the best kingdom you can so you can live happily ever after.
Ni no Kuni II: Revenant Kingdom
Level-5
Developer's Twitter:
@BandaiNamcoUS
The game was purchased by the reviewer.
Ni no Kuni: Wrath of the White Witch was a game with undeniable charm that featured an art style that was especially breathtaking for its time. With a lot of the same staff back, Ni no Kuni II: Revenant Kingdom…
Written by: Danreb Victorio
Day 0 Update #315 – Series S, X, Mex, Next
Let's Weekend #252 – Consequences
Gamers Without Borders #7: We Don't Talk About Johnny Turbo
Day 0 Update #314 – Return of the Miis
Let's Weekend #251 – The Stupid Coup
Site Thingies
© 2021 Smashpad © 2019


text:
Image Credit: Kierann Shah
A Visit to Toulouse: France's Space Capital
27/05/2016Written by Kierann Shah
National Space Academy Manager Dr Kierann Shah goes behind the scenes at CNES and Cite de l'Espace in the South of France
Centre National D'Etudes Spatiales
I sometimes find myself in the most amazing places in the name of building links with the space sector and science educators.
At the start of May I found myself in the home of the French national space agency, CNES. The Centre National D'Etudes Spatiales, or National Space Research Centre as it might be translated, is just outside the beautiful city of Toulouse in southern France.
Since the launch of Tim Peake's mission in December the UK's enthusiasm for space and human spaceflight in particular has soared, but whilst for us Tim's ESA mission is a one-off in many ways, the French are very used to working on human spaceflight missions.
It is partly for this reason that CNES houses one of only nine User Support and Operational Centres (USOC) for the International Space Station (ISS) in Europe. The CNES USOC is called CADMOS, and has been involved in human spaceflight research since 1993.
In fact the next ESA astronaut to go to the ISS will be French. Thomas Pesquet is part of ESA's class of 2009, the same group as Tim Peake, and he will be the last of this group of six astronauts to go to space when he launches in November. At CADMOS you can see how the researchers on the ground link up with astronauts like Thomas to work together on research on the Columbus module of the ISS.
Although there is a particular focus on physiology research – research on the body and how it responds to microgravity – at CADMOS, the project I found most exciting to hear about was a physics experiment that the astronauts themselves will have to install. This experiment, called ACES (Atomic Clock Ensemble in Space) will see the most accurate atomic clock placed on the outside of the ISS and used to observe the fundamental physics phenomenon of time dilation. On the day we were there CADMOS was quiet but researcher Mauro Augelli informed me that when ACES starts running there will need to be staff there 24/7!
Mars Laser
Image Credit: NASA/JPL-Caltech/LANL/J.-L. Lacour, CEA
This problem of fitting staff time to space missions was also apparent at another control centre, FIMOC. This is the home of the ChemCam, which is one of the investigative instruments on NASA's Curiosity Rover, part of the Mars Science Laboratory (MSL) mission. The researchers here work from 5pm onwards overnight so that their work day aligns with the mission headquarters at NASA's JPL (Jet Propulsion Laboratory) in Pasadena, USA.
ChemCam is an analysis tool which looks at the light released during Laser-Induced Breakdown (LIBS) of rock samples to work out their composition. In other words, ChemCam fires a laser at rocks to break them apart and see what they are made of – making holes of about a centimetre in rocks as far away as 4 metres! So far it has analysed about 1300 rocks.
Each day at FIMOC starts with data downlink, planning and analysis, and then each of the research teams working on instruments on the Mars Science Laboratory pitches their proposal for how the rover's time should be used for its next Sol (a Sol is one Martian day).
As the rover can only do science experiments for about 2 hours every Sol the different research teams need to take turns and agree on who gets to use those 2 hours for their project depending on where the rover is and what they are looking for. Getting the use of time wrong can be very expensive so there is a lot of pressure on the scientists and engineers, but the results they are finding are incredible: such as investigating rocks to find gypsum, a rock which can only be formed in the presence of water.
Space Education
Image Caption: Kierann Shah
Now it might sound like I had a lot of fun learning about CNES, which I did, but of course I was in Toulouse for work.
I spent time with the CNES' Head of Education and her team, who work with French teachers and students to bring space science into the classroom. I also spent a lot of time at the fantastic visitor attraction Cité de l'Espace, a visitor centre in Toulouse that works towards the same goals as the National Space Centre: engaging the public with the wonder of space. The main differences are the scale of the centres – Cité de l'Espace has wonderful outside spaces including a Mir space station that you can walk through and a 1:1 scale model of an Arianne 5 launcher, brilliant when the sun is shining.
I spent time with their Education team as well, along with a group of physics teachers from Poland. We are working together on a project led by the Polish team, and funded by the EU Commission through its Erasmus + programme, to find ways to use the inspirational contexts of space exploration, astronomy, and the work that space researchers do to bring classroom science, especially physics, to life in Poland, France, and the UK.


12 oz (340g) Strawberries 0.5 oz (14g) Green Onions 0.5 oz (14g) Cilantro 1/2 Red Onion 1/2 Orange 1/2 Lime 1 Jalapeno 1 Garlic Clove 2 Tbsp Olive Oil Salt, Black Pepper Preparations: 1- Dice the green onions, red onion, Jalapeno, and strawberries. 2- Mince the cilantro. Directions: 1- Combine dice green onions, red onions, jalapeno, minced cilantro, and strawberries in a large bowl. 2- Mash a garlic clove into the bowl. 3- Squeeze half of orange and lime over the mixture. 4- Add olive oil. 5- Garnish with salt and pepper. 6- Mix the ingredients thoroughly.
Salsa Strawberry contains very high amount of vitamin C. Strawberry is well studied and know for its rich antioxidants and super fruit benefits. One serving (3.5 oz / 100g) of strawberry salsa contains about 77 percent vitamin C (DV) and it has no cholesterol. Strawberry salsa also contains high amount of manganese, fiber, and low in sodium. One serving has 69 calories (37 calories fat), 4.1g total fat (0.6g saturated fat), 29mg sodium, 191mg potassium, 8.8g total carbohydrates (2.1g dietary fiber, 5.3g sugar), and 0.9g protein.


text:
About Léa
Subscribe to Overthinker's Dating
Enter your email address to subscribe to this blog and receive emails of all of out overthinking news!
7 Signs Of Coercive Control In A Relationship
Léa	January 4, 2019 0 Comments
How can you tell when a relationship has turned abusive? It's not always easy, and it's important to remember that domestic abuse isn't always physical. Bravo's new show Dirty John depicts a type of toxic relationship that experts call "coercive control", a form of psychological abuse that can involve manipulation, stalking, gaslighting, and financial abuse. You might be familiar with this type of behavior from TV shows and movies, but it can be difficult to spot in real life.
Coercive control is not just about trying to control someone's bank account or take over their lives, it's really the need for total emotional control that's driving the behavior. "Coercive control in a relationship is, by definition, not about any of the factors that are being controlled — money, social interactions, rules in the house, individual pursuits," Joshua Klapow, Ph.D., clinical psychologist and host of The Kurre and Klapow Show, tells Bustle. "As soon as coercion is involved then the goal shifts from practical to personal, from functional to emotional."
And it doesn't always manifest in one particular way. "Coercion can take many forms," Klapow says. "It can be aggressive or passive, subtle or obvious, benign or highly toxic. Coercion is an emotional power move. It is done to influence an individual usually because the individual who is using the coercion lacks the skills or the confidence to openly discuss, compromise or handle not getting what they want."
Here are the signs of coercive control, according to Klapow.
1. Your Partner Relies On You For Everything
One misconception about coercive control is that it's always aggressive. Sometimes, your partner can control you through reliance. "Your partner looks to you to solve all problems — they rely on you to the point where you literally have to conduct their lives," Klapow says. "They have no independence and see you as there to address their every need. They gain power by essentially having you do everything because they are so helpless."
2. They Claim To Be More Knowledgeable
With coercive control, you often end up handing over control of every area of your life. "They actively control money, time, friends, and individual pursuits," Klapow says. But they don't always force you to do it — coercion often comes under the guise that they are doing something to help, for your best interest. "They do this under the auspicious of them being better, more knowledgeable and in charge," Klapow says. They explain that they're just trying to help, while they're actually taking away your independence.
This often includes saying your friends and family aren't good enough for you, you're not good enough with money, and other ploys to limit your autonomy. They might even full-on gaslight to try to make you question your sense of reality.
3. They're Negative About Everything
Someone who's exerting coercive control is often trying to make you believe that your world is so terrible it's about to fall apart — unless they have total control of it.
"They see the world through a negative lens," Klapow says. "They have doubts about themselves, their relationship with you, the world and their future. They are looking for the next problem, the next let down, the next thing to go wrong."
4. You're Monitoring Your Behavior
Some signs of coercion come from how you feel about this person. "Do you have to think, act, or feel different then you normally do when you are discussing the topic or the situation?" Klapow says. That can be a sign your partner is exerting coercive control.
5. You're Anxious
Another sign of control is the anxiety or tension you'll feel. It might feel like it fills the air, weighing you down. "Do you feel frustration, tension, anxiety or the like frequently when you are with this person in a way that you don't feel with other people?" Klapow says. If you're on eggshells all the time, something's wrong.
6. The Relationship Feels Like It Could Fall Apart
There's a volatility to relationships where there's coercive control. "Do you feel uncertain, scared, or afraid in the relationship?" Klapow says. "Does the relationship with this person feel fragile?" If it always feels like your relationship is on the brink of something, that can be a bad sign.
7. You're Exhausted
Dealing with the intensity and oversight of coercive control can take its toll. "Does interaction with this person make you tired, fatigued, exhausted?" Klapow says. That's not a sign of a healthy relationship.
If you feel like you're dealing with a relationships where there's coercive control, it's time to make some changes. "If these are true it is time to back off the relationship, ask them to make changes," Klapow says. "It's time to address the control issues. […] It's time to stop allowing them to manipulate your emotions for their own compensation." If you're unable to leave the relationship, reach out to a loved one or a professional for help.
Originally posted on Bustle
CategoriesBreak Ups, Dating
Tagsbreakups, dating
7 Tips For Living Your Best Single Life In 2019
How To Make The Most Out Of Dating In January, Because It's the Busiest Time For Online Dating
© 2020 Baseline Theme by Array.
Like my articles? I've just launched a new podcast called Money Sex Power. You can check it out now on iTunes


text:
WELCOME TO ALBANIAN AMERICAN ACADEMY OF SCIENCE
Welcome to AAAS
The Albanian American Academy of Science (AAAS) was registered with the United States Government on 11/28/1995 with the mission to unite Albanian scientists in furtherance of scientific research including various spheres of arts and sciences with the purpose of identification and preservation of national identity within the country and abroad.. more..
AAAS Online Program
With a personal approach to online degree programs, AAAS is uniquely suited to help you meet the challenges of a Master's and Doctoral program.. more
Mentoring has the power to make a significant difference in Student life. AAAS Mentor Program provides immediate support and assistance to students through correspondence that begins before new students start their degree online..more
Statement by the President on the 100th Anniversary of Albania's Independence
On behalf of the people of the United States, I would like to extend heartfelt congratulations to the people of Albania on the occasion of the 100th anniversary of your country's independence. ..more..
Scientific Conference for 100th Anniversary of Albanian Independence 1912-2012
On Tuesday, November 27, 2012 at the central hall of the Institute "Gjergj Kastriot Skanderbeg" in Staten Island, New York, Albnian American Academy of Sciences and Arts did organized the Scientific Conference for 100th Anniversary of Albanian Independence 1912-2012.. more..
By joining the Albanain American Academy of Science, you will broaden your knowledge across many disciplines, and will have opportunities to network and exchange ideas with leaders in academia and industry.
Membership Application . Become a member!
100th Anniversary of Albanian Independence 1912-2012
The Albanian American Academy of Science and Arts with Albanian American Institute "Gjergj Kastrioti Skenderbeu" held Albanian flag raising ceremony on November 28th in the world's largest financial district Wall Street New York - Bowling Green Flag Square. more...
Nishani sworn in as new President
Former conservative interior minister Bujar Nishani was sworn in Tuesday as Albania's new president, and promised to work toward the country's eventual membership of the European Union. more to..
Prof. Dr. Skender Kodra Ph.D vizitoi Universitetin Shtetëror të Tetovës
The President of Albanian-American Academy of Sciences, Prof. dr. Skender Hill, did visit to the State University of Tetovo. more..
Presentation of books: "Journey in Macedonia"&"American men,
The 100-year anniversary of declaration of independence of Albania
Presentations in honor of Professor Peter Priftit
The 600 th anniversary symposium of Scanderbeg
Book by Members
Publish your book here!!
Prof.Dr
Skender Kodra
2 Dr Adem Harxhi
3 Prof.Dr Agron Fico
4 Dr Namik Shehu
The Albanian American Academy of Science was established in 1995 as a non-profit organisation that aims at promoting and supporting the interests of its members and constantly increasing academik relations and investments between Albania and the USA.
http://www.usatoday.com/
http://www.keshilliministrave.al/
http://www.uni-pr.edu/
http://embassyofalbania.org/
http://www.unitir.edu.al
http://www.ny.gov/
http://www.google.com
Copyright © 2012 AAAS. All Rights Reserved


text:
English Actors, Actors, Males,
People from England
DC animated universe
DC Universe Animated Original Movies
DC Animated Movie Universe
The Crush
Ivan Simon Cary Elwes
26 October 1962 (age 55)
Westminster, London, England
Ivan Simon Cary Elwes (/ˈɛlwɪs/; born 26 October 1962) is an English actor and writer. He is best known for his roles in films such as The Princess Bride, Glory, Kiss the Girls, Robin Hood: Men in Tights, Days of Thunder, Bram Stoker's Dracula, Hot Shots!, Twister, The Jungle Book, Georgia Rule, Liar, Liar, and Saw. He has also had recurring roles in series such as The X-Files and Psych, and currently stars in the Crackle series The Art of More.
His works in Warner Bros. media include: Garrett from Quest for Camelot, Paxton Powers from Batman Beyond, and Henry Detmer from Wonder Woman.
Retrieved from "https://warnerbros.fandom.com/wiki/Cary_Elwes?oldid=87914"
English Actors