text:
Water, peace and security: ICRC statement to the United Nations, 2016
Open Debate on "Maintenance of international peace and security: water, peace and security". Statement given by Mme Christine Beerli, Vice-President of the ICRC, United Nations Security Council 22 November 2016.
None of us can live without water. We need water to drink. We need water to grow food. We need water to cook, and we need water to stay clean.
Water is a basic human need and the most fundamental humanitarian requirement.
Water is a symbol of life in the poetry of every nation. In the great musical culture of Senegal, the stringed kora of the griot is made from the same gourd that people use to carry water. The griot knows that water is for the body what song is for the soul.
In the ICRC's experience, the vital importance of water often makes it a highly contested resource in armed conflicts. Water points become strategic – whether they are rural wells in arid lands or pumping stations in sophisticated cities. In many wars, water systems are also caught up in fighting - becoming damaged, degraded or destroyed.
Even when supply exists, accessing water can become extremely dangerous – especially for women and girls who have responsibility for water collection in many societies. Children can spend hours queuing and collecting water when they should be at school.
Water is directly linked to public health. Polluted drinking water or insufficient water for washing causes people to get ill. This puts additional strain on health facilities and medical personnel already struggling to cope with high demand and limited capacity.
Water supply is also clearly linked to forced displacement and migration. When water supply fails, a civilian population has no option but to move. People are forced to leave their homes, leading to large movements of populations.
The provision of safe, sufficient, regular and clean water supply is a humanitarian priority for the ICRC. In over 80 countries our water teams work daily to provide water for populations affected by conflict and violence. We work with local authorities, commercial partners, local communities and national Red Cross or Red Crescent societies to ensure our water programmes are sustainable.
Last year we covered the urgent water needs of 28 million people. The rise in protracted urban warfare in the Middle East and increasing concentrations of IDPs in urban areas in the Lake Chad Basin have caused an exponential increase in the scale and technical complexity of our water operations.
Our water operations often see us working across conflict lines as we repair pumps and pipes that are essential to all sides. Encouragingly, in several conflicts, opponents will cooperate on water when they will not cooperate on anything else - giving us the access and supply chains we need to keep the water flowing.
Armed conflict has direct and indirect impacts on people's access to water – and both have a degrading cumulative impact on water supply over the many years of a protracted conflict.
The direct impacts of armed conflict are immediately obvious. Damaging attacks on electricity sub-stations, water storage installations and piping can render them unusable, cutting off tens of thousands of people in a single strike. Skilled personnel may also be killed, injured or displaced.
Indirect impact is less obvious but equally significant. The lack of skilled personnel and shortage of critical supplies means no maintenance for essential infrastructure, which soon deteriorates to the point where water is unsafe or entire populations are cut off.
In protracted armed conflict this cumulative impact on services is hard to reverse. We have seen this recently in Syria, Iraq, DRC and CAR where water services are severely reduced and we have resorted to water trucking.
International humanitarian law (IHL) is clear on the humanitarian significance of water and places various obligations on parties to conflict to protect water installations.
IHL provides special protection for objects indispensable to the survival of the civilian population – like drinking water installations and irrigation works. Objects containing dangerous forces, such as dams, are also protected from attack.
IHL also provides important general protection against attacks on civilian objects and attacks which affect the civilian population. Parties to conflict must take precautions in attack, and refrain from attacks expected to cause excessive incidental damage, and also consider the reverberating effects of their actions on the civilian population.
Despite these clear rules for the protection of essential services like water, the ICRC continues to see populations suffer the consequences of a lack of respect for IHL.
This risk of reverberating effects from damage to water installations is one reason why the ICRC urges parties to conflict to avoid using explosive weapons with wide areas impact in densely populated areas. Even when aimed at a military objective, the use of these weapons can incidentally damage vital infrastructure located in the vicinity of the target, severely disrupting the provision of services on which civilians depend for their survival.
Parties to conflict have an obligation to ensure that the basic needs of the civilian population are met and that their dignity is protected. Water is essential for a life with dignity and parties to conflict, government donors and humanitarian organizations must work together to support resilient urban services during armed conflict.
The ICRC welcomes the initiative of the Government of Senegal to discuss this important topic here today, and we urge Members of the Council to take the following measures on water and armed conflict:
Respect international humanitarian law and take into account the interdependence of essential services, such as water, health and electricity, and the cumulative impact of protracted armed conflict on essential water supplies for civilian populations
Recognise that dialogue on water needs between warring parties is critical, and help to facilitate it.
Prioritize and support effective partnerships between local authorities, service providers and humanitarian organizations to ensure resilient water services.
Ensure the Council remains seized on this issue.
Mr President, thank you for giving the ICRC the opportunity to speak to the Council today on this important topic.
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Humanitarian diplomacy
Syria: A camp is filled with children
South Sudan: Gunshot injuries remain high despite peace deal
Operational update on Syria: More than 2,000 patients treated at new field hospital
Operational update on Mali: Food delivered to survivors of attack; psychological wounds being addressed


For the Birthplace of Country Music (BCM), the parent organization of Bristol Rhythm & Roots Reunion, the artist reveal has become a tradition designed for locals to take advantage of the early-bird discount and to also encourage folks to visit the Birthplace of Country Music Museum. The Museum Store is the only walk-up ticket outlet for purchase of Bristol Rhythm wristbands.
"Most of our attendees are visitors who have been coming to the festival for years and would purchase Weekend Passes anyway," said Birthplace of Country Music Executive Director Leah Ross. "But the artist reveal gets our locals excited and we want them to take advantage of the savings. We also hope that when they come to the museum to pick up passes they will see how amazing it is and be drawn to take a tour."
Weekend Passes to the 16th annual Bristol Rhythm & Roots Reunion are $50 through December 31, 2015, the lowest discount of the year. The festival lineup will be released in the spring of 2016. To purchase tickets please visit http://CountDownToBristolRhythm.com/.
The Birthplace of Country Music Museum is open six days a week, Tuesday through Saturday, 10:00 a.m. - 6:00 p.m., and on Sunday 1:00 p.m. - 5:00 p.m. The museum is closed on Mondays. On New Year's Eve the museum will be open from 10:00 a.m. - 2:00 p.m., closed on New Year's Day. Visit www.BirthplaceofCountryMusic.org for more details.
The Birthplace of Country Music (BCM) was established to preserve and promote the rich music heritage of our region. Through the Birthplace of Country Music Museum and its mission, the Bristol Rhythm & Roots Reunion music festival, Radio Bristol, and a multitude of community and educational outreach programs, BCM's vision is to promote Bristol, Tennessee-Virginia as the Birthplace of Country Music. For more information about the Birthplace of Country Music visit www.BirthplaceofCountryMusic.org or call 423-573-1927.


I currently have a valid multiple entry Schengen visa that expires on Feb 10th (issued by the Spanish consulate). I need to visit the Czech Republic from Feb 9th to Feb 15th. For this, I am getting a visa starting Feb 11th from the Czech consulate as I was advised that I cannot have two simultaneous visas.
Is it possible for me to enter Czech republic on the current visa on Feb 9th, and stay past its expiry up to Feb 15th using the new visa without leaving the Czech Republic? Will there be any likely problem either while entering or exiting Schengen zone (I am entering Schengen in Frankfurt)?
Example: A Moroccan lawyer representing a gender equality NGO who frequently participates in meetings in various Member States holds a multiple-entry-visa which expires on 31.5. She applies for a new visa on 15.4.
If a new visa is issued, it should be valid from 1.6. and in such a case the visa holder would be entitled to enter the territory of the Member States on the basis of the first visa that will expire during the stay and leave on the basis of the new visa.


Alfredo Orobio and an ever-growing crowd-sourced team at his brand, Away To Mars, were not just showing their sixth collection - which included a compelling metallic green trouser suit, a digitally printed shirt and a turquoise tunic with the effect of a darkening dye - they were also showcasing a difference in distribution.
"It's a collaborative brand and you can create your own profile on our website," said designer Marilia Biasi. "People post their designs and the most popular ones become part of our collection – it is not designed by us but by original designs from 20 different people."
"We have a very strong positioning in factories for shirts and knitwear, and we try to find the best suppliers," said the designer, explaining that while the delicate tapestry effect was exceptional, the main work was produced in the northern part of the country, towards Spain.
All this was, of course, to prepare me for the CNI Luxury Conference in 2018 ( https://www.cniluxury.com/2018). 'The Language of Luxury', which takes place in Lisbon from the 18th to 19th of April 2018, will also explore Portugal's modern links to its earlier colonisation of Angola, Brazil and Mozambique, among others.
A century ago, Portugal's royal family, the Most Serene House of Braganza, was resplendent in the Pátio da Galé, where CNI will hold the Luxury Conference, while Angolans, whose ancestors were once subservient to Portugal, are now the principal customers strolling down the tree-shaded Avenida da Liberdade and shopping in luxury stores including Burberry, Gucci, Louis Vuitton and Ermenegildo Zegna.
Lidija Kolovrat, who was born in Bosnia Herzegovina, showed during Lisbon Fashion Week, but I saw more of her colourful and specially woven fabrics up-close and personal in her boutique. Throughout my visit, a gentle stream of women came in to buy clothes and hand-decorated shoes, while upstairs under the roof of the barn-like building, the designer showed me the studio where she develops her textiles.
To prove just how global designers have become, Pedro Pedro of Portugal Fashion showed in Milan, presenting a colourful collection of sporty clothes that might pitch a sky blue, green, and yellow sweater against a flamingo-pink skirt. His exceptional sense of colour included not just eye-popping shades, but also the subtlety of a moss-green reflective top and grass-green skirt. His stone-washed denim with interesting shapes proved that cut as well as colour were his forte.
Busy with planning the CNI Luxury Conference, I did not have time to see all the ModaLisboa shows. But I was impressed by the 10 young designers included in the Sangue Novo or "new blood" section, won by David Pereira with his blend of streetwear and tribal – a Rick Owens style with an organic spirit.
My whirlwind overview of Lisbon fashion included a ModaLisboa discussion in Fast Talks, where speakers and their audience sat under the leafy shade of the Estufa Fria greenhouse in Eduardo Vll Park. As nature and fashion nurture came together under the branches and leaves, it seemed symbolic of the singularity that is the essence of Portuguese style.


ahUK (affordable homes UK) is an innovative affordable housing developer and manager that provide good quality "intermediate" affordable homes for private ownership. The organisation is privately administered and operates via a number of not for profit charitably aimed bodies.
To date ahUK's mainstream of development programme has been aimed to help local folk who aspire to own a genuinely affordable home and the type and style of homes delivered reflect the local community's general housing need. Most ahUK home owners usually have an existing "connection" with the local community, or district area, and frequently are employed in locally based businesses and essential services.
In addition to providing homes to help meet general needs the ahUK organisation has developed a new model to assist retired homeowners who feel it may be sensible to consider "downsizing" their home. They will usually be considering finding a comfortable and secure home that is more appropriate to meet their existing and future needs, plus is more economical and practical to run – this new affordable home ownership option is being piloted through ahUK's "Asher Homes UK" initiative.
The ahUK organisation highly values honesty, integrity and professionalism. For more information about developments at specific locations please "click" on the town opposite.


text:
George Humphrey (Biographical details)
George Humphrey (publisher/printer; British; Male; 1773 ? - 1831 ?)
Humphrey, George; Humphries, George; Humpheys, G
27 St James's Street (1817-23) 74 New Bond Street (1823) (at the same time as St James's) 24 St James's Street (1824-31)
Publisher of caricatures. Nephew and successor of Hannah Humphrey (q.v.), and son of George (q.v.) and his wife Sarah. See BMSat 5756 of 1780/2 which is annotated as being his first etching; this suggests a birth date c.1770, and a long career as Hannah Humphrey's assistant before taking over the shop in 1818; he is probably the George Humphrey, son of George and Sarah, christened at St Martin's 24 October 1773 (IGI, his sister Elizabeth christened 1772). His business was continued at the same address by his widow Marianne (qv), who died in 1835; for the sale at Forster's 13 July 1835 after her death see Sc A.1.6(9)).
Many of his prints were made by Theodore Lane, and their collaboration is recorded in BMSat 14206 which shows his shop-window, and two men who must be Humphrey and Lane.
Information from Tim Clayton

redpajama_set_name: RedPajamaCommonCrawl


text:
Tinker gets invite to 2015 Summer Strength & Conditioning Camp, News (Durham West Girls Hockey)
Tinker gets invite to 2015 Summer Strength & Conditioning Camp
Submitted By DWGHA News on Friday, April 24, 2015
CALGARY, Alta. – Hockey Canada announced Wednesday that 102 players have been invited to attend Canada's National Women's Program strength and conditioning camp, taking place May 6-10 in Hamilton, Ont.The invitation list includes 50 candidates for Canada's National Women's Under-18 Team and 52 candidates for Canada's National Women's Development Team, who will participate in both on- and off-ice sessions, which will introduce and reiterate Hockey Canada's expectations in areas such as nutrition, mental conditioning, physical fitness, testing, training and other positive daily behaviours.
The strength and conditioning camp marks the first activity for the 2015-16 season for Canada's National Women's Program, and is a building block towards world championships during the season.
Players selected for this camp are in consideration for the Canadian teams that will compete in three-game series against the United States this summer, as well as at the 2016 IIHF Ice Hockey U18 Women's World Championship and 2016 Nations Cup, and with Canada's National Women's Team.
Following the strength and condition camp, Hockey Canada scouts will continue to evaluate players at additional national team camps in August, and as they compete with their club and school teams at various provincial and national events, including the 2016 Esso Cup, Canada's National Female Midget Championship, and both NCAA and Canadian Interuniversity Sport competition.
"This camp is another step on the road to continued success during the 2015-16 season, but is also an important camp to evaluate these players as they aim for Team Canada roster spots," said Melody Davidson, general manager of national women's team programs with Hockey Canada. "We are looking forward to welcoming these talented athletes to Hamilton for camp as they learn what it takes, both on and off the ice, to be a part of Team Canada."
The four-day strength and conditioning camp is considered an important first step in pinpointing the country's future women's hockey stars, including those who could one day be in the running to play for Canada's National Women's Team at events such as the IIHF Ice Hockey Women's World Championship and Olympic Winter Games.
All training sessions at the strength and conditioning camp are closed to the public.
For more information on Canada's National Women's Team and Hockey Canada, please visitwww.hockeycanada.ca/nwt, or follow along through social media at www.facebook.com/hockeycanada,www.twitter.com/hockeycanada and www.twitter.com/hc_women.
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We Remember - Paul Marubashi
Remembering a great coach, executive and family man. It is with profound sadness we announce the passing of Paul Marubashi who had a lasting impact on so many people within the Durham West Hockey Association. Paul was a tireless volunteer who ...
2021-22 Coach Announcement
The DWGHA is happy to announce the following AA coaches for the 2021-22 season: U13 AA: Bob Hunt - [email protected] - 416-435-7144 U15 AA: Ben Davis & Breanne Wilson-Bennett - 416-999-7181 (Ben) or [email protected] U18 AA: Pat Teggart ...
Red Zone Update - Nov 21
Durham West is proceeding ahead with hockey operations for both rep and house league programs within the framework of the Red Zone limitations. We will evaluate the situation every two weeks. We are working diligently to keep the girls active and ...
Durham Red Zone
We have been notified that the Region of Durham will be placed in the Red (Control) stage starting on Monday, November 23rd. No doubt, this will affect our teams in both house league and rep. The Executive will be meeting on Saturday, November 21 ...
U9 Program
The DWGHA is looking for players interested in our U9 Rep Program. Evaluation skates are scheduled for Saturday Oct 17th 10:30am-11:30am Don Beer Arena Pad 3 & 12:15pm-1:15pm Don Beer Arena Pad 3 If you have not been contacted as to ...
2020-21 House League Information - Now Available
The DWGHA would like to thank those who pre-registered with your Intent to Play Registration and we're happy to report that our 2020-21 House League program details are now available on our Registration Page. If you haven't registered your Intent ...
Players Wanted - U13BB
The DWGHA is currently looking for players interested in playing U13BB in the 2020-21 season. If interested, please contact Head Coach, Chase DeLeon - [email protected]
Goalies Wanted - U13
The DWGHA is currently looking for goalies for our U13 Rep teams. If interested, please see our Coaches List for contact information.
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» Tinker gets invite to 2015 Summer Strength & Conditioning Camp
Printed from dwgha.com on Thursday, January 21, 2021 at 3:21 PM


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I love this bike and it's the funnest bike I've had, but it's sitting in my shed collecting dust. I start it every month and ride a few circles in my back yard.
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Test rides only when the cash is in my hand.
Please do your research on this bike before contacting me.
Check out the RXV/SXV forum.


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When I first started at BDI, there was no VCS used on any systems and a lot of development work was done live on the server. I quickly fixed this and implemented CVS on all systems to better manage projects and prevent live edits from impacting customers.
After a few months of CVS, I quickly became annoyed with the system and it's tagging / branching system and transitioned all systems over to subversion. I much preferred the way subversion handled tagging in an arbitrary fashion and stayed with it for several years.
In 2011, I was forced to learn git when I began the statepicker module, since that was on Drupal.org. I had a github.org profile already but had not used it. I loved the distributed nature of git and began my new projects on git and began to transition away from subversion.
DOMi is a PHP library that uses the facade pattern to blend the DOMDocument, DOMXPath, and XSLTProcessor into a single object. It also adds additional functionality for converting PHP data types of any complexity into an XML tree and for rendering this XML tree with an XSL stylesheet.
The project was started due to a lack of a good library for working with XML within PHP. At the time, my company was using XML and XSL for our intranet system. In order to more easily work with XML, DOMi was created to simplify the process of converting an object to an array.


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What draws us to the company today is the press announcement that came across the wires this morning with regard to Marimed's quarterly report for Q1 2018.
MARIMED Inc (OTCMKTS: MRMD) today reported first quarter financial results, which includes posting consecutive year over year increased Q1 quarterly revenue since 2015, and achieving its first ever $2M Q1.
Revenues came in at $2.08 million in first quarter of 2018, compared to $1.15 million first quarter of 2017, an increase of 81%. The increase is primarily due to the expanding operations of MariMed's medical marijuana clients from real estate revenue, management fees and licensing fees. The company also achieved a debt reduction, reducing liabilities by $1.5 million through the conversion of $0.98 million of promissory notes into Common Stock and retiring $500,000 of additional promissory notes.
In the first quarter the company also introduced its new Nature's Heritage Cannabis brand, MariMed's branded products and flower grown by Kind TherapeuticsUSA to approximately 35 newly opened medical cannabis dispensaries in Maryland.
The Maryland General Assembly passed a law roughly four years ago, and it was only this year that Maryland residents finally gained access to cannabis as a medicine. MRMD is the first company we've run across with operations there, so we are especially interested in tracking its progress. We'll be sure to continue looking out for key events. We'll stay up on any further developments with MRMD and pass them along to you! Stay locked on StreetRegister.com and be sure you're signed up for our 100% free small cap newsletter. It's as easy as that! Simply submit your primary active email address in the box below. Subscribe now!
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text:
Q: xlsxwriter installed but "No module named xlsxwriter" in psychopy error I've tried installing xlsxwriter on MacOS
I tried:
pip install xlsxwriter
easy_install xlsxwriter
python -m easy_install xlsxwriter
python -m pip install xlsxwriter

with
pip uninstall xlsxwriter

in between each attempt.
I've tried all different versions of Python and Psychopy, and for the life of me, I can't get rid of this error when I try to run Psychopy:
"No module named xlsxwriter"

I know it's installed because I can search for it (it says it's located in
/Library/Frameworks/Python.framework/Versions/2.7/lib/python2.7/site-packages/XlsxWriter-1.0.0-py2.7.egg)

I've tried moving it and copying it to all different levels of my Python folder in "Applications" as well as putting it in the same folder as my .py file I'm trying to run in Psychopy, and I just can't get it to work.
I've tried updating xlsxwriter (it's currently 1.0).
I've tried case-sensitive (XlsxWriter vs. xlswriter).
I've read the forums on this but none of the suggestions have helped so far. I don't know what else to do.

A: This actually worked great for me:

*

*Make sure/or change directory of your windows python 27 or python 33 is C:\Python27

*Download XlsxWriter package ( https://pypi.python.org/pypi/XlsxWriter )

*Extrat tar file (lookup for tar extractor tool for windows)

*Open cmd

*Go to your downlaoded and extracted package directory

*Type in command prompt: python setup.py install

You can now check module intalled in C:\Python27\Lib\site-packages

A: did you tried pip3 install xlsxwriter. worked for me.

redpajama_set_name: RedPajamaStackExchange


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text:
By Patrick Ebewo
MOTION PICTURES WERE REPORTEDLY FIRST SCREENED IN NIGERIA in August of 1903, when Nigerian nationalist Herbert Macaulay, in association with the Balboa film company of Spain, introduced the new medium to an audience assembled in Glover Memorial Hall in Lagos (Owens-Ibie).
Over five decades later, the first film production companies, Latola Film (founded in 1962) and Calpeny Nigeria Limited (1970), were established in Nigeria (Amobi). In addition to Latola and Calpeny, members of the Nigerian theater community promoted film culture as well. In fact, the current video film industry in Nigeria owes a huge debt to the pioneers of Nigerian theater, particularly practitioners of the Yoruba Traveling Theater, who branched off from mainstream theater to experiment with celluloid.
*Patrick Ebewo
(The Author)
While the introduction of mobile cinema by the British during colonial times may have created awareness and interest in film, the medium was used primarily to educate Nigerians about such issues as health, sanitation, and nutrition. In the late 1960s, dramatists Hubert Ogunde, who recorded his plays on celluloid, Moses Adejumo (alias Baba Sala), and Duro Ladipo were responsible for elevating the cinema to a popular art that also contained social commentary (Ekwuazi 9). The legacy of those indigenous filmmakers was bequeathed to Ola Balogun, Ade Love, and Eddie Ugbomah — prolific filmmakers of the 1980s who extended the pioneer efforts of the early dramatists and ushered Nigerian moviemaking into the modern age.
The collapse of movie-theatergoing culture in the 1980s, caused by the incessant harassment of innocent citizens by criminals, the country's economic downturn, and various problems affecting celluloid film production, gave rise to the video film — "a less powerful but more convenient [form of] film making utilising U-Matik, super VHS and ordinary VHS cameras" (Dike). Video films, known in Nigeria as "home movies," are a new initiative in popular culture, though their impact is already phenomenal. Although many productions preceded it, Kenneth Nnebue's successful Living in Bondage (1993) is credited with "jumpstarting" the video film industry.
*Herbert Ogunde
Since the early 1990s, the industry, now stylishly called "Nollywood," has churned out thousands of titles and brought many producers, marketers, actors, and technicians into the limelight. The video film is a household word in contemporary Nigeria and has become a popular form of audio-visual entertainment. The industry has also become too significant for the world to ignore. According to a press release for a 2005 international convention on Nollywood held in Los Angeles, it has been estimated that the industry produces an average of fifty movies per week, though this is surely an exaggeration (Bequette). Video films gross an estimated 200 million dollars a year and Nigeria has been ranked the world's third-largest film industry, after Hollywood and Bollywood (India) (Vasagar). Video films are not only popular in their native Nigeria and other African countries, but in less than twenty years they have attracted the attention of many media practitioners, film festivals, and some American and European universities. In fact, DSTV (Digital Satellite Television), a digital satellite service in Africa, features "Africa Magic" (Channel 102), a channel devoted to Nollywood films.
Nollywood films are popular in Nigeria because they have indigenous content and address issues relevant to a mass audience. Through an amalgam of Nigerian narrative techniques (African storylines) and Western technology, these films document and re-create sociopolitical and cultural events that occurred within and beyond the country's borders.[1] The industry has also saved poor Nigerians the cost of procuring expensive films from the West (the price per film ranges from N200 to N400 — about $2.50). Ogunleye contends that with the global world united under the sway of visual culture, the emergence of the video film in Nigeria is timely and crucial as it serves as the voice of its people and responds to the drudgery of a socioeconomic existence characterized by high unemployment and dwindling opportunities (ix). It has taken all on board, including religious-minded people, who are enthralled by "Hallelujah video films," religious films created or sponsored by evangelical groups for the propagation of their faith.
Despite its fame, however, some critics — both local and international — see the Nigerian film industry as a poor imitation of the real thing. Productions are plagued by technical glitches. According to journalist-critic Trenton Daniel, "the plots are sentimental, the acting raw, and the cable-access editing not unlike that of an X-rated flick, minus the randy parts. … Production values are deplorable; special effects leave much to the imagination" ("Nollywood"). Writing in Film Comment, Olaf Möller also dismisses Nollywood films: "Give or take a minor masterpiece or two, nothing could be further from wholesome art cinema, with its healthy messages and clean-cut images, than this lurid West African smut, dedicated to making money hand over fist" ("Homegrown Hybrid"). Though critics may not adopt the contemptuous manner of some critics of the Frankfurt School castigating the culture industry, we know any enterprise will encounter problems on its initial outing.
*Pete Edochie
To deny that problems exist would be uncritical self-appraisal, deceptive, and counter productive. Our stand, nevertheless, is not that of the sympathetic and condescending critics who lower their standards of criticism when it comes to popular culture. Some of the films are excellent, some are just good, and many, to borrow a popular
Nigerian street expression, are "so-so." This paper aims to assess the problems encountered by the emerging video film industry in Nigeria, proffer solutions, and assess its prospects.
*Thematic Concerns
One of the major criticisms of this new industry is its thematic obsession with the occult world (juju, black magic, sorcery, ritual murder, witchcraft, etc.), obscenity, prostitution, and "money worship." Nigerian video films, along with their Ghana counterparts, have been described by Larkin as a mixture of "horror, magic and melodrama" (qtd. in Ogunleye 6). Some critics dub these films "occult thrillers." One journalist recently described their content as "an odd cross between the ultra-violence of Shaft and the gabbiness of My Dinner with Andre" (Solapek).
There is nothing wrong with a film dealing with any of these themes, but critics frown at the fact that they recur, film after film. The industry seems beset with a seen-one-seen-them-all syndrome. Worse, some productions seem to celebrate the evil inherent in the themes, with no serious effort to highlight their moral message. When a message is implied, its treatment is often bland, as in Living in Bondage, Sunny Collins's Billionaires Club I and II (2003), and Alex Omagbio's Dangerous Sisters I and II (2004).[2]
Producers may argue that video films address the social problems plaguing society, yet many people are disturbed by their treatment of ethical and moral issues. Though Enemaku believes that ethical reengineering in the larger society may be a prelude to sanitizing the video industry, he nevertheless observes that the situation does not obviate the need to urgently reexamine the ethical foundations of the video industry itself (78). Nigerians know the difference between right and wrong.
*Olu and Joke Jacobs
Many ethnic groups in Nigeria still hold firm to their cultural ties and norms. As elsewhere in the world, deviations in behavior are the exception rather than the rule, and this is the message home video producers should convey to the public. But so far, this is not the case. According to a study conducted by Akpabio, of the 1,547 video films submitted to the Nigerian Film and Video Censors Board, 60.1 percent were negative in slant, while only 7.27 percent were positive (138). As Enemaku observes, "this high occurrence of negativity puts a mark against the ethical structure of the [film] industry" (72). Osofisan, a celebrated Nigerian dramatist, bared his mind about this dilemma when he addressed the Sixth Lagos International Forum on Cinema, Video and Motion Picture in Africa:
"The films also have significant influence on the way that others see us, and hence on the way they relate to us. We cannot but be concerned, therefore, about what they are saying, what attitudes they are promoting, and what image of us they are projecting. Precisely because they have deservedly won ovation everywhere, the Nollywood films have come to assume an authority over our values and our lives, such that what people see in them comes to be taken not as just a fictional projection of one imaginative consciousness, but as the true, authentic mirror of what we really are, as a veritable market of what our society represents, and much worse, of the ideal that we aspire, or must aspire, towards." ("From Nollywood")
He, like many other critics, remarks that the producers should down play morally repugnant themes and produce videos that are of greater good to the larger society — videos with good morals and "ennobling virtues."
Another issue is the representation of women. Okome, a respected film academic and promoter of the Nigerian video film, has on occasions spoken on aspects of the representation and "objectification" of women in Nigerian movies (Giwa). Only a few Nigerian films, such as Tunde Kelani's Thunderbolt (2000) and Elvis Chucks's Trials of Love (2002), have portrayed women relatively positively. The general impression is that women are negatively portrayed in order to appeal to the male-dominated audience (Anyanwu 87).
Nigerian filmmakers do not seem to be aware of the shifting paradigm in women's discourse. Consequently, some films are gender insensitive and many still abide by the traditional and conservative attitude toward women. Women are portrayed in most films as prostitutes, at best courtesans, wily lovers, and witches. They are prone to all imaginable criminality:
This image of women as portrayed in Nigerian home video films cut across the country from North to South, though with differing intensity. The difference being that the rituals and murders, which occur in Southern films, do not yet appear in Northern movies. Still, women in the Northern films are not reflected any better; they are seen as greedy, fickle minded, weak, unable to make their own marital decisions and are available for purchase by the highest bidder. (Anyanwu 84-85)
Negative images of women are apparent in films such as Living in Bondage I (1993), Abuja Connection (2003), Dangerous Sisters I and II (2004), and The Ritual (1992). The women in Glamour Girls (1992) are reminiscent of Helen of Troy, Jagua Nana (Cyprian Ekwensi's Jagua Nana [1987]) and Rola (Wole Soyinka's A Dance of the Forests [1963]). They are not traditional housewives sentenced to "hearth and home," but modern women who mount roadblocks and act as vamps. When women are given a voice, it is misused; when they stand their ground, it is in a ruinous cause.
In Alex Okeke and Ugo Emmanuel's No Nonsense (2003), the heroine, Ada, is presented as a liberated woman. She dominates and terrorizes anyone — her parents, brothers, sisters, husband, daughter, and son-in-law — who gets in her way. She creates trouble in her own household as well as in her parents' home. Nigerian movies perpetuate sex role stereotypes and reflect the patriarchal social values dominant in Nigerian society, which amounts to what Tuchman calls the "symbolic annihilation of women" (qtd. in Strinati 183).
*Patience Ozokwor
*Artistic and Professional Constraints
As noted, the downturn in Nigeria's economy, especially during the military regime of General I. B. Babangida (1985-93), forced film producers to change from celluloid to video. A camcorder is ideal for making films. Unfortunately, Nigerian film producers started shooting with cheap analog technology and the results were not always encouraging. The good news is that many of the film companies that could not afford top-of-the-line cameras like the Arriflex SR3, Beta-Cam, and Super-Cam series, have switched to digital cameras with improved image quality.
The ordinary digital camera is now being replaced by HDV, a sophisticated high-tension digital camera with lenses that have the capacity to create special effects. Still, critics have complained about the "dialogue-drowning sound track noise" and the "gloriously ridiculous special effects" (Möller 12). Better equipment, such as boom and environment-friendly microphones, would take care of some of these problems. Unfortunately, certain equipment, such as the crane, which is useful for establishing shots and following shots, is simply not available.
Like the Nigerian theater before it, the video film industry has disappointed many. They feel it is a dumping ground for those who have failed to find their feet in other lucrative businesses. Many people who have ventured into the business of filmmaking lack the necessary skills, as is obvious in the amateurish direction, cinematography, scriptwriting, and acting. Filmmaker Eddie Ugbomah once lamented that those who parade around as filmmakers are really mere "videographers" (Balogun). People who have only ever handled a still camera or video camera at a village funeral or a traditional wedding ceremony somehow feel they have the skills to use a sophisticated film camera to shoot a narrative film. But the cinema has its own language; words like shot or take should not be taken for granted. Consequently, the composition and framing of the image in some films is poor.
Artistry is often measured by a director's use of shots and camera movements (tilting, panning, tracking, or dollying), the combination of which may have a powerful effect on the audience. Shaka observes that in most early video films, "static camera angles/set-up/positioning, itself a carry-over of static photography, is the main form of scenic representation; and when static camera positions are adopted at the level of scenic representation, narrative action seems to drag"(45). She concludes that video films shot in this manner tend to be "stagy."
For example, the lgwe's palace meeting in Egg of Life (2003), a movie about the Ogbanje ritual) and the villagers' meeting scene in No Nonsense are both shot with a static camera. Also, if properly shot, many films with multiple parts and running times of 120-240 minutes would shrink to 60-120 minutes. According to Shaka, the list of early films shot in this manner include Living in Bondage I and II, Zeb Ejiro and Bolaji Dawodu's Nneka: The Pretty Serpent I and II (1994), and Emeka Ani's Ikuku (1996).
In some films, the editing is poor. Techniques used to signal a transition from one location to another, such as the dissolve and superimposition, are blatantly abused, and the timing of the shots is wrong. Lighting is another crucial element that, used creatively, can shape or embellish an image and have a psychological impact on the audience. Unfortunately, the Nigerian industry lacks basic lighting equipment, and in many video films, very high or very low lighting affects the quality of the color. With no deliberate attempt to create a dramatic effect, a good number of the films contain shadows that could have been eliminated with proper lighting.[3]
More than anything else, uncontrolled background noise has greatly reduced the quality of the video films. Samuel Nwankwo's Out of Hand I is saturated with background noise, which becomes very annoying in places. Both Anini (2005) and Royal Family (2003) contain scenes in which the performers' voices reverberate, break, hum, fluctuate, echo, and crack, while background music drowns out the dialogue (especially in Anini). The noisy nature of many of the films calls attention to the need for proper equipment and training in the area of sound mixing. (Nollywood cameramen do deserve a commendation because I have never seen an unwanted microphone in a shot, the filmmaker's professional nightmare.)
Another issue is the quality of the performances. In the words of one critic, video films feature "absurdly ardent acting, the absence of anything remotely resembling craftsmanship beyond keeping the actors in frame" (Möller 12).
*Sam Loco Efe
Though Möller seems to come down hard here, the fact remains that with the exception of talented veteran players like Sam Loco, Pete Edochie, Patience Ozokwo (a.k.a Mama G), Charles Okafor, Genevieve Nnaji, Omotola Ekeinde, Zack Orji, Alex Usifor, Liz Benson, Richard Mofe-Damijo (a.k.a. Denzel), Segun Arinze, and Nkem Owo (a.k.a. Osuofia), some of the actors display such amateurish tendencies that they become "diminutive" on the screen. Some of their performances are pedestrian, hammy, trite, and full of clichés. The problems include poor casting, a "hurry-hurry" production schedule, and under-trained actors unable to adapt stage-acting techniques to the screen. Some of the performers have more ambition than ability. Unlike most British actors, who receive their formal training at a professional drama school or academy, Nigerian actors gain their experience as theatre arts majors at a college or university (Tucker 104).
In some video films the actors do not seem to know the difference between stage and screen acting. As Tucker has pointed out, "the main reason why good [stage] actors are not good on screen is that they have their vocal levels wrong" (69). When they speak too loudly, their performance becomes "too theatrical." A stage actor projects his or her voice to the back of the theater, but a film actor's audience is the microphone. Tucker has supplied the rule of thumb: "If you project to the other person [in a film] as if he were as far away from you as the microphone on the boom, then you will be projecting at the right level for the size of the shot" (70). For example, when characters quarrel, the actors raise their voices, which tend to reverberate and become cacophonous because the microphone is so close. To make video films accessible to an international audience, more attention must be paid to the articulation and pronunciation of English words.
While many actors have made effort to articulate properly, others have refused to be "oyinbo" (an English person). Katsuva has reported that Nigerian English pronunciation and code-mixing have caused some difficulties in understanding the films even in nearby Democratic Republic of the Congo (99). Some of the productions show evidence of last-minute and/or inadequate rehearsals, which sometimes leads to improvised dialogue. "With little time to rehearse, the actors frequently read from scripts left open on the floor during filming" (Vasagar). To make more money, actors also contract more than one project at a time, giving them little or no time to adequately prepare.
Something must also be said about directors and directing. As the creative executive of a production, the director must coordinate the activities of his or her collaborators. A visionary director ensures that everyone works together toward a single goal. At the same time, the rhythm of the production, the verbal and visual balance of each scene, the intensity of the performances, and the overall style and design of the film rest with the director. Film directing is a difficult job because it requires the director to be not merely a jack-of-all-trades but a master of all — an effective director knows what he or she wants from his or her crew and must develop empathy and human understanding with the audience.
A good number of the Nollywood films cannot be absolved from directorial lapses, some of which occur out of sheer carelessness or an obvious lack of training. Many films are loud and racy. Why can't a director sometimes explore the world of silence? The creative use of silence can create incredible dramatic atmosphere. An aside is a stage technique used by playwrights to indicate a word or speech meant to be heard only by the audience or, perhaps, by another character on stage (as opposed to the other characters on stage). While the aside may be effective on the stage, this device is overused in films and is usually ineffective because a character who is not supposed to be hearing the aside will often appear in the same shot.
*Rachael Oniga
Film approximates reality, but when the director ignored the fake and unconvincing slap administered by Judith in Dangerous Sisters II, the situation becomes absurd. In Egg of Life, an uncle who wants to discipline his niece searches furiously for a cane but ends up using an available cocoyam leaf — not believable! The "box-set" setting may be appropriate on stage, but the movie director should handle this with care or the audience will sit watching a stage on screen (see Egg of Life and We are One [2004]). Anini (2005), a film in pidgin English that moves with lightning speed from beginning to the end, uses inner monologues that backfire in places, such as armed robber Anini's preachy confession. Worse still, when the gang of robbers meets in a bar, their table is littered with several bottles of Guider, stout, and Star beer, yet not one of them takes a sip throughout the scene, and none of them are drunk.
In Ojiofor Anyanchie's True Love (2000), two men are fighting for the love of a girl (Onwu), and the more powerful of the two (Chike) throws the other (Paul) into a pit. After some days, the girl discovers Paul, whom she prefers, and tries to pull him out of the pit. She is searching for a ladder when, suddenly, the lover in the pit tells her he has a rope. How did he obtain the rope? Deus ex machina! These are lapses that a superior director ought to have taken care of either during shooting or editing. As suggested earlier, part of the problem is inadequate training.
In recognition of the personnel problems in the film industry, the Nigerian Film Corporation (NFC), in cooperation with the Federal Ministry of Information and National Orientation, the French Ministry of Foreign Affairs, the Coteborg Film Festival Fund, Kodak, Nordisk Film, and Fuji Film, organized a workshop at the National Film Institute (NFI), Jos, in July 2006 to address professional issues concerning the film industry. Experienced facilitators were brought in from Norway, Denmark, South Africa, and France because, according to Nweke, "The only guarantee for sustained optimal performance by any group of professionals including movie practitioners is through constant training and re-training, to enhance in true professionalism effective skills, and efficiency, and to keep abreast of developments within a very dynamic industry. Qualitative productions are not an accident. They are the products of hard work, training and constant exposure," (qtd. in lyanda E1)
Participants from the public and private sectors attended the workshop, but unfortunately, "the so-called big names in Nollywood stayed away because quite a number of them abhor training" (lyanda E2).
*Entrepreneurial Monopoly and Managerial Challenges
In Nigeria, filmmaking is mainly in the hands of private entrepreneurs with no training in film production. Ideally, filmmakers should strive for excellence. Their interest should not be limited to making a profit. They should be cultural activists — people who love art for art's sake. Unfortunately, an artist is under the control of the individuals holding the purse strings. They control the quality of the production by dictating the shooting schedule. To cut costs, video films are produced in a "fast-food style," and the result is mass production, several films per week — a sure route to mediocrity.
This excerpt from an interview between writer-journalist Ugochukwu Ejinkeonye and Sam Kargbo, a lawyer-turned-movie-producer (Blood Diamonds [2004]), illustrates how not to be a producer:
SAM KARGBO: I have my preferences for artists. That was why people like T. J. Cole, Mike Nliam, and Abay Esho of Safari could convince me to invest in movies. To cut cost and perhaps to simplify matters, I decided to write the first story [Blood Diamonds] I was to shoot. I wrote the screenplay and Teco Benson, who directed it for me, gave it to one Bat Hills, a banker to edit, and he did it overnight.
UGOCHUKWU EJINKEONYE: Were you involved in selecting the cast? The character of Don Carlos is excellent, and several others too; but most people wouldn't be able to say that about a few others, especially, Shan George, who acted Vera.
*Sam Kargbo
SAM KARGO: I was the one that hired the lead cast, but it was Teco Benson that assigned the roles to them. For instance, T. J. Cole was to play the role of Don Carlos, but Teco, as director, thought that the role fitted Desmond better. … As you have observed, Teco was right. I do not want to fault your reservations about Shan George, but I believe that she did wonderfully well. I know your stand on morals, but mind you, she was just acting a role scripted for her….
UGOCHUKWU EJINKEONYE: I am not referring to any moral preferences here. I watched the film with a colleague, who also is a director and producer. We both thought some measure of sprightliness was required for a character undertaking such a hazardous expedition, to endear her to the audience. But Ms. George simply refused to shine.
*Ugochukwu Ejinkeonye
SAM KARGBO: Of course, there were others in the industry that could have played the role, but she is part of our circle and we felt that she could do well and we still feel that we did the right thing. You may not fancy our take on her, but I still insist that she did well….
UGOCHUKWU EJINKEONYE: Will it be possible to rescue the industry from the hands of the powerful, but barely literate, marketers dictating the tune and pace there today?
SAM KARGBO: The industry the world over is not for the acadas (educated people).
(EJINKEONYE: 2005)
This exchange says it all: the sponsor writes the script, selects the cast, and hires the producer, while a banker edits the script overnight. The sponsor also strongly believes that the industry is not for educated people who are financially "incapable" of contributing to the process. This approach to creativity constitutes what Peter Brook calls "The Deadly Theater" (11-46). Being a financier does not make a person an artistic director in the film industry. Films made by incompetent hands will always be different from films made by professionals like Tunde Kelani, a trained filmographer (Brass Jingle Bells [1999] and The Gong of Taboo [2000]) and Eddie Ugbomah, erstwhile director of the Nigerian Film Corporation (Black Gold [2006] and The Rise and Fall of Dr. Oyenusi [1977]).
Another major obstacle faced by the industry is the lack of collaboration with other stakeholders and cooperation among the producers. To start with, the industry in Nigeria, unlike Australia and New Zealand, does not work in partnership with or receive financial support from the federal government. The film industry in Nigeria should be tapping into the creative minds in the country's universities and the Association of Nigerian Authors (ANA). As Ekwuazi points out, creative collaboration between the industry and the Nigerian literary community obviously went away with celluloid (Akubuiro). Television stations should be reliable partners of the video industry, but when they are approached for advertisements, they insist on holding onto the broadcasting rights of the film being produced.
The burgeoning industry, like Nigerian politics, is lately becoming regionalized and is beginning to show signs of sectarianism. Besides English and pidgin-English films, 836 Yoruba-language movies have been produced; forty-four Ibo-language films, four Hausa films, five Edo movies, one Itsekiri movie, and one Isoko were produced between 1995 and 2000 (Akpabio 134). The Ibibio minority group has recently joined the race with the Magnetic Lynks Production of Usen Ikpe (2006) and Emem Isong and Rob Emeka's production of Mfana Ibagha I and II (2006). There is nothing wrong with celebrating ethnic cultures and concerns in the films, but the industry is beginning to show signs of regionalism. In Kano, Northern movie-makers are likely to disassociate themselves from Nollywood. In fact, they have coined for themselves another Hollywood-derived name, "Kanywood." Instead of pulling resources together, the producers pull apart and point fingers at each other.
For example, moviemakers from the North have accused filmmakers from the South of sexual immorality and indecency in their productions. Vernacular films are welcome, but they should not promote regional tensions. Before this polarity set in, Kenneth Nnebue, though of Ibo origin, started his career as a filmmaker with the production of Yoruba-language videos, Ina Ote (1990) is a notable example.
*Ngozi Ezeonu
Some critics have frowned at the Hollywood-inspired Nollywood because the name, which is associated with Nick Moran, a BBC correspondent, implies film on the fringes, "Third World cinema," "the poor cousin of Hollywood." Without belaboring this point, we agree with Haynes that there is no need to politicize the name ("Hollywood"). After all, Nigeria itself was coined during the colonial times by a foreigner, Flora Shaw, Lord Lugard's paramour, and nobody has raised an eyebrow since. What requires greater attention is the problem of piracy, which has become a menace that has eaten deep into the industry and may grind it to a halt (Dike). With CD writers and other copying devices available in electronic shops, the pirates flood the local market with inferior and cheaper versions of the movies, cutting the shop's price by as much as 30 percent.
The films normally sell for about $15.99 for a DVD and $10 for a videotape, while the pirated versions sell for as little as $4 each (Ajiboye, "American"). Video parlors buy videos and rent them to clients without consultation or alliance with the producers. Piracy and monopoly from financiers rob the producers and artists of their financial rewards. The Nigerian Copyright Commission has introduced what it calls "Strategic Action Against Piracy" (STRAP) to protect the films against copyright infringements. To wage a successful war against piracy, the government must educate the public about this notorious practice. So far, the message about piracy and its effect has been top-down, but experience has shown that in modern communication development, rural people must be removed from the passive periphery and placed in the center of the communication process. When the people are included in the decision making, they will feel more committed to the project and treat it as their own.
*Recommendations and Conclusion
These criticisms of the industry should be seen as contributions to its growth, not as exercises in fault finding. Good artists grow from criticism because a good critic is a chaperon of the arts. Our intention is to constructively push serious, committed filmmakers to reach the international scene, but we may also be seen as "constructively destructive," as we would like to see the loafing producers and other detractors abandon the trade. Nigeria's video film industry has great potential and it has come to stay. The initiative is a big lesson to other African countries because it demonstrates that a successful film need not have a huge budget. The industry has added an item to the development of the economy and has placed the name of Nigeria on the entertainment map.
Today, filmmaking employs about a million people in Nigeria, split equally between production and distribution, making it the country's biggest employer after agriculture. … The industry has sales of $200m-300m a year…. So far, the industry has grown with little or no help from Nigerian government. (Okafor)
*Nkem Owoh
For the industry to continue to wax stronger and make an indelible mark on the competitive global market, it needs to devote its energy to improving its productions. Film producers should not rest complacently, believing they have reached the top; much work needs to be done to elevate the industry to international standard.
However, many believe that Nigeria, with a population of approximately 131,530,000, can sustain a film industry without recourse to external markets; since that population accepts the films in their present standard, why improve? This position seems to be a defense mechanism, and it is myopic in a global economy. Filmmakers should not delude themselves and settle for what is inferior. To deny the audience what is best because it cannot differentiate the classic from the pedestrian is a disservice to the community. Film producers, like critics, should assist the local audience in the cultivation of artistic taste. Films should not stifle but elevate the mentality of the audience, should take it off familiar grounds to new terrains of experience.
The industry must provide constant training and workshops for its employees to keep them abreast of developments in the field. Attention should shift from commonplace, stereotypical themes to adaptations of classic literary works that are readily available in Africa. So far, attempts have been made to adapt for film Chinua Achebe's Things Fall Apart and Festus lyayi's Violence. Finally, frantic moves have been made to secure government sponsorship for the film industry on the grounds that Australia, New Zealand, and India, among others, sponsor their film industries. Difficult as it may be, however, the Nigerian film industry must resist the temptation of government sponsorship. If government ventures were truly reliable, so many of them would not have privatized.
Besides, government sponsorship of the film industry will lead to high-handed censorship and curtailments of the prevailing freedom of expression (already in existence is the National Film and Video Censors Board). Reputable companies and multinational corporations may be approached for sponsorship and many of them are willing to assist. The Nigerian Film Corporation, in partnership with Sithengi Film Forum, South Africa, is working on plans to get Nigerian filmmakers to meet financiers and international sales agents and engage in co-production projects that will enhance quality, competitiveness, and sustainability.
Patrick Ebewo is a Professor & Head, Department of Drama & Film, Faculty of the Arts, Tshwane University of Technology, Pretoria, South Africa (http://www.tut.ac.za/). He is the author of Barbs: A Study of Satire in the Plays of Wole Soyinka (2002)
1. See Peace Fiberesima's La Viva (2006), a film first exhibited at the 2nd Abuja International Film Festival, which deals with "love and hatred among ECOMOG soldiers in Liberia."
2. Kenneth Nnebue's Living in Bondage (1993) dramatizes the fate of people who pawn their souls to the devil. Similarly, Sunny Collins's Billionaires Club I and II (2003) focuses on greedy people who engage in ritual killings. Alex Omagbio's Dangerous Sisters I and II (2004) is the story of rivalry and jealousy among blood relations.
3. While we may generally praise the costumes and makeup used in the home video, there seems to be a little problem with the latter. In Butterfly (2003), a love story, one of the characters, Chelsea (Genevieve Nnaji), is sick in bed but heavily made up. Is this realistic? In Egg of Life, a beautiful young girl is supposed to be a minor living with her uncle in the village, but her makeup rivals that of Marilyn Monroe, thus betraying her real age. This becomes even more absurd when the girl misbehaves and, still wearing her heavy makeup, is chased around the compound, caught, and flogged by the uncle.
PHOTO (COLOR): Photo 1. Root of Evil: Women and money are the roots of all evil.
PHOTO (COLOR): Photo 2: Anini (2005): the exploits of the notorious bank robber whose gang terrorized Benin City.
PHOTO (COLOR): Photo 3: Usen Ikpe [Judgment Day] (2006): a woman is falsely accused of her husband's death.
PHOTO (COLOR): Photo 4: Mfana Ibagha [No Trouble](2006): Traditional wives of a chief threaten the life of his male heir, born to a maid.
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Amobi, Onuora. "Nigerian Movies." Nigeria Planet Online Ed. Amobi. 12 Dec. 2006 http://www.nigeriaplanet.com/Nigerian-Movies.html.
Anyanwu, Chukwuma. "Towards a New Image of Women in Nigerian Video Films." Ogunleye 81-90.
Ayantayo, K. J. 1999. "The Challenges of African Social Ethics in a Global Context." Coping with Culture. Ed. E. Ifie. Ibadan: Opoturu, 1999. 118-35.
Balogun, Sola. "There is Nowhere in the World Artistes are Banned." Daily Sun Online 23 Sept. 2005. 12 Dec. 2006 http://www.sunnewsonline.com/webpages/features/%20showtime/2005/sept/23/showtime-23-09-2005-001.htm.
Bequette, Sarah. "Nollywood Rising: Global Perspectives on the Nigerian Film Industry" 3 May 2005. 12 Dec. 2005 http://lists.lsit.ucsb.edu/archives/ihcevents/2005-May/000102.html.
Brook, Peter. The Empty Space. London: Pelican, 1972.
Daniel, Trenton. "Nollywood Confidential, Part Two." International Reporting Project Online. Johns Hopkins U School of Advanced International Studies. Spring 2003. 12 Dec. 2006 http://www.internationalreportingproject.com/stories/Nigeria/Nigeria%20_nollywood.htm.
Dike, Nwachuku. "Historical Background of Movie Making in Nigeria." Nigeria Entertainment Online 12 Dec. 2006 http://www.nigeriaentertainment.com/background.html.
Ejinkeonye, Ugochukwu. "Ejinkeonye Interviews Multi-Talented Sam Kargbo." Interview. Chicken Bones: A Journal for Literary and Artistic African-American Themes. (2005). 12 Dec. 2006 http://www.nathanielturner.com/ugochuk%20wuinterviews%20samkargbo.htm.
Ekwuazi, Hyginus. Studies in Film and Television. Jos: Nigerian Film Corporation, 1993.
Enemaku, Ogu S. "Ethical Foundations of the Nigerian Video Film: Towards a Re-Construction." Ogunleye 69-80.
Giwa, Jumoke. 2006. "Onookome Okome: Nudity in Nollywood Movies is Normal." Igilandi Online 7 Oct. 2006. 12 Dec. 2006 http://www.igilandi.org/Onookome%20Okome.html.
Haynes, Jonathan. "'Nollywood': What's in a Name?" The Guardian Online [Nigeria] 3 July 2005. 12 Dec. 2005 http://www.odili.net/news/source/2005/jul/3/49.html.
lyanda, Olumide. "Nollywood Producers Shun Shoot! 2006." Daily Independent 2 Aug.: E1-2.
Katsuva, Ngoloma. "Nigerian Home Video Films and the Congolese: A Similarity of Cultures." Ogunleye 91-104.
Möller, Olaf. "A Homegrown Hybrid Cinema of Outrageous Schlock From Africa's Most Populous Nation." Film Comment 40.2 (2004): 12-13.
Ogunleye, Foluke, ed. African Video Film Today. Manzini, Swaziland: Academic Publishers, 2003.
-----. Preface. Ogunleye ix-xi.
-----. "Video Film in Ghana: An Overview." Ogunleye 1-22.
Okafor, Emeka. "Nigeria's Film Industry and Government Meddling." Africa Unchanged Blogspot 3 Aug. 2006. 12 Dec. 2006 http://www.africaunchained.blogspot.com/%202006/08/%20nigerias-film-industryand-government.html.
Osofisan, Femi. "From Nollywood to Nollyweight? Or Reflections on the Possibilities of Literature and the Burgeoning Film Industry in Nigeria." Africultures Online 18 July 2006. 12 Dec. 2006 http://www.africultures.com/index.asp?menu= affiche_article &no=4533.
Owens-lbie, Nosa. "How Video Films Developed in Nigeria." Media Development 1 (1998). 12 Dec. 2006 http://www.wacc.org.uk/wacc/publications/media_development/%20archive/%201998_1/how_video_films_developed_in_Nigeria.
Salopek, Paul. "Nigeria Has Become Africa's Hottest Ticket for Cheap Quick B-Movies." Daily Collegian Online 2 Dec. 2005. 12 Dec. 2006 http://media.www.dailycollegian.%20com/media/storage/paper874/news/2005/12/02/ArtsLiving/Nigeria.%20Has.Become.Africas.%20Hottest.Ticket.For.Cheap.%20Quick.BMovies-1561312.shtml?sourcedomain =www.daily collegian.com&MIIHost=media. collegepublisher.com.
Shaka, Femi. "Rethinking the Nigerian Video Film Industry: Technological Fascination and Domestication Game." Ogunleye 41-50.
Showalter, Elaine. "Feminist Criticism in the Wilderness." Modern Criticism and Theory: A Reader. Ed. David Lodge. London: Longman, 1988. 307-30.
Strinati, Dominic. An Introduction to Theories of Popular Culture. New York: Routledge, 1995.
Tucker, Patrick. Secrets of Screen Acting. 2nd ed. New York: Routledge, 2003.
Vasager, Jeevan "Hollywood, Bollywood, Nollywood" Mail and Guardian Online 7 Apr. 2006. 12 Dec. 2006 http://www.mg.co.za/articlePage.aspx?articleid= 278854&area= /arts/arts_movies/.
_PF_
First published in the Journal of Film &Video (California), 2007
Ebewo, Patrick J. "The Emerging Video Film Industry in Nigeria: Challenges and Prospects," Journal of Video and Film, Vol. 59, No. 3. Los Angeles, California: (Fall 2007): pp. 46-57.
*The author's consent for the republication of this piece here has been obtained...
Posted by EDITOR at 5:48:00 AM 10 LEAVE A COMMENT
Labels: Femi Osofisan, Genevieve Nnaji, Literary Essays, Nigeria Film Industry, Nkem Owo, Nollywood Stars, Olu and Joke Jacobs, Omotola Jalade-Ekeinde, Ugochukwu Ejinkeonye
Open Looting Of Nigeria By Nigerian Lawmakers
Salary Of Nigerian Lawmakers – Incredible!
Do You Know That A Senator In Nigeria Earns - N29, 479,749. 00 Per Year And They Still Want More!
Who says politics doesn't pay in Nigeria? Not me.
Check the frivolous breakdown out.
You can't but laugh in pity.
The National Assembly In Session
Basic Salary - N2, 484, 245.50.
Hardship Allowance @ 50% of Basic Salary - N1,242,122.70 (I love this kind of hardship)
Constituency Allowance @ 200% of BS - N4,968,509.00
Furniture Allowance @ 300% of BS - N7,452,736.50
Newspaper Allowance @ 50% - N1,242,122.70 (Which kind newspaper be this, shey na online or hard copy?).
Wardrobe Allowance @ 25% - N621, 061.37
Recess Allowance@ 10%: - N248, 424.55
Accommodation @ 200% - N4, 968,509.00.
Utilities @ 30% - N828, 081.83.
Domestic Staff @ 35% - N863, 184.12.
Entertainment @ 30% - N828, 081.83.
Personal Assistance @ 25% - N621, 061.37.
Vehicle Maintenance Allowance @ 75% - N1, 863,184.12.
Leave Allowance @10% - N248, 424.55.
One Off Payments (As Advised by Sagamite Severance Gratuity) @ 300% - N7, 452,736.50 (Once they get fired.)
Motor Vehicle Allowance @ 400% of BS - N9, 936,982.00 - Every Four Years
Senator's Salary Per Month. - N2, 456,647.7
Total = N29, 479, 749.00
* 109 Senators Grand Total = N 3,264,329,264. 10
A feeding frenzy!!!
Salary U.S. President: $250,000/yr.
GDP U.S. Economy: $13Trillion/ yr.
Allowance Nig. Senator: $1,500,000/yr
GDP Nig. Economy: $45 Billion/yr.
And They Want More!! Doctors, Teachers, Civil Servants Can't Boast Of N1m A Year And These Guys Want N30m Every Month
SAY NO TO THIS OPEN LOOTING OF NIGERIA !!!
Posted by EDITOR at 5:27:00 AM 0 LEAVE A COMMENT
Labels: Ejinkeonye Ugochukwu, House of Representatives, Nigerian National Assembly, Nigerian Senate, Salary Of Nigerian Lawmakers – Incredible, Ugochukwu Ejinkeonye


A cheerful botanical & ivory floral ring pillow to match our Isabel flower girl basket.
Our Ilai ring bearer pillow is designed with eucalyptus & a petite ivory accent.
A handmade ivory flower is added to create a soft floral accent that perfectly complements the linen pillow. Satin ribbon is added to hold the rings in place.


text:
DCS is committed to doing everything possible to serve those for whom English is not the primary language. Translation and interpretation services are provided when necessary at no cost to the affected family. Additionally, because Arizona has a large population of Spanish speaking citizens, DCS has numerous field staff including caseworkers who are Spanish-speaking. The Department's vital documents are translated to Spanish according to DCS Limited English Proficiency policy. Among these forms are the Temporary Custody Notice, Notice to Providers, and Notice of Duty to Inform. DCS also translates other documents for families; even when it is not considered vital.
For questions about the DCS Limited English Proficiency Policy or to obtain a copy, contact the DCS Office of the Ombudsman at [email protected] or by calling 602-255-2500.


Despite the widespread adoption of targeted temperature management (TTM), coma after cardiac arrest remains a common problem with a high proportion of patients suffering substantial disability. Prognostication after cardiac arrest, particularly the identification of patients with likely good outcome, remains difficult.
We performed a retrospective study of 78 patients who underwent TTM after cardiac arrest and were evaluated with both electroencephalography (EEG) and magnetic resonance imaging (MRI). We hypothesized that combining malignant versus non-malignant EEG classification with clinical exam and quantitative analysis of apparent diffusion coefficient (ADC) and fluid-attenuated inversion recovery imaging would improve prognostic ability.
Consistent with prior literature, presence of a malignant EEG pattern was 100% specific for poor outcome. We found that decreased whole brain ADC signal intensity was associated with poor outcome (853 ± 14 vs. 950 ± 17.5 mm2/s, p < 0.0001). Less than 15% total brain volume with ADC signal intensity < 650 mm2/s was predictive of good outcome with 100% sensitivity, 51% specificity and an area under the curve of 0.787. A model combining this ADC marker with non-malignant EEG and flexor-or-better motor response was 100% sensitive and 91.1% specific for good outcome following cardiac arrest and targeted temperature management.
We conclude that in the absence of malignant EEG findings, combination of physical exam and MRI findings can be a useful to identify those patients who have potential for recovery. Variability in timing of imaging and findings in different modalities argue for the need for future prospective studies of multimodal outcome prediction after cardiac arrest.
The online version of this article ( https://doi.org/10.1007/s12028-018-0559-z) contains supplementary material, which is available to authorized users.
MBB analyzed the MRI data and was involved in statistical analysis, study conception and design, and primary drafting of manuscript. BMS, KRA, GVH were involved in acquisition of clinical data and critical revisions of the manuscript. APL interpreted the imaging data and critically revised the manuscript. JWL analyzed the EEG and MRI data, critically revised the manuscript, and was involved in study conception and design.
Matthew B. Bevers reports a grant from the American Academy of Neurology, personal fees from Oakstone publishing, personal fees from DynaMed LLC, all outside the submitted work. Benjamin M. Scirica reports Grants and personal fees from AstraZeneca, grants from Daiichi Sankyo, grants and personal fees from Eisai, grants and personal fees from Gilead, grants from Novartis, grants and personal fees from Merck, grants from Poxel, personal fees from Biogen, personal fees from Boehringer Ingelheim, personal fees from Boston Clinical Research Institute, personal fees from Covance, personal fees from Elsevier Practice Update Cardiology, personal fees from GlaxoSmithKline, personal fees from Lexicon, personal fees from NovoNordisk, personal fees from Sanofi, personal fees from St. Jude's Medical, other support from Health at Scale, all outside the submitted work. Kathleen Ryan Avery, Galen V. Henderson, Alexander P. Lin have Nothing to disclose. Jong W. Lee reports Contract work with SleepMed/DigiTrace and Advance Medical, grants from NIH, all outside the submitted work.
All procedures performed in studies involving human participants were in accordance with the ethical standards of the institutional and/or national research committee and with the 1964 Helsinki declaration and its later amendments or comparable ethical standards. The current study was approved by the Partners Healthcare Institutional Review Board. As a retrospective study, it was approved with waiver of informed consent.


In a chair, at the far side of the room facing the outer door, sat a woman. Her long yellow hair rippled down her shoulders; her gown was green, green as young reeds, shot with silver like beads of dew; and her belt was of gold, shaped like a chain of flag-lilies set with the pale blue eyes of forget-me-nots.
'Enter good guests!' she said, and as she spoke they knew it was her clear voice they had heard singing. They came a few timid steps further into the room, and began to bow low, feeling strangely surprised and awkward, like folk that, knocking at a cottage door to beg for a drink of water, have been answered by a fair young elf queen clad in living flowers.
But before they could say anything, she sprang lightly up and over the lily-bowls, and ran laughing towards them; and as she ran her gown rustled softly like the wind in the flowering borders of a river.


text:
S.V. Sunil
Sunil Sowmarpet Vitalacharya or commonly known as S V Sunil is an Indian hockey player who surprised Pakistan in the 2012 Azlan Shah Cup with an electrifying goal in the dying minutes to give India a memorable win in the 2012 Azlan Shah Cup 2012. Sunil was the cynosure of all eyes at Randburg Champions Challenge I with his sprints and solos. Fittingly he scored two goals in India routing the hosts South Africa 7-4. He was also in form in the Australian tour 2011 recently. In a one on one situation with New Zealand goalkeeper, S V Sunil scored the tournament's golden goal in Western Australia. A talented forward, Sunil's hockey career came to a halt when he injured in the run up to the 2010 World Cup. With patience, he continued in the rehabilitation program, and made a mark in the selection trials held recently. Hardly does one find such a brave heart in sports as is the case with S V Sunil. Despite his father's death, he did not miss the Azlan Shah Cup duty in 2010, and returned with gold. Blessed with an athletic body, the Coorg (a popular hockey region in Karnataka) player sets up goals for others, besides also scoring when in opportune moments. He played his first senior international at Chennai in the 2007 Asia Cup, which India won in 2007. He also won a Silver at the 2008 Sultan Azlan Shah Cup in Ipoh, Malaysia. SV Sunil plays for Service and Karnataka in the domestic circuit and for Bangalore Hi-Fliers in the Premier Hockey League. Sunil represented India in Men's Hockey during the 2012 London Olympics.
SV Sunil in serious doubt for hockey World Cup due to knee injury
PTI 278 d
Asian Games 2018 : Golfers to aim for podium on Day 8
Animesh Pandey 324 d
Asian Games 2018: 'Comeback after sting operation satisfying, but want to win medals for India,' says striker Lalit Upadhyay
Subhashish Majumdar 341 d
Asian Games 2018: 'Though we are the defending champions, we cannot take any team lightly,' says hockey coach Harendra Singh
Asian Hockey Champions Trophy 2018: Indian Men's team to start against hosts Oman
Press Release 1 yr
Champions Trophy 2018: 'Silver in CT just the beginning - India will stand atop the podium in the World Cup' says coach Harendra Singh
Subhashish Majumdar 1 yr
Hockey Champions Trophy 2018: India outclass Pakistan in the opening match
Animesh Pandey 1 yr
FIH Champions Trophy 2018: 'Fearsome foursome combines the best, anticipation is the key for strikers' says Ramandeep Singh
Commonwealth Games 2018: Three things that went wrong for the Indian Men's Hockey Team at Gold Coast
Alan John 1 yr
Commonwealth Games 2018: 3 things that went wrong for India against Pakistan
Commonwealth Games 2018: Know your opponents - India's biggest obstacles in their path to a Gold Coast medal
Commonwealth Games 2018: "Coach Sjoerd Marijne gives a lot of freedom to players," says Akashdeep Singh
FIH Hockey World League 2017: How India fared in Qualifiers
Prasen Moudgal 2 yr
Hockey World League Semi Final: Malaysia cause upset win by beating India 3-2
HWL Semi final 2017: India vs Malaysia live streaming info, where to watch on TV, squads and team news
Abhijit Bharali 2 yr
Indian hockey star SV Sunil plays through pain against Pakistan
Tushar Varma 2 yr
Indian Men's Hockey Team register a 3-0 win against Canada in Hockey World League Semi-Finals
Hockey India League 2017: Kalinga Lancers score a narrow 6-5 win against defending champions, Jaypee Punjab Warriors
Hockey India League 2017 Team Overview: Jaypee Punjab Warriors
Vidhi Shah 117 d
Hockey India League 2017: Full squads for the tournament


text:
Q: What can break integration with office? I have a farm running MOSS.  I have a user running IE9.  When he tries to open a document from a library he's prompted to download it, all the office integration features don't work, but work fine for everyone else.  It's as if he's using a non-IE browser.
What client-side factors can cause office integration to break?

A: Make sure you are running the 32-bit version of IE9. There are quite a few limitations if you don't have the 32-bit Activex controls (see this TechNet article). You should also check that you have the 32-bit version of Office installed (I don't think the 64-bit version has the controls).
Check the browser configuration against the settings on computers where it is working, particularly ActiveX scripting, etc.
Some client features don't work if you are running on a server OS (solution: enable the "Desktop Experience" Windows Server feature).

A: One cause can be, that the "WebClient" service is stoped. I know that is plays a role for Explorer view /Datasheet view. Maybe it is worth looking at it, even though I am not sure if it is impacting the office integration features.

A: It sometimes happend in our company to, on computers with windows 7, (IE 9) and 64-bit Office inside. "Repair" installation of Office apps. can help you, it is almost certainly problem on client side  think. There is some driver or connection that stops working, it is quite new issue for us (2 - 3 weeks), so we don't have time for investigation yet, but Office reinstall is fast solution for now.


text:
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redpajama_set_name: RedPajamaGithub


See all the Rock Falls, IL Data from Data USA.
In 2017, Rock Falls celebrates its Sesquicentennial (150th) and our ability to thrive and endure through the years is why we pride ourselves on our hard-working, friendly people and businesses that are both capable and willing to serve and assist.
Founded on the south bank of the Rock River in eastern Whiteside County in 1867 by A.P. Smith, Rock Falls is on your way no matter where your destination. Centrally located between the Iowa/Illinois Quad Cities to our southwest and Rockford on our northeast, Rock Falls is located at the intersection of US Route 30 and Illinois Route 40 and is adjacent to Interstate 88 with two interchanges. Downtown Chicago is only two hours away and the western suburbs are only an hour's drive.
The Rock River remains our community's most valuable recreational asset and is a part of the 330-mile long Rock River Water Trail which is recognized by the National Water Trails System. Home to some of the world's best cat fishing, we are now the home of the Bass Pro Shop's Big Cat Quest Fishing Tournament. The Rock River is also a quiet Mecca for recreational boating. The historical Hennepin Canal runs through the city's east side with great recreational trails along its banks. The City offers peaceful, scenic park views with tennis courts, ball diamonds, soccer fields, picnic shelters, canoes and paddle boats and plenty of parking.
Rock Falls is the birthplace of the world famous jazz drummer, Louie Bellson who was deemed "the world's greatest musician" by Duke Ellington. Louie often returned to Rock Falls and played many concerts for his hometown fans.
Rock Falls is very proud of its workforce, schools, healthcare facilities, recreation, clubs and organizations and most importantly, its people. By pulling together, we are making things happen in Rock Falls.
I invite and encourage YOU to stop and enjoy our town. Find out why we are 'Proud of our Past' and confident of our Future!
This +/- 61 acre development property is located 250 yards from the Chicago-Kansas City Expressway (I-88) interstate exchange. Frontage is adjacent to IL Route 40 and US Route 30 is less than ½ mile to the north. This acreage is prime for commercial use and is zoned B-2. Strategically located along the CKC Expressway, IL Route 40 & US Route 30 make this property perfect for developers desiring high traffic counts. Municipal water, wastewater, electric and fiber are currently being extended to this property.
This 65 acre development property is conveniently located less than 800 yards from the Chicago-Kansas City Expressway (I-88) interstate exchange. It is highly accessible from the interstate exchange with a 240 ft. taper into a 500 ft. full-width northbound turn lane into the property. The property is zoned for Mixed Use Development (MU-1). Its frontage sits along IL Route 40 and it is also less than 4/10 of a mile from heavily traveled US Route 30.
Municipal water, wastewater, electric and fiber are currently available, making this a perfect shovel ready site. Rock Falls' utilities are second to none, with the Rock Falls Electric Department having the national RP3 ranking as a Reliable Public Power Provider.
This 6 acre development property is shovel ready and sits along the banks of the beautiful Rock River in the RB&W District. Located on the newly constructed East 2nd Street, 1 block from IL Route 40, this intersection enjoys the busiest traffic count in Whiteside County. A new $7.1M Holiday Inn Express & Suites (completed May 2016) sits on the northeastern edge of the property with a new community park currently under construction on the northwestern parcel.
For details on incentives, visit the Whiteside County Economic Development & Enterprise Zone site.
The State of Illinois offers businesses excellent incentives to locate and do business in the State of Illinois, including tax credit and exemptions, job training grants, low interest loans and many other incentive programs.
For State of Illinois Incentive Details go to the Illinois Incentives and Tax Assistance web page.
The Whiteside County Airport is conveniently located less than ½ mile from the Kansas City-Chicago Expressway interchange. Joseph H. Bittorf Field has a 6500 ft. runway.
Hydroelectric facility on the Rock River assists the city in its 24 megawatt peak demand.
For more information, visit our department web page.
For more information, visit the department web page.
The City of Rock Falls Water Reclamation facility opened in July 2011.
The facility is designed with extra screw lift channels and piping to allow the addition of a mirror copy of the plant to be built directly east of the current facility thus doubling the current plant capacity.
The collection system consists of 11 pump stations that are monitored 24/7 by a Cloud SCADA for data collection and emergency notification via cell phones. Pump stations also have emergency stand-by power generation if needed.
For more information, download the Water Reclamation brochure or visit the department web page.