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Home ⌂→Trimdon History→The War Years
An Interview With Mrs. Collins:
A transcript from an interview with Hilda Collins from Trimdon Grange during research carried out by Durham University in 1988. Provided courtesy of Brian Collins
ROYAL ORDNANCE FACTORY
Mrs. Collins – Age 68.
L.S. This is an interview with Mrs. Collins of Trimdon Grange.
Mrs. Collins, I wonder if you could tell us a little bit about yourself and your history up until the time when you started work in the Royal Ordnance Factory?
Mrs.C. Yes. I lived at Quarrington Hill and had two brothers, and I was the only girl. My two brothers worked at the mine, my father worked at the mine and I didn't work at all, because I didn't have any reason to work with my two brothers and my father working I had to stay at home to help mam with the house work. In those days the house work was quite different to what it is now (there was the poss stick, the poss tub). Anyhow life was happy, but I couldn't get everything I wanted, like they do now. I had to make a dress last me well into the second year and my father and two brothers didn't make a lot of money in the mine at the time, just enough to keep us going. Anyhow the war broke out and it was said that girls which were living at home and not working they would have to go into the Forces (the A.T.S. or the Land Army or anything like that). And my mother was crying, she didn't want me to go, but I said 'mother I'll have to go, I'll go to the Royal Ordnance Factory'. So she said "oh that'll be all right as long as you don't go away from home". So I managed to get into the Royal Ordnance Factory.
We had to work shift work (three shifts). I think we started about 6.0 in the morning until 2.0, then dinner time until 10.0 o'clock at night, then 10.0 o'clock at night until 8.0 o'clock the next morning. I liked it very much, we were quite a happy lot.
L.S. You liked it did you?
Mrs.C. Oh I did, yes – we were very happy, and the atmosphere was nice, had some nice times. They had concerts for us in the factory every Friday, and then we had our rations of chocolate and cigarettes if you smoked. There was a special bus that took us into the factory; it started at Wingate – picked up at Wingate, Cassop, Qusrrington Hill and then went straight on to Aycliffe (that was the factory where I worked). Sometimes the driver would stop and take us to a pub called 'The North Britton' – we would go in and just have a glass of orange because we had plenty of time before we went into work. We'd all sit in the pub and have a bit laugh about the sirens going. Because sometimes while we were sitting the siren would go and the bus driver would shout "the siren is going girls, you'll have to get into the factory, and get into the shelter". We all used to run out, get into the bus, he used to drive it to the car park, and there were no lights on, bleek black dark, and we would go into the shelters, and then the 'all clear' would go and then we would go back into work. I made bullets, I can't remember what they called them.
J.D. The 303's?
Mrs. C. They were filled with powder.
L.S. What Group was this that you were on?
Mrs. C. I wasn't in the Group where the yellow powder was, I was in the shop where there was blue powder, and we were just filling these little bullets – we each had a machine and these bullets used to go round and we were filling them with the powder. Then the siren would probably go again and we would have to run out again to go to the shelter.
L.S. So that happened quite often did it? That you had to go to the shelters?
Mrs. C. Oh yes, yes, quite a few times. I was very frightened though because at the time they were after ammunition factories, to bomb them.
L.S. Yes, and we know that it was in a very exposed position really wasn't it?
Mrs. C. Yes. It was a relief when the 'all clear' went and we could come back out and go into our shops. When we got back into our shops we'd all have a bit laugh – oh well we're still alive' Then when the shift was over the bus was waiting in the car park to bring us back home. And my mother would have the washing all in heaps, that was when I was in night shift, mother would have heaps of washing because in those days you would have different heaps – pillow cases, tableclothes in one heap, towels and then sheets and they all had to be possed separately, then starched and everything, and then she would say "well you can go to bed now".
L.S. So you had to help with the washing after you came back from night shift?
Mrs. C. Oh yes, my mother was very particular.
L.S. It must have- been a long day?
Mrs. C. Then I would go to bed at dinner time, and then she would shout about 6.0 o'clock, to get up for my supper and then go back to the factory. There used to also be a train from Hartlepool to the factory, and from Darlington there was a train ran to the factory. And you met some lovely girls.
L.S. Did you?
Mrs. C. You see some came from Newcastle and some of them got lodgings in Darlington. Hell I palled up with a girl, and she was the prettiest girl you ever met, and we all admired her make-up, it was grease paint. And she went back to Newcastle one week-end and she brought us all this orange make-up and oh we thought that was great.
L.S. So it was theatrical paint?
Mrs .C. Oh it was lovely that, but we never looked like her. Oh she was pretty. Then I sort of palled up with some more women from Hartlepool, and on a night sometimes, when we used to finish in the afternoon, we used to go and meet in Hartlepool and go to their houses and have a nice time, and then go back to work the next morning and say what a wonderful night we'd had.
L.S. You must have been exhausted, but it sounds like you made the most of your time, your free time as well?
Mrs. C. We did – they were happy times even though you had to work hard, you had to work hard in the shops.
L.S. Yes.
Mrs. C. There was a very big explosion, and it was this yellow powder, but I wasn't in that Group, and one or two hod their fingers blown off. I know that was terrible, we were all really upset and frightened. Anyhow we still had to go, we still had to work. Anyhow the machine that I was on it blew up but not as bad as it would have been with the yellow powder. It was just like a big flash, but I was frightened and I was shocked and they brought me home.
L.S. Did anything happen to you, or was it just shock?
Mrs. C. No – it was just shock, and I came home, and I was trembling – I was a bundle of nerves, and that lasted for a few days, but I got over it. Still had to go back though. If you didn't go back you see you would have to go in the Forces and you see my mother didn't want me to do that. Anyhow I was never the same after that when I went back, I was a bit frightened. Then there was a notice came round – they were wanting women to go as fitters to work these machines. They had men fitters but they were starting to employ women fitters as well, and we got the first chance. Oh yes I would be a fitter – I would love that. Anyhow I put my name down to be a fitter and another girl from Wingate she put her name down with me, and we were sent to a place called Chorley.
J.D. That's in Lancashire.
Mrs. C. Yes – well we were sent there for a fortnight to train as fitters. We were no more fitters than what a fly would be, but it was just a rule that came out. And oh we had the most fabulous time at this place in Chorley, we were in a lovely big house; well next door was another big house full of airmen, well you can imagine us young girls and these airmen next door – it was really great. I got on with a young chap who was in this hostel, anyhow my fortnight was up and we came back and he came to see me and he invited me down to London to see his family. We didn't knock it off though. We used to have these sort of concerts you know.
L.S. Oh yes – Workers' Playtime.
Mrs. C. Yes – Workers' Playtime, and that was really nice. We used to look forward to that.
L.S. But you didn't use your experience as a fitter in the factory?
Mrs. C. Oh yes – I thought that was great going round with a spanner, I didn't have to work on the powder. Well you know we couldn't really do it, we weren't like what the men were.
L.S. Were you supervised at all? Were you given any help with the work in the factory?
Mrs. C. Well there were supervisors, they wore brown coats. And there was a nice chap over us fitters. He used to come, and if we were doing anything he would stand over you and say "oh you're doing a good job" and all that. Whether we were I don't know, but we did it. But there wasn't a lot of fitting work to do, it was just more or less screws would come loose, and you more or less tightened them up. I think if we'd have had to mend the machines we couldn't have done it.
L.S. Only two weeks training perhaps wasn't quite enough to know all about the machinery?
Mrs. C. No – it wasn't long enough. Anyhow we passed Al you know at this hostel.
L.S. We were just wondering whether the accidents which happened quite frequently in the factory, whether you yourself know of anyone who received compensation either in the form of a lump sum or a pension?
Mrs. C. Well there were twins worked in amongst this yellow powder and one of them she did get her fingers blown off, but she lived at Bishop Auckland, they used to travel from there, and I don't know about that, whether she claimed, but I should think she would do, especially when her fingers were blown off.
L.S. Well we've only come across one case of compensation, but it was quite a considerable amount, but we've only had one and I am sure there must have been a few more than that. We were just interested to find out that so very few women who might have qualified don't seem to have actually received any compensation.
Mrs. C. I don't know whether she claimed anything because she was in a different shop to where I was. 1 wasn't amongst the powder at all, which I was very pleased about because they used to come out all yellow; their hair used to be ginger. I would have hated that. They must have suffered even now from that powder.
L.S. I think they still do – yes.
Mrs. C. But a lot of the people that I worked with they are dead now. Because I did do a bit of research myself after I 'phoned the Professor.
Mrs. C. Yes I did. Friends that I worked with at Fishburn – well I was enquiring at Fishburn if they were still alive because I was going to have them come here the day that you were coming, and sort of help me out with the interview. Florrie – she's dead, and the other woman that I knew – she's dead. Then I found out at Wingate another lady that I used to sit with on the bus called Mrs. Unsworth – she's dead. And I was going to have them come here.
L.S. Well it's just as well you didn't actually because Ann Scott who does the transcription with the ear phones, she doesn't like more than one person at a time anyway. So it's just as well in a way.
Mrs. C. Oh well that's nice.
L.S. So it is just as well in a way.
Mrs. C. So things have worked out all right then.
L.S. Yes they have. And in fact there are two people in Fishburn, who also worked at the factory, who we haven't yet interviewed. One – her married name is Mrs. Stuart.
Mrs. C. Well there was so many of us there. Well I know people better when I look at them, rather than by their names. But I did know Mrs. Unsworth and this one called Florrie – she was a very tall woman and she was always full of fun. Her grandson died two or three years ago with leukaemia. Probably somebody might mention that to you if you have to go to Fishburn. And they all worked in the same shop as where I was.
L.S. Another thing that we asked is did you know of anybody who was a member of a Trade Union in the factory?. Who was either a member or an organiser, an official, who could help women with their rights in terms of compensation?
Mrs. C. Oh I don't know of anybody
L.S. We have never heard of anyone yet, but we have to ask this question
Mrs. C. No, nobody seemed to bother about you then, you were just there to help with the war and that was it. They didn't care if you were alive or dead really.
L.S. Now we know there were about 17,000 workers there when it was at its peak, three quarters of whom were women. Was that your experience -it was mainly women that you worked with was it?
Mrs C. Oh yes, yes, it was mainly all women. And the forewoman that was over us, called her Mrs. Quiggly (from Darlington) – saw her death in the paper a few months ago, and there was another one called Gwen Brass, was another forewoman over us.
L.S. Where did she live?
Mrs. C. They lived at Darlington. There was quite a lot of people came from Darlington.
L.S. Yes we've interviewed a lot of people from there.
Mrs. C. Yes, and Hartlepool, and then those that were in Newcastle they were in lodgings at Darlington you see. We were able to travel by special bus. In fact the driver that used to take us just lives around the corner from me now – he's oldish now – he doesn't get out much, and he used to drive us in this special bus – the bus was from Wingate.
L.S. Mrs. Collins the few men that worked there (because there were a number of men) who, for various reasons – some because they couldn't do active service in the Armed Forces – and other reasons too – what were the relationship, would you say, between the women who were much in majority in the factory and the men who worked there?
Mrs. C. Oh they were quite good really – didn't have any trouble- I think the worst trouble was with the management. So much 'tittle-tattle' with the management side. The ordinary working men there didn't cause you any trouble.
L.S. But the management – what would you say was the problem there?
Mrs. C. Well you know what I mean, when you're working among a lot of women you do get a lot of tale-telling, that's understandable among women, and then you see different ones wanted to be working their way up, and would report you for little tiny things, and they were the ones that always got the better jobs. But I never had any trouble. But that is how it used to be. I'm trying to think of anything else.
L.S. You're doing fine. But I think it is interesting what you say about this story about the tale-telling. That was among the women mainly was it?
Mrs. C. Hell I don't know. Myself, there was a lot of jealousy. You see these chaps that were made up to foremen and that, they didn't know anything very much. You know, they were made up to these bosses and that but if they saw a nice looking girl that was it – "she's beautiful her, I fancy her" – that's how it was. Then the next thing you knew this girl was made up to a forewoman.
L.S. Oh yes, so there was a bit of that carry on was there?
Mrs. C. Yes. They weren't really bosses, they were just made up. We were just the workers, we just had to do the work.
L.S. What did you receive in the way of money – can you remember? I know it is an awful long time ago.
Mrs .C. No I can't remember what I used to get – I tried and tried to remember before you came, but I just can't remember.
L.S. I think we've heard that the ordinary R.O.F. workers received somewhere between £2/£3 a week – something like that.
Mrs. C. Yes it wasn't much more. Because I remember we got double pay once I think I got £7 something (like two weeks pay). And I came home, because I always gave my mother my pay, and I said 'mother look I've got two weeks pay, I've got £7 – can you buy me a new dress?. "No, no, you'll have to wait I can't buy you a new dress yet, you'll have to wait, that has to help keep you". Because my father and my brothers didn't make a lot of money. I didn't get anything very much for all I was the only daughter, I always had to wait until they could afford it. Then when she could afford it she would take me to Sunderland; and she used to have this man that she used to pay him so much a week, they called him Moskie, and he used to come round with this case selling things and then he got this big shop in Sunderland. She said "look when Moskie comes on Friday I'll ask him if I can go through and get you a dress", because I was going to go to a dance at Coxhoe. Because that was our enjoyment you see, they started these dances at Coxhoe – oh it was lovely, because all the soldiers were stationed at Coxhoe, and the soldiers used to come – it was a really good night. It was always – who had the nicest dress. I always remember my mother bought me this dress, she didn't pay for it right out, just so much every week. It had all little bright studs – I bet I had that dress for about six years.
L.S. So you were 'the bell of the ball' were you?
Mrs. C. No – there were nicer dresses than mine. Anyhow I liked my dress, and I always took care of it. Then there were some Italian soldiers, our soldiers got moved away abroad, and then they put these Italian soldiers in Coxhoe Hall, there were some lovely soldiers among the Italians.. They were allowed out – they were prisoners of war.
L.S. They were prisoners of war were they?
Mrs. C. Yes. They were allowed out, but we never dared have anything to do with them.
L.S. Were they allowed to have anything to do with local girls?
Mrs. C. Oh they used to walk about.
L.S. Did they?
Mrs.C. Oh yes. There were one or two Coxhoe girls married them when the war ended. But I never used Lo have anything to do with them because my mother used to say "mind – 1 don't want one of them, we're not having any of them in our house".
L.S. So did you meet your husband in the war, or was it after the war ended?
Mrs. C. No. Anyhow I didn't like the factory very much in the end, it seemed as if life wasn't very good – there was a lot of tale-telling and things like that and I wanted to be out of it. Anyhow I put my notice in and I got a job at the huts at Sedgefield (it's Sedgefield General now) – they were huts for the wounded soldiers and I got a job as a domestic there. You see you had to work somewhere.
L.S. Was it easy for you to get a discharge from the factory?
Mrs. C. Oh yes.
L.S. Was that fairly near the end of the war then?
Mrs. C. Oh yes, yes, it was nearly to the end.
L.S. And people were leaving anyway – the factory was packing up was it?
Mrs. C. Yes -they were packing up – a lot of them left – yes.
L.S. Because I think during the middle of the war, at the height of the factory, it was very difficult for women to leave.
Mrs. C. Oh you couldn't leave then, oh no. But when they knew the war was going to be soon over you could leave then, but you still had to have a job. Anyhow I got this job at the huts in Sedgefield, and I was there for about a year. I know there was this awful matron, she was very very old and she led you an awful life. Anyhow I thought well I can't stand her, I'm not going to work here. So the war ended and I left – I was back home again, and I was happy that I was back home. Anyhow time went by and I met my husband, and it wasn't a very long courtship, we more or less got married straightaway, and I was very happy, I had a lovely husband. He was still in the Air Force then but the war had finished.
L.S. But he had been in the Air force throughout the war had he?
Mrs. C. Oh yes he had been in during the war, he was in Egypt, and I had a brother he went to war, but he was only stationed in Canada, he wasn't in the war really at all, and he was in the Air Force – he left the mines and he got a job on the buses, and then you see you still had to go to the war even though they were on jobs like that and so my brother had to go into the Air Force. Oh that morning when he went I cried.
Mrs. C. Yes. Never thought that he would have to go, but he went, and he married this girl in Canada when the war ended and she came over to England and she lived with us, I was still at home, and we were rationed at the time and when she got her rations she used it all in one meal. We were still rationed you see with butter and things like that. And my mother said "you can't use your rations like that, they have to last a week", but she had no idea, no idea of money or anything, we had an awful life with her, but finally got her broke in like to be very careful with the money. Then, as I say, the war ended and my brother got a house and then I got married.
L.S. So would you say Mrs. Collins, just to finish off, that the women who worked in the factory would, in your experience, be fairly contented to be doing the work there, which was hard and long shifts and dangerous and so on?
L.S. But in your experience there was quite a high morale and they seemed happy enough about the work they were doing?
Mrs. C. Oh yes they were – yes. Because you see some of them didn't want to go into the A.T.S., they were quite happy to do that, the same as me – I was happy doing that because I didn't want to go into the Forces, and I think that was more or less the attitude that you enjoyed it because you knew that you weren't going in the A.T.S., because not everybody wanted to be in the Forces. I used to say that about the men, it's not everybodys life for a man to want to be in the Forces.
L.S. Of course not.
Mrs .C. I was quite happy to go to the factory and work amongst the powder and that.
L.S. Yes. Well thank you very much Mrs. Collins for giving us so much of your time.
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redpajama_set_name: RedPajamaCommonCrawl


Work package 1 will take care of the general project management and administration of the EURO-CAS project. It will liaise with the European Commission (EC), facilitate effective information exchange within the consortium, address contractual and reporting requirements, and coordinate the project governance.
The work package is led by EIBIR.
Work package 2 will analyse existing interoperability testing procedures and conformity schemes, both in terms of their processes and their business aspects. It will particularly look at eHealth schemes but also beyond. The findings of the work package will be made available already in July 2017, and form the basis of further work.
The work package is led by Medcom.
Work package 3 will look at the demand side and investigate the specific needs of the regional, national and cross-border eHealth projects with regards to conformity and interoperability of the products they want to use in their respective eHealth networks. The work package will work in parallel with WP2 and deliver its report in October 2017.
The work package is led by OFFIS.
Work package 4 will deliver the key deliverable of the project: the actual conformity assessment scheme (CAS). Building on the prior work of the WPs 2 and 3, the CAS will be aligned with the eHealth European Interoperability Framework and consider both cross border requirements and national/regional needs. The CAS will include a guideline for the implementation of the national/regional scheme, and for appropriate governance. A first draft is expected in April 2018.
The work package is led by IHE-Europe.
Work package 5 will, on the basis of the results of WP4, evaluate the costs of the CAS for Europe Program, identify various funding scenarios, and propose a roadmap to deploy the programme.
The work package is led by COCIR.
WP 6 will ensure the wider impact and validation of the conformity assessment scheme through workshops and conferences convening policymakers, experts and stakeholders at the European and national levels, and will gather feedback that will inform the further refinement of the conformity assessment scheme. The WP will also run the communication activities of the project.
The work package is led by Agence eSanté Luxembourg.


text:
from __future__ import unicode_literals

from django.db import models, migrations

class Migration(migrations.Migration):

    dependencies = [
        ('pswebsite', '0003_posterdimension_height'),
    ]

    operations = [
        migrations.RemoveField(
            model_name='posterdimension',
            name='width',
        ),
    ]

redpajama_set_name: RedPajamaGithub


Our Winter Ballerina is a beautiful mixture of red roses, white roses, and a wintery filler.
You have a choice of either 14 or 28 bouquets.
Your Cost: for 14 bouquets is $11.64 per bouquet or your cost for 28 bouquets is $10.00 per bouquet which includes the shipping cost.


text:
Campy Extraterrestrials – Michael Gough vs. Dudley Manlove
C. Jerry Kutner
I have written before of my admiration for the late Michael Gough (1916-2011), a British actor who could move effortlessly from the serious classical theater of Shakespeare, Chekhov, Harold Pinter, and Berthold Brecht, to the florid melodramas of Jimmy Sangster and Herman Cohen. Which is another way of saying that – like Sirs Laurence Olivier, Alec Guinness, or John Gielgud – Michael Gough had an extraordinary talent for camp, a talent that he was more than happy to deploy under the appropriate circumstances. Most of Gough's fans are familiar with his arch, scenery-chewing performance as the mad scientist in Herman Cohen's Konga. Less familiar is his fey turn as "Master of the Moon," the invading extraterrestrial-in-chief in Freddie Francis's They Came From Beyond Space (1967).
Gough's intentionally camp "Master of the Moon" was part of a long tradition of campy extraterrestrial leadership, a tradition that goes all the way back to Charles Middleton's performance as "Ming the Merciless" in the 1930s Flash Gordon serials, if not earlier. (See also, Max von Sydow's performance as Ming in the 1980 Flash.) To put matters in perspective, check out this clip of Dudley Manlove in his much-beloved performance as "Eros" in Ed Wood's Plan 9 From Outer Space.
[youtube=http://www.youtube.com/watch?v=TxNCTjpLNwo]
Then compare it to Gough's turn as "Master of the Moon."
[youtube=http://www.youtube.com/watch?v=Mfzg5XrLRNA]
Pity poor Freddie Francis who had to direct this scenario, consisting entirely of recycled sci-fi cliches, with as much seriousness as he could muster. Then ask yourself what else could Gough do with this role, a role that required him to perform under an inch-thick patina of clown-white facial makeup while wearing an orange satin cape?
What Gough did was to make his performance as entertainingly flamboyant as possible. I particularly like the ease with which he shifts gears from a pose of superior benevolence to pure ruthlessness once his earthly opponent has been disarmed. For this, and countless other memorable performances, we are eternally grateful.
For more on the great Gough, check out these pieces by Erich Kuersten and Richard Harland Smith. David Del Valle's interview with Gough (highly recommended) can be found here. David Hudson gathers additional links here.
Tags: Ed WoodFreddie FrancishorrorMichael Goughsci-fiThey Came From Beyond Space
— C. Jerry Kutner
C. Jerry Kutner is a frequent contributor to Bright Lights Film Journal. Visit his website at home.earthlink.net/~cjk5.
Previous story In memoriam: Michael Gough, the Posh Spice of British horror
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Sara Ali Khan is the daughter of famous actor Saif Ali Khan and Amrita Singh. She is an upcoming actress and her launch is awaited by almost everyone. Sara did a photo shoot with her mother Amrita Singh for a magazine cover Hello. Check out Sara Ali Khan Wiki, Height, Weight, Age, Boyfriend, Family, Biography, Facts & More.
Sara Ali Khan is setting the internet on fire with her glamourous look and acting skills. The hot diva seems to be ready to make her Bollywood debut with Abhishek Kapoor's Kedarnath. Even before her debut, the star kid has already been a known face and creating a buzz for her second project as the lead starlet. Saif Ali Khan's beautiful daughter Sara from his first wife Amrita Singh is a bunch of talent and has her hand full of offers.
The 24-year-old fashionista will also appear in a Tollywood movie starring opposite Prabhas. Meanwhile, Hrithik Roshan has pitched Sara Ali Khan to Vikas Bahl for his film Super 30. Sara Ali Khan's debut alongside Sushant Singh Rajput has been a talk in the Tinsel-town as the film is a love story on a pilgrimage. Directed by Abhishek Kapoor and shot in Kedarnath, the stunning Sara was seen donning elegant traditional attire for the movie shoot. Scroll down to see few sneak peek of the gorgeous diva Sara Ali Khan.
Sara Ali Khan is 24-years-old (born on September 1993) Muslim Nawabi girl from Mumbai, India.
Sara Ali Khan carries an innocent and sweet look as like her mother. She is 5′ 4" tall & weighs approx. 50 kg. During her childhood days, she used to be overweight but after doing workouts, she makes her body fit. She has been god gifted with brown eyes, black hair, and fair complexion. There were pictures of her undergoing a big weight loss.
She was born and brought up in a Nawab's family with the Islam ethnicity in the Mumbai. Her grandfather, Mansoor Ali Khan Pataudi was a well-known Former Indian cricketer while her grandmother Sharmila Tagore is a great actress. She is the daughter of famous Bollywood actors Saif Ali Khan andAmrita Singh. Her parents got divorced in 2004 after 13 years of their marriage.
she is rumored to be dating Harshvardhan Kapoor.
She loves to play tennis along with her father and brother.
Her favorite actress is Katrina Kaif.
Her favorite destinations are Goa, London, Newyork, and Dubai.


"All I want is for people to understand the human implications." Some may known him as Bill S. Preston, Esq. Others may known him as the director of the acclaimed technology documentaries Downloaded, Deep Web, The Panama Papers, and Trust Machine: The Story of Blockchain. His name is Alex Winter (you can follow him on Twitter @Winter), and he's an actor, a writer, a filmmaker, a producer, a journalist, and much more. I have become a big fan of Winter's documentaries over the years, he's one of a few filmmakers who actually understands the internet, and presents it in an intelligent and digestible way. Last year, two of his new documentaries premiered - The Panama Papers, about all the journalists who reported on the Panama Papers leak; and Trust Machine: The Story of Blockchain, about the origins and implications of blockchain (aka encrypted digital distributed ledgers), the latest technology fad that's sweeping the world.
Back to Sundance we go for another year of discovery. What's on the line-up this year? Out of the 110+ films showing at the 2019 Sundance Film Festival, I've chosen 10 that I'm looking forward to seeing the most. To keep things well balanced, I've chosen 5 feature films and 5 documentaries from the line-up. There are so many films playing at the fest, and so many I'll end up seeing (30+), that this is a quick list to get everyone acquainted with some of the work premiering in 2019 (I just want to go see everything). There are new films from filmmakers like Ritesh Batra and Lulu Wang, and incredible documentaries that are also worthy of our attention, plus many other films. You never really know what will good or bad, but here's my first few picks.
Over the last 12 months, I've seen more than 110 new releases — that's over nine days of time in total spent watching movies — and I'm happy to report that it's been an exceptional year at the cinema. In fact, I could probably make a Top 50 Best Films of 2018 list and still leave off a few notable titles. Just think about it – we got to see vital new work from visionary filmmakers like Steven Spielberg, Alex Garland, Alfonso Cuaron, Spike Lee, Lynne Ramsay, and newcomer Boots Riley, whose Sorry to Bother You is one of the most unique and refreshingly original movies of the year. We witnessed fantastic performances by Lady Gaga, Ethan Hawke, Rachel Weisz, Emma Stone, Mahershala Ali, Richard E. Grant, as well as Christian Bale. We saw breathtakingly beautiful films like Roma, The Favourite, If Beale Street Could Talk, and First Man – works of flawless craftsmanship by cinematographers and production designers alike.
It's here! Time to start figuring out which films are the best of the year, so get watching. One of the annual must-see best of the year lists is actually a video countdown made by my colleague David Ehrlich (follow him @davidehrlich). He counts down his 25 best films of the year in a video edited together with footage and music from each of the films. This is such an entertaining way to count down the best cinema of 2018, and it always makes me want to watch each one of these (even the ones I've seen already). His choices this year are all over the place - from Mission: Impossible to Madeline's Madeline - which makes it all the more interesting to discuss. There are a ton of outstanding films this year, many of the best featured below.
There's a film festival kicking off this week in Poland called the American Film Festival. The AFF is the fall version of the New Horizons Film Festival (which screens mostly international films in July every year), organized by the New Horizons Association located at the Nowe Horyzonty cinema in the city of Wroclaw, Poland. This rather vibrant, distinct, energetic city is located inbetween Warsaw and Krakow, but much closer to Prague and Dresden. There's a number of big universities in Wroclaw, making it a lively university city with a student population of over 150,000. It's also the perfect place to host these film festivals, because many students love cinema and love to catch all these films from all around the world. I'm happy to be here.
After attending for my first time last year and enjoying every minute of the fest, I'm back in the town of Sitges, Spain (or Catalonia) to kick off the 51st Sitges Film Festival. It's the Spanish cousin of the Alamo Drafthouse's Fantastic Fest with all kinds of genre films playing over the next 10 days. Lots of horror and sci-fi and action and more. I'm really excited to be here. I'm really excited to see a bunch of these films. It's just an excellent film festival, right on the beach, with enthusiastic audiences that love genre films. And this year I decided to stick around the entire time (and not head up to the London Film Festival like last year) so I can fit in more films and enjoy this charming little beach town. Plus it's October - the perfect time to watch horror movies and discover something new and wild and amazing in the mix. Time to jump right into Sitges.
Acclaimed, iconic Chinese filmmaker Zhang Yimou is ready to release his 21st feature film since his debut as a filmmaker in the 1980s. Titled Shadow, the film is another martial arts epic yet also a drama, based on the Three Kingdoms era in Chinese history. Over the years, Zhang Yimou has won two BAFTA Film Awards (for Raise the Red Lantern in 1991 and To Live in 1994), but never an Academy Award or Golden Globe. He still keeps making films year after year, working mostly in China nowadays, though still trying his hand at a Hollywood blockbuster (The Great Wall) in addition to a war-time drama (The Flowers of War). Shadow premiered at the Venice Film Festival this year, and also played at the Toronto Film Festival. I had a chance to interview the legendary Zhang Yimou during his visit to the festivals, and I am honored I could meet him.
Give your soul to the dance. Give your soul to the cinema. The fall movie season is well underway, kicking off with all the big film festivals - Venice, Telluride, and Toronto. I returned for my second year to Venice to attend the 75th Venice Film Festival and watched a total of 26 films in eight days before flying over to TIFF to catch a few more. The films I saw in Venice really stood out above the rest, better than almost every else from earlier this year (give or take other Sundance & Cannes films). This iconic festival is known as the very first film festival, and they have a legacy to live up to by bringing the best films from around the world every year. The fest is over, the awards have been handed out, but the films will still live on. To wrap up my coverage of Venice, here's my favorite films of the festival - those films that have remained on my mind.
"The people, they were forgotten, and we suffered most of all." There's a superb documentary titled Strike a Rock that still hasn't been officially released, even though it is one of the best documentaries around. Made by a South African filmmaker named Aliki Saragas, the film premiered at a bunch of film festivals throughout 2017. I first saw it at IDFA (the International Documentary Filmfestival Amsterdam) last fall, and it's been on my mind ever since. However, since then I haven't heard or seen any news about the film. I was hoping some distributor would pick it up for release in the US or UK but that hasn't happened yet. And it hasn't played at any other major festivals since 2017. Which is a big shame, because it's an extraordinary portrait of South African women fighting against a careless mining corporation and taking matters into their own hands. I've been thinking about it so much that I've decided to just write a post to try and help the doc.


text:
The Debt Ceiling Dilemma: Tensions Ease, But Contention Remains
Global investors watch America anxiously. In late December, the U.S. technically reached its debt ceiling of approximately $16.4 trillion, with the federal government taking what Treasury Secretary Timothy Geithner called "extraordinary measures" to avert a default.
Even as House GOP leaders announced plans Friday to approve a three-month increase in the federal debt limit, tension remains – and that tension could provoke a debt ceiling battle on Capitol Hill reminiscent of the impasse of 2011 later this year.
President Obama has again presented a debt ceiling hike as an essential move needed to pay America's bills. House Republicans do not want to see a long-term increase in the debt limit without corresponding spending cuts, and some conservatives have characterized the Obama administration's warnings as more posturing than fact.
A new plan to deal with critical fiscal deadlines. Sometime between February 15 and March 15, the federal government's borrowing capacity will (in theory) be exhausted. March 1 now represents the start of the "sequester" – the automatic spending cuts detailed in the 2011 deficit accord. On March 27, a six-month measure passed to fund federal government operations expires.
Last week, House Majority Leader Eric Cantor (R-VA) unveiled a plan for a three-month extension of the debt limit, which would offer Congress additional time to pass a budget. Under the plan, Senators and Representatives would work without pay if Congress failed to approve a budget within the three-month window. Any further extension of the debt ceiling window would be contingent on Democrats approving significant federal spending cuts.
Will an extended battle be averted? Hopefully so – prolonging the debt ceiling fight into spring could do far more economic damage than that threatened by the fiscal cliff. In a recent Wall Street Journal commentary, Princeton University economist Alan Blinder envisioned a 6% GDP contraction "if the government hits the debt ceiling at full speed" in 2013, as a forced 26% cut in federal outlays would result. An outright drop off the fiscal cliff, in Blinder's view, would have reduced U.S. growth by 4.5%.
A true default could invite a harsh recession – jobless benefits could be reduced or curtailed, and Social Security checks and pay to soldiers could even be delayed. Consumer spending could decrease along with federal tax revenues.
The risk of an outright default may be overblown. Addressing the media on January 14, the President seemed to hint that the government would prioritize interest payments on Treasuries over other debt obligations in a worst-case scenario. Some congressional Republicans have called for such prioritization in a crisis – that is, the Treasury simply making selective payments on what America owes first, with other debts to be addressed later. The question is, would that be enough to preclude another downgrade by the major credit ratings firms? (Beyond that question, there is an issue of legality: President Obama lacks a distinct legal authority to prioritize certain debt payments over others.)
Is the White House overstating the threat? Some conservatives believe so. As Cato Institute fellow Michael D. Tanner recently noted, the federal government will owe somewhere around $38.1 billion in interest payments between February 15 and March 15. If it doesn't pay them, it will default. Almost unpublicized, however, is the federal government's projected receipt of $277 billion in taxes and other revenue within that same interval.
That isn't enough to fuel the $452 billion in federal spending stipulated between February 15 and March 15, but it would be enough to pay the interest on the debt and keep Medicare, Social Security and servicemember payments on track. About $500 billion in debt will mature between February 15 and March 15 – but the federal government routinely rolls over such debt rather than paying it off, swapping new debt for maturing debt.
Multiple solutions have been suggested. In addition to the GOP proposal, some "quick fixes" for the issue have been suggested, some bordering on the sensational.
House Minority Leader Nancy Pelosi (D-CA) would like to see the President invoke the 14th Amendment to the Constitution to raise the debt limit – specifically Section 4, which reads "The validity of the public debt of the United States…shall not be questioned." The White House has rejected that idea.7
Citing a clause in the Coinage Act of 1996, a Georgia lawyer named Carlos Mucha has proposed that the Treasury Secretary authorize the U.S. Mint to make a $1 trillion platinum coin which could be deposited at the Federal Reserve. Mucha claims that the Fed could credit the account of the U.S. government for that $1 trillion and solve the whole problem in one fell swoop. The Treasury has rejected the idea.8
The GOP proposal announced on January 18 could be a step toward a bipartisan compromise on the debt limit – which hopefully will occur before summer arrives.
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Last week i was with my family on a little holiday in Romania. Since i was a baby i have loved traveling, for me the car was the best swing. I know the whole country and i was really surprized to discover that new amazing spot.
We visited some places in Bucovina: Putna Monastery, Daniil Sihastrul's Hermitage, Suceava's Fortress etc. We were taking photos, listening to music, my dad was driving and somehow we arived on a forest road. It seemed like we failed, but at the end of the road a car park was opened. We left the car in there, we followed the signs and we went on a path until we arrived in that story place. It looked exactly as writers were describing the forests. The sun's rays were sneaking trough green leaves of golden trees while puffy bunnies like clouds were sinking in the high lichens. In all that harmony there was an old wooden house like a cottage. All that painting full of peace was accompanied by the singing of the birds.That is the place i will never forget for its peace.
That sounds amazing! I am sure you had a great time there. I like the way you described the forest with all those beautiful words. I think having a longer ending (an entire paragraph) would've made the writing look better, but that's just my opinion. The introduction was nice (comparing your car with a swing – smart move), but I think it could've been longer as well. Giving backround details (when, with who, how long the trip was) might improve the sound of the text. Generally, I liked your writing. Don't be afraid to write more, 'cause I am sure you can, and you can do it very well!
I like your story! I think that you could describe more. For example you could add some particular details about the places that you visited. The end of your story is really interesting. It's like a fairytale landscape. Your story is original and of course creative!


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400 Teilnehmern nahmen an unserem Boßelturnier teil, welches in diesem Jahr zum ersten Mal in der Geschichte des am Wesendorfer Feuerwehrhaus stattfand. Wir liefern nach..
miles Hessian State Theatre 3492.1 miles Casino Wiesbaden 3492.2 miles Market Church 3492.0 miles Wiesbaden Town Hall 3492.0 miles Landtag. Room amenities comfort features, room Service Hair Dryer 1 King Bed 495 sq feet (46 sq meters). Smoking/Non Smoking, pet friendly, connecting/adjoining rooms can be requested, subject to availability. Sleep - Pillowtop bed and Egyptian cotton linens. Die Bewertung basiert auf einer Selbsteinschätzung der Unterkunft. Get access to unpublished low rates and secret deals password confirm password Already have rastpfuhl krankenhaus saarbrücken babygalerie an account?
The hotel stay was great. Food Drink - Room service and free bottled water. Self parking (subject to nagelstudio berlin steglitz feuerbachstraße charges) is available onsite. Buffet breakfasts are available daily from 6:30 AM to 10 AM for a fee. Planning an event in Wiesbaden? August 2018, happy #nationaldogday and big #shoutout to our very own office dog Moser Mr Moser is actually a rescue dog, and encourage you to make a visit to your local animal shelter if you are considering a four legged buddy! But upon arrival to the hotel, the place looks extremely nice and modern, and the check-in process was quick and easy. Practical - Desk, phone, and iron/ironing board (on request free cribs/infant beds available on request. Your trip summary: Start Date: Monday, 1/1/0001 End Date: Monday, 1/1/0001 Rooms: 1 Adults: 2 Kids: 0 1 King Bed 495 sq feet (46 sq meters).


text:
Isner advances to final on Newport's hot grass courts
KEN POWTAK
Associated Press July 20, 2019
NEWPORT, R.I. (AP) — Top-seeded John Isner overcame extremely hot conditions and a first-set tiebreaker loss to beat fourth-seeded Ugo Humbert of France 6-7 (4), 7-6 (5), 6-3 on Saturday and advance to the Hall of Fame Open final.
The 34-year-old American will face Alexander Bublik, a 7-6 (5), 3-6, 6-4 winner over Marcel Granollers of Spain. The 22-year-old Bublik, from Kazakhstan, reached his first career ATP final.
The matches were played before induction ceremonies for the 2019 class of Li Na from China, Mary Pierce of France, and Russian Yevgeny Kafelnikov.
Playing in a feel-like temperature in the 90s, Isner, ranked 15th in the world coming into the week, broke in the second game of the final set — the first break of the match — en route to his fourth final on Newport's grass courts. He won in 2011, '12 and '17.
"The length of the match is fine. That's what happens, especially with matches like mine," the big-serving Isner said. "It's really hot and humid and takes a lot (out) of you. To be honest, I don't feel really great right now."
Isner is into his 28th ATP final.
In a match that lasted 2 hours, 44 minutes, started in sunshine and ended with shadows creeping nearly halfway across the court, Isner had two aces in the final game to go up 40-0.
He hit a forehand winner at the net and pumped his fist when it ended.
Isner hit a forehand winner down the line to win the second-set tiebreaker and force the deciding set.
"That was a big shot," he said. "I always say when I win the second set, I'm going to win the match."
Bublik broke in the fifth game of the final set to take control of his match.
Just before he closed it out, an elderly female fan, seated courtside in the sun, was carried out on a chair by two men with ushers helping. The feel-like temperature at the time was in the upper 90s with the sun beating down on the court and some spectators.
"It's hot," said Bublik when asked about the conditions during a post-match interview on the court. "I'm just glad I won a match."
The stadium seating and courtside seats — both located in the sun and usually at least about three-quarters full on induction day — had less than a hundred people seated for the both semifinals.
More AP Tennis: https://www.apnews.com/apf-Tennis and https://twitter.com/AP_Sports
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Our boat sails into Havana Bay.
The fortress of Del Morro stands guard on one side.
On the other is Havana.
Avenida Del Puerto, which continues for miles along the harbor, then the beach.
Busses and old cars parade by with their drivers waving excitedly.
We walk around the boat, taking in the sights from all angles.
We stop for a photo op as we disembark.
We meet Paul's colleague, Vanessa, at the lion fountain in Plaza de San Francisco.
Since it is hot, we mostly hide in the shade of Basilica San Francisco de Asis.
Paul spots Vanessa, so we begin walking.
Frequent stops allow us to discuss the Cuban culture and share some of ours with Vanessa.


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There is work to be done to reclaim Thorndyke forest in Thorndyke Park. Invasive plants have taken over, and volunteers are needed to help defend this beautiful natural area. Join neighbors and friends to help out and learn about how we plan on bringing this forest back to a natural environment.
We provide all the tools, gloves, and other restoration supplies, but if you have a favorite pair of clippers and gloves, feel free to bring those. Please dress in layers and consider the weather, sturdy shoes or boots, long pants & long sleeved shirts will protect you from plant scratches. Bring raingear for rainy weather & sunscreen for sun. Also, bring a filled water bottle and your needed snacks. There are no restrooms at this Small Park, but Starbucks in just a few blocks away. We will teach you everything you need to know about tool use, safety, forest health, and the importance of the work you will be doing. No experience necessary, just come ready to learn something new! Be sure to sign in at registration when you arrive.
Meet by the picnic table on the west side of the park, on Thorndyke Ave. near the middle of the park. Look for the EVENT signs.
Parking is on the street. The west side is also used by bus riders, so you may need to park on a side street. Metro bus 33 & 31 stop right in front of the park and the 19 & 24 & 31 stop one block away at 28th and Blaine. Get off at 28th Ave. West and Blaine and walk to block east to the park.