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Category: 60s
31 Days of Halloween- Day 12- Cape Fear (1962)
Sam Bowden is a lawyer who finds that a criminal, Max Cady who he prosecuted against resulting in him going to jail (he had attacked a young woman) has been released from prison. Cady starts a harassment campaign against Bowden and his family and is seemingly hellbent on making Sam suffer for his incarceration.
I knew of this film from when the Scorsese remake came out. I was in the midst of my love of all things Scorsese and thought his version of Cape Fear was very good. But that was until I saw the original.
For all of the visual frills, the over the top performance of De Niro as Cady and scenes that weren't in the original (the thumb sucking scene instantly springs to mind as does the attack that resulted in the cheek biting gratuity) the remake isn't as good as the original film. Sometimes, less is more as is the case with this film.
The 60's version of Cape Fear is more understated, character led and directed (by the underrated J Lee Thompson) with more restraint and is a much better film because of it.
The original feels less forced, more organic and features some much better performances from truly great actors such as Gregory Peck as Bowden and the great Robert Mitchum as Cady. Whenever Mitchum plays crazy he always excels and his portrayal of Cady is up there with his star turn in another fantastic shocker of a film, Night of the Hunter.
This isn't to take away from the 90's remake which is still a great film in it's own right. But one great thing about it is that it might make more people aware that it is indeed a remake and so hopefully they may seek out the original. And they have a treat in store when they do.
Grade- A-
By Meathook Cinemain 31 Days of Halloween, 60s, Film October 12, 2021 309 WordsLeave a comment
Meathook Cinema Salutes…Pete Walker
History is the ultimate judge of everything and film is no exception. One director whose work history has been very kind to is British director Pete Walker.
Walker was actually the son of music hall star Syd Walker. His first job was as a comedian at a strip joint in Soho (!) He also made 8mm 'glamour shorts' before making full length (pun not intended) soft core films at the end of the 60's with titles like School For Sex, Cool It Carol and Four Dimensions of Greta.
The 70s-tastic Pete Walker
But it was in the 70's that Walker turned his attention to exploitation films and primarily the horror genre.
House of Whipcord is one such film and was made in 1974. This is a lurid movie with an equally lurid title. It concerns specially selected women who were judged to be far too liberated and sexually free and are thus thrown into a mysterious correction facility so that they would receive punishment for their wicked ways.
The film exposed the huge gulf within British society at the time- on one side were those who embraced the progressive changes Britain was undergoing regarding women's changing roles that empowered and liberated them from simply being mothers and housewives. On the other side those who were more traditional and conservative. They were angry at the new permissive society and were the kind of people who wrote venom filled letters to the national newspapers whilst spewing bile behind their net curtains. A figurehead for these people can be seen as Mary Whitehouse and her 'Caravan of Light' who campaigned against everything from offensive and 'corrupting' films to be banned (Mrs Whitehouse would come into her own in the next decade during the Video Nasties moral panic), television programmes she didn't approve of (the watershed was introduced because of her campaigning) and even pieces of poetry that didn't meet her outdated moral standards (the publication Gay News was disbanded after she took them to court over a poem they published regarding Jesus and one of his foot-soldiers).
House of Whipcord- Within These Walls on steroids
House of Whipcord is a genuinely brilliant piece of exploitation and horror which holds up a mirror up to what was happening in society at the time. Britain was still so repressed that it was easy for mavericks to break boundaries and challenge taboos. In fact, there were those who at this time who were delighting in poking holes in the more archaic elements of society. Punk was just around the corner and tellingly Walker was approached by Malcolm McLaren to make a documentary about The Sex Pistols. This was only cancelled because the band split up before the film could be made.
House of Whipcord is also a fantastic addition to the Women In Prison subgenre. It feels like Within These Walls on steroids. There are also elements of Kafka's The Trial thrown in for good measure. This is highlighted by the shadowy figure of Judge Bailey who lays down the law within the facility but whose laws are completely unclear. This is an authoritarian nightmare which still feels all too real.
Special mention needs to go to the cast. Celia Imrie starred in the film at the start of her career and she speaks about the movie at numerous points in her autobiography. She makes it sound like the film was a cinematic shocker that she starred in when she was young and needed the money. However, you get the feeling that she is kind of proud to have been in such a production with it almost attaining a kind of 'cool' status.
Barbara Markham is spectacularly unhinged as Head Warden Mrs Wakehurst who turns from measured to biblically psychotic in an instant (witness the sequence in which is lurches at her husband wielding a knife whilst screeching 'If thine eye offends thee, PLUCK IT OUT!')
An actress who would be cast by Walker in a total of five of his film and stars here is the magnificent Shelia Keith. Her portrayal of sadistic warden Walker is as cold and brilliantly extreme as Markham's is. Think of Vinegar Tits from Prisoner Cell Block H but much more extreme.
The next of Walker's films that stands out for me is Frightmare also from 1974. In 1957 Dorothy Yates and her husband Edmund are convicted of murder and cannibalism (!) and sent to an asylum until the film's present day (1974). They are then released supposedly fully cured and living a quiet life. But are they? The answer, of course, is of course not! The film shows Dorothy not being cured at all but using the cover of giving tarot readings to people who she then kills and eats.
'The cards predict cannibalism. Yes, really…'
The film also deals with Jackie (Edmund's daughter from a previous marriage) who regularly visits the couple offering gifts of animal brains whilst falsely telling them that they are actually human remains and that she is actually killing people so that her stepmother doesn't relapse and remains free. It is also revealed that her father had actually faked being complicit in the crimes and feigned madness so that he could stay with his wife. Jackie lives with Debbie, a wayward 15 year old who is the actual daughter of the couple who was placed into an orphanage as a baby just after her parents were institutionalised. She has recently been expelled from there as she is too much for the authorities to deal with and so spends most of her time with her boyfriend who is the leader of a violent biker gang.
Walker's film goes to the darker places that other horror films of the age wouldn't have dared to. Frightmare has enough deprived goings on to have even the most jaded of horror fans salivating with glee.
There's also a playful pop at the more respectable films on release at this time and what Walker thinks of these- Jackie drags her new boyfriend out of a screening of the arty farty Blow Up- and for good reason. Why watch that when you could be watching (or even starring in) a Pete Walker film?
Another facet of Walker's work that I love is that his films capture the world in which they're filmed in and feel like beautifully filmed time capsules. The fact that a certain demographic were lapping up films like Walker's with a healthy section of the cinema-going public loving all things horror and exploitation was also very revealing of the time. The drive-in and 42nd Street audiences weren't just confined to America during this time.
There's also a fantastic strain of black humour at play within the film with events sometimes becoming so extreme that they become surreal and darkly funny. This reminds me of the dark comedy that rears it's head during the endings of both Straw Dogs and Taxi Driver. Within Frightmare, this reads as completely intentional with an almost vaudevillian Grand Guignol tone during certain scenes.
Again, Keith features and plays the role of the cannibal housewife Dorothy resplendent with pale palour and red eyes. She attacks each character she takes on with such unbridled zest and zeal that that her presence feels an essential part as to why Walker's films are so noteworthy. Walker talked about working with her saying-
"Sheila Keith was a lady who lived a quiet life with her dogs and her cats and came into work to do, brilliantly, whatever was asked of her. She was like your nice old aunt who would serve you cucumber sandwiches before ripping into a dismembered limb – without complaining."
I honestly think that Walker and Keith make for one of cinema's great director/actor partnerships in much the same way De Niro and Scorsese or John Waters and Divine do.
Another Walker favourite of mine is Schizo made in 1976. Figure skater Samantha is just about to get married but we see that a former partner of her mother is travelling to London from the North East to seemingly stalk her.
The film feels ahead of it's time as issues that are more widely spoken about now such as stalking, voyeurism and obsessive behaviour directed towards a single person hadn't been tackled in film before. All of these concepts and dysfunctional attributes would have been new and revelatory to audiences back then in much the same way as those introduced to audiences watching Hitchcock's Psycho (crossdressing, multiple personalities) or Scorsese's The King of Comedy (celebrity stalking, obsessive fans) for the first time.
There are also the questions as to who the stalker is, why he's stalking Samantha and what role she has in all of this. There's a huge sting in the tale and I'm certainly not going to spoil any of this here.
More than with any of Walker's films before or since, Schizo really captures the time and locales it's set in with London being beautifully captured in the year that, ironically, punk was about to explode. Just as punk marked an explosion not just within music but also other art forms, Walker's films can be seen as part of that movement.
Walker actually thought there were no subtexts to his films but was pleasantly surprised by what he saw when he reinvestigated his work. He said-
"But recently I had to record commentaries for the DVD releases so I saw the films for the first time since making them, and you know what? They're not as bad as I thought. But searching for hidden meaning . . . they were just films. All I wanted to do was create a bit of mischief."
But there is meaning and subtext to be found in all films whether this is intended by the screenwriter and/or director or not. Walker and his screenwriter David McGillivray and their views on the British society of the time are there for all to see and marvel at throughout their work.
Walker's last film was made in 1983 and was his most polished movie to date, the big budget House of Long Shadows which cast horror royalty Vincent Price, Peter Cushing and Christopher Lee all in the same picture. After this film Walker retired from making films and instead set about restoring old cinemas.
Boxsets of Walker's films have been released but curiously, only in the US. It's time for 4K restorations of his work for Blu ray releases in his home country. It's time for the outstanding back catalogue of this amazing auteur to be finally recognised and released in the UK. Walker's work documents a secret history of a time in British cinema that was gritty, forbidden and utterly intoxicating. I think the BFI would be the best company to issue these releases and tout Walker as the major force he truly was within the British film industry even though he may have been frowned upon by others within that industry at the time. And if the BFI do release his films then they should also show a retrospective at the NFT for good measure.
That's not asking too much, is it?
By Meathook Cinemain 60s, 70s, British, Cult Film, Film, Film Review, Horror, Popular Culture July 24, 2021 July 24, 2021 1,871 WordsLeave a comment
Review- The Anniversary (1968)
Even though her husband popped his clogs some ten years before, Mrs Taggart still makes an occasion of her wedding anniversary to him by making sure that her sons join her at the family home so they can celebrate together.
The build up to the event sees her sons describing her as akin to a force of nature that can't be controlled and as a fierce matriarch. This seems fitting when she finally makes her entrance on screen as she is played by none other than Bette Davis who is on flying form and attacks her role with relish. Not just that but she has a fantastic wardrobe topped off with an eye patch!
It's obvious that Mrs Taggart will keep her boys in place by means necessary whether it be manipulation, knowing secrets that her sons would rather be kept private to be used at any given moment like some kind of trump card that she keeps up her sequinned sleeves and by finding any weaknesses that her sons or their partners possess.
It's fitting that this film was made by Hammer Films as whilst on the surface it's a very black comedy, it also works as a horror film with Davis demolishing all around her like a very stylish and catty version of Godzilla.
The tone here is high camp which is why it works so well. If this was presented as more serious it wouldn't have been half as much fun and Davis would have been wasted.
Davis didn't want to take the role but only changed her mind when her friend Jimmy Sangster rewrote the script for the screen from the stage version. Sangster had penned the excellent screenplay for Davis' earlier film, The Nanny (also highly recommended).
There was also animosity between cast members with 'serious stage actress' Sheila Hancock witnessing the way Davis was pampered over and given the attention deserving of a star of her stature and being utterly alienated by it. C'est la vie.
**** out of *****
By Meathook Cinemain 60s, Film, Film Review July 8, 2021 334 WordsLeave a comment
Review- Katzelmacher (1969)
This early Fassbinder film concerns a group of dissatisfied and directionless young people who turn their attentions away from themselves and the relationships within their inner circle when a young Greek man arrives looking for work and lodging. Soon the group rumour mill goes into overdrive as they perceive the young man as an outsider and so demonise and persecute him.
Another great character driven piece by the German maestro with the ugliest facets of human nature being explored as the members of the insular and narrow minded group start to spread rumours and make their prejudices known towards young Jorgos. After an innocuous chance meeting in the street with one of the women from the gang, the group's Chinese Whispers soon snowball to him having tried to rape her as well as other crimes such as him being a Communist.
The men of the group then seize their opportunity to beat him up for crimes he isn't guilty of.
Conformity, group hysteria and mobbing by the gang are all explored perceptively within Katzelmacher which makes it, unfortunately, ring all too true.
Beautifully acted, perfectly framed and directed and with a gorgeous late 60's black and white which is icy cool and absolutely gorgeous.
Look out for the scene of the young woman dancing.
By Meathook Cinemain 60s, European, Film, Film Review, Germany November 18, 2020 218 WordsLeave a comment
31 Days of Halloween 2020- Day 31- Onibaba (1964)
A mother and daughter in law (named in the credits as 'older woman' and 'younger woman' respectively) are waiting for their son/husband to return from the war he's fighting in. A soldier named Hachi who fought alongside him comes back to tell them that in fact he saw him killed. He then starts having a torrid affair with the daughter against the wishes of her mother in law. This is going on in secret although the mother in law knows all about it and is jealous. All of this continues until…well, that would be telling!
Breathtaking cinematography, a great plot, amazing acting and imagery that will stay with you well after the film has ended!
This film was banned outright when it was first submitted to the BBFC and then released heavily edited. It's now acknowledged as a classic with it being on the Criterion collection.
A classic.
***** out of *****
By Meathook Cinemain 31 Days of Halloween, 60s, Cult Film, Film, Film Review, Horror Film, Japan, Japanese October 31, 2020 October 31, 2020 152 WordsLeave a comment
31 Days of Halloween 2020- Day 29- Carnival of Souls (1962)
A teenage drag race goes dreadfully wrong with one car being forced off a bridge and into a river. From the car a woman, Mary manages to escape and clamber ashore.
However, Mary's life after that isn't the same. She seems to see ghostly figures when she seemingly disassociates herself with everyday life that is going on around her. One example takes place on a bus when she sees seemingly dead people coming for her. The film very creepily plays with space and time and does so without warning. The film is just as disconcerting and disorientating for the audience as it is for Mary.
The ghostly figures she sees seem to be led by a man (in reality, the film's director Herk Harvey) who seems intent on somehow coming for Mary to take her somewhere as yet unknown.
Mary is a church organist by occupation but even this is affected now with her only playing the kind of funereal pieces that in the future The Cure would be playing in 1981. Yes, they're that bleak! One priest who hears her playing stops her and deems her playing as 'Profane! Sacrilege!'
Add to this a very sleazy and creepy housemate who gets off on perving on her as she gets out of the bath and won't let up.
The action builds up to an ending that actually takes place in an abandoned fairground. This all adds up to a truly great cinematic experience. There are sequences of this film that are far removed from anything I've ever seen in a motion picture before or since. The haunting photography, the use of some sequences such as a dancing scene in the carnival being sped up, the way the film takes the audience with Mary as she enters her limbo world where the dead walk and stalk her.
The idea of a limbo world between life and death was also brilliantly explored later on in the classic movie Don't Look Now. Carnival of Souls went on to influence George A Romero who said that it was a huge influence on Night of the Living Dead as did David Lynch on Blue Velvet. The influence of the film can also be seen within the better parts of the Goth movement. The sequence where the undead run after Mary on the beach feels like a fantastic Goth version of something from a Fellini film.
Carnival of Souls is an anomaly in cinematic terms, a one-off which is like no other. It's also a masterpiece. I'm so glad it wasn't forgotten. It was restored and released cinematically in 1989 after it's original 1962 release and is now on the Criterion collection on Blu ray alongside the best of cinema. And rightly so!
By Meathook Cinemain 31 Days of Halloween, 60s, Art, Cult Film, Culture, Entertainment, Film, Film Review, Horror Film, Movies October 29, 2020 457 WordsLeave a comment
31 Days of Halloween 2020- Day 28- Dr Terror's House of Horrors (1965)
As soon as I saw that this 1965 Amicus film was directed by Freddie Francis I knew that the direction and photography would be beautiful. And I was right! I was also excited as I knew that this was a horror anthology film and starred two heavyweights of the genre, Peter Cushing and Christopher Lee.
As well as Cushing and Lee the cast also includes Alan 'Fluff' Friedman, Donald Sutherland and Roy 'You're a Record Breaker!' Castle. We even get Kenny Lynch appearing in a cameo role.
Travellers in a train compartment are joined by the very sinister Dr Schreck who whips out his deck of tarot cards and tells each of his fellow traveller's fortunes. Each fortune told is a separate episode in this anthology.
The separate stories involve vampirism, a vine seemingly related to a Triffid that comes to life, lycanthropy, voodoo and black magic and a severed hand. I want to give more details away about each segment but there are so many brilliant twists and turns that writing any more would be like trying to tiptoe through a field full of landmines.
Each episode is completely different from each other, taking place in a real breadth of locales and circumstances which keeps the film as a whole really varied and interesting.
This film has all the ingenuity of five separate mini episodes of Tales of the Unexpected. Each concept is unpredictable, genuinely ingenious and likely to surprise most viewers.
A joy from start to finish with perhaps the biggest twist coming after each of the characters fortunes has been told.
****and a half out of *****
By Meathook Cinemain 31 Days of Halloween, 60s, Cult Film, Film, Film Review, Horror, Horror Film October 28, 2020 October 28, 2020 269 WordsLeave a comment
A sequel to Village of the Damned which is less a continuation of the plot and instead like a film containing characters who possess the same powers as the children in the original but under different circumstances.
Whereas the original took part in a countryside idyll, the action within this film is based in London. A gifted child called Paul is studied and observed by the relevant governmental authorities. Other almost supernaturally gifted children are also discovered and brought to the city so that UNESCO researchers can witness them at work. They are brought from places as varied as China, Russia and Nigeria.
These gifted children then abscond from each of their respective embassies that they are staying in and take refuge in an abandoned church. It's here that the authorities and the army find them and have to decide whether to try to coax the children out or destroy them if they pose a threat to humanity. It's here that a tense standoff encroaches.
This film as opposed to the original is firmly on the side of the children who we see as persecuted and in need of human support. The original depicted them as inhuman, devoid of emotion and empathy and very much as villains in a horror film. Children of the Damned elicits sympathy and compassion for the children who are shown as unjustly discriminated against, ostracised and treated as freaks in many ways. Having high levels of intelligence and other powers such as telekinesis are gifts but also hindrances. Witness the speech Paul's mother shrieks at him that she should have destroyed him before she took him in her arms for the first time.
I made the mistake of reading the reviews for this film before I actually watched it. The few examples I could find were derogatory and very unflattering. They were also wrong, in my humble opinion. Children of the Damned may not be as good as the original film it is a sequel to but is still a vivid, well written, engaging film that is well worth a view. The shots of 60's London are beautiful. A special mention to Ian Hendry (Repulsion) who heads a stellar cast.
By Meathook Cinemain 31 Days of Halloween, 60s, Art, Cinema, Cult Film, Film, Film Review, Horror, Horror Film October 18, 2020 October 18, 2020 370 WordsLeave a comment
31 Days of Halloween 2020- Day 17- Children Shouldn't Play With Dead Things (1972)
The head of a theatre troupe Alan (think of a cross between Charles Manson and Timothy Claypole in lurid and very colourful 60's clothing) takes his fellow thespians (who he refers to as his 'children') to an island which is used as a kind of graveyard for dead criminals. He then assumes the role of a religious leader, puts on robe he just happens to have brought with him and proceeds to try and raise the dead using his knowledge of magic. Whilst this (seemingly) doesn't work they dig up the dead body of a man called Orville. However later on in the film the dead do indeed rise again and get their revenge. They board the actor's boat at the end of the film.
The director of this film is listed as Benjamin Clark but is in fact Bob Clark who went on to make the masterpieces Dead of Night and Black Christmas. Allan Ormsby who plays Alan went on to direct the excellent Ed Gein biopic Deranged.
This film has an interesting vibe to it that is similar to the counterculture early 70's vibe of Wes Craven's Last House on the Left (but without the violence or genuine transgression). This is gritty low budget filmmaking that points to the drive-in but also to the arthouse realm.
The colour palette of the cast's wardrobe is like watching an acid trip with each character wearing a different very bright colour and when more than one cast member is in the frame together it's a trip. In fact theres a shot in the movie of the cast members all lines up behind each other and it's like a spectrum of colour. The audience members on certain substances must have loved this sequence.
This is an interesting film but far from being some kind of 60's classic. The title is very misleading also.
**and a half out of *****
By Meathook Cinemain 60s, Cinema, Cult Film, Film, Film Review, Horror October 17, 2020 316 Words2 Comments
31 Days of Halloween 2020- Day 15- Village of the Damned (1960)
Mysteriously one day everyone in the village of Midwich suddenly lapses into unconsciousness. After a few hours everyone just as mysteriously wakes up. Two months later every woman in the village who is able to become pregnant finds that they are pregnant. Whats more the embryos are found to develop abnormally fast.
The children look eerily alike with blond hair and strange eyes. They are also shown to possess intelligence way beyond their years. As the children grown older they are shown to be able to control other's actions through using their 'stare' in which their eyes seemingly glow and hypnotise their prey. They are also able to read other's minds. As if that wasn't enough, they display a telepathic bond between themselves also.
There soon develops a separation between the 'normal' children and indeed people of the village and the 'gifted' children. The twain very rarely mix except within their respective families.
But then strange and unaccountable deaths of locals start to occur in the village. One example is of a villager who was an excellent swimmer suddenly drowning. Another example finds the children causing a man to crash his car into a wall at high speed. The dead man's brother tries to avenge his death but is forced by the children to shoot himself instead.
The children appear to have a complete lack of empathy, compassion or indeed, humanity. They appear to be complete devoid of emotion or warmth.
When dealing with such entities it is realised that drastic measures have to be taken as has been demonstrated by other countries who have also shown evidence of similar mutant children in recent years.
And that's all I'm going to tell you! The ending is a real shocker! In fact this is a superb adaptation of one of my favourite books (The Midwich Cuckoos) by one of my favourite authors (John Wyndham- and if you haven't read any of his books I implore you to read some NOW!)
Amazing direction, perfectly acted, a great sense of tension until the shocking conclusion. This film wasn't just taboo then but also feels taboo now, such is the power of the material. This was remade by John Carpenter in 1995.
There was a VERY funny parody of this movie within The Simpsons with a new movie called The Bloodening playing at a Springfield drive-in. Have a look on YouTube for the clip. It's The Simpsons at their best.
By Meathook Cinemain 31 Days of Halloween, 60s, Art, British, Cinema, Cult Film, Film, Film Review October 15, 2020 410 Words1 Comment


"I love politics!" exclaimed Wanchana Manawapat, wife of Thai Ambassador Pisan Manawapat. "I keep watching the debates and deciding who's winning." Following diplomatic protocol not to interfere in the domestic politics of a host nation, however, she stopped short of handicapping the U.S. presidential race and revealing whom she hopes will end up in the White House.
"At home, many Thais don't speak English, so Thai media conveys the American debates to them. We often take our news from CNN, BBC," she noted.
Thai Ambassador Pisan Manawapat, left, and his wife Wanchana Manawapat, right, opened their residence — the historic Codman-Davis House — to host a surprise 86th birthday party for Esther Coopersmith, a former U.S. ambassador to the United Nations who befriended the queen of Thailand while serving as a UNESCO goodwill ambassador.
The Manawapats also have a special connection to Washington, D.C. — and to American politics. Their first overseas posting was in D.C. in the late 1980s, shortly after they were married. During that time, Pisan Manawapat spent a year on Capitol Hill as a fellow for the American Political Science Association (APSA) in the offices of Rep. Don J. Pease (D-Ohio) and Sen. Daniel Inouye (D-Hawaii).
"When we arrived the first time, we were just married. We were newlyweds," Wanchana said.
Her education and career have been diverse. With an undergraduate degree in mathematics from Chulalongkorn University in Bangkok, she then received a master's degree in media and technology from Boston University before earning a certificate of special studies in administration and management from Harvard.
Her work has been equally varied. Wanchana's first job was as product manager and secretary to the chairman at Saha-Union Public Company Ltd. in Bangkok, which manufactures Nike shoes, among other items. For her most recent venture, she was the founder and advisor of Wongthep Co., a distributor and contractor for Musco Sports Lighting, an Iowa-based company that provides lighting for major sports events and stadiums.
She has followed him around the globe. Before his most recent post in Washington, Manawapat had served as Thailand's ambassador to the European Union, Belgium, Luxembourg, India and Canada. He also served at the Royal Thai Embassy in Kuala Lumpur and as deputy chief of mission in Tokyo.
Wanchana Manawapat and her daughter Arisa visit New York City.
But Thailand's international reputation has been marred by political instability and charges of authoritarianism.
Coups d'états have been a regular facet of Thai politics since the introduction of a constitutional monarchy in 1932. In recent years, power has swung from populist Prime Minister Thaksin Shinawatra and his legions of supporters, which tend to be poorer and more rural, and the urban establishment elite, which is more middle-class and aligns itself with the military.
Over the last decade, protests between Shinawatra's so-called "red-shirt" supporters and the "yellow-shirt" opposition drew millions to the streets and deeply polarized the Southeast Asian nation. A telecommunications billionaire, Shinawatra was deposed by a military coup in 2006 and went into self-imposed exile. His sister Yingluck won a landslide victory in 2011 to become prime minister but was removed from office by the military in 2014 on charges of corruption.
Since then, the military junta has tightened its grip on the fractured political system, granting itself sweeping powers, muzzling the media, banning protests, detaining academics and activists and backtracking on promises to hold elections.
Similarly, Wanchana defends her government back home. "Thailand is in a political transition. The people are fed up with street protests and political chaos. The country is taking steps to rectify our flawed democracy. Over the decade, our political system was broken, society deeply divided, parliament dysfunctional, government shut down. Money was an indispensable part of the election campaign and voters were angry with the establishment," she explained.
"Thailand is taking a break. Political violence was brought to a halt. The new draft constitution will be presented to the people for national referendum by early summer and free and fair elections should be held by next summer," she told us.
In the meantime, she encourages both investors and tourists to visit her homeland, which is studded with ancient ruins, picturesque beaches and an economy that is expected to pick up this year and next. "We are a free and open society. Today, we are a base for car manufacturing and IT, the technology we export to the U.S. We also export food around the world — seafood, rice and fruit.
Aiding in that endeavor is the Thai Residence, an impressive venue for hosting events. Once called the Codman-Davis House, it was built in 1906 by architect and interior decorator Ogden Codman and is cherished for its neoclassical revival style. Codman designed the house for his cousin, Martha, heiress to a prominent Boston clipper ship family. She was known for being an extravagant hostess and for her collection of early 19th-century American paintings.
Paintings are again in the spotlight in this gracious home — only this time, they are Wanchana's own work.
The Manawapats' daughter, Arisa, is a law student in New York City at Columbia University Law School. As a little girl, she traveled with her parents to Malaysia and Japan and later attended an English boarding school.
Today, the busy empty-nesters stay in touch with their daughter and try to enjoy their downtime from diplomacy. "We love to play golf but I can beat him," Wanchana said smiling.


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Tag Archives: Os Canibais
Celluloid Flashback: The Cannibals
One of my favorite living filmmakers, Portugal's Manoel de Oliveira, will celebrate his 106th(!) birthday on December 11th. To commemorate, today's post is adapted from a lecture I gave about his film The Cannibals as part of Facets Multimedia's Night School series "The Masters' Session" last year. The premise of this particular session was that the most regular Night School presenters, including yours truly, were given carte blanche to present whatever films we wanted.
Thank you all for being here, I know you could be at C2E2 right now. When I was given free reign to pick any movie I wanted to show for this session of Facets Night School, The Cannibals was my first choice because, when I first saw it last year upon illegally downloading it, I said to myself, "This is so strange I don't even know what to think about it." So I'd like to start off by talking a little about Manoel de Oliveira's career in general and about Surrealism, a tradition to which I think The Cannibals belongs. Oliveira is probably best known in the U.S. for having a freakishly long career: he directed his first film in 1931, which was then still the silent era in his native Portugal, and he's currently making a new movie right now at the age of 104. What I think is especially interesting about Oliveira's long career, however, is that, while he's managed to be a very prolific director on the whole, that's mostly because of the films he's made in the past 25 years alone. (His career had stalled for decades when he was a young man due to lack of financing and political turmoil in Portugal.) I think that The Cannibals is, in many ways, an ideal introduction to his work because it actually kickstarts the prolific "late phase" of his career: since making it in 1988, he has managed to make an average of one feature film a year for a quarter of a century. The Cannibals can also be seen as inaugurating the most recent phase of Oliveira's career in that it marks the first of many collaborations between him and his favorite actress, Leonor Silveira, who was only 17-years-old when this was made. When you see her, you may notice she looks a lot like a young Brooke Adams, the lead actress in Terrence Malick's Days of Heaven.
So how does The Cannibals relate to Surrealism? Whenever we hear the word "surreal," I think we tend to think of art that is somehow aggressively bizarre and dreamlike in nature. But I think it's important to remember that the original Surrealists, in the 1920s, represented something of a return to more conventional aesthetics following other, more radical artistic movements. Cubism, for instance, was more radical in the sense that it had destroyed the concept of traditional perspective; think of Picasso's painting Les Demoiselles d'Avignon in which you can see different sides of the subjects all at once, and there's no sense of separation between the foreground, middleground or background. When Surrealist painters like Salvador Dali and Rene Magritte came along, their idea was to present landscapes that did return to the concept of traditional perspective but they would then put things in the middle of those landscapes that absolutely did not seem to belong. And I think this is what gives Surrealism its power — the feeling that one is experiencing something that is very familiar and yet, at the same time, very strange because there's usually one element that feels completely out of place. So I think the subversive way in which the Surrealists "defamiliarized the familiar" is what makes their work so funny and unsettling. And this is true not only of Surrealist painters but also of Surrealist films, such as those made by the great Luis Bunuel: a film like Un Chien Andalou (1929), for example, is surprisingly similar to Hollywood filmmaking in terms of how it's shot and edited. It's the irrational happenings within Un Chien Andalou's conventional film language that make the movie seem so bizarre.
I mention Bunuel not only because he's widely considered the greatest Surrealist filmmaker but also because he's Oliveira's acknowledged master. Oliveira even made a sequel to Bunuel's Belle de Jour (1967) entitled Belle toujours, starring Michel Piccoli, in 2006. But I think Bunuel-style Surrealism is also very much the approach Oliveira has taken in a lot of his own work and I think this is more true of The Cannibals than any of his other films that I've seen. So how exactly does Oliveira subvert the conventions of traditional narrative cinema here? The first thing you need to know about this movie is that it's a musical — well, more of a filmed opera really, because there's no dancing but every single line of dialogue is sung. The first time I saw it I thought, "Wow, this is so conventional as an opera that I can easily imagine seeing this performed onstage," although it never has been performed onstage because it was created by Oliveira specifically for the screen. Oliveira wrote the screenplay based on a novel by the Portuguese writer Álvaro Carvalhal and then had a contemporary classical composer, João Paes, write the music and the libretto. The plot concerns Marguerite (Silveira), a high-society woman who marries a wealthy Viscount (Luis Miguel Cintra, Oliveira's favorite leading man) over the objections of her jealous ex-lover, Don Juan (Diogo Doria). On their wedding night, the Viscount reveals to Marguerite his darkest secret, which leads to a devilish, uproariously funny climax that you have to see to believe.
Adding a layer of self-reflexive fun to all of these goings-on is an omniscient, singing narrator (Oliveira Lopes); at one point, the narrator hilariously complains about the protagonists' use of the "sententious language of poor melodrama" in the previous scene. So, if you can imagine an unholy, self-reflexive mash-up of Bunuel's The Exterminating Angel (1962) and Jacques Demy's The Umbrellas of Cherbourg (1964), you might have some idea of what is in store for you tonight. I don't want to say anything more about what happens in this movie on a plot level but I do want to point out that about three-quarters of the way into the film, something happens onscreen involving movie "special effects" that, in the best Surrealist tradition, could never happen onstage; and I think this highlights one of Oliveira's clever formal strategies — to kind of lull viewers into thinking that we're seeing something that could be performed onstage before pulling the rug out from under us. In doing so, I think he wants to get us to actively think about the differences between cinema and live theater. The other sneaky thing that I think Oliveira's up to here is the way that he uses the form of opera specifically, which is the art form most closely identified with wealthy patrons, in order to attack the upper class (in other words, the very people who are most likely to end up seeing this movie).
The last thing I'd like to say about The Cannibals is that when it had its U.S. premiere at the San Francisco International Film Festival in 1989, the festival's director, in his opening remarks, begged the audience to stay for the last 15 minutes, assuring them that those 15 minutes would make the entire experience worthwhile. I would like to echo that sentiment tonight: please stick with this movie until the very end. The last 15 minutes are absolutely worth it. Enjoy the show.
The Cannibals has regrettably never been released on home video in North America. You can, however, see excerpts of it in the very lovely video tribute to Manoel de Oliveira below:
3 Comments	| tags: Luis Bunuel, Manoel de Oliveira, Os Canibais, The Cannibals	| posted in Celluloid Flashbacks, Film Reviews
Arias with Your Mouth Full: Legendary Lew Interviews Michael Smith on Manoel de Oliveira's The Cannibals
"Legendary" Lew Ojeda recently interviewed me in advance of the screening of Manoel de Oliveira's The Cannibals that I'll be presenting at Facets Multimedia this Saturday at midnight. This interview originally appeared on the website of the Underground Multiplex, the community based arts organization Lew co-founded with Joseph R. Lewis. You can learn more about this useful organization here:
http://theundergroundmultiplex.wordpress.com/
This Saturday night at midnight, indie filmmaker and instructor Michael Smith will present Portuguese director Manoel de Oliveira's very rarely seen and incredibly strange opera, The Cannibals (Os Canibais), for Facets Night School. Straddling between the two cinematic worlds of art house finesse and grind house excess (think Marco Ferreri's La Grande Bouffe), The Cannibals promises to blow your mind (if you don't blow your chunks in the process).
LL: The Cannibals has been rarely shown in The United States. Could you tell us a little about the film?
MS: The Cannibals is one of the very best films of Manoel de Oliveira who is one of the world's greatest living directors. Oliveira is best known in America not for any specific films but rather for having a freakishly long career. He directed his first film in 1931 (in what was still the silent era in his native Portugal) and he is currently in pre-production on a new film at the age of 104. But the movies themselves, which are made in conscious opposition to Hollywood conventions and have not been widely distributed in America, are great: they tend to be rigorous, deliberately paced literary or theatrical adaptations centered on the theme of doomed love. I think The Cannibals is an ideal introduction to Oliveira's work because it shows off his playful side: it's funny, surreal and very subversive. It shows the strong influence of Luis Bunuel.
LL: How is The Cannibals a bridge between art house cinema and midnight movies?
MS: I would describe it as a midnight movie disguised as an art film. I think it was brilliant of Oliveira to tell this particular story as an opera. It's an adaptation of a 19th century novel but he hired a contemporary composer, Joao Paes, to write an original operatic score and libretto. Literally every line of dialogue in the movie is sung and the score is excellent. However, the film becomes weirder and weirder as it goes along until it reaches the climax, which is totally insane. I think Oliveira chose to work with the form of opera because no other artistic medium is so closely identified with the upper class — the true subject of his satire. He's making fun of his target audience! Without giving anything away, I would say he wanted to cloak his movie in the semblance of respectability and "high art" in order to deliver a kind of devious sucker punch at the end. I almost want to compare The Cannibals to Takashi Miike's Audition in terms of how it works. (If you've seen that film you know that it lulls you into a state of near-boredom before presenting a mind-fuck of an ending that is effective precisely because of what comes before.) I also hasten to add that it's not necessary to understand anything about opera to appreciate this film. I myself know little about opera.
LL: Were there any other operas commissioned directly to cinema?
MS: I'm not aware of any. It's very rare to have any kind of musical film in which all of the dialogue is sung. Les Miserables is an obvious example but that's, of course, an adaptation of a well-known musical play that had a built-in fanbase. The only other film I can think of that comes close to fitting the bill is The Umbrellas of Cherbourg. Jacques Demy commissioned Michel Legrand to write the original score and Demy himself wrote the dialogue, all of which is sung, but the style of the music is not that of an opera. So I think Oliveira's achievement is singular and highly innovative.
LL: What do you wish to accomplish by presenting The Cannibals to a crowd accustomed to exploitation, sexploitation and violent trashy films?
MS: I'm glad that you asked. I hope to broaden viewers' horizons as to what their perceptions of a midnight movie is. The Cannibals is not exploitative or trashy and yet, in a lot of ways, it's far weirder than many of the movies to which those labels are often attached. This film is so odd, in fact, that I myself don't even know how to fully process it! This is also a big part of the reason why I want to show it: presenting it to an audience will hopefully inspire everyone present to work together in making sense of it in our discussion afterwards.
My thanks to Michael Smith for the interview. You can read his posts on the blog White City Cinema. It's definitely worth your time.
Come feast your eyes and ears on The Cannibals at Facets Night School.
Saturday night April 27, 2013 at midnight
1517 W Fullerton
Admission: $5, FREE for Facets members! Become one here:
http://www.facets.org/pages/memberships.php
2 Comments	| tags: Lew Ojeda, Manoel de Oliveira, Os Canibais, The Cannibals	| posted in Interviews
Manoel de Oliveira's The Cannibals at Facets Night School
On the evening of Saturday, April 27th I will be presenting Manoel de Oliveira's The Cannibals at Facets Multimedia as part of their popular Night School series. This will include a short talk about the film as well as a Q&A afterwards. Any of my students who attend the screening can earn up to TWENTY points extra credit. Refer to the extra credit page of your course website for the exact details. Admission is FREE for Facets members and a lowly $5 for non-members. More information, including directions and ticket info can be found here:
http://www.facets.org/pages/nightschool.php
Here is the description of the presentation I wrote for the Facets website:
Eat the Rich!: Manoel de Oliveira's Unlikely Cannibal Musical
The Cannibals (Os Canibais) is one of the best but unfortunately least-known feature films by prolific Portuguese master Manoel de Oliveira. Made in 1988 when the still-active writer/director was a comparatively youthful 79-years old, this delightful work of anti-bourgeois Surrealism is a kind of freakish filmed opera in which every line of savage satire is sung. Adapted from a novel by Álvaro Carvalhal, the plot concerns Marguerite (Oliveira's favorite leading lady Leonor Silveira), a high-society woman who marries a wealthy Viscount (Oliveira's favorite leading man Luis Miguel Cintra) over the objections of her jealous ex-lover, Don Juan (Diogo Doria). On their wedding night, the Viscount reveals to Marguerite his darkest secret, which leads to a devilish, uproariously funny climax that must be seen to be believed.
Adding a layer of self-reflexive fun is an omniscient, singing narrator (Oliveira Lopes); at one point, he hilariously complains about the protagonists' use of the "sententious language of poor melodrama" in the previous scene. Imagine an unholy mash-up of Luis Bunuel's The Exterminating Angel and Jacques Demy's The Umbrellas of Cherbourg and you will have some idea of what is in store at this screening of one of the all-time great Portuguese films. Note: The Cannibals has never received an official home video release in North America. This rare screening of the film will be shown via digital projection of a European import DVD.
If you are unfamiliar with Oliveira, check out this lovely video tribute (which includes excerpts from The Cannibals) via YouTube:
2 Comments	| tags: Manoel de Oliveira, Os Canibais, The Cannibals	| posted in Uncategorized
@JokermenPodcast LVT is a Dylan fan. There is also an instrumental version of Blowin' in the Wind (played on bagpip… twitter.com/i/web/status/1… 9 minutes ago

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Selectin rows with double limit options I am building a system which will show the 300 highest ranked players for a MMO game which can, and usually do, change daily. So here is what I am trying to do:
Select the top 300 players, and for those 300 players, I want to select the 30 last entries from the same table in which I select which is the current top 300.
Here is my current query, which succesfully and accuratly selects the top 300 players.
SELECT * FROM `experiencehistory` WHERE `worldid` = `7` ORDER BY `experiencehistory`.`date` DESC, `experiencehistory`.`rank` ASC LIMIT 300

This is my Database structure:
ID - Identifies the entry for deletions etc later on.
Characterid - Which character does this entry belong to.
worldid - On which world does this character exist
rank - what is the current (at the time of the entry, which is daily) rank the player has
date - what date was the entry made on. (It saves a date through mktime() which is the day at 4am, all date entries for a specific date is the same.

Now, using the above query I have the players as been stated before, how can I make this query also fetch their last 30 entries? I, and I didn't think it'd work well which it didn't, to simply loop through and do another query per character. This ended up with 10-15 seconds page loads and using ALOT of resources, which obviously wouldn't work in a live environment.
I'm thinking about using Group by, but I am not sure how I would go about selecting them regardless. Thankful for any and all help.

A: From your post, I could not guess how you're gonna fetch the 30 entries from each player, but you could do this to run some code for each player:
$query = "SELECT * FROM `experiencehistory` WHERE `worldid` = 7 ORDER BY `experiencehistory`.`date` DESC, `experiencehistory`.`rank` ASC LIMIT 300"

if ($link->multi_query($query)) {
    do {
        if ($result = $link->store_result()) {
            while ($row = $result->fetch_row()) {

            // do what you have to do to get the 30 entries here.

            }
            $result->free();
        }
    } while ($link->next_result());
}

$link is your connection...
Hope it works!

redpajama_set_name: RedPajamaStackExchange


text:
La NOFV-Oberliga Süd es uno de los grupos que integran la NOFV-Oberliga, una de las 14 ligas regionales que conforman la Oberliga, la quinta división del fútbol alemán.

Historia
Fue creada en 1991 luego de que se diera la caída del Muro de Berlín y la Reunificación alemana como una liga de tercera división, detrás de la 2. Bundesliga; y fue creada junto a la NOFV-Oberliga Nord y la NOFV-Oberliga Mitte.

En 1994 con el nacimiento de la Regionalliga como la nueva tercera división, provocó que todas las ligas bajaran un nivel, pasando la Oberliga a una de cuarta división, con la desaparición de la NOFV-Oberliga Mitte.

Al aparecer la 3. Bundesliga como la nueva liga de tercera división en 2008 provocó que todas las ligas bajaran un nivel, por lo que la Oberliga bajó a quinta división, con la diferencia de que el campeón de la liga ascendía directamente a la Regionalliga.

Equipos Fundadores
Estos son los equipos que disputaron la temporada inaugural de la liga en 1991:

 FC Sachsen Leipzig
 Fortschritt Bischofswerda
 Aktivist Schwarze Pumpe
 VFC Plauen
 SV Merseburg
 FV Zeulenroda

 FSV Zwickau
 Wismut Aue
 Chemnitzer SV
 Soemtrom Sömmerda
 Wismut Gera
 1. FC Markkleeberg

 TSG Meißen
 Bornaer SV
 Motor Weimar
 Stahl Riesa
 1. Suhler SV
 Wacker Nordhausen

Ediciones Anteriores

Referencias

Enlaces externos
 Weltfussball.de Round-by-round results and tables of the NOFV-Oberliga Süd from 1994 onwards
 NOFV-Oberliga Süd en fussballdaten.de
 Nordostdeutscher Fußballverband (NOFV)

NOFV-Oberliga

redpajama_set_name: RedPajamaWikipedia


I'm currently a Teaching Associate in the Department of History and Philosophy of Science at the University of Cambridge. My research focuses on the ways in which experimental psychology enters into debate about the value of empathy in society. Prior to taking up my current post, I was a Postdoctoral Research Fellow at the Konrad Lorenz Institute for Evolution and Cognition Research in Klosterneuburg, Austria (near Vienna). I completed my PhD under the supervision of Tim Lewens in the Department of History and Philosophy of Science at the University of Cambridge. Prior to that, I lived in Berlin for a year and did a program in value studies at the European College for Liberal Arts (now Bard College Berlin). I completed my undergraduate degree in psychology at Yale University, where I did research on auditory and visual perception in human adults, Rhesus macaque monkeys, and capuchin monkeys.
I'm originally from New York. In my spare time, I love travelling, cooking, and learning new languages. I'm also an avid runner (half marathon and marathon).


Australia's fine wine specialist, Vintage Cellars Richmond offers a vast range of red wine and white wine including wines from Australia, France, New Zealand, Italy and many more countries. Our sparkling wine varieties include products from Champagne, South Eastern Australia, Yarra Valley and Tasmania. The team at Vintage Cellars Richmond are highly passionate, hands-on people who have high standards of customer service and aim to help you find the perfect wine, spirit or Champagne for your special occasion. Visit Vintage Cellars Richmond today!


In 2013, the EU has re-opened the tender for the European Framework Contract Beneficiaries (FWC) for the period 2013-2017. FWC are contracts that have been put in place by EuropeAid Cooperation Office to facilitate the implementation of the European external aid through a fast and transparent recruiting of expertise in several fields. FWC 2013-2017 includes 13 areas to which organisations, alone or in consortium, can apply.
Being part of the consortium led by Transtec that was awarded the contract for the LOT 12, Humanitarian Aid, Crisis Managament and Post-conflict assistance, ECES will be delivering electoral short-term expertise in the field of electoral observation.
Additionally, ECES has signed an agreement with IBF International Consulting to cooperate in the framework of the LOT 7 under the Governance and Home Affairs umbrella regarding the provision of expertise in the electoral assistance field. However, ECES is not part of the consortium lead by IBF. ECES collaborates with IBF as subcontractor when and where is mutually advantageous and for countries where ECES is not implementing already EU electoral assistance projects. ECES does not collaborate with IBF or any other consortium or companies of the LOT 7 if there is an interest for ECES in being considered for the implementation of EU electoral assistance projects that are formulated by electoral experts hired by EU services under this framework contract.
In sum, ECES operates in both election observation and electoral assistance within LOT 7 and LOT 12.


A court really shouldn't shirk away from making a finding about a constitutional violation just because it may be difficult, said the lead judge on a federal panel reviewing two North Carolina partisan gerrymandering cases.
Chief District Judge William Lindsay Osteen Jr., who was appointed by former President George W. Bush, was responding Thursday to an argument by Phil Strach, who represents North Carolina's legislature in both of the cases, which went to trial at the same time this week.
Strach opined that it was completely legal for lawmakers to use partisan information to draw the 2016 U.S. Congressional maps that resulted in a 10-3 Republican majority despite North Carolina's status as a deeply divided "purple" state.
He criticized the plaintiffs in both lawsuits for giving the court "a smorgasbord of mathematics to prove what at the end of the day is a legal procedure," and attempted to quote U.S. Supreme Court Justice Neil Gorsuch in saying that they wanted "a little of this and a little of that" instead of a strict, set standard to measure partisan gerrymandering.
"The holy grail has not been found in this case," Strach said.
Anita Earls begged to differ. The Executive Director of the Southern Coalition for Social Justice, who represents the League of Women Voters and several individual voters in one of the cases, presented the court with a three-prong test to determine whether a legislature's partisan gerrymandering was extreme enough to cause a constitutional violation and warrant a remedy.
"There is a cure for this cancer," Earls told the court.
That cure starts with determining whether or not there was discriminatory intent on behalf of those accused of drawing districts to advantage one political party over another. The second part of the test deals with determining whether there was a large and durable effect and the third deals with making sure there aren't any other justifiable reasons for the gerrymander, such as political geography.
Earls argued that partisan asymmetry, or the unequal treatment of parties in terms of votes to elected seats, is the touchstone of determining whether a partisan gerrymander exists.
Osteen showed some skepticism about her test, saying that he would expect political actors to act in a way that would benefit their political party. He asked what the difference would be between that and intentionally using partisan advantage to the point it would constitute a violation.
Earls said that's where the other prongs in the test would come in, and that a violation would be the feature of an entire redistricting plan, not just a single district.
"There needs to be both, intent and effect," she said.
Earls and Emmet Bondurant, who represents Common Cause as the lead plaintiff in the other lawsuit that went to trial, agreed in their closing arguments that the North Carolina legislature's intent to partisan gerrymander the 2016 congressional maps was overwhelming and not disputed.
Judge William Earl Britt, who also serves on the three-judge federal panel, seemed to agree, expressing some shock when Strach disagreed.
"Is there any doubt they intended to maximize partisan advantage as far as they could?" Britt asked Strach.
Strach explained that lawmakers were fixing racial gerrymandering when they drew the 2016 Congressional map and that they didn't want to disrupt the status quo 10-3 Republican majority through a court order.
"This evil partisanship that has been blown up to the court and taken out of context, that's not what's going on here," he said.
Expounding on an idea Osteen had earlier asked plaintiffs, Strach told the judges that the people of North Carolina have an ability to remedy partisan gerrymandering at the ballot box by voting out the lawmakers in charge of redistricting.
To make his point, Strach said the Republican supermajority currently occupying the legislature was elected under a gerrymandered map produced by Democratic lawmakers.
Bondurant said that remedy hasn't ever worked before despite bipartisan efforts to create an independent redistricting process.
"The Republicans are not the only ones with dirty hands here," he said.
He said U.S. Supreme Court Chief Justice John Roberts once said those who govern should be the last ones to decide who should govern.
Bondurant contended that if a court found that partisan advantage predominated in a redistricting process, it must be found unconstitutional, violating the First Amendment and Article I, Sections 2 and 4 of the Constitution.
He said the partisan gerrymandering displayed in North Carolina's 2016 congressional map is a textbook example of viewpoint discrimination and that it was intentionally discriminatory.
Lewis, a current Republican legislator, and Rucho, a former Republican legislator, are both defendants in the lawsuits.
Earls also spoke at a press conference after the hearing and said the case was not a difficult one. Strach declined to comment after the trial.
The three-judge panel, which also included Judge James Wynn (who is on a separate panel in a racial gerrymandering case) took the arguments under advisement and asked the parties in the case to file post-trial briefs within two weeks from Monday.


"The opportunities are absolutely immense: to design and redesign services to meet local needs and wants, in a way that's both flexible and entrepreneurial. And there is a range of opportunities to demonstrate the value of strong primary care in population management.
MS: "This links to another point – the key issues not spelt out yet: these are accountability, performance management and management of risk. If the government don't handle that correctly, that could threaten general practice.
Have GPs 'won' the battle with NHS managers?
MS: "That question presents a stereotypical approach. Where they are successful, health services are built around primary care, and around a partnership of managers and GPs. This will be true of the future as well. I don't believe a successful health service can function without working together.
MS: "It's about remuneration; management costs; who bears risk; performance management; and accountability.
"The lines of accountability are not yet clear, though we could assume they will be to the independent NHS management board, but there must also be a role for PCTs. Very little has been said about their future role, apart from local government liaison and public health, and the demarcation must be crystally clear or we'll get a fudge that's not in the interests of patients.
"Risk raises the question of what happens when a commissioning budget is overspent. I don't believe this government will go for a model seeking to impose the burden of risk on individual GPs or practices – if that's right, then risk will be borne by the NHS as whole. So what are the sanctions and exit arrangements? When a commissioning function fails, does the contract go to the private sector, or other GP commissioners?
"On management costs, speaking personally I don't favour a management allowance: I'd rather see a recognition that in commissioning budget for a population, a figure has to be recognised as attributable to management costs. The Health Secretary seems to be suggesting 1% nationally: £1 billion on just over £100 billion.
How will clinical commissioning – getting GPs into management – work, as the NHS management budget is cut by 1/3 over the next few years?
MS: "See my above answer! If the NHS management cost is now £1.8 bn and is going down to £1 bn, it seems to me that we say 'those costs have to be redistributed, and the management function at GP level must be recognised and properly funded'.
GPs' readiness and ability to form clinical commissioning consortia will vary. How can the new system manage this variation?
MS: "That's true, although we said to the DH that when it comes to getting GPs on board, there are different levels of engagement.
The new system fundamentally accepts that some clinical commissioners will make a healthcare pound go further than others – a 'postcode lottery'. How will primary care take to this?
MS: "It is possible to argue that a postcode lottery has benefits, in that services should be designed to meet different populations' needs. This has always been true of primary care in the past: services in Eastbourne and Worthing differ from Telford or Shrewsbury, because of local populations' differing levels of dependence and need.
"One strength of general practice over the years has been its ability to meet different circumstances – so this is one of my least concerns, though we do need performance management and accountability.
MS: "The reality of life for the past 60 years of the NHS is that general practice has rationed throughout. It rations at every patient visit and resource allocation decision.
"Now we're scaling that to a population basis. The philosophy of prioritisation is something general practice already does, so I see no difficulties.
MS: "Every case is a special case, but we can't have every case reviewed as if it's exceptional. It's important for the NHS management board to set a framework for decision-making and a set of criteria. The government too must demonstrate trust in local clinically-led decision-making in the best interest of patients.
MS: "Not fully at present, but one thing we learned in the last few years, was that if you wait for perfection in financial information systems prior to decision-making, you've got a recipe for inaction. In many cases, local clinicians know what has to happen and can do the changes with imperfect systems.
MS: "It's a concern. A lot of managers are exiting the service now, and it's back to the partnership point.
MS: "Put it the other way, 72% of GPs agree or are passive. We need a relatively small number of GPs to drive this forward.
"Bluntly, politicians, the DH and new NHS management board have got to walk the talk.
"This is not about structural change: it's an attempt to introduce cultural change. In five years, if we've moved structures and bureaucracy but the NHS has not got a culture of clinically-led decision-making, this reform will fail.
MS: "It needs performance management, which is a form of regulation. It needs a regulatory frame work, and the plan seems to be that the independent management board will set that.
"There will be independent elements of regulation, by the new economic regulator, which looks to be Monitor - and also by the CQC.
MS: "A sufficient numbers of GPs have shown that they're willing and able to act corporately and make those tough decisions. GP corporacy needs to increase, and it's possible to have passive agreement, with people dipping in and out on little topics that interest them.
"If you look at successful commissioning groups, like NEN in Northampton, or Principia, they are where GPs accept corporate responsibility to work together. Some at the end of the spectrum may not be wiling to play but I think that's a decreasing, small minority.
"GPs, managers and others should consider what is the alternative to clinically-driven commissioning? Top-down, centrally-managed change done by civil servants and senior managers has proven singularly unsuccessful to meet local needs and carry the resource committers (GPs).
"The other option would be to actually hand commissioning over to some elements of private sector – and I'm not anti-private sector, though that approach starts to spell the end of the NHS as we know it.
"So it's in everybody's interest make clinically -driven commissioning work through locality commissioning arrangements".


We will walk every Monday,Wednesday and Friday weather permitting from 12-1 in May!
Welcome to the Creek County Health Department. We work to prevent disease, promote health and protect our communities. Our staff is licensed and/or certified within their profession, thus ensuring the quality of care you receive to be safe and appropriate.
We invite you to use and become familiar with our web site. You will find available quick services and links to additional information. If you are unable to find the information that you need, or if you have a question, please contact us.
VISION To create a county of health.
MISSION To protect and promote health, to prevent disease and injury, and to cultivate conditions by which Creek County Residents can be healthy.
Please check out our WIC Clinic information by clicking on the link in the left column. To make an appointment for WIC service, contact the Creek County Health Department at (918)224-5531. For additional information visit http://www.ok.gov/health.
The Creek County Community Partnership, of which the Creek County Health Department is a member, is conducting a comprehensive community health assessment. It is doing this by using a strategic planning process called MAPP (Mobilizing to Action through Planning and Partnerships). MAPP has four separate health assessment tools that collects data from different aspects of the public health community.
The final assessment to be conducted is a Local Public Health System Assessment. This assessment is designed to be used by the local public health system to assess its effectiveness in responding to the public health needs of the community. Results of this assessment will be made available to the public on this website as well as by other means.
Public comments are welcome. You may contact us at the numbers below. You may also make comments or volunteer to join a workgroup by following this link.
The Creek County Health Department offers a variety of public health services to protect and promote health to our residents. Click on any of the links to the left to learn more about the services offered.


text:
Pair charged for falsely reporting child abduction
PUBLISHED: November 11, 2018 at 11:15 a.m. | UPDATED: July 22, 2021 at 10:47 a.m.
WILTON, N.Y. – Two Moreau residents have been charged for their role in allegedly reporting a child abduction, which didn't occur.
Jennifer A. Gray, 26, of 5 Dover Pl., and Cassidy A. Gary, 19, of 3 Chelsea Pl., were both charged with making a punishable false written statement.
Gray was also charged with third-degree falsely reporting an incident.
At about 2:53 last Saturday, Saratoga County Sheriff's Office was notified of an alleged child abduction that had occurred about an hour earlier at the Walmart store, at 16 Old Gick Rd. in Wilton.
Officials said that a thorough investigation revealed that the incident never occurred.
Gray and Gary were processed at the Sheriff's Office station in Wilton and released with appearance tickets.
They are scheduled to appear in Wilton court at a later date.


Bothin Foundation | The Bothin Foundation makes capital grants to social service, arts, and environmental nonprofit organizations providing direct services to disadvantaged children, youth, families, and the disabled; the foundation also supports schools exclusively serving children with learning differences.
Applications are accepted three times a year during a specific submission window, which occur approximately three months before the board meetings. Please check back often as dates may change due to unforeseen circumstances. Applications are due by 5:00 pm on the final day of the submission period.
The Bothin Foundation makes capital grants (no general support or program grants) to social service, academic enrichment, youth development, arts, and environmental nonprofit organizations providing direct services to disadvantaged children, youth, families, and to people with disabilities; the foundation also supports schools exclusively serving children with learning differences.
Grants are only made to organizations serving residents of San Francisco, Marin, Sonoma, and San Mateo Counties.


text:
How To Sing
How this woman's indigenous sign language is helping her connect with her culture | Start Classified
October 9, 2022 by Amine
The word "deaf" isn't just an adjective for Paula MacDonald — it's part of her identity.
Growing up, she attended the Sir James Whitney School for the Deaf in Belleville, Ontario, where she learned American Sign Language (ASL) as her primary means of communication.
That's where "I got really culturally deaf," MacDonald told CBC through an ASL interpreter, explaining the sense of belonging she felt in the deaf community.
It wasn't until she attended a university for the deaf in Rochester, NY that she wanted to learn more about her other culture.
CLOCK | What I would like people to know about indigenous sign languages:
Why Learning Indigenous Sign Languages Is Helping Paula MacDonald Reclaim Her Heritage
MacDonald, half Cree and deaf, explains what learning Plains Sign Language means to her and why she wants to spread it.
Born in Saskatchewan, MacDonald is half Cree from Contract 4 on her mother's side. She was adopted by a white couple in Ottawa when she was young.
Her parents have always supported her in connecting to her roots, she said, but she has been on her own to learn more about Deaf and Aboriginal culture.
"I'd gone to a couple of powwows, you know, to learn about the culture," she recalls.
She said it was difficult because she needed sign language interpreters to understand what was going on.
Exploring overlapping identities
Upon joining the National Technical Institute for the Deaf (NTID), MacDonald noticed a cultural diversity within the deaf community that she had not seen before.
Meeting people from other countries engaging in conversations with ASL in their country's sign languages made MacDonald curious about her own cultural background.
Through a little research, MacDonald found Marsha Ireland, a deaf elder from the Oneida Nation of the Thames near London, Ontario, who developed her own sign language to better connect with Oneida culture.
MacDonald invited Ireland to make a presentation at her college. There she not only learned about the Oneida Sign Language, which Ireland created for deaf members of her community, but also other existing sign languages historically used by Indigenous groups.
This intrigued MacDonald.
"It really got the ball rolling for me when I realized that I can't just say, 'Hey, I'm an aboriginal person,' and that's it," said MacDonald. "I have to put in the work. I actually need to connect to my culture. So [Marsha Ireland] really lit the fire in me."
'[More people] to learn [Indigenous Sign Language] just because they enjoy it or because they want to learn it. But it's not as easy to connect to and learn the spoken Indigenous language," says Paula MacDonald, because there aren't that many speakers and resources. (Francis Ferland/CBC)
Connect with their culture
MacDonald is now an Indigenous Studies student at Carleton University, and for the past three years she has been self-taught in Plains Sign Language through online resources and dictionaries.
Plains Sign Language has traditionally been used by people belonging to various groups, including the Cree, Blackfoot, and Dakota. It stretched from the northern Saskatchewan River to northern Alberta, through Saskatchewan to Manitoba, and all the way down to the Rio Grande in Mexico.
It's still sometimes used today in western Canada and American states like Montana, but MacDonald said finding resources to learn the language has been difficult.
"The languages spoken are considered to be more sacred languages, so they're a bit more protected," she explained.
When it comes to sign language, MacDonald said, "There's a little less record [involved] and a little less storytelling to pass it on."
According to MacDonald, Indigenous sign languages are more gestural than ASL, as illustrated by the illustrations in her book Indian Sign Language. (Francis Ferland/CBC)
While there are 70 indigenous languages spoken in Canada, only three indigenous sign languages are used, according to Darin Flynn, a professor of linguistics at the University of Calgary.
These include Inuit Sign Language, Plateau Sign Language (used on the west coast by nations like the Salish), and Plains Sign Language, which is the best known of the three today – with 100 fluent sign languages in the United States and Canada.
Flynn said that Plains Sign Language was originally not only used by the deaf, but rather as a "lingua franca" for people from different nations to communicate with one another.
With the arrival of Europeans, sign language became even more important. Then, much like English and French replaced many spoken indigenous languages, Flynn said the development of ASL shortly after Europeans arrived meant it began to replace traditional indigenous sign languages.
"People find it hard to put it that way, but it's kind of a colonial language. It's the one who takes power," he said. "[Deaf] People were put into schools and taught sign languages that weren't exactly indigenous."
The parallels between Indigenous education and deaf education are not lost on MacDonald.
"[In both residential schools and schools for the deaf] … our natural languages have been banned [and] were taken from us. We weren't allowed to use them," she said.
Lanny Real Bird teaches Plains Sign Language at the 2019 Poundmaker Language Camp in Saskatchewan. (Ntawnis Piapot/CBC)
For MacDonald, learning Plains Sign Language not only connects it to one's identity, but also helps raise awareness of the loss of Indigenous sign languages in general. She also hopes that this awareness will help revitalize the languages.
For now, MacDonald said she will continue her self-education and plans to attend a Plains Sign Language camp in Saskatchewan in the future.
"I really hope so [the language] will grow. And I think as it grows, it will help me feel even more connected to my community," she said.
COVID has put the spotlight on the communication challenges faced by deaf and hard of hearing people – particularly because of the effect of masks. CBC Ottawa reached out to members of this community to ask about their pandemic experiences and what we want people to know about their lives.
Click here to meet two deaf teenagers coping with the pandemic and a lip-reading teacher.
If you want to tell a story about deafness, Send us an E-mail.
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I played a hideous amount of Rainbow Six Siege during the holidays. Now back at work, I'm sitting at my desk looking over the Sydney business district, wondering what surfaces on the opposite building can be breach charged. Or else I'm wondering how I could get a drone inside. There's a dearth of conveniently sized trapdoors in the real world. I've noticed that, recently.
Then this video popped up: YouTubers Blacksheep Pictures have gone and made a whole round of Rainbow Six Siege with Lego. Better still, I can write about it, thus spending at least twenty minutes thinking about Rainbow Six Siege without feeling guilty.
Following the game's most recent patch last week, the first proper DLC will hit in early February, with a new map and new operators promised.


The Talla Padmavathi college of Engineering was established in the year 2008 for providing technical manpower initially in the fields of Electronics & Communication Engineering, Computer Sciences Engineering, Electrical Engineering, Mechanical Engineering and Business Administration. It is a self financing institution which owes its foundation to the bold and inspired vision of the management. Since its inception ,the college has made rapid strides towards progress and development. It caters to the needs of the students not only by providing qualified and highly experienced staff but more significantly by updating the facilities in the campus. The college offers a conductive environment for research utilizing which the members of faculty have been pursuing active research producing large number of research publications and improving their qualifications.


text:
What's Paralympics
i enjoy!
National Training Center = The Key to Para-Athlete Growth?!: Behind-the-Scenes at the New NTC East
Indoor Training Center (East), a new facility built for the Tokyo Olympic and Paralympic Games, was established in the summer of 2019 as an expansion of the AJINOMOTO National Training Center (NTC).
The facility is unique in that it will be used for both the Olympics and the Paralympics, with priority use limited to para-athletes working towards the Paralympics. Now, approximately six months after it opened, NTC East has become a haven for para-athletes who, despite training to win medals in the Paralympics, were having difficulty securing training grounds and training efficiently.
Athletes from various sports come in and out of the front lobby, with its open, expansive feel
Universal Design, But Still Room for Improvement
There's braille on the handrails inside the building, and there are no steps leading into any of the rooms. The facility as a whole was based on the concept of universal design, with the understanding that para-athletes would comprise the majority of its user base. The existing building, NTC West, had also contributed to an increase in competitive ability for all of the athletes, with Olympic and Paralympic athletes motivating and inspiring one another since Japan's top para-athletes were approved to use the facility. Still, however, the building had not been designed specifically for para-athletes, and there'd been athletes who found it difficult to use.
The entrance to the fencing grounds has a wheelchair fencing pictogram alongside the fencing one, expressing the "oneness" between the Olympics and the Paralympics
"There's a building for accommodations, which makes training camps here extremely efficient for wheelchair athletes. We're very grateful," said Head Coach Shinpei Oikawa of the men's Japan national wheelchair basketball team, who used NTC East for their training camp just before the World Challenge Cup in August. Indeed, the facility has been received positively by many of its users.
Which isn't to say that there's no criticism. "The rooms for accommodation are too small, and are hard to use for two wheelchair athletes with heavy impairments, even with two beds," and "The system has to be more flexible with their handling of para-athletes with different impairments and different levels of impairment," are some of the complaints that parasport staff have raised with regards to the facility.
The four shared courts have designated spectator areas outside of the athletes' range of movement
The fencing grounds features a total of 30 pistes, with a wheelchair fencing pistes always available
Training, Accommodation, and Meals, All in One Place
NTC East, comprised of six above-ground floors and one basement floor, has a total of five designated sports grounds (swimming, table tennis, archery, fencing, and shooting), as well as four shared courts, designed primarily for ball games (wheelchair basketball, sitting volleyball, boccia, goalball, powerlifting, wheelchair rugby, etc.). The facility is also equipped with a restaurant, a trainer room, and a recovery area. The accommodations facility has a total of 82 rooms (maximum capacity of 143 people), making it possible for athletes to train, eat, sleep, and recover very efficiently, all in the same building.
The pool has 10 lanes, and even has equipment that allows athletes to capture their underwater movements on video
Construction for NTC East was completed at the end of June 2019, with various facilities made available to athletes starting the next month. Uchu Tomita, a blind swimmer and a medal contender for the Tokyo Paralympics, moved his training base from the pool at his university to NTC East. With how difficult it is for blind swimmers to swim in a straight line, Tomita had run the risk of colliding into other swimmers while training at his university pool, and it had been difficult, in general, for him to train in the kind of environment he'd encounter in actual tournaments.
It seems like a no-brainer—the more training environments are made available to these high-level athletes, the more likely we are to win more medals at the Paralympics.
In one corner of the lobby, there are posts engraved with the names of past Olympic and Paralympic medalists
Not Just a Training Hub: Athletic Conditioning
There are scales for wheelchair athletes placed in various areas of the building, and the facility as a whole offers an incredible level of support with regards to nutrition and conditioning.
The exhibit corner, which introduces the history of parasports and works to drive understanding and popularization of the sports themselves; it even has a photo spot
Something that's been rated particularly highly amongst the athletes is the food. The meals provided in the facility come with information as to their nutritional data, calories, etc., and apparently taste good too. Using a nutritional evaluation system called "mellon II," all athletes need to do is to take a photo of their meal with a tablet, and they'll get all their nutritional data shown in a graph. Indeed, we've heard that many athletes have undergone significant changes in their eating habits since they started training at NTC East.
Japanese boccia athletes, whose goal is to win a medal in every event at the Tokyo Paralympics, also hold their training camps at NTC East. "It's so innovative, this system of quantifying the physical condition of these boccia players. We're very excited, considering the top athletes competing now will most likely serve as role models for future players," said Coach Mitsuteru Murakami of the Japan national team, with a smile.
The showers are also equipped with chairs, wheelchairs, etc.
A warm bath and a cold bath are placed next to each other (contrast bath) for athletes to use for recovery purposes
A Training Hub for the Post-2020 Era?
Other indoor parasport training hubs include the para badminton gym Hulic Nishikasai Gymnasium (Edogawa City, Tokyo) and the Nippon Foundation Para Arena (Minato City, Tokyo), which opened in June 2018.
In Japan, there's been a persistent shortage of parasport facilities that are available on an everyday basis. As such, the establishment of training hubs has become a major point of concern for various athletes and parasport organizations, as they look to their training and the popularization of their sports following the Tokyo Paralympics.
The lines used for boccia are a permanent fixture on the court, which is made of the same Taraflex® material as in the Paralympics
"A court with the same Taraflex ground as the Paralympics, the video equipment, the nutritional support… We're incredibly blessed to have this kind of training environment. With NTC East, we can cram what before would've been five days' worth of training into just three days of training camp. If we get less access to training facilities after the Tokyo Paralympics, we'll probably have to train at more efficient facilities like NTC East," said Coach Murakami of boccia.
As a new parasport training hub, NTC East is sure to drive competitive ability amongst para-athletes. But will it also help change the environment surrounding parasports? Time will tell.
The facility also offers training equipment for wheelchair athletes
The elevators, which have a capacity of 30 people, are designed to be comfortable even for those on sports wheelchairs, which are wider than regular wheelchairs
text by Asuka Senaga
photo by Haruo Wanibe


A select few have been allowed a glimpse at what might lie ahead for the future of television.
A trial of super hi vision, a technology that provides a picture 16 times as sharp as HDTV, has been held as part of the 2012 London Olympics.
The technology, which has been developed by the Japanese broadcaster NHK, was used to beam pictures of Olympic swimmers to a cinema-sized screen at the BBC's Broadcasting House in London, as well as other venues in Glasgow, Bradford, Tokyo, Fukushima and Washington DC.
According to a report by the BBC, the event was used to demonstrate the next-generation technology that some believe could start to appear in homes by 2016.
According to Tim Plyming, who is leading the BBC's Olympic trials of super hi vision, the picture provided by the technology is so clear, viewers feel like they are looking through a glass wall.
One member of the public described the experience as "amazing".
"You really do feel like you're in the stadium, in the atmosphere," they added.


Staying up late as written by Bryna Zumer, is a story of what really happens when children go to bed, and the parents go out to play. Only this time, the children find out. This book was one of the finalists in the Key Colors illustrated book competition, and took part of the exhibition at the museum of Hasselt in Belgium.


I've worked on various projects for the National Trust over the years, in partnership with Lynn Blackadder, a consultant in organisational development for the arts and heritage sectors.
The most recent piece of work involved writing a substantial report on the 'Encounters' project which ran at a selection of National Trust places across the Midlands.
Inspired by research at National Trust properties and at other arts, heritage and visitor attractions, individual project teams developed a range of spontaneous, flexible new activities, involving costumed interpretation, storytelling, object handling and demonstrations.
Our report analysed the (mainly qualitative) research into the initiative, and outlined its effect on volunteers, visitors and the properties.
For another project, Lynn and I researched storytelling training providers for front line staff at National Trust properties. First we identified potentially fruitful areas of research and drew up a list of theatre companies, consultancies and storytellers that offer training in storytelling and listening skills. In parallel, I contacted attractions that score highly for visitor experience ratings, and asked for their recommendations. The result is an in-depth report that properties across the National Trust can use for reference.


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Q: How to run some code as soon as Eclipse has started? I'm developing an Eclipse plugin that needs to figure out the amount of time that it took for Eclipse to start.
I can get the amount of time since JVM startup in my plugin by using org.eclipse.ui.startup extension point and recording the time by using ManagementFactory.getRuntimeMXBean().getUptime() or eclipse.startTime system property.
However, during startup, Eclipse might ask the user for workspace location and this will be counted in the JVM startup time. As my plugin is trying to measure the non-user-interaction time, this makes the above approach rather useless (unless user has selected a default workspace location but there is no guarantee that this is the case).
Ideally, I would like to know the moment in time when user dismissed the "choose workspace" dialog (or, if user was using default workspace then equivalent moment). Or some other moment as close to that as possible.
I've done a bit of research and there does not seem to be any official extension point for such a thing.
I have a feeling that something like that might be possible with a custom OSGi bundle running at early enough start-level (2). However, I'm not sure if it will actually work:

*

*maybe workspace selection dialog is shown from some Eclipse core plugin, started at start-level 4 like the rest of the plugins?

*even if I manage to write such a bundle, do I need to modify Eclipse config.ini to list it there? Or how do I guarantee that it will be started at certain start-level (if it is not a real Eclipse plug-in but a custom bundle)? This article mentions p2.inf but my experiments with it have not been successful yet.

As I do not have much experience with OSGi and Eclipse plugin development, maybe I have missed something rather obvious and the solution is much simpler than what I envisioned?

UPDATE
After a bit more research, I found an early extension point: StartupMonitor service (usually used to customize the splash screen or provide some other sort of startup progress monitor, see here for more details). That could be a possible candidate for my needs, now I just need to figure out, how to make Eclipse aware of it (I suspect I need to add it in config.ini).
Another option I'm considering is to implement a JVM agent and instrument Eclipse IDEApplication class, adding some code snippets that I need. And then add that JVM agent in JVM arguments in eclipse.ini. Could actually be the easiest.

A: I took the JVM agent approach. Luckily P2 has ability to perform some extra actions via touchpoints -- I can use that to add the JVM agent option automatically at plugin install time and remove it when plugin is uninstalled.
Sample p2.inf file (goes inside META-INF):
instructions.install = \
  addJvmArg(jvmArg:-javaagent:${artifact.location}/agent/my-agent.jar);
instructions.install.import = \
  org.eclipse.equinox.p2.touchpoint.eclipse.addJvmArg, \
  org.eclipse.equinox.p2.touchpoint.eclipse.removeJvmArg
instructions.uninstall = \
  removeJvmArg(jvmArg:-javaagent:${artifact.location}/agent/my-agent.jar);
instructions.uninstall.import = \
  org.eclipse.equinox.p2.touchpoint.eclipse.addJvmArg, \
  org.eclipse.equinox.p2.touchpoint.eclipse.removeJvmArg

(above sample assumes that you have bundled your JVM agent inside the plugin, in agent subdirectory).


This map lists all the pinball machines in the Baltimore region. The data is kept up to date by YOU!
Help spread the word about the Baltimore Pinball Map by distributing this flier!
Our beloved admins and your source for pinball tournaments in the wild! Serving the Baltimore and Washington DC metro areas.


Vernon Regional Adult Based Education's newest site opened November 21, 2005. This successful initiative is the result of the collaboration between Vernon Regional Adult Based Education, Eastern Connecticut State University, NextSTEP and KIDSAFE CT.
The Rockville site offers daytime GED and ESL classes as well as Continuing Education Classes.