text:
Robert G. "Bob" Beckel (* 15. November 1948 in New York City; † 20. Februar 2022 in Silver Spring, Maryland) war ein US-amerikanischer politischer Kommentator, Funktionär und Fernsehmoderator. Er wurde vor allem bekannt als Wahlkampfmanager des demokratischen Kandidaten Walter Mondale bei der Präsidentschaftswahl 1984.

Leben und Tätigkeit
Nach dem Schulbesuch wurde Beckel am Wagner College ausgebildet, das er 1970 mit einem Bachelor-Abschluss verließ. Anschließend gehörte er von 1971 bis 1972 dem Friedenscorps an, für das er auf den Philippinen arbeitete. Von 1972 bis 1975 arbeitete er als politischer Berater (political consultant). Anschließend war er von 1975 bis 1977 Direktor des Büros des National Committee for an Effective Congress in Washington, D.C.

In der Regierung von Jimmy Carter war Beckel von 1977 bis 1978 Deputy Assistant Secretary for Congressional Relations im State Department und dann von 1978 bis 1980 Special Assistant to the President for Congressional Liaison for the House, d. h. Sachbearbeiter des Präsidenten für die Pflege der Beziehungen des Weißen Hauses zum Repräsentantenhaus.

Nach der Niederlage der Carter-Regierung bei den Präsidentschaftswahlen von 1980 gründete Beckel die Firma Bob Beckel and Associates, die er von 1980 bis 1982 führte.

In den Jahren 1983 und 1984 war Beckel Manager des Wahlkampfteams des ehemaligen Vizepräsidenten Walter Mondale bei seiner Bewerbung um die Präsidentschaftsnominierung der Demokraten. Nachdem Mondale sich bei den parteiinternen Vorwahlen gegen seine Mitbewerber – insbesondere Gary Hart und Jesse Jackson – durchsetzen konnte und zum offiziellen Präsidentschaftskandidaten gekürt wurde, wurde Beckel Manager der letztlich erfolglosen demokratischen Präsidentschaftskampagne. Mondale verlor deutlich gegen den republikanischen Amtsinhaber Ronald Reagan.

Von 1985 bis 1989 war Beckel Partner der politischen Beratungsfirma National Strategies and Marketing Group. Ab 1990 war er Analyst und Kommentator für die von CBS ausgestrahlte Informationssendung CBS This Morning. Von 1990 bis 1992 war Beckel Moderator der Sendung Off the Record für Fox Television.

Ab 2002 arbeitete Beckel hauptberuflich für den zum Medienimperium von Rupert Murdoch gehörenden Kabelnachrichtensender Fox News als politischer Kommentator und Analyst. In den ersten Jahren seiner Tätigkeit für Fox war er regelmäßig in der politischen Analysesendung The Political Grapevine zu sehen sowie in der opinion-Show des Radiotalkers Sean Hannity als Teilnehmer sogenannter Panel-Diskussionen (kleinen Diskussionsrunden, in denen gegenläufige Ansichten nach dem Prinzip point-counterpoint gegenübergestellt werden). Ab 2011 war er hauptsächlich als einer der Stammmoderatoren der aus fünf rotierenden Teilnehmern bestehenden Diskussionssendung The Five eingesetzt. Das Konzept dieser Sendung besteht darin, dass eine aus fünf Personen bestehende Diskussionsrunde tagesaktuelle Fragen erörtert und diskutiert. Beckel war dabei im Wechsel mit Juan Williams in der Regel der einzige Exponent "linker" Ansichten.

Von 2005 bis 2015 war Beckel als Kolumnist für USA Today tätig.

Sein Bruder ist der Schauspieler Graham Beckel. Beckel war (bekennender) ehemaliger Alkoholiker.

Kritik der Tätigkeit für Fox News

Während der Sender Fox und das Gros seiner Moderatoren und Kommentatoren durch eine stark konservative Tendenz im Sinne der Republikanischen Partei gekennzeichnet sind, verkörperte Beckel in den Sendungen, in denen er auftrat, in der Regel den linken bzw. liberalen Widerpart. Zahlreiche Kritiker haben dabei wiederholt bemängelt, dass von Beckel vor allem die Rolle eines bestellten Prügelknaben gespielt wurde, dem die Aufgabe zufalle, jede Diskussion mit seinen rechten Kontrahenten zu verlieren, um so die Ansichten und Argumente der Linken/Liberalen/Demokraten für die Zuschauer unüberzeugend und ineffektiv wirken zu lassen, sodass diese zugunsten der rechten/konservativen/republikanischen Ansichten und Lösungsvorschläge zu dem gerade erörterten Problem beeinflusst würden.

Dies werde etwa durch den Umstand befördert, dass Beckel in der Regel gleich mehreren rechten Diskutanten mit nahezu identischen Auffassungen gegenübergestellt werde, sodass er bei den Diskussionen zahlenmäßig in der Minderheit sei, was den linken Ansichten bei annähernd gleichem Redeanteil aller Teilnehmer weniger Gehör als den rechten Positionen verschafft, und die von ihm vertretenen Ansichten als exzentrische Außenseitermeinung erscheinen lasse.

Des Weiteren wurde auch häufig Beckels äußeres Erscheinungsbild angeführt: Während die republikanischen Positionen in den Diskussionsrunden zumeist von "hemdsärmelig"-kumpelhaft-jugendlich wirkenden Männern, wie Eric Bolling oder Sean Hannity, oder von gutaussehenden und souverän wirkenden jüngeren Frauen wie Andrea Tanteros oder Dana Perino vertreten werden, werde ihnen Beckel als ein deutlich älterer und stark übergewichtiger Mann gegenübergestellt, der auch sonst stark angeschlagen wirke und auffällig "schwitzig" in Szene gesetzt werde.

In der Summe solle durch diese optische Rollenverteilung, nach der Lesart der Kritiker von Fox News, im Unterbewusstsein der Zuschauer eine feste assoziative Verquickung hergestellt werden: Während die republikanischen Standpunkte mit vital, souverän und attraktiv wirkenden Personen in Verbindung gebracht werden, werden die demokratischen mit "kaputt", müde und etwas schmuddelig wirkenden Personen identifiziert. Am deutlichsten komme dieser Beeinflussungsmechanismus bei der Sendung The Five zum Tragen, in der der behäbig-erschöpft wirkende Beckel als einziger Linker gleich vier schneidig-forsch-attraktiven Rechten gegenübergestellt sei.

Kontroverse Äußerungen
Beckel erregte nationales Aufsehen durch Äußerungen zu diversen politischen Themen
Im Dezember 2010 sagte er über Julian Assange in Eric Bollings Sendung Cashin' In (auf dem Fox Business Network): "Der Kerl ist ein Verräter, er ist verräterisch und er hat jedes Gesetz der USA gebrochen. Ich bin gegen die Todesstrafe, also gibt es nur einen Weg es zu tun: man muss den Hurensohn illegal erschießen ("This guy's a traitor, he's treasonous, and he has broken every law of the United States. And I'm not for the death penalty, so [...] there's only one way to do it: illegally shoot the son of a bitch.")

Am 16. April 2012 erschien Beckel auf Sean Hannitys Sendung Hannity mit Jennifer Stefano und Neal Boortz. Nachdem Stefano bemerkt hatte, dass das Head Start Program, das armen Kindern helfen will, nicht funktioniere, antwortete Beckel: "Du hast verfickt nochmal keine Ahnung, wovon du sprichst" ("You don't know what the fuck you're talking about!"). Beckel entschuldigte sich für seine Wortwahl später.

Im April 2013, als Reaktion auf den Anschlag auf den Boston-Marathon, schlug er vor, keine Studenten aus islamischen Ländern mehr ins Land zu lassen. Später entschuldigte er sich dafür.

Im August 2012 äußerte er sich despektierlich über Juden in Israel, die für Mitt Romneys Wahlkampf Gelder gesammelt hatten. Sie seien ein namenloser Haufen von Diamantenhändlern "

Im November 2012 äußerte sich Beckel live auf Fox News zum Thema Nudisten: "Wahrscheinlich wurden die als Kinder von einer Gang gebumst (Gang-Bang), ich weiß es nicht!" ("probably gang-banged, I don't know!")

Im Februar 2013 behauptete Beckel, dass es in Wahrheit keine Vergewaltigungen auf Universitätsgeländen gebe.

Literatur
 Harold Relyea: The Executive Office of the President. A Historical, Biographical, and Bibliographical Guide, 1997, S. 470.

Einzelnachweise

Journalist (Vereinigte Staaten)
Politischer Berater
Person (Fox News Channel)
Person (USA Today)
Person im Außenministerium der Vereinigten Staaten
US-Amerikaner
Geboren 1948
Gestorben 2022
Mann


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Back Pogba to Stay at Manchester United at 1/3 with Betfair.
After silencing his critics and winning the World Cup, Paul Pogba will not rest on his laurels and sit back now. Instead, he is going to be motivated more than ever to take the next season of his career by storm.
The French midfielder might have had a tumultuous time last season in Manchester under José Mourinho - in which relationships were strained - but Pogba knows better to let go of a grudge and put bad energy to one side.
It might not have been a perfect season last time out, but the World Cup-winning midfielder is coming back to Manchester United as a leader. No longer is he just a world-class player, but he is also an excellent spokesperson.
Video clips leaked by France's governing body showed Pogba handling the pre-match and half-time team talks to his fellow compatriots. If anything was made clear from the behind the scenes footage, it was that the former Juventus player is a natural born leader. His speeches were elucidating and persuasive; he showed that he will not shy away when the going gets tough - especially in the biggest game of his career.
After Michael Carrick announced his retirement at the end of last season, there is a current vacancy in the captaincy at Manchester United. While Antonio Valencia appears to be the frontrunner for the position, Pogba, even if he does not get it, can still provide great value on the pitch and lead by example. It is a given that the Frenchman is going to be a vocal leader in that dressing room from now onwards - there is no hiding now.
Due to a poor few games in the middle of last season, Mourinho decided to drop Pogba in perhaps the most crucial game of their campaign: the Champions League knockout match against Sevilla. Instead of choosing the dynamic Frenchman, the Portuguese boss chose Scott McTominay - a trustworthy, industrious player to make his debut in Europe. It was a risky move that, in the end, did not pay off.
It was understood that Pogba was considering his future in mid-February, especially after being asked to carry out more defensive work against lesser teams such as Brighton & Hove Albion. Of course, Pogba is capable of fulfilling such duties in the team, but his prowess comes further up the pitch, and that is where he thinks he can make the most difference for his club.
Plenty of speculation has arisen over the last few months, with clubs such as Real Madrid, Paris Saint-Germain, Barcelona and even his old team, Juventus, being rumoured to have an interest in taking him. The current favourites, Massimiliano Allegri's Juve, are 4/1 to sign him before the end of this window with Paddy Power.
As seen for France throughout the length of the World Cup, Pogba can bring a sense of professionalism and creativity to Manchester United. He should have been licensed to roam into those attacking areas last season, but Mourinho's defensive philosophy has, so far, prohibited him from doing so.
Perhaps the most impressive attribute of Pogba's is his ability to get his team on the front foot with one simple pass. While it is simple for the Frenchman, only a handful of players (if that) can pull off some of the things Pogba does, especially with heavy pressure constantly on him. The Red Devils need his composure and influence to move forward and up the pitch quickly - the transition from defence into attack in one swoop.
Mourinho needs to play it smart from next season onwards. Fans were beginning to turn their heads last year when the philosophy became to 'not lose'. Manchester United supporters will not watch their team adopt negative tactics and misuse players.
In a sense, Pogba is a once-in-a-generational talent with how he approaches the game from midfield. He might not be the quickest, strongest or most naturally gifted in the world, but his devotion, professionalism and leadership qualities show why he is one of the most recognisable players on the planet.
The player himself will not accept another season where he is playing in a much deeper position against lesser opposition. Pogba will happily go along with the manager's tactics in important, toe-to-toe fixtures, but against teams the club should be beating, the Frenchman should be allowed to pose a threat in front of goal.
Case in point was when the Red Devils found themselves 2-0 down at the Etihad to their rivals, and it was Pogba who stepped up to the plate and found a source of inspiration to complete a 3-2 comeback. That is the damage that Pogba can provide in the final third of the pitch for his team.
The World Cup winner is 1/3 to stay at his current club this summer with Betfair, but he will not stick around forever if Mourinho is not getting the best out of him this season.


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Q: Memory regions of Java program? I haven't deep dive into how Java treats memory when a program is running as I have been in working at application level. I recently had one instance in which I needed to know owing to performance issues of application.
I have been aware of "stack" , "heap" regions of memory and I thought this is the model of a Java program. However, it turns out that it is much more, and beyond that.
For example, I came across terms like: Eden, s0, s1, Old memory and so on. I was never aware of these terminologies prior.
As Java is / have been changing and so may be these terminologies are/aren't relevant as of Java 8.
Can anyone guide where to get this information and under what circumstance we need to know them? Are these part of main memory that is RAM.

A: Eden, s0, s1, Old memory and other memory areas exist only in the context of the specific garbage collector implementation e.g. generational collectors like G1 will divide the heap into mentioned areas however non-generational collectors like ZGC will not.
Start by reviewing the main garbage collectors in the JVM:

*

*ParNew

*CMS

*G1

*ZGC / Shenandoah / Azul C4

and then try to understand related concepts:

*

*Thread-local allocation buffers (TLAB)

*Escape analysis

*String constant pools, string interning, string de-duplication

*Permanent generation vs Metaspace

*Object layout e.g. why boolean is not taking 1 bit (word tearing)

*Native memory e.g. JNI or off-heap memory access

I don't believe that there is a single website that will explain the full JVM memory management approach.

A: Java, as defined by the Java Language Specification and the Java Virtual Machine Specification talks about the stack and the heap (as well as the method area).
Those are the things that are needed to describe, conceptually, what makes a Java Virtual Machine.
If you wanted to implement a JVM you'd need to implement those in some way. They are just as valid in Java 13 as they were back in Java 1. Nothing has fundamentally changed about how those work.
The other terms you mentioned (as well as "old gen", "new gen", ...) are memory areas used in the implementation of specific garbage collection mechanisms, specifically those of implemented in the Oracle JDK / OpenJDK.
All of those areas are basically specific parts of the heap. The exact way the heap is split into those areas is up to the garbage collector to decide and knowing about them shouldn't be necessary unless you want to tweak your garbage collector.
Since garbage collectors change between releases and new garbage collector approaches are implemented regularly (as this is one of the primary ways to speed up JVMs), the concrete terms used here will change over the years.

redpajama_set_name: RedPajamaStackExchange


Unshoveled sidewalk in 2014. Image by Daniel Lobo licensed under Creative Commons.
In many places including DC and Arlington, it's the law that property owners have to shovel sidewalks after a snow. Wednesday night and Thursday morning brought a small snowfall to our region. If you have a sidewalk, shovel it! Will our government and commercial buildings do their part?
In DC, sidewalks have to be clear by eight daylight hours after a snow ends. Residential can face a $25 fine, and it's $150 for commercial properties (which under DC law include any residential building with four units or more, as well as stores and offices and such). People over 65 or with disabilities can get an exemption.
Arlington can levy fines of $50-100 for not shoveling by 24 hours after the snowfall ends (36 for heavier snowfalls, but this one sure isn't).
It's important to clear the sidewalks during the day Thursday, because snow on un-cleared sidewalks will slightly melt under the weight of feet, then freeze during the bitterly cold overnight temperatures.
We regularly post a "sidewalk show shoveling hall of shame" to highlight local governments, federal agencies, large apartment buildings, commercial parking lots, and others like who don't shovel. This snowfall is heavy enough, and it's cold enough, that it definitely needs shoveling, but light enough that it really should not be a burden to take care of.
We don't need to shame individual homeowners who might have physical challenges, but there's no good excuse for government, apartment and commercial buildings, parking lots, the National Park Service around parks, and so forth to neglect sidewalks. That's true anywhere but especially in places a lot of people walk.
Send us pictures of egregious non-shoveling! Snow stopped by 8 or 9 am, so everything ought to be cleared by Friday morning. Take a picture (horizontally, please!) and send it to snow@ggwash.org. If we get enough, I'll do a "Sidewalk Snow Shoveling Hall of Shame" like these from past years.
What Metrorail station is between Wiehle-Reston East and Greensboro on the Silver Line? Feel free to ignore station subtitles.


I turned up very overwhelmed with trying to spend time with the kids, keep my blog going, plans to start a new Woodcraft Folk group in September, and a new HUGE mega secret project.
I've come away with facts and inspiring ideas that will help me manage it all.
Most of all I had lots of tea and cake and met 75% of the people I wanted to meet and some new ones, which was wonderful.
Most was perfect, a couple of things I didn't like.
Siblu – a HUGE thank you to my wonderful sponsors. Check my reviews of their holidays out, they are great value for money and perfect for families and their page explaining what they do for bloggers.
I also did a quick review of the kids trips to the Cutty Sark, boat trip, Aquarium and London Zoo and the kids appear unprompted a couple of times.
Let me know what you think about this new idea of mine to do more on video – I reckon I can get more posts out this way, as it's much quicker to talk through stuff than write it (I polish too much!).
Thank you @Amanda – I'm in quite a lot of pain I must admit, and most of my symptoms have flared, but it's not got to chronic scale, so not too bad and I'm really glad I went. Big hugs to you, so glad we met.
Bit sad that we didn't spend more time chatting. It flashed by in a whirl of folk. I agree with you on the video thing. Especially reviews I can do more quickly, and I think it's probably good value for the brand, given that they get a You Tube link as well as a blog post.
@Actuallymummy, yes it was a shame – but we can always catch up locally in good old Snorbens ;o) I'm so glad you won, and I loved your keynote – CONGRATULATIONS!!
Thank you @geekmummy and thank you for your sage advice when it wouldn't process!
Great review of Britmums and lovely to do it as a video!!!
Thank you lovely @Redtedart and thank you for the little snippet of information you gave me there as well – much appreciated.
I know – you were part of the 25% I didn't get to chat to @KatyHill – it'll just have to be on facebook instead!
It was so lovely to meet you! You are so lovely and warm and friendly. Really loved your v-blog – great and balanced round up. I couldn't listen to Paul Armstrong for more than ten minutes – he spoke so fast it gave me a headache! X.
Bless him, he was a bit hyper wasn't he @older_mum! Now we need to work out when we are going to meet up next!!!
@Paul thank you for that!!! So much information, it will be great to go through it again in more depth!
I think videos are a great idea, especially for the reviews. I didn't get to any of the video sessions though! Too much good stuff to choose from!
Thank you @Blissfulmama – yes there was loads of stuff wasn't there – bet you'll be able to attend those ones next year though, so it gives you something to look forward to!
This looks like a great event, makes me wish I'd been able to make it!
Thanks @Rachael, so glad you liked it – maybe see you next year?!


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Defamation, Autocomplete And Search Royalties: How Not To Govern the Internet
Glenn Manishin · May 6, 2013
competitioninformation-flow
With the controversy surrounding the International Telecommunications Union (a UN treaty organization) just recently subsiding, it is time to take a look at Internet governance from a different perspective. We all know that laws and legal principles differ among countries. What many do not realize is that these laws — most completely non-tech oriented — are having a massive and negative impact on Internet innovation.
In America we proudly have the First Amendment, the fair use doctrine and the DMCA. The first limits the reach of liability for libel (defamation) at least to cases, for non-celebrities, where a publisher is at fault (i.e., negligent). Section 230 of the last allows ISPs, websites and Internet hosts a legal safe harbor from copyright and other legal offenses resulting from user-generated content or any other content that a customer, client or some third-party has published. These landmark legal regimes are hallowed in the U.S., for instance used to strike down overreaching Web censorship efforts by federal government. Fair use, in turn, permits non-commercial or transformative use of a portion of copyrighted content. Think Google image search thumbnails or blockquotes from a news source in someone's blog or a movie clip in a televised review.
Things are very different elsewhere. Three cases in point.
In Germany and perhaps soon other EU nations, search engines that display snippets of indexed Web pages in response to user queries are now by statute responsible for paying copyright royalties to the original publisher, regardless of whether the content owner charges for its stories with a paywall.
In France, Italy, Ireland, Australia and now Japan, courts permit individuals to recover for libel based on autocomplete and search results that return incorrect or harmful personal information, but against the search provider, not the writer or content publisher.
A Denmark court ruled deep linking illegal, as did Germany, leading some to believe that linking to a website other than the front page was illegal throughout Europe. While the German courts overturned that decision, it was Agence France Presse (AFP) which eventually sued Google News for brazenly daring to send search traffic to the organization's news articles.
These results are foreign, literally, to U.S. jurisprudence. But they also illustrate a vitally important point. Legal regimes that have nothing to do with the Web are being applied in ways which upset existing services users take for granted and that threaten to impede future innovation. Linking is inherent in HTML and represents the essence of the Web. No one in America would argue seriously today that a hypertext URL link represents copyright violation. Search "autocomplete," in turn, is not a creative activity, but a very useful technical advancement; it applies computer algorithms based on past searches to predict what the current user wants to see, speeding the retreival of information from the Web.
Permitting autocomplete defamation suits against Google or Bing because other Web users have searched for information that damages an individual's reputation is alien to our American way of thinking. It's censoring completely accurate factual information about stuff on the Web, although that stuff may itself be factually wrong. The augmentation of liability is also just plain silly, because both autocomplete queries and search results themselves merely return an indexed link to something someone else has posted on the Web.
By moving liability beyond the content publisher to search intermediaries like Google and Microsoft, these countries are playing with fire. It is one thing for U.S. tech companies to tailor their offerings a bit in order to comply with repressive foreign regimes; at least some information gets through to the citizens. It is quite another for these and other tech firms to change their business models or service offerings merely to avoid unjustified efforts to delve into their deep financial pockets as an easy remedy for folks pissed about some bad remarks about them appearing on the Web. And the copyright royalty movement for publishers is even more absurd. As EFF commented:
Newspapers across Europe in particular have sought to prevent third parties from linking to or displaying excerpts of their news content unless those sites provide proper notice to the news publisher and pay royalty fees for what the papers determine to be "commercial use." Rather than revel in the benefits of more traffic, these newspapers demand that search engines and third-party sites give them a cut of profits that come associated with the sale of advertisements.
By using copyright royalties as an unvarnished mechanism to protect brick-and-mortar newspaper publisher revenues, these European countries are unabashedly applying their non-tech laws to punish disruptive technologies, in a way that harms the openness of the Web, deprives their citizens of the full benefits of Internet content and represents blatant economic protectionism. In February, Google defused French President François Hollande's threat to pass a compensation law by agreeing to spend €60 million to support French publishers developing their online businesses, but France is now reconsidering such a law, in Germany's wake. Earlier, and remarkably, France fined Google some $660,000, this time on competition grounds, for providing Google Maps free of charge, thus challenging traditional atlas and gazette publishers. And in Belgium, the courts have ordered Google to remove its cache of all indexed content for Belgian publishers.
One Japanese court justified imposing defamation liability on search providers on the ground that "A situation has been created by which illegally submitted documents can be easily viewed," according to chief judge Hisaki Kobayashi as quoted in the Mainichi Shimbun newspaper. That's precisely the problem. The whole utility of the Internet lies in making information more easily available. If that content is wrong or damaging, the answer lies in going after those responsible for it, not search engines, ISPs or web hosting providers.
In the U.S., this is why Congress early on (1998) created a "notice-and-takedown" paradigm. (Attempts to evade the legal protections availlable in the U.S. by relying on older common law rationales like "false light" invasion of privacy have, to date, all been unsuccessful.) If YouTube gets a copyright notice and removes the offending content, it is immune from monetary liability. That's great for the Internet and innovation, but bad for Viacom — which has to police for infringing Cartoon Network clips — and for traditional newspapers, which must go after small bloggers and others who pirate their content. Our system does not allow the costs of content protection and compliance to be shifted from content publishers to Web hosts and search providers. Yet that's not the case in Europe at all. YouTube users in Germany regularly encounter a notice that the streaming service cannot show a requested music clip because of a continuing dispute with Gema, the German songwriters' rights society, over music royalties, and Google rightfully says the same thing will happen to German Google News users because it would be forced on cost grounds to stop posting news links and article snippets.
Kashmir Hill put it quite nicely in Forbes about the potential for disastrous consequences:
An American court would likely never come to the same conclusion, but the [French autocomplete defamation case] sets a bad precedent for Google in Europe. There are quite a few people and companies out there who may have suggestions for their names that could be considered defamatory. (Ahem. Max Mosley.) Who else is going to line up to sue Google over the crowd-sourced caprices of autocomplete? If the lawsuits pile up, will Google have to bid the feature au revoir?
If the rest of the world really wants to have a global system for Internet governance, as many urged before the ITU over the Obama Administration's objections, they had first better get on board by updating their legal systems to remove archaic rules like these that serve only to retard technological progress and Balkanize the World Wide Web. And just as Yahoo! opposed (and finally defeated) French efforts more than a decade ago to impose liability on it for hosting an auction site on which users posted ads for Nazi memorabilia — the sale of which is illegal in France — Google should be commended for leading the opposition to the latest use of copyright and damages liability as a means of censorship of the Web. The German society of start-up entrepreneurs, to its credit, thinks so as well.
New technologies are constantly emerging that promise to change our lives for the better. These disruptive technologies give us an increase in choice, make technologies more accessible, make things more affordable, and give consumers a voice. And the pace of innovation has only quickened in recent years, as the Internet has enabled a wave of new, inter-connected devices that have benefited consumers around the world, seemingly in all aspects of their lives. Preserving an innovation-friendly market is, therefore, tantamount not only to businesses but society at large.

redpajama_set_name: RedPajamaCommonCrawl


text:
Khaleda Zia evicted from home
DHAKA - Former Bangladesh prime minister and opposition leader Khaleda Zia was Saturday morning evicted from the government house which was given to her after her husband's assassination in 1981. The Hasina government has told the court the allotment was illegal.
Police and Rapid Action Battalion personnel entered Zia's house in the Dhaka Cantonment area and evicted her, Bangladesh Nationalist Party (BNP) standing committee member Lt Gen (retd) Mahbubur Rahman said.
"What would be done should be done in a graceful way, so that no bad precedence is created," Rahman, a former army chief, was quoted as saying by The Daily Star.
A caretaker of Zia's residence told online newspaper bdnews24.com that law enforcers entered the house and took positions in the yard and roof at around 8.30 a.m.
"Madam (Khaleda Zia) has woken up. She is in her room," he said.
Meanwhile, another caretaker told bdnews24.com that the forces started taking positions in front of the premises at around 6.30 a.m. Saturday.
The government's move came after months of political and legal wrangle over the house that was given to Zia in June 1981, after the assassination of her husband, then president Ziaur Rahman.
That was in recognition of the services that her husband, a former freedom fighter and military ruler who subsequently got elected to the post of the president, had rendered to the country.
The Hasina government told the Dhaka High Court that the allotment of the house was illegal and it should be vacated.
Hasina said she wants to use the house to resettle families of army officers who were killed in a mutiny staged in February 2009 by troopers of Bangladesh Rifles (BDR), the country's border guards.
A high court bench last month rejected Zia's appeal against the eviction order and set Nov 12 as the deadline by which she should vacate the house.
Zia has moved the Supreme Court, which has kept the hearing pending till Nov 29.
Political observers, meanwhile, said the government's move would sharpen the conflict between Zia and her arch political rival, Prime Minister Sheikh Hasina.
"It would not be right to oust the former prime minister forcibly since her appeal is pending for hearing at the Appellate Division of the Supreme Court on November 29," an aide said.
Another Zia aide denied reports that she was leaving the house voluntarily as claimed by the military authorities under whom the ownership of the house in the cantonment falls.
It is "false and ill-intentioned to confuse people", Zia's press secretary Maruf Kamal Khan told bdnews24.com, about the claim made in a statement by the Inter Services Public Relations department (ISPR).
"(Khaleda Zia) is not leaving her house at her own will," he said.
Zia, a two-term prime minister, lost the December 2008 parliamentary election that was swept by Hasina.
Tags: Dhaka, Sheikh Hasina
West Bengal Left Front starts seven-day protest
Kiran Kumar Reddy, a former Ranji cricketer
Rosaiah quits, Kiran Kumar Reddy named successor (Night Lead)
Nitish 'tsunami' sweeps Bihar, wipes out Lalu, Congress (Intro Roundup)
BJP hits back at Sonia on action against corrupt
Bihar's women give thumbs up to Nitish Kumar
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Bangladesh's opposition lawmakers may resign from parliament
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Bangladesh's former PM evicted amid protests (Fourth Lead)
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India, Bangladesh wrap up boundary talks


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[view] => splendor
Splendor (Italy/France, 1989)
One of the great benefits of a strong worldwide communication web is the ability to explore corners of the cinematic universe previously unavailable. Despite having a recognizable international cast, a well-known director, and a story that would have delighted art-house audiences around 1990, Ettore Scola's Splendor never made it to the United States. Even today, there is no official U.S. outlet for the film – it was too small for the effort to be made to secure the rights and market it – but few things are hidden on the Internet and, for those willing to put forth the effort, Splendor can be found. It's well worth the hunt.
Like 1988's Cinema Paradiso, Splendor basks in the history of cinema. It's all about the love of movies and how real life can be influenced by those crazy, amazing flickers of light and shadow. Every frame of Splendor is suffused with the romanticism of sitting in the dark, gazing at the screen. There's a lovely scene in which a motion picture plays to a standing room-only audience. Scola's camera focuses not on the screen but those watching it. To the left, we see the playful flirtation of a young man and a young woman. In counterpoint, on the other side of the auditorium, there's a not dissimilar interaction that doesn't go as well. This scene recalls how the fragments of our own life and circumstances can cause us to react differently to a film than the person next to us. That's part of the alchemy of the communal experience.
The movie's "present" is the late 1980s but most of the story looks back over the roughly 60-year span encapsulating the life of the main character, Jordan (Marcello Mastroianni), and his relationship with cinema. The film switches freely from black-and-white to color, with the latter sequences taking place in the present. Memories – some gauzy fantasy and others slightly more hard-edged – are in black-and-white. Splendor's earliest scene transpires in a village square where a young Jordan and his father set up a projector and, using a sheet for the screen, show Fritz Lang's Metropolis to a large group of onlookers.
The next time we catch up with Jordan, his father has erected a grand indoor theater, the Cinema Splendor, with state-of-the-art sound and projection systems and a retractable roof. Jordan comes home from the second World War to a showing of It's a Wonderful Life and weeps unashamedly as Jimmy Stewart discovers how beloved he is and the chorus sings "Old Lang Syne." Soon thereafter, Jordan takes over the Splendor, guiding it through immense popularity in the 1950s and 1960s into a gradual decline through the 1970s and eventual bankruptcy in the 1980s. The movie opens and closes with The Splendor's end, although the final scene mirrors that of It's a Wonderful Life so closely that Scola feels compelled to show about two minutes of the classic film to emphasize the connection. (I was also reminded of the "Captain, my Captain" scene from Dead Poets Society, although that film came out after Splendor.) Capra-corn can be dangerous territory for a filmmaker – there's treacle and mush on either side of a narrow path - but Scola's approach is perfect.
There are three main human characters – Jordan; Chantal (Marina Vlady), a French dancer Jordan falls in love with and who comes to work for him at the theater; and Luigi (Massimo Troisi), the awkward patron who has an affair with Chantal and eventually joins her and Jordan in running The Splendor. After coming together in the 1950s, these three form a tight trio through the years. The fourth character is the theater itself. By today's standards, The Splendor is quaint and dated but, unlike the generic multiplexes that rose to prominence starting in the 1970s, this movie house has character. It plays movies as varied as the aforementioned It's a Wonderful Life to Wild Strawberries, The Great War, The Battle of Algiers, Z, Day for Night, and Amarcord. Extended scenes from these (and others) are seen. Numerous other films are referenced in various contexts (including, amusingly, La Dolce Vita, the famous collaboration between director Federico Fellini and actor Marcello Mastroianni – creating a "meta" moment). Students of cinema, especially the Italian variety, will derive more from Splendor than those without a solid foundation but the movie's essential themes are powerful enough to captivate anyone regardless of their background.
Although director Scola never achieved the kind of international fame enjoyed by some of his more celebrated countrymen, he enjoyed a long and productive career and gained awards recognition in countless film festivals, including Cannes (where Splendor was nominated for the Palme D'Or). His most lauded film was 1977's A Special Day, which earned Mastroianni one of his three Oscar nominations. The two lead actors enjoy a strong on-screen bond. Mastroianni, of course, is best known for his collaborations with Fellini. Troisi had his biggest break five years after Splendor, when he co-directed and starred in Il Postino (dying of a heart ailment literally hours after completing filming). Splendor's leading lady, the object of both Jordan and Luigi's affections, is played by '60s sex symbol Marina Vlady, who proved herself over the years to be a more capable actress than many of her similarly-regarded contemporaries.
Splendor's tone is alternatively playful (a quality emphasized by Armando Troajoli's score) and nostalgic but never bitter or somber. The word "magical" applies. Perhaps the most notable thing about the movie is the effectiveness with which it illustrates the passage of time. Things that are so vital and seemingly immutable in their prime gradually pass into obscurity as the future rises up to sweep them away. Now, little more than 30 years after multiplexes choked the life out of smaller venues like The Splendor, those same chain theaters find their existences endangered by the next wave. There's a universality to the story told by Splendor that will resonate with nearly every viewer.
Director: Ettore Scola
Cast: Marcello Mastroianni, Massimo Troisi, Marina Vlady
Home Release Date: 2018-05-07
Screenplay: Ettore Scola
Cinematography: Luciano Tovoli
Music: Armando Troajoli
U.S. Distributor:
MPAA Rating: "NR" (Nudity, Sexual Content)
Subtitles: In Italian with subtitles
Three...better movies of Marcello Mastroianni
(There are no more better movies of Marcello Mastroianni)
worse movies of Marcello Mastroianni
Ready to Wear (1994)
(There are no more worst movies of Marcello Mastroianni)
Three...better movies of Massimo Troisi
Postman, The (Il Postino) (1969)
(There are no more better movies of Massimo Troisi)
worse movies of Massimo Troisi
(There are no more worst movies of Massimo Troisi)
Three...better movies of Marina Vlady
(There are no more better movies of Marina Vlady)
worse movies of Marina Vlady
(There are no more worst movies of Marina Vlady)


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Home / POLITICS / Calexico City Officials Charged with Corruption
Calexico City Officials Charged with Corruption
Admin May 23, 2020 POLITICS, REGIONAL Leave a comment 752 Views
Photo of David Romero, current member of the Calexico City Council.
A Calexico City Councilman and his Economic Development Commissioner have been charged with accepting cash bribes in exchange for promises of official action by the city.
The lawsuit states that Councilman David Romero and his Economic Development Commissioner, Bruno Suarez-Soto, conspired to solicit and accept money in exchange for business transactions with the city. The defendants were arraigned via video conference call before the U.S. Magistrate Judge Bernard G. Skomal. They were released on $10,000 personal appearance bonds secured by their own signatures. The next court date is July 2, 2020 at 10:30 a.m. before U.S. District Judge Cathy Ann Bencivego.
The lawsuit states that Romero and Suarez created a shell company, RS Global Solutions LLC, that would be incorporated in the name of Suarez-Soto and a person not named to appear as a legitimate consulting firm, but would be used to conceal their activities in collecting bribe money in exchange for official acts by the city.
The lawsuit further reads that Romero and Suarez would attend meetings with individuals and groups desiring to open state and locally authorized cannabis businesses in Calexico, and during those meetings would solicit bribes in exchange for fast-tracking and guaranteeing the issuance of permits for those businesses. The lawsuit states that they would use their consulting firm to assist people with the permit application process when in truth the payments solicited from cannabis permit were extracted in exchange for the exercise of public authority by Romero and other acting at his direction.
According to the charging document, Romero and Soto accepted $35,000 in cash bribes from an undercover FBI agent who they believe represented investors seeking to open a cannabis dispensary in Calexico. In return, Romero and Soto "guaranteed" the rapid issuance of a city permit for the dispensary, and revoke or hinder other applicants if necessary to ensure that the bribe payer's application was successful. Moreover, both men admitted they had bribes from others in the past, according to the charging document. Referring to his $35,000 payment, it is alleged they told the undercover agent, "This isn't our first rodeo,"
Romero was set to become Mayor in July 2020. Soto was appointed by Romero to the Economic Development that is responsible for promoting businesses and community growth and coordinating with prospective developers to help invest in Calexico.
"Public officials must act with honesty and integrity doing the public's business," said U.S. Attorney Robert Brewer. "If civil leaders won't uphold these standards, we will. We allege that these defendants traded on their positions of trust, selling the integrity of government in exchange for thousands of dollars. We will vigorously enforce the law whenever a public official puts his own greed ahead of the interest of his constituents."
Calexico City Manager David Dale released the following statement:
"The City became aware yesterday by way of a News Release from the Office of the United States Attorney for the Southern District of California that Council member and Mayor Pro Tem David Romero and Former Economic and Financial Advisory Commissioner Bruno Suarez-Soto have been charged in federal court by the U.S. Attorney with conspiracy to commit federal program bribery in connection with alleged arrangements made between the two and an undercover FBI agent to secure a city permit for a cannabis dispensary in the City in exchange for a cash payment of $35,000. Mr. Suarez-Soto resigned his position of Commissioner on April 22, 2020 citing residency issues.
Mr. Romero and Mr. Suarez-Soto have since been arraigned before a U.S. Magistrate Judge in federal court. All the City knows is that which is contained in the U.S. Attorney's News Release and this is the City's first notice of the investigation, alleged activity, or charges.
The City is committed to complete integrity and transparency in its governance and processes and does not condone, and strongly condemns, the kind of conduct alleged by the federal prosecutor. Accordingly, the City will cooperate with any follow-on inquiries or requests for information and assistance from either the U S. Attorney or the FBI. The City, through its counsel, has already reached out to the U.S. Attorney. At this early stage, however, the charges are just that, and Mr. Romero and Mr. Suarez-Soto are presumed not guilty of the charges until guilt is proven in a court of law. That said, the City will take action to address these serious allegations which strike at the heart of City governance and integrity.
First, the City is making efforts to determine whether any of its processes were affected by the arrangements described in the U.S. Attorney's New Release and the charging document. If so, the City will act immediately to ensure that those processes are corrected or abated pending the outcome of the charges.
Second, the City will have discussions with Mr. Romero concerning his continued participation in municipal governance during the pendency of these charges as a member of the Council and Mayor Pro Tem.
Third, the City is not aware of any involvement of any other City employees, appointed Commissioners or City Council Members. If we are made aware, we will take appropriate action.
Any inquiries regarding this matter should be directed to the federal officials."
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E.M.U. opens 'futurist' production
By Mitchell J. Near
The creative forces behind E.M.U. Theatre are determined to shake things up on stage.
Richard Gwin/Journal-World Photo
Kris Ariel, left, and Kari Jackson work through some lines for "Futurism Restated," a play being produced by E.M.U. Theatre. The show will open at 9 p.m. today at Ecumenical Christian Ministries, 1204 Oread.
The not-for-profit theater company is planning more performances this year of lesser-known productions. Its objective is to provide more variety than what Midwest theater-goers usually view.
The theater wants to offer something for everyone with no one particular in mind.
E.M.U.'s latest production, "Futurism Revisited," is a collection of material gleaned from early 20th-century Italian futurist playwrights along with material contributed by Wichita-based writers and E.M.U. company members.
"I'm not sure this show is for anyone," director Andy Stowers said. "We do want to show people things they haven't seen before."
The genre of theater known as futurism was popular in the 1920s. It is a broader style of theatrical expression that incorporates cinema, sculpture and paintings.
The underlying futuristic theme revolves around trying to produce material that is "anti-status quo." It is material not necessarily created for mass consumption.
"The futurists were basically working against the same old stale bourgeois artistic scene," Stowers said.
In tonight's production the E.M.U. company will present a series of short scripts covering everything from the abstract and absurd to traditional comedy and drama.
What: "Futurism Restated," by E.M.U. Theatre.When: 9 p.m. today-Saturday and Aug. 18-19.Where: Ecumenical Christian Ministries, 1204 Oread.Ticket price: $3 at the door.
"It's a variety show but not about comedy sketches," he said.
The ensemble includes Trevor Ruder, Nathan Cadman, Joe Dodge, Kris Ariel, Kari Jackson and Emily Shaftel, all playing multiple roles.
The show will mark the first time a Lawrence independent company will run a performance on more than one consecutive weekend.
"We've had good word of mouth on past shows and we're hoping that carries through and this experiment pays off, because in the past, by the time people heard, we were doing our last show and it was too late for some of them to attend," Stowers said.
Although the company is presenting plays that are not the usual crowd-pleasers, EMU members still want a full house.
"I hope we have a thousand people show up," Stowers said.


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Flexible polyhedra
Volume increasing
Amazing volumes of polyhedra
Piecewise linear embedding of a polyhedron
MP4 video (768×576, 18.0 MB)
Wardrobe bending
Wardrobe rigidity
Flat linkup
Heron's formula
Flexible polygons
Measuring the volume
If you had to construct a wardrobe at home, you remember that while the back is not nailed, it back is put in place, a wardrobe which is a non-closed polyhedron with boundary becomes rigid. If you add the front or add another detail, closing the polyhedron, it will for sure remain rigid.
Are there closed flexible polyhedra?
No one could answer this question for a long time. As always happens in science, one should consider an easier case. In the problem of flexible polyhedra one should work in the plane where polyhedra are replaced by polygons.
Are there flexible polygons? I.e. such that their sides are fixed, but the angles can change so that the polygon shape changes? Anyone can make such a model from wire using a standard linking in the corners.
If one makes a triangle, it will not bend. I.e. the lengths of the sides determine completely the triangle. And so, determine its area: the Heron's formula allows to calculate it from the side lengths.
If one makes a wire quadrangle or a pentagon or a polygon with a bigger number of vertices, any of them will bend. As a consequence, there is no Heron's formula, computing the area from the side lengths, for the number of angles greater than three.
Let's return to the space. What is a flexible polyhedron if it exists? Analogically to the flat case, the faces (being of one dimension less than the space) should be rigid plates. And dihedral angles connecting the faces should be able to change, as if the edge (a face of dimension one) was realized as a hinge.
Let's consider regular polyhedra. If one makes their models with hinges as edges, one can check that they will not bend. It turns out that this is a general fact for convex polyhedra. A theorem proved by a french mathematician Augustin-Louis Cauchy (1789 – 1857) in 1813 states that a convex polyhedron with a given set of faces and gluing conditions is unique. I.e. a convex polyhedron can not be flexible.
The first mathematical examples of bendable polyhedra, of course, non-convex, as well as the classification of such objects, were constructed by a belgian engineer R. Bricard in 1897. Mathematical, because these polyhedra were not only non-convex, but also self-intersecting: their faces intersected each other. For the point of view of a mathematician, this is also a polyhedron that can not be realized in our three-dimensional space. In 1975 an american mathematician R. Connelly found a way to get rid of self-intersections and the first real flexible polyhedra appeared. The simplest known today, consisting of 9 vertices, 17 edges and 14 faces, will be now constructed. It was invented in 1978 by a german mathematician Claus Steffen.
A net of the Steffen polyhedron consists of two similar parts and a «cover». If you remember the shape of the net, but not the lengths of the edges, it's hard to build such a polyhedron yourself: an ability to bend is exceptional for polyhedra and there is not a lot of them.
When mathematicians found out that such polyhedra exist, they asked a question which is now called «bellows conjecture». Why do bellows fan the coals? Why does the internal volume change. And what about flexible polyhedra: will their volume change while bending? Can one build an accordion or bellows out of rigid plates and not of leather?
In the end of the XX century the question was fully answered by a russian mathematician I.H. Sabitov. It turns out that there is a Heron type formula for the volume of polyhedra, so for flexible ones. Namely, there exist a polynomial of one variable such that it's coefficients depend only on the edge lengths of the polyhedron and the volume is a root of this polynomial. As edges of flexible polyhedra do not change while bending, the polynomial and its roots do not change either. But different roots of this polynomial are some particular numbers situated at some distance one from another. Small bending should provide small changes of volume, so it can't jump from one root of the polynomial into another. Thus, the volume of flexible polyhedra doesn't change while bending!
We considered both the cases of flexible polyhedra in the plane and in the space. But what happens in greater dimensions? There are also some flexible polyhedra, but much less. And the question about the constancy of volume of flexible polyhedra in higher dimensions is still open and waiting for its researcher.
N.P. Dolbilin. Pearls of the theory of polyhedra. — M.: MCCME, 2000.
N.P. Dolbilin. Three theorems on convex polyhedra.
Part 1 // Kvant. 2001. N 5. pp. 7-12.
I.H. Sabitov. Volumes of polyhedra. — M.: MCCME, 2002.
V. Zalgaller. Continuously bendable polyhedron // Kvant. 1978. N 9. pp. 13–19.
See also in section "Polyhedra's outer geometry"3
Is it possible to fold a piece of pasteboard of which a milk package is made into a package of greater volume?
Is it possible to construct both a nonconvex and a convex polyhedra from the same set of faces? You'd definitely say Yes. Which of them has the greater volume?
Can one fold a development of a polyhedron into a closed body, whose borders will be not parts of planes but rather pieces of smooth surfaces?


I started thinking of some of the meals I've made for past dinner parties - you know the ones, the tried and true. This is a perfect time of year to share that list with you!
We're all so busy at this time of year, getting ready for the holidays. Yet it's a perfect time to entertain - people are in a festive mood, the house is decorated beautifully, there's celebration in the air....why not invite a few friends over to share that?
The trick is to keep it simple. I have some great tricks for hosting an easy peasy dinner party....you can check out my tips in this post.
Now...let's plan that menu, shall we?
First up is my Lasagna Bolognese. The great thing about Lasagna is you make it in advance, and then just pop it in the oven for the dinner party. What could be easier than that? Serve it with a nice Barbera wine and some good crusty bread - perfection!
There's also my non traditional and ever-so-amazing Pumpkin Lasagna - I haven't made this in a while but I have a lovely Sunshine Squash from the garden that's just begging to be used, so this might just be a good time to slow roast that squash and get this lasagna ready!
But then again I might decide to just go with my Deconstructed Lasagna. It's always, always a big crowd pleaser, and really easy to prep in advance. The sausage can be browned the day before, and the sauce made in advance, so all that's required on the evening of the dinner party is to cook the pasta, warm the sausage and sauce, and assemble!
Oh, and pour the wine and warm the bread, of course. Can't forget those!
Can you tell I love pasta?
But there are a few other recipes I have been thinking of as well.
What about my creamy garlic chicken? I could prep the chicken and mince the garlic in advance, which would make it fairly easy to prepare on the evening of the dinner party.
Served with either rice pilaf or mashed potatoes and a vegetable, this would be a warm and cozy dinner on a chilly mountain night.
Then again, I could go with The Most Amazing Chicken Ever. Using my favorite cooking toy makes this a foolproof recipe, and the chicken pretty much cooks itself other than the need to sear it when it's done.
This would also go nicely with either mashed potatoes or a rice pilaf, and a veg.
Or perhaps my favorite cooking toy will be used to prepare to perfect a couple of marinated pork tenderloins? They would also cook themselves and just need to be browned at the end.
What would you choose? Do you have a go-to dinner party menu that you return to time and time again?
Debbie, all of those choices look so delicious! I'm a huge pasta lover so anything pasta related is a good "go-to" for me. You just can't beat the aroma of the sauce cooking and the bread baking...always a perfect combo! Love and hugs!
And yet I think I've decided on something completely different, Penny!
Looks delicious! I know you love to cook but I don't see where you find the time.
I try to keep it fairly simple during the week, Brenda - I reserve the more time consuming meals for the weekends.
I'll have to check out your lasagna recipes as well as the garlic chicken one! I rarely do any entertaining, especially dinner parties, but last time we had friends over for dinner, I made enchiladas.
Oooh enchiladas, yummm! I think I've made up my mind, Melanie, and I'll share the recipe with you all at some point!
These all look so delicious! Hard to make a decision :) That garlic chicken sure got my mouth watering!
It's easy to make, too, Marilyn! I must put that on my dinner rotation soon!
They all sound great. I go to lasagna often and I love pasta too. I often make baked shrimp scampi which is big hit or pork loin.
Having a relaxed afternoon gathering this weekend and I'm making homemade stew, great for a cold night.
My sweetie asked me recently to make him shrimp scampi, Cindy....the problem is that I'm allergic to shellfish so I'd rather not even have it in my kitchen! I figure it's safer if he orders it when we're out!
Well perhaps you'll try one of these recipes just for you and your hubby!
Hi there Debbie, the FIRST LASAGNA, the one in the square dish, THAT ONE has my stomach literally growling!! Looks so delicious. You are one heck of a good cook. I love your posts showing your cooking, recipes, the things you've grown in your garden and putting it up for winter, etc. Whoever the lucky guest of honor is for this dinner party is very very lucky!! Have a great time!
That's my pumpkin lasagna, Debbi!! Sounds like a weird combo, doesn't it? It was FABULOUS!!
I heard you are going to get some serious weather, Lisa - stay safe!!
Oh, the descontructed lasagna looks amazing!I may have to check out that toy - anything that will help me be a good cook should be added to my kitchen tools!
I use my sous vide at least once a week, Amy. It's the best for chicken, pork tenderloin, steak....anything you don't want to overcook. You will LOVE it!! It's even great for a spiral ham - I hate when they are overcooked and dry. With a sous vide that doesn't happen! I would just finish it off under the broiler with a little glaze to brown the top - easy peasy, and that might just be Christmas dinner this year!
Forget the dinner party! I want to eat this during the week with my family!
Do it, AnnMarie!!! Whenever I make a lasagna I always make an extra for the freezer. Same with meatloaf - I usually make 3 or 4 of them. And when I make pasta sauce I make at least double what I need, so I have some for the freezer. Makes for great and easy weeknight meals!
Thank you so much, Kimberly - I love 'meeting' new blog friends so I'm delighted you took the time to leave such a sweet comment!
Hi Debbie! Oh, you're making my mouth water with all of your delicious dishes. Thank you so much for popping in to see me. I've been so bad at blogging lately but am going to try better. Wishing you a wonderful Christmas.
And the very same to you, Shelia!!
These days Thanksgiving is my big meal of the year, so I can really coast all of the way into 2019. But that's not to say I won't have a few intimate gatherings, and that lasagna is calling my name. I could almost smell it cooking as I was reading this post.
Funny enough I didn't choose any of these dishes....but I'll share what I did decide to make in a future post, Pattie!
You are an amazing cook. I have no idea how I would choose from all those fabulous recipes, but I can tell you that I just finished my own lasagna that I made with your baked tomato/ blender sauce recipe!! It's become my go to sauce recipe now and it makes cooking a really good meal doable for kitchen klutz like myself!! So thank you, thank you, thank you!! And Happy Birthday to your friend!!
It's a seriously good and so easy sauce, isn't it, Kim? You reminded me that I have a big bag of roasted tomatoes in the freezer that need to be used up!


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Dersu Uzala (1975 film)
1975 film by Akira Kurosawa
This article is about the Kurosawa film. For an earlier film of the same title, see Dersu Uzala (1961 film).
Dersu Uzala
(Дерсу Узала)
(デルス·ウザーラ)
Original film poster
Yuri Nagibin
by Vladimir Arsenyev
Yoichi Matsue
Nikolai Sizov
Maxim Munzuk
Yury Solomin
Asakazu Nakai
Yuri Gantman
Fyodor Dobronravov
Valentina Stepanova
Isaak Shvarts
Daiei Film
Mosfilm (USSR)
Daiei Film (Japan)
July 1975 (1975-07)(USSR)
2 August 1975 (1975-08-02)(Japan)
Kyakhta Russian–Chinese Pidgin
$4 million (est.)
21 million tickets (USSR/EU)
$1.2 million (USA/Canada)
Dersu Uzala (Russian : Дерсу Узала, Japanese : デルス·ウザーラ, romanized: Derusu Uzāra; alternative U.S. title: Dersu Uzala: The Hunter) is a 1975 Soviet-Japanese film directed and co-written by Akira Kurosawa, his only non-Japanese-language film and his only 70mm film.
The film is based on the 1923 memoir Dersu Uzala (which was named after the native trapper) by Russian explorer Vladimir Arsenyev, about his exploration of the Sikhote-Alin region of the Russian Far East over the course of multiple expeditions in the early 20th century. Shot almost entirely outdoors in the Russian Far East wilderness, the film explores the theme of a native of the forests who is fully integrated into his environment, leading a style of life that will inevitably be destroyed by the advance of civilization. It is also about the growth of respect and deep friendship between two men of profoundly different backgrounds, and about the difficulty of coping with the loss of capability that comes with old age.
The film won the Academy Award for Best Foreign Language Film, [1] the Golden Prize and the Prix FIPRESCI at the 9th Moscow International Film Festival, [2] and other awards. It was also a box office hit, selling more than 21 million tickets in the Soviet Union and Europe in addition to grossing $1.2 million in the United States and Canada.
In 1910, in a forest that is being cleared for development, a man of some social standing is searching for an unmarked grave of a friend he says had been buried three years prior. He cannot find any trace of it amid the tumult of rampant construction.
The film then flashes back to a topographic surveying expedition to the area of Shkotovo in Ussuri region in 1902 led by the same man, Captain Arsenyev (Yury Solomin). Early in its journey the troop encounters a nomadic Goldi hunter named Dersu Uzala (Maxim Munzuk). Arsenyev is immediately taken with the man's capabilities as a woodsman, and asks him to become their guide through the harsh frontier. Without a word he takes the lead on the trail the next morning.
Viewed even by the roughhewn cossack soldiers as an uneducated, eccentric old man, Dersu earns everyone's respect through his great experience, accurate instincts, keen powers of observation, and deep compassion. He repairs an abandoned hut and leaves essential provisions of rice, salt, and matches wrapped in birch bark so that a future traveler without them may survive in the wilderness. He deduces the identities and circumstances of complete strangers as he goes by analysing tracks and articles left behind.
Captain Arsenyev reduces his party to just four men, sending the rest ahead to a rendezvous point. Late one day he and Dersu go alone to explore the vast and featureless Lake Khanka. As dusk approaches they become lost in the frozen expanse when wind squalls erase their tracks back to camp. With the last rays of light they are overtaken by a sudden blizzard. Dersu directs Arsenyev to quickly cut and gather reeds - as many as fast as he can, as their lives, he warns, depend on it. Arsenyev complies, with a will, but soon begins to stumble from exhaustion. Repeatedly he is compelled back into action by Dersu. Finally he collapses, out cold. Disoriented in the sun and calm of the next morning, he pieces together that Dersu had built a shelter out of the reeds, dragged him into it, and saved his life. He is forever indebted to his new friend.
The party then continues onward, ravaged in time by fatigue and starvation, barely able to drag its sled. Facing its last, it is halted by Dersu, who sniffs out a Nani family's home by the scent of frying fish. The men are renewed by food, warmth, and hospitality offered by the simple peasants. With the end of the expedition near, Dersu asks Arsenyev where he will go next. "Back to Khabarovsk," he replies, and invites Dersu to come with him. Dersu tells him that his place is in the forest and that tomorrow he will go on his way. Offered pay for his services, he declines, asking only for some cartridges for his rifle to hunt with. When the party reaches the railroad tracks the next day - which Dersu had only ever heard of before - he takes his leave and returns to the wilderness.
Five years pass. In 1907 Arsenyev begins another expedition in Ussuri. He labors mapping mountain ranges for months, all the while holding hope that he will run into his dear friend. One night at camp one of his men says he ran into an old hunter on the trail a bit back who was asking about their unit. Arsenyev rushes anxiously in the man's direction. Hailing an approaching figure, he is overcome with joy when Dersu answers his call. That evening the two sit by a fire and catch each other up. Arsenyev asks Dersu to serve as guide again, and is accepted.
Some time on Arsenyev divides his party, sending some upstream at river to search for a ford while he and a handful of men attempt to cross on a log raft. In the chaos of unloading, Arsenyev and Dersu get marooned on the raft and are quickly rushed downstream towards dangerous rapids. Seeing again that Arsenyev does not know how to save his own life, Dersu pushes him off and tells him to swim toward shore. Without even a pole to steer with Dursu makes a desperation leap for the stump of a tree branch midriver a mere moment before the raft is destroyed in a cataract. He then directs the party to cut a tree which can reach him before his strength ebbs in the torrent. One after another they point to a trunk, unable to size up either that tree's height or buoyancy, only to have Dersu shout it down. Finally one is acceptable, downed ferociously, and girded at its base with a lash of every belt and harness in the group. As its thinnest uppermost branches sweep by Dersu he seizes them and is pulled to shore.
Some time passes, with everyone in good spirits. Pictures are taken with Dersu, variously posing formally, pretending to be in action, and caught casually. Arsenyev writes in his journal that some of his fondest memories of Dersu occurred during the beginning of that autumn.
A short time later, the troop is trekking through the forest when Dersu realises they are being stalked by an amu, a huge and dangerous Siberian tiger considered sacred to the native peoples. As he had in an encounter with one during the first expedition, Dersu tries to run the animal off by telling it the forest is big enough for both of them, and that it should go its own way. The tiger instead continues to close on Dersu and Arsenyev until Dersu is forced to shoot at it (but misses). Dersu is instantly distraught over doing so. Despite Asenyey's encouragement that the tiger is not injured, Dersu is convinced it will run until dead. He states that Kangnga, the forest deity that his people worship, will be unhappy and will send another amu for him. Shortly after Arsenyev spots a buck, which Dersu fails to even make out. Directed where to point his rifle by Arsenyev, his shot misses. Dersu realizes he can no longer provide for himself as a hunter. Dogged now by twin fears he becomes irritable, yelling at members of the party and distancing himself from Arsenyev.
Ultimately, Dersu appeals to Captain Arsenyev to take him home with him. The nomad quickly discovers how ill-suited he is to living in a "box", prohibited from even shooting his rifle to clean its barrel or put up a tent to sleep outdoors, in a place where people pay for water and he gets arrested for trying to chop down a tree in the city park for firewood for the home. Despite his love for Arsenyev and his family, Dersu tells his "captain" he must return to living in the hills. As a parting gift, Arsenyev gives him the newest edition military rifle.
Some while later, Arsenyev receives a telegram informing him that the body of a Goldi has been found, with no identification on him save Arsenyev's calling card. Arsenyev is requested to come identify it. Arriving by train, he recognizes the corpse as Dersu's without even having to lift the tarp. The official in charge asks some routine questions. When Arsenyev answers that the man was a friend, and a hunter, the official says that no rifle was found with him - then speculates that he must have been killed to get it. As the gravediggers finish their work, a heartsick Arsenyev finds Dersu's walking stick nearby and plants it in the ground beside the grave.
Yury Solomin as Vladimir Arsenyev
Maxim Munzuk as Dersu Uzala
Vladimir Kremena as Turtygin
Alexander Pyatkov as Olenev
Svetlana Danilchenko as Anna
Suimenkul Chokmorov as Chzhan Bao
In an interview conducted for the 1999 RUSCICO DVD release, co-star Solomin stated that Kurosawa had long known of Arsenyev's book and had planned to make a film version very early in his career in the late 1930s, but had dropped the project after realising that it had to be made in the taiga region where the events had actually taken place. The Soviet government allowed few foreigners there. By the 1970s they allowed Kurosawa and his team, but monitored them closely during the year-long production. [3]
In 1971, Kurosawa attempted suicide during a difficult period in his career, questioning his creative ability after the commercial failure of Dodes'ka-den the year before and the subsequent denial of funds for his productions by Japanese studios. [4] In 1972, Dodes'ka-den producer Yoichi Matsue and his assistant Teruyo Nogami were approached by the Soviet studio Mosfilm for an adaptation of the Russian memoir Dersu Uzala to be directed by Kurosawa. On 1 January 1973, Matsue signed the deal on the condition that Kurosawa receive full creative control. Mosfilm wanted Kurosawa's frequent collaborator Toshiro Mifune to play Dersu, but Matsue convinced them otherwise as Mifune would not be attached to such a long production. Eventually, Tuvan actor Maxim Munzuk was cast. Mosfilm, like Japan's Toho studio that Kurosawa usually worked with, found it impossible to keep the perfectionist director to a tight budget and schedule. [5] [6]
Dersu Uzala sold 20.4 million tickets in the Soviet Union, and made $1.2 million in the United States and Canada. [7] It also sold 994,988 tickets in France, [8] 32,400 tickets in Sweden, [9] and 48,265 tickets in other EU territories since 1996, [10] adding up to 21,475,653 tickets sold in the Soviet Union and Europe.
Dersu Uzala (Russian : Дерсу Узала)—1961 Soviet film directed by Agasi Babayan
Dersu Uzala (historic person)
Dersu Uzala (book, 1923)
List of submissions to the 48th Academy Awards for Best Foreign Language Film
List of Soviet submissions for the Academy Award for Best Foreign Language Film
Ran is a 1985 epic historical drama film directed, edited and co-written by Akira Kurosawa. The plot derives from William Shakespeare's King Lear and includes segments based on legends of the daimyō Mōri Motonari. The film stars Tatsuya Nakadai as Hidetora Ichimonji, an aging Sengoku-period warlord who decides to abdicate as ruler in favor of his three sons.
The Nanai people are a Tungusic people of East Asia who have traditionally lived along Heilongjiang (Amur), Songhuajiang (Sunggari) and Wusuli River on the Middle Amur Basin. The ancestors of the Nanai were the Jurchens of northernmost Manchuria.
Mosfilm is a film studio which is among the largest and oldest in the Russian Federation and in Europe. Founded in 1924 in the USSR as a production unit of that nation's film monopoly, its output includes most of the more widely acclaimed Soviet-era films, ranging from works by Andrei Tarkovsky and Sergei Eisenstein, to Red Westerns, to the Akira Kurosawa co-production Dersu Uzala and the epic War and Peace.
The Sikhote-Alin is a mountain range in Primorsky and Khabarovsk Krais, Russia, extending about 900 kilometres (560 mi) to the northeast of the Russian Pacific seaport of Vladivostok. The highest summits are Tordoki Yani at 2,077 metres (6,814 ft) above sea level, Ko Mountain in Khabarovsk Krai and Anik Mountain in Primorsky Krai.
Vladimir Klavdiyevich Arsenyev, was a Russian explorer of the Far East who recounted his travels in a series of books — "По Уссурийскому Краю" (1921) and "Дерсу Узала" (1923) — telling of his military journeys to the Ussuri basin with Dersu Uzala, a native hunter, from 1902 to 1907. He was the first to describe numerous species of Siberian flora and the lifestyles of native ethnic peoples.
Dersu Uzala is a 1923 memoir by the Russian explorer Vladimir Arsenyev, concerning his travels in the Russian Far East with the Goldi hunter Dersu Uzala.
Dersu Uzala is a 1961 Soviet film adapted from the book by Vladimir Arsenyev about his travels in the Russian Far East with the native trapper Dersu Uzala. The film was directed by Agasi Babayan from a screenplay by screenwriter Igor Bolgarin. The film starred actors Adolf Shestakov and Kasym Zhakibayev.
Yury Mefodievich Solomin is a Soviet and Russian actor and director who has been art director of the Maly Theatre in Moscow since 1988. Minister of Culture of the RSFSR in 1990-1991.
Maxim Monguzhukovich Munzuk (Tuvan: Максим Монгужук-оглу Мунзук; was a Tuvan actor, one of the founders of the Republic of Tuva's regional theatre. He is best known for playing the title role in Akira Kurosawa's film Dersu Uzala.
Yuri Markovich Nagibin was a Russian Soviet writer, screenwriter and novelist.
Yoshirō Muraki was a Japanese production designer, art director, and costume designer. Muraki joined Toho Film studio in 1944. He was nominated three times for the Academy Award for Best Art Direction for his work in the films Tora! Tora! Tora! (1970), Kagemusha (1980), and Ran (1985). He was also nominated for the Academy Award for Best Costume Design for his work in Yojimbo (1961). He is most well known for his collaborations with director Akira Kurosawa, having done work on all of Kurosawa's films from Record of a Living Being (1955) onward, with the exception of Dersu Uzala (1975). He was married to Shinobu Muraki.
Asakazu Nakai was a Japanese cinematographer born in Hyōgo Prefecture. He worked on several films with director Akira Kurosawa. In 1950, he won the Mainichi Film Award for Best Cinematography for Stray Dog. He was nominated for the Academy Award for Best Cinematography for his work on the film Ran (1985), being the oldest nominee ever in that category.
4142 Dersu-Uzala, provisional designation 1981 KE, is a Hungaria asteroid, sizable Mars-crosser and potentially slow rotator from the innermost region of the asteroid belt, approximately 6 kilometers in diameter. It was discovered by Czech astronomer Zdeňka Vávrová at Kleť Observatory on 28 May 1981. The rare A-type asteroid has a rotation period of 140 hours. It was named after the Siberian trapper and hunter Dersu Uzala.
Isaac Iosifovich Schwartz, also known as Isaak Shvarts, was a Soviet composer.
Dersu Uzala (1849—1908) was a hunter and a guide of Vladimir Arsenyev.
The films of Japanese director Akira Kurosawa have had a far-reaching impact on cinema and how it is produced, both within Japan and internationally. As a result of his influence, Kurosawa's work, as well as his personal character, have been subject to a number of negative criticisms. These criticisms are points of heated debate among those who study Kurosawa's work, and scores of pieces have been written both advocating for these criticisms and defending against them.
Dersu Uzala was a Nanai trapper and hunter. He worked as a guide for Vladimir Arsenyev who immortalized him in his 1923 book Dersu Uzala. The book was adapted into two feature films, with the version by Akira Kurosawa being the better known.
The legacy of filmmaking technique left by Akira Kurosawa (1910–1998) for subsequent generations of filmmakers has been diverse and of international influence beyond his native Japan. The legacy of influence has ranged from working methods, influence on style, and selection and adaptation of themes in cinema. Kurosawa's working method was oriented toward extensive involvement with numerous aspects of film production. He was also an effective screenwriter who would work in close contact with his writers very early in the production cycle to ensure high quality in the scripts which would be used for his films.
The Vladimir K. Arseniev Museum of Far East History is a museum named after the explorer, Vladimir Arseniev, in the city of Vladivostok in the Russian Far East. The museum's collections focus on the history of Vladivostok and the surrounding area in Primorsky Krai. The Vladimir K. Arseniev Museum of Far East History also manages the museum facilities at Vladivostok Fortress.
↑ "The 48th Academy Awards (1976) Nominees and Winners". oscars.org. Retrieved 2012-03-18.
↑ "9th Moscow International Film Festival (1975)". MIFF. Archived from the original on 2013-01-16. Retrieved 2013-01-04.
↑ Conrad, David A. (2022). Akira Kurosawa and Modern Japan, 184, McFarland & Co.
↑ Anderson, Joseph L.; Richie, Donald; The Japanese Film: Art and Industry, p.460
↑ Nogami, Teruyo (2006). Waiting on the Weather. Stone Bridge Press. pp. 272–4. ISBN 978-1-933330-09-9.
↑ Conrad, 184
↑ Zemlianukhin, Sergei; Miroslava Segida (1996). Domashniaia sinemateka 1918–1996 (Домашняя Синематека 1918–1996) (in Russian). Moscow: Duble-D. p. 118. ISBN 5-900902-05-6.
↑ "Derzu uzala (1976)". JP's Box-Office. Retrieved 30 March 2022.
↑ "Дерсу Узала, 1975" [Dersu Uzala, 1975]. Kinopoisk (in Russian). Retrieved 30 March 2022.
↑ "Dersu Uzala". Lumiere . Retrieved 30 March 2022.
Dersu Uzala at IMDb
Dersu Uzala at AllMovie
Dersu Uzala Info
Stills from Dersu Uzala with Russian text
Dersu Uzala at the Japanese Movie Database (in Japanese)
Dersu Uzala an essay by Donald Richie at the Criterion Collection
Films directed by Akira Kurosawa
Filmmaking technique
Sanshiro Sugata (1943)
The Most Beautiful (1944)
Sanshiro Sugata Part II (1945)
The Men Who Tread on the Tiger's Tail (1945)
Those Who Make Tomorrow (1946)
No Regrets for Our Youth (1946)
One Wonderful Sunday (1947)
The Quiet Duel (1949)
Stray Dog (1949)
Rashomon (1950)
The Idiot (1951)
I Live in Fear (1955)
Throne of Blood (1957)
The Lower Depths (1957)
The Bad Sleep Well (1960)
Yojimbo (1961)
Sanjuro (1962)
High and Low (1963)
Red Beard (1965)
Dodes'ka-den (1970)
Dersu Uzala (1975)
Kagemusha (1980)
Ran (1985)
Dreams (1990)
Rhapsody in August (1991)
Madadayo (1993)
Film remakes
Akira Kurosawa Memorial Short Film Competition
Kurosawa Film Studio
A.K.
Kurosawa's Way
Seven Samurai 20XX
Yōko Yaguchi (wife)
Kazuko Kurosawa (daughter)
Awards for Dersu Uzala
Academy Award for Best International Feature Film
(Honorary)
1947: Shoeshine – Vittorio De Sica
1949: Bicycle Thieves – Vittorio De Sica
1950: The Walls of Malapaga – René Clément
1952: Forbidden Games – René Clément
1953: No Award
1954: Gate of Hell – Teinosuke Kinugasa
1955: Samurai, The Legend of Musashi – Hiroshi Inagaki
1957: Nights of Cabiria – Federico Fellini
1958: My Uncle – Jacques Tati
1959: Black Orpheus – Marcel Camus
1960: The Virgin Spring – Ingmar Bergman
1961: Through a Glass Darkly – Ingmar Bergman
1962: Sundays and Cybele – Serge Bourguignon
1963: 8½ – Federico Fellini
1964: Yesterday, Today and Tomorrow – Vittorio De Sica
1965: The Shop on Main Street – Ján Kadár & Elmar Klos
1966: A Man and a Woman – Claude Lelouch
1967: Closely Watched Trains – Jiří Menzel
1968: War and Peace – Sergei Bondarchuk
1970: Investigation of a Citizen Above Suspicion – Elio Petri
1971: The Garden of the Finzi-Continis – Vittorio De Sica
1972: The Discreet Charm of the Bourgeoisie – Luis Buñuel
1973: Day for Night – François Truffaut
1976: Black and White in Color – Jean-Jacques Annaud
1977: Madame Rosa – Moshé Mizrahi
1978: Get Out Your Handkerchiefs – Bertrand Blier
1979: The Tin Drum – Volker Schlöndorff
1980: Moscow Does Not Believe in Tears – Vladimir Menshov
1982: Volver a Empezar ('To Begin Again') – José Luis Garci
1983: Fanny and Alexander – Ingmar Bergman
1984: Dangerous Moves – Richard Dembo
1985: The Official Story – Luis Puenzo
1986: The Assault – Fons Rademakers
1987: Babette's Feast – Gabriel Axel
1988: Pelle the Conqueror – Bille August
1990: Journey of Hope – Xavier Koller
1994: Burnt by the Sun – Nikita Mikhalkov
1995: Antonia's Line – Marleen Gorris
1996: Kolya – Jan Svěrák
1997: Character – Mike van Diem
1998: Life Is Beautiful – Roberto Benigni
1999: All About My Mother – Pedro Almodóvar
2000: Crouching Tiger, Hidden Dragon – Ang Lee
2001: No Man's Land – Danis Tanović
2002: Nowhere in Africa – Caroline Link
2003: The Barbarian Invasions – Denys Arcand
2004: The Sea Inside – Alejandro Amenábar
2006: The Lives of Others – Florian Henckel von Donnersmarck
2007: The Counterfeiters – Stefan Ruzowitzky
2008: Departures – Yōjirō Takita
2009: The Secret in Their Eyes – Juan José Campanella
2010: In a Better World – Susanne Bier
2011: A Separation – Asghar Farhadi
2013: The Great Beauty – Paolo Sorrentino
2015: Son of Saul – László Nemes
2016: The Salesman – Asghar Farhadi
2017: A Fantastic Woman – Sebastián Lelio
2018: Roma – Alfonso Cuarón
2019: Parasite – Bong Joon-ho
2020: Another Round – Thomas Vinterberg
2021: Drive My Car – Ryusuke Hamaguchi
Moscow International Film Festival Main Award
Fate of a Man (1959)
The Naked Island – Clear Skies (1961)
8+1⁄2 (1963)
War and Peace – Twenty Hours (1965)
The Journalist – Father (1967)
Golden Prize
Lucía – Serafino – We'll Live Till Monday (1969)
Confessions of a Police Captain – Live Today, Die Tomorrow! –
The White Bird Marked with Black (1971)
That Sweet Word: Liberty! – Affection (1973)
The Promised Land – Dersu Uzala –
We All Loved Each Other So Much (1975)
The Fifth Seal – El puente – Mimino (1977)
Christ Stopped at Eboli – Siete días de enero – Camera Buff (1979)
O Homem que Virou Suco – The Abandoned Field: Free Fire Zone – Teheran 43 (1981)
Amok – Alsino and the Condor – Vassa (1983)
Come and See – A Soldier's Story – The Descent of the Nine (1985)
Intervista (1987)
Golden St. George
The Icicle Thief (1989)
Spotted Dog Running at the Edge of the Sea (1991)
Me Ivan, You Abraham (1993)
(No award in 1995)
Marvin's Room (1997)
Will to Live (1999)
Life as a Fatal Sexually Transmitted Disease (2000)
The Believer (2001)
The End of a Mystery (2003)
Our Own (2004)
Dreaming of Space (2005)
About Sara (2006)
Travelling with Pets (2007)
As Simple as That (2008)
Pete on the Way to Heaven (2009)
Hermano (2010)
Las olas (2011)
Junkhearts (2012)
Particle (2013)
My Man (2014)
Losers (2015)
Yuan Shang (2017)
The Lord Eagle (2018)
Soviet submission for Academy Award for Best Foreign Language Film
Ivan's Childhood (1963)
War and Peace (1968)
The Brothers Karamazov (1969)
Tchaikovsky (1971)
The Dawns Here Are Quiet (1972)
Liberation (1973)
The Ferocious One (1974)
They Fought for Their Country (1976)
The Ascent (1977)
White Bim Black Ear (1978)
Autumn Marathon (1979)
Moscow Does Not Believe in Tears (1980)
O Sport, You Are Peace! (1981)
Private Life (1982)
Vassa (1983)
Wartime Romance (1984)
Come and See (1985)
Wild Pigeon (1986)
Repentance (1987)
Commissar (1988)
Zerograd (1989)
Taxi Blues (1990)
Get Thee Out (1991)


Dorothy Kenney joined Einhorn Harris in 2013, devoting her practice exclusively to family and matrimonial law. Dorothy represents both men and women in all aspects of family related issues. She has experience handling and litigating a variety of matters including all aspects of divorce, unique complex custody issues, child support, alimony, property division, adoption, and domestic violence matters. Dorothy takes a personalized approach to understanding the unique needs of every client to navigate the legal aspect and personal challenges of family court litigation to bring about the best possible resolution for each client.
Dorothy previously served as a judicial intern for the Honorable Tonianne J. Bongiovanni, United States District Magistrate Judge, District of New Jersey and also served as law clerk to the Honorable Ernest M. Caposela, Presiding Judge Family Part, Passaic County.
Dorothy also serves as a Trustee for the Morris County Bar Association.


Please save the date for the JRCLS Mid-Atlantic Chapter's annual Rex Lee Award Lunch on May 31, 2016 at 12:45 pm at the Mayflower Hotel, 1127 Connecticut Ave, NW, Washington, DC. This year's Rex Lee Advocacy Award will be presented to Deputy Solicitor General Malcolm Stewart. Following the presentation of the award, Judge Thomas B. Griffith of the U.S. Court of Appeals for the D.C. Circuit will moderate a panel discussion featuring Beth S. Brinkmann, Deputy Assistant Attorney General, Carter G. Phillips, Chair of the Executive Committee of Sidley Austin, LLP, Judge Patricia A. Millett, judge on the U.S. Court of Appeals for the D.C. Circuit, Gregory G. Garre, Partner at Latham & Watkins LLP and former Solicitor General of the United States, and Judge Sri Srinivasan, judge on the U.S. Court of Appeals for the D.C. Circuit. Click here for more information.
The UK & Ireland Inaugural Annual Conference, Virtue, Liberty & Law: Rendering Unto Caesar and Unto God, will be held Friday, June 10, 2016 at the Chorley Stake Centre in Preston, England. The Conference will feature a keynote address by Elder Dallin H. Oaks, with additional speakers and presentations. For more information on the agenda, registration, and other details, click here.
Registration is open for the 2016 Religious Freedom Annual Review scheduled for July 7-8. Once again, the Annual Review will be open to both lawyers and non-lawyers who are interested in religious freedom challenges in the United States. Topics will include religious freedom issues in public schools and in the workplace, communication about religion and religious freedom in the public square, global religious freedom issues, as well as any recent Supreme Court cases regarding religious liberty, with CLE credits available. Speakers will include Elder Lance B. Wickman, General Counsel and Emeritus General Authority of the Church of Jesus Christ of Latter-day Saints, and Daniel I. Mark, Assistant Professor of Political Science at Villanova University and Commissioner for the United States Commission on International Religious Freedom (USCIRF). For registration and more information, click here. Early bird registration ends May 15.
The JRCLS Leadership Conference will be held on September 29-30, 2016 at BYU and at Aspen Grove.
Highlights of the conference include leadership development and training, the annual sunrise hike to Stewart Falls, and keynote addresses by Elder Bruce A. Carlson, Emeritus General Authority of the Church of Jesus Christ of Latter-day Saints, and D. Gordon Smith, the newly announced Dean of the J. Reuben Clark Law School.
The Leadership Conference is for Attorney Chapter Chairs, Vice Chairs, and Women in Law representatives as well as Chapter Relations Council Members, Student Chapters Board members, International board and committee members and Clark Society Advisors. We hope you will join us for this inspiring event. If you have any questions, please contact Lorie Hobbs at lzh2@byulaw.net.
Please send announcements to megan.jayne.nelson@gmail.com.
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text:
Garden of Reflection in Yardley, PA
Mark Seibert, 10, of Yardley. PA finishes making the sign of the cross after pausing with his mother, Teri Siebert, left at the entrance to Garden of Reflection, Pennsylvania's official memorial to the victims of the September 11, 2001 terrorist attack, early in the afternoon on Monday, May 2, 2011. An anonymous person had just had balloons delivered and The Seibert's including hisband and father Glenn, not pictured, assisted in placing the balloons at the entrance. Michael Mancuso/The Times
Students from a social studies class at Council Rock High School pay a visit to the Garden of Reflection, Pennsylvania's official memorial to the victims of the September 11, 2001 terrorist attack. Michael Mancuso/The Times
Grace Godshalk affixes flowers to the memorial marker for her son, William Godshalk, and hugs a well-wisher (below) late in the afternoon of Monday, May 2, 2011. Michael Mancuso/The Times
Visitor Eric Swanson pauses at the piece of steel from the site, positioned to point in the direction of lower Manhattan. For Swanson, who attended Rider University and lived in Piscataway at the time of the attack, it was his first visit to the memorial. Michael Mancuso/The Times
A spontaneous memorial features a newspaper headline which proclaims the death of Osama Bin Laden with a hand-written inscription "They got him!!! RIP USAF" at the edge of the fountain at the Garden of Reflection. Michael Mancuso/The Times


Cedrela sinensis - Chinese Cedar (Chinese Toon) Tree is a spectacular tree in spring when the new foliage is pale pink. The foliage slowly turns cream then deep green. An upright, narrow habit growing to approx 8M. The young leaves are extensively used as a vegetable in China; they have an onion-like flavour. Plants with red young leaves are considered of better flavour than those where the young leaves are green.


The Washington Metropolitan area automotive industry offers consumers everything automotive from a to z!. This guide is an informative index to all local auto dealers and services in the Washington DC Metropolitan area. DCpages is committed to providing the most accurate and complete information available to its customers, the American traveling public, in a helpful and courteous fashion.
Washington, D.C., has long been the site of the country's greatest ambitions for progress. The Washington Auto Show not only symbolizes the brightest and boldest dreams of the auto industry but marks the show's transformation over the years. The Washington Auto Show has not only become the largest public show in Washington, D.C., it's also the premier address for showcasing the latest innovations in sustainable technologies and drawing the most influential leaders in the industry.


At the age of ten, Edward Henry Lee (1663–1716), a Catholic, was betrothed to nine-year-old Charlotte Fitzroy, the illegitimate and preferred daughter of Charles II and his mistress Barbara Villiers. At the same time, Charles created the title of Henry Earl of Litchfield. These carefully orchestrated events by Catholics in Charles's court are commemorated by Jacob Huysmans, a Catholic painter favoured by Charles's queen, Catholic Catherine of Braganza, and a rival of artist Peter Lely. The painting contains cryptic allusions to the Roman faith (which remained illegal despite Charles's personal religious tolerance), such as a peacock, symbolising resurrection, and Christ as a gardener. The marriage was exceptionally happy and the couple had at least eleven children.


that comes from decisions related to the end of a person's life.
This website, like everything we do at Bekavac's, is a reflection of our business philosophy: thorough, professional, helpful and meticulously executed. We hope that it is a useful resource for you as you look into the services we provide; but also, we hope it's informative as you make decisions surrounding the passing of a loved one. Here, you will find online obituaries, a guest book to send condolences and extensive information regarding our services, merchandise, resources and contacts.
Please enjoy our website; but, if you have any questions, feel free to contact us at any of our locations day or night.