The project enjoys excellent accessibility to all transport modes (Metro, Bus, Rail) and is just Off-Mysore Road and nicely tucked away from the hustle bustle of the city.
Proposed Metro Station about 900mts.
Schools, Colleges, Hospitals & Shopping Malls are in close proximity.
Best of Lifestyle Amenities & Specifications.
Height of each slab top to slab top is 3.05m (10ft).
Rain water drain pipes shall be PVC SWR or HDPE pipes of 'Supreme' or equivalent make.
Western style European water closet of 'Cera' or equivalent make.
Wash basins for toilets of 'Cera' or equivalent make.
Grid Power from BESCOM for each home (2BHK-3KW, 2.5BHK – 4KW, 3BHK – 5 KW).
Conduit for television in living room and master bedroom.
Conduit for telephone in living room.
Intercom / telephone facility from the security room to apartments.
Electrical Provision for air conditioner in Master Bedroom.
Toilets: Anti-skid ceramic tiles flooring & ceramic tile wall dadoing upto 7ft.
Basement, driveways, etc.: IPS flooring / cement tile flooring.
Lobbies and staircase: vitrified tiles / granite / marble / natural stone flooring or a combination.
External walls : low VOC paint.
Internal walls & ceilings : low VOC paint.
Doors : all door frames, shutters shall be painted / polished.
One lift automatic door for passenger.
Dual water connection – BWSSB connection + Borewell, subject to availability at site and applicable laws.
Rain water harvesting through percolation channels.
Covered car parking facility at basement / ground floor.
Generator back-up with diversity factor for the entire complex (elevators, pumps, common area lighting & amenities), including the lighting circuit of each home of upto 1 KVA.
Manned Security at entry / exit.
Toilet for Drivers, Security and Maintenance Personnel in the ground level.


The Commission has revealed it has received and started reviewing proposals from GCFM, the biggest fund manager, on how the company hopes to meet payment obligations to its customers and investors.
Gold Coast Fund Management has expressed optimism that the approval of its proposal would give their clients real value for their investment and provide a roadmap for other struggling fund management companies seeking solutions to their liquidity challenges.
"The Cardinal Offer will be a medium to long term, liquid and value enhancing product. It will be made up of a bond and an equity offer. The bond portion of the fund will allow customers to continue to earn a predetermined return without violating the recent directives from the commission. By this, we are offering a solution to the SEC directive by leveraging on this investment asset", added Afreh.
GCFM has so far paid nearly GHS70 million to aggrieved customers and various categories of clients and has shared details of these payments with the regulator.
In addition, GCFM is one of the few if not the only fund manager to have ceased taking new deposits for its Structured Finance product from investors since October 2018, in compliance with the regulator's directive to the fund management industry to stop offering guaranteed rates.
The company is also taking firm and urgent steps to recover investments placed with other financial institutions and government infrastructure products. When government agencies pay contractors for work done, it will restore normal operations for GCFM.


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Showrunner Michael Schur on building Parks And Recreation's fourth season (Part 4 of 5)
Erik Adams
Parks And Recreation showrunner Michael Schur recently spoke with The A.V. Club about the fourth season of his show. Following part one and part two, and part three, this section covers episodes 14 through 18, beginning with "Operation Ann" and ending with "Lucky."
"Operation Ann" (February 2, 2012)
Leslie sends Ben on a Valentine's Day scavenger hunt so she can focus on her main goal for the holiday: finding a date for Ann. Those efforts fail, however, until April orchestrates an unlikely love connection.
Michael Schur: April's on a little bit of a slightly nicer than usual kick, I guess. Not huge strides, but baby steps toward being a warmer person. April still hates Ann because Ann kissed Andy like two years ago. [Laughs.] And also because she's just the kind of person April hated in high school and still just continues to hate out of inertia: a pretty, nice girl who's self-confident. But yeah, it was nice to create a story where April was the one who threw her feelings out of the situation and actually helped Ann. We had this idea—for comedy purposes only—to get Ann and Tom together for a while, and see what would happen with that.
The A.V. Club: Did you anticipate how controversial the Ann/Tom pairing turned out?
MS: We talked about this in the room—I was 100 percent sure that, of the fans of the show and casual viewers, there would be a certain percentage who wouldn't like this move. I think that's true no matter what. Whenever you get two characters on a show together, there's always gonna be people who think you're blowing it, because, "This character should go for this other person," or, "This isn't right," or, "Why are you doing this?" It's also just a move that happens on TV shows a lot. It's like in the final year of Friends, they were like, "We gotta tell a story somehow, so guess what: Joey and Rachel are getting together." [Laughs.] Romance is a huge part of comedy, and TV shows get characters together and break them up in order to be able to tell stories that are interesting.
It does not surprise me at all that some people didn't like this move. I totally anticipated that; everybody anticipated that. We talked about it with Rashida [Jones] and Aziz [Ansari], like, "There's gonna be people who hate this, so whatever." I just didn't care. All I care about, with any story, whether it's romance or otherwise, is that it makes sense. And this story made sense to me because the whole thing was casual—it was never deeply emotional or meaningful to either of them. They're roughly the same age, they live in a small-to-medium sized town, and they're both single—it's uncontroversial to me that they would go on a few dates. I think that sometimes people judge things before they actually see them, and that may have happened here, because it was like [yells], "Why would Ann go out with him?! Ahhh! Why?!" Like, totally panicked. If you didn't like it, you didn't like it, that's fine—everyone's entitled to his or her own opinion. But the story made sense to me, and I found the characters really funny during the story. I think I said this to Alan Sepinwall: How many minutes did we devote to this story? Maybe 31. It was not a significant part of this season; it was purely done for comedic moments. To me, that whole storyline was worth it just to get Aziz to improvise an R&B song to Ann in the sound studio, because it was hilarious. It's totally valid if you didn't like it as a story, but I enjoyed it.
AVC: In that Sepinwall interview, you say "not every storyline has to go somewhere." That's an important distinction for this season, which contains a lot of long-term, plot-based material, but still experimented with little character-based arcs like Ann and Tom's relationship. Do you think people saw "Operation Ann" and assumed that relationship was going to be a major part of the season's second half?
MS: I totally stand by [that answer]. What's important on a comedy show, or any show, is that some stories have to go somewhere. There have to be ends to the beginnings and middles you create. But sometimes it's like a way station on the highway, and as long as the stories you can tell are either interesting or funny—or ideally, both—and as long as the characters end up in a different place, then the actual thing doesn't have to be this giant, climactic, life-changing, game-changing thing.
We looked at our landscape around this point in the season and decided this: Leslie and Ben are on this incredible, intense journey together as they march further into their relationship, and as she marches closer and closer to this giant election that's going to change her life and the lives of everyone they work with. Chris and Ron are gonna have these huge professional changes at stake. Andy's on this self-realization journey as he's taking classes and growing up. April moves up in the world. We do a lot of these meaty stories about how the characters' lives change and how they relate to each other and what they want and dream about. And then it's just like, "Well, maybe we should just have Ann and Tom fuck around with each other for a couple episodes, and not everything has to be this gigantic, meaningful thing."
If you didn't find the story funny, that would be a perfectly valid criticism. But I think there was this sense of, "Well, it's not going anywhere!" Well, it doesn't have to go somewhere in that sense. I reject that as a legitimate criticism. It wasn't intended to be a huge story—it was intended to be what it was: a casual, ill-fated trial run for a man and a woman to hang out and see if they have anything in common. I would venture to guess that everyone above the age of 19 has had a number of relationships in their lives that didn't necessarily "go anywhere," that nonetheless have some value to them. That was the other thing: We had so many soulmate-y, deep relationships on the show: April and Andy got married right away and are always cooing at each other. Leslie and Ben are falling more and more in love every day. It was never gonna be that; it was always going to be just for fun.
"Dave Returns" (February 16, 2012)
Securing an endorsement from Pawnee's outgoing chief of police proves tricky for Ben for two reasons: One, he's terrified of cops. Two, it involves asking a favor from Leslie's ex-boyfriend Dave, who has lingering feelings for his former flame.
AVC: Dave was an important device for showing Leslie's human side in the show's second season. Was his return intended to illustrate how much she's changed since he left Pawnee?
MS: Yeah, partially. It was also intended to get Louis C.K. back on our show. [Laughs.] That was a very formative thing for us, when he was on the show in his first arc. It was the first time we relied on a guest star, and he was just so awesome. It was also very formative for Leslie, because the point of this story as it originally occurred was that she had a little bit of a snobby feeling toward him. She had this feeling of, "He doesn't know who Madeleine Albright is, and he's not super-smart, and he's not the kind of man I should be dating." It's pointed out to her—well, she half realizes and half has it pointed out to her—that he's a really nice person who cares about her, and his intellect is not the most important part of him. There are many other aspects of his personality that are winning. And so she ends up liking him because he treats her well, and he respects her, and he admires her, and the things he likes about her are all these wonderful qualities she has. So it's partially to show how far she's come, but it's also partially to remind her that he's a good person and that she learned something from dating him.
Also, the idea of this was "Let's get Amy Poehler, Adam Scott, and Louis C.K. to a restaurant, sit them down at a table, and not let them leave for 20 minutes." [Laughs.] That was honestly how we pitched it. All we knew was that the three of them were gonna go out to dinner, and it was gonna be super-awkward. It was what some people would refer to as "cringe humor," which is not a term I particularly like, because I feel like, at some level, all humor is cringe humor. It's about making you feel uncomfortable, whether that's by having someone fall down on their face or by having someone say something embarrassing. In this case, the point of the episode was to put the main character in a classically awkward situation. Dave was a character who always wore his heart on his sleeve, and so we figured that as soon as he had one second alone with Leslie, he was just gonna come out and tell her he was still in love with her and make the rest of the dinner really unpleasant for Leslie.
AVC: This episode is directed by Robert B. Weide, who's done a lot of work on Curb Your Enthusiasm. Did having him around help nail the awkward tone of those scenes?
MS: That was totally accidental. We just wanted to have him direct an episode, and he ended up with that one, which was perfect. It was the right tone for a Curb director. He did a really good job. I also feel like if you had no one manning the cameras and trained them on those three actors and let them roll forever, we probably could've made a good episode.
AVC: Can any currently working comic actor make insecurity as funny as Louis C.K. can?
MS: No, I don't think so. I mean, Adam's close, frankly. His fear of cops—which is a trait I personally share—delights me to no end. There's an awesome moment—and this is why Adam Scott's great—where Leslie's giving a talking-head interview in the parking lot of the police station, and Adam is sitting in their car waiting for her to finish so they can drive home. Deep in the background, an unseen extra in a police uniform walks through the frame, and Adam reacts as if someone just jumped out and yelled "Boo!" in a haunted house. It's this tiny little moment where no one told him to do that, he was just so in character, and he latched onto that character trait of being afraid of cops so thoroughly that he just did that in the deep background of a talking head. The two of them—insecurity is their bread and butter, I would say, Adam and Louie. They're so funny playing that color, in very different ways.
AVC: That episode is also where the campaign song "Catch Your Dream" debuts. Harris Wittels wrote that episode—did he write the song, too?
MS: No, all the songs are written by Mark Rivers, who's the drummer in Mouse Rat. We just sort of tell him what we want, and then he—seemingly about 20 minutes later—sends us a perfectly conceived and executed version of what we wanted. He writes a lot of the lyrics, and then sometimes [Chris] Pratt will also write some of the lyrics. Sometimes one of the writers will help, but usually it's 85 percent Mark Rivers.
"Catch Your Dream," if you actually listen to the lyrics, is so subtly funny, because it's about, like, hunting and catching and shooting down your dream—your dream, in the song, is like an eagle. He's talking about how you have to shoot your dreams down and catch them and lock them up in a cage. It's the exact wrong imagery for an inspirational song, and so it's perfect. This is how Andy Dwyer ham-fistedly tries to encapsulate the idea of what you should be doing with your dreams. But it's also really catchy. I was talking to Mark at our wrap party, and he was saying that every single Mouse Rat song is in the key of G, which is the most basic, happiest, major-chord key signature, and it makes perfect sense. It's like, "Yes, that's what Andy likes." He likes things that are happy and fun and catchy and that have good melodies you can belt out.
AVC: April spends a lot of the episode hiding the fact that "Catch Your Dream" is being recorded at the studio frequented by Ron's sax-playing alter ego, Duke Silver. How satisfying is it to remind the viewers that April knows Ron's secret identity?
MS: It's nice that she shares that secret, because that story would have been hard to tell if there weren't one person Ron could talk to about his problem. For a while, we had a different Duke Silver story planned for the year. Leslie was going to get a significant campaign contribution from someone named Duke Silver. And there was going to be an ethics investigation into who this person was, because they didn't have a home address, and someone was going to think it was fraud or something. They were going to track him down, and the secret of Duke Silver was going to be revealed to everybody. The idea was that all of Leslie's friends have volunteered to help her in the campaign, but that also made their lives open books, and Ron's most shameful secret was going to be writ large. We went pretty far down the road of trying to break that episode, but we never cracked it. At the end of the day, Ron cares a lot about this, but it's not like he murdered someone or robbed a bank. Still, it had been a long time since Duke Silver made an appearance, so we wanted to work him in somehow.
"Sweet Sixteen" (February 23, 2012)
Everyone forgets Jerry's birthday, which is easy not only because Jerry is the department pariah, but also because he was born on Leap Day. Leslie cobbles together a surprise party, but in a very Jerry turn of events, no one remembers to invite the guest of honor.
AVC: Are you ever tempted to let Jerry win?
MS: I don't think it's in his nature to win. I think a win for Jerry is different from what it is for other people. He is very effective as a story-breaking tool. I mean, the title of the episode is about his birthday, and the entire episode is ostensibly about his birthday, but it really doesn't have anything to do with him. Everyone is circling around him and is off in their own stories, and he's just sort of a prop that gets used in order to tell the story. So I don't know what it would even look like for Jerry to win. His whole character is based on keeping his head down and doing his job and trying to put a smile on his face. He's not an ambitious person at all, he's not striving for anything—he just wants to get by. He loves his wife and his daughters, and he likes fishing, and he wants to retire and spend time with his wife. The win will be when we let Jerry go do that.
AVC: And until then, it's just slow-motion pies to the face and forgetting to vote for Leslie?
MS: Yeah—he's the most well-intentioned punching bag in television history.
AVC: Does that have to do with the affable way Jim O'Heir plays the character?
MS: Jim is just an immensely likeable guy. He's a big teddy bear. We happened to stumble on the idea that Jerry is a punching bag, and Jim happens to play a punching bag really well. It's a nice dovetail of a talented performer and a good idea from the writing staff. I've said this before, but we didn't have a character for Jerry when we started the show. We just wanted to add a couple more characters, and we auditioned people with random signs that I put up, and we just were like, "All right, it's Jim O'Heir and Retta. We don't know who they are, we don't know what kind of people they are, we have no backstory for them, but we love the performers, and we think they fit in the world visually." We would do improv exercises with Amy and Retta, and then with Aziz and Jim, and it seemed to be funny, we liked the different dynamics, so we just sort of thought, "Well fuck it, we'll figure it out later." So season two was largely about figuring out who they are. In the "digging up dirt" episode ["Practice Date"], Mark sprung it on Jerry that his adoptive mother was arrested for marijuana possession, and Jerry said, "I didn't know I was adopted." We were like "Oh, there it is: He's a punching bag. He's a sad, sad punching bag."
In real life, by the way, Jim O'Heir is 49. We made him 64 on the show, which is so mean. There's an inside joke in "Sweet Sixteen" about how we aged Jim by 15 years. In the scene where Leslie is doing the roundtable party-planning session, she says, "Jerry is turning 64 this year," and Pratt improvised the line, "He's only 64?" Which was just yet another indignity that the real-life Jim O'Heir had to suffer at the hands of his fellow castmates. They miss his birthday, they plan a birthday for him, they forget to invite him, they rip him out of his bathtub, Leslie drags him all over the city, they force the birthday party to happen at midnight, Leslie falls asleep on Jerry—it's just indignity after indignity. But the nice thing about the episode is at the end, Leslie makes up for it because she gets everyone to pitch in, and she sends Jerry and his wife to their favorite B&B in Muncie. I love that he lives in Pawnee, Indiana, and his favorite place on Earth is Muncie, Indiana. He's not a big dreamer, Jerry.
"Campaign Shake-Up" (March 1, 2012)
While Bobby Newport parties his way through Spain, he's represented on the homefront by his shrewd new campaign manager, Jennifer Barkley (Kathryn Hahn). With Leslie busy competing against Jennifer to court the elderly vote, the parks department devolves into a water-fountain-induced chaos only April can tame.
AVC: With regard to Jennifer Barkley, did you want a character who could legitimately outwit Leslie and Ben?
MS: Yes, that was the whole point: The Newport campaign, sensing this sure thing slipping away, brings in a hardcore ringer. We wanted her to run rings around them the entire time. They're riding pretty high, and we needed to throw a wrench into the works.
This very crudely drawn graph exists in our writers' room, which was the general arc of the second half of the season for Leslie and her team. The Y-axis is how good things are going, and the X-axis is the episode numbers. It was a pretty steady line going up, and then I was like, "Maybe around episode 17, there needs to be a hitch," and the line suddenly slopes severely downward. Then for the rest of the episodes, it crawls back up to the point where Leslie would go into the finale essentially tied with Bobby. We threw that up on the wall as a general guide for the rest of the year, and it ended up being almost exactly right. The way it worked out, episode 17 was the one where we introduced Jennifer. For the first time, Bobby [Newport's campaign] was being run by someone who was competent, whose first move as a campaign advisor was to send him to Europe to get him the hell out of town so he would stop talking and blowing it for himself.
AVC: We talked about how Jennifer was one of the characters written with a specific actress in mind. Once you had Kathryn Hahn on the set, how much did she contribute to forming that character?
MS: A lot. That's true of everyone who's ever been on the show: They contribute a lot. But this character was tailored for her. Our basic note to her was just, "Do what you do." I pitched her the character and the general arc on the phone. Kathryn is one of the happiest people I've ever met. She's constantly laughing and shrieking and giggling and talking about how wonderful things are. She's just a truly delightful human being. My pitch to her was "Leslie's doing great, Ben's doing great with Leslie, you come in, and everything falls to pieces. And, as a bonus, you don't care at all about any of this." That was very important. She couldn't care less. She got paid a huge amount of money to come to Nowhereville, Indiana and take over the campaign of some rich, spoiled kid. And that was what was nice about setting her up as a foil for Leslie, because Leslie exclusively cares about Pawnee. She cares a little about Ben and a lot about Pawnee. So it was nice to introduce a character who was in the opposite camp, who could not have cared less about the details of anything that was going on at all. She was a pure mercenary. It makes it a difficult kind of person for Leslie to fight, because there's no toehold you can get into Jen Barkley—she just doesn't give a shit. Ultimately, there's a tiny lesson Leslie can take from that, which is you have to be a little bit tough, and you have to approach things with a dash of Jen Barkley if you want to get things done in the world of politics.
AVC: Is the general M.O. for outsiders who come to Pawnee to completely dismiss the city?
MS: Certainly the Jen Barkley-types. The city mice who come to the country. In the finale, when they start the recount, she literally collapses onto a table and says, "I just want to go home." There was some funny improvising Kathryn did in some of the takes after that where she was going, "I miss martinis. I miss traffic. I miss museums." But it depends. Justin Theroux's character in season two was a city mouse. Granted, the city was Indianapolis, but he was a more worldly human being. But he liked Pawnee. He liked the authenticity and the small-town flavor of it, and he was a little bit condescending in the way he liked it, but he still liked it. So there's no kind of playbook we run—it just depends character to character.
AVC: The episode's other big guest appearance comes courtesy of Carl Reiner. How did you go about getting him for the part of the most influential senior citizen in Pawnee?
MS: Dan Goor wrote and directed the episode, and he's a huge Carl Reiner fan. But for some reason, it hadn't occurred to us to try to get him. Literally, just one day when we were in the rewrite process, it was like, "Oh, the only person who should play this is Carl Reiner." So I wrote Dan an email, and he got super-geeked about it. He and I were both witness to a truly amazing event that was not televised—I think it was the Writers' Guild Awards many years ago. Carl Reiner came out to present an award, and he talked for like 15 minutes and just killed, at a level that any stand-up comedian working today would love to be able to say they killed this hard. In a tough room—a room full of writers who were jaded and bored, and had been sitting in tuxedos at 5:30 in the afternoon in some hotel ballroom for three hours. And it was like, "Holy shit, Carl Reiner is still that funny." It made a very lasting impression on both Dan and me, and I think everybody else who was there that day who didn't already know that Carl Reiner was still that funny and sharp. So it occurred to me—why don't we get him? Adam Scott was so geeked out about it that he bought an original poster of The Jerk and had Reiner sign it for him. Which was kind of awesome.
AVC: In terms of the public-health "crisis" Ann and April tackle in this episode, can you recall the origin of the gag involving Pawneeans wrapping their whole mouths around water fountains?
MS: I remember Dan pitching it to me. He's the No. 2 guy on the writing staff, so oftentimes if I'm editing or working on something, he'll come in and pitch something that the room has been working on. When he pitched it to me, I was like, "I don't get that." I couldn't see it, and he was very insistent that it was the right move. And I was like, "All right, you seem passionate about it, that seems fine." But I didn't fully get it or think it was funny until I actually saw it. Once I saw it, I was like, "Oh goddamn, that's so weird and funny!"
We set it up well as a local quirk or custom. There's a lot of things like that in America. Every city, every town, every region has these weird things—the way they pronounce words, or what they call soda, or how people drive. It's a huge country, and there's all these strange pockets of behavioral patterns that social anthropologists could spend lifetimes researching and reporting on. And no one knows how they started or where they come from, and no one knows why they exist, but they just do. And I love that aspect of it, it's just a new little detail about this weird city that we've chosen to set our show in, that when people drink from water fountains, they put their mouths completely over the spouts. I think it's really neat from a world-building point of view.
AVC: Have you done any research into the region the show is set in so, say, you know your characters are identifying soda correctly?
MS: With things like that, we do, yeah. People in Indiana call soda "pop," which they do in a large part of the country. So in the "Sweet Sixteen" episode, when Leslie's planning the party, April says, "The usual? Cake and pop?" And originally the way that had been written was "cake and soda," and someone pointed out that people in Indiana don't say "soda," they say "pop." It sounds very foreign to me, because I'm from Connecticut, where people say "soda." Pawnee is supposed to be its own little universe, and we don't want to stay too rigidly tied to regional specificity, especially because we like to sometimes make it up—like people putting their mouths over water fountains. But with general things, it's supposed to be a real town; it's supposed to really be in southwestern Indiana. Early on, I remember we had written in something about the DMV, and it turns out that in Indiana, they call it the MVD, or some other combination of letters. So we went, "Oh shit," and went back and changed the props and stuff to match what the reality was. So we do care about stuff like that. We want to get little details like that right whenever we can.
"Lucky" (March 8, 2012)
A potentially embarrassing situation arises when Leslie gets drunk before a big interview with journalist Buddy Wood (Sean Hayes). Meanwhile, Ron and Chris compete for the affections of Andy's women's studies professor (Danielle Bisutti).
AVC: Nick Offerman wrote this episode. How often do you have members of the cast offering to write?
MS: Well, we went to Poehler about it in season two and said, "I think you should write an episode." I had witnessed her act as a writer on Saturday Night Live for years, and knew how good she was. She's now written three of the best episodes we've ever done. It's very, very hard to write a TV script that's good, and I can honestly say that if all she did was write, she would be a coveted writer for any comedy staff in town. Nick came to us before the season and said he wanted to try his hand at it, and I said [jokingly], "Over my dead body, you son of a bitch, get out of my office," which is how I always respond to any request Nick makes.
I come from that SNL world, where writers and actors are essentially the same. Much more actors being writers than writers being actors—but even so, sometimes the writers perform on SNL. And that was obviously the way Greg Daniels envisioned The Office, with Mindy [Kaling] and B.J. [Novak] and Paul [Lieberstein] and even me, occasionally, acting on the show. It's more fun when people get to do different things. And Nick is a true artistic Renaissance man. When he was in Chicago, he worked at Steppenwolf, and he would act in the plays, do the fight choreography—because he's a trained fight choreographer—and he was a master set constructor. So he would build sets, and then act in plays, and then teach the other actors how to fight with swords. So I was very excited about the idea of Nick writing, and he wrote a really, really funny script, and I want there to be more of that in the future, if there can be. Amy directed this season, and hopefully other actors will start doing that too, because I think it's really fun for them, and it's fun for me to see how they interpret the show and how they give notes to other actors.
AVC: And Nick got to have an extra bit of fun, because he wrote himself a small victory in this episode.
MS: Yes, he sure did. It should be noted that, like every episode of the show, the story was broken by the room, and Nick came and helped us, came up with different leads for it, and acted like a writer the whole time—which is the whole point. The point of writing a script is to act like a writer. So that detail—that Ron ended up bedding the hot women's-studies professor—came from the room. It wasn't like Nick going, "Hey, I have an idea. I should have sex with that hot lady." Although I think he enjoyed playing that scene.
AVC: There's an indication in this episode that Leslie might not be able to conquer Bobby Newport. Was the purpose of the airport employees "accidentally" losing the footage of the drunken interview meant to indicate that the people of Pawnee are behind her, even if the poll numbers aren't?
MS: That was the design of the story: To show that hard work is its own reward, but it has other hidden rewards. [Laughs.] Because she is the kind of person who works tirelessly and selflessly to help other government employees with their problems, there's this secret society of Leslie Knope worshippers out there. And when she's treated very badly by a very mean, jerky guy who's not from Pawnee, and who disrespects her and acts like an ass, that secret army of Knope supporters will step in and help her out. It was important for us in this episode to show she did not know that was happening, because that's not something she would have condoned, I don't think. And it's not something she would have been okay with, that kind of slightly fraudulent activity. But we figured as long as she had no idea that it happened, and she really just chalked it up to good luck and good fortune, it could be okay. But you know, the episode was called "Lucky," and the idea was to show that what she thinks is getting lucky is actually the result of all of the good deeds and hard work she's put into the government over the years. So it's not actually luck—being who she is ended up helping her.

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Order: In the Matter of Welcome Place Inc. et al.
-AND-
IN THE MATTER OF WELCOME PLACE INC., DANIEL MAXSOOD also known as
MUHAMMAD M. KHAN, TAO ZHANG, and TALAT ASHRAF
(Subsection 127(1), 127(7) and 127(8))
WHEREAS on July 2, 2013, the Ontario Securities Commission (the "Commission") issued a temporary order (the "Temporary Order"), pursuant to subsections 127(1) and (5) of the Securities Act, R.S.O. 1990, c. S.5, as amended (the "Act"), ordering the following:
that all trading in any securities by Welcome Place Inc. ("Welcome Place"), Daniel Maxsood also known as Muhammad M. Khan ("Maxsood"), Tao Zhang ("Zhang"), and Talat Ashraf ("Ashraf") shall cease; and
that the exemptions contained in Ontario securities law do not apply to any of Welcome Place, Maxsood, Zhang, and Ashraf;
AND WHEREAS on July 2, 2013 the Commission ordered that the Temporary Order shall expire on the 15th day after its making unless extended by the Commission;
AND WHEREAS on July 2, 2013 the Commission issued a Notice of Hearing to consider, among other things, the extension of the Temporary Order, to be held on July 12, 2013 at 11:30 a.m. (the "Notice of Hearing");
AND WHEREAS Staff of the Commission ("Staff") have served Welcome Place, Maxsood, Zhang, and Ashraf (the "Respondents") with copies of the Temporary Order, the Notice of Hearing, the Hearing Brief, Staff's Written Submissions and Brief of Authorities as evidenced by the sixteen Affidavits of Service contained in the Affidavits of Service Brief filed by Staff in advance of the July 12, 2013 hearing;
AND WHEREAS the Commission held a Hearing on July 12, 2013, at which counsel for Welcome Place and Maxsood attended and no one attended on behalf of Zhang or Ashraf, although properly served. Upon reviewing the evidence, hearing submissions from Staff and counsel for Welcome Place and Maxsood, and upon being advised that Welcome Place and Maxsood consented to the extension of the Temporary Order to January 31, 2014, the Commission ordered:
pursuant to subsections 127(7) and 127(8) of the Act that the Temporary Order is extended to January 31, 2014, and specifically:
that all trading in any securities by Welcome Place, Maxsood, Zhang, and Ashraf shall cease;
that the exemptions contained in Ontario securities law do not apply to any of Welcome Place, Maxsood, Zhang, and Ashraf; and
that this Order shall not affect the right of any Respondent to apply to the Commission to clarify, amend, or revoke this Order upon seven days written notice to Staff of the Commission; and
that the Hearing is adjourned to Monday, January 27, 2014 at 10:00 a.m.
AND WHEREAS on January 27, 2014, the Commission held a Hearing with respect to the extension of the Temporary Cease Trade Order and Staff appeared and made submissions. No one appeared for the Respondents, but a written consent to the extension of the Temporary Order was filed, which was considered by the Commission. The Commission ordered pursuant to subsections 127(7) and 127(8) of the Act that the Temporary Order is extended until the final disposition of the proceeding resulting from Staff's investigation in this matter, including, if appropriate, any final determination with respect to sanctions and costs, or further Order of the Commission, and specifically:
that this Order shall not affect the right of any Respondent to apply to the Commission to clarify, amend, or revoke this Order upon seven days written notice to Staff of the Commission;
AND WHEREAS on December 18, 2014, the Commission issued a Notice of Hearing pursuant to sections 127 and 127.1 of the Act, accompanied by a Statement of Allegations dated December 18, 2014, issued by Staff with respect to the Respondents;
AND WHEREAS the Respondents were served with the Notice of Hearing and Statement of Allegations on December 19, 2014;
AND WHEREAS the Notice of Hearing provided that a hearing would be held before the Commission on February 2, 2015;
AND WHEREAS on February 2, 2015, Staff appeared and counsel appeared and confirmed his attendance on behalf of each of the Respondents;
AND WHEREAS the Commission determined that the parties should return for a subsequent appearance before the Commission after disclosure has been provided to the Respondents;
AND WHEREAS the Commission is of the opinion that it is in the public interest to make this Order;
IT IS HEREBY ORDERED that the hearing of this matter is adjourned to May 27, 2015 at 11:00 a.m. or on such other date or time set by the Office of the Secretary and agreed to by the parties.
Dated at Toronto this 2nd day of February, 2015.
" Mary G. Condon "
Mary G. Condon


text:
Megacrania is a genus of the subfamily Megacraniinae of stick insects. Members of this genus are commonly referred to as "peppermint stick insects", due to the characteristic odor of their defensive spray, as well as the cylindrical, twig-like shape of their bodies.

These unusual insects are notable for their aposematic coloration, as well as their robust chemical defense mechanism. This mechanism consists of an irritating fluid — with an odor resembling peppermint — that they spray from a pair of scent glands located at the prothorax when threatened. This fluid is irritating or painful when inhaled or absorbed through mucous membranes, and is an effective deterrent against many arthropod, reptilian and avian predators.

Taxonomy
This genus was first described by Johann Jakob Kaup in 1871. After an exhaustive study, the genus Megacrania was revised in 2007. Among other revisions, M. batesii was removed from synonymy with M. alpheus. There are now 12 known species within the genus:
M. alpheus
M. artus
M. batesii
M. brocki
M. nigrosulfurea
M. obscurus
M. phelaus (Westwood, 1859) - type species (as Platycrania phelaus Westwood)
M. rentzi
M. spina
M. tsudai
M. vickeri
M. wegneri

The genus Megacrania was further revised in 2020, when it was transferred from subfamily Platycraninae to subfamily Megacraniinae (palm stick insects). The two tribes (Platycranini and Stephanacridini) within the former subfamily, Platycraninae, have been determined to be not closely related to the Megacraniinae.

References

External links

Phasmid Study Group: Megacrania

Insects described in 1871
Phasmatodea of Asia
Insects of Australia
Phasmatidae
Phasmatodea genera
Taxa named by Johann Jakob Kaup

redpajama_set_name: RedPajamaWikipedia


Jacobs-Townsley has been one of our top distance runners the last two years and we're not expecting that to change this fall. As a junior last year, she captured her second straight PVIAC and Central Western Division 1 titles. She was also fourth in the Division 1 All State Meet and fourth overall in the Championship Race of the Brown Northeast Invitational where she clocked a PB of 17:42.05 on the generous 5K layout. The Hurricane standout was dominant among her MA rivals in the two-mile run during the indoor and outdoor track seasons, winning individual titles at both All State Meets. She cruised to a PB of 10:49 at the outdoor meet. Jacobs-Townsley capped off her junior campaign by winning the Emerging Elite 2M at the New Balance Nationals (see photo above) in June. We're predicting Natick's Grace Connolly willcapture her third straight individual crown at the All State Meet. But don't be surprised if Jacobs-Townsley is among those runners that won't make it easy for Connolly.


India bags the honor of being the first country outside Britain to adopt the game of Golf. Playing golf in India is an interesting experience due to the diversity of its golf courses. The ambience of each golf course, spread wide through the mountains, plains, deserts and also at the beach resorts; is quite unique; characterized by its culture and history. These distinguishing golf courses have made India an ideal destination for Golf and hence originated the concept of Golf Tour in India as one of the theme travel in India.
Pro-Shops and Post Tournament Function Rooms. You can experience this reality by joining the Golf Tours in India.
In India, the Golf tours as a theme travel in India cover many places like Delhi, Mumbai, Jaipur, Bangalore, Chandigarh, Coimbatore, Ooty, Chennai, Kolkata, Pune, Hyderabad, Gulmarg and Srinagar. The Golf Courses in Delhi and Jaipur are must visits and widely applauded by the golf lovers from all over the world.
Some of the oldest golf clubs in the world outside England and also the highest golf course located at Gulmarg in Kashmir make India irresistible for the golf lovers. The Golf tours in India are convenient for the tourists as most of the golf courses are well connected with the mainstream through road, rail and air network. The Indian Golf Union is also affiliated to the World Amateur Golf Council.
Planning a Golf tour in India is one of the best ways to experience the sporting spirit in India closely. A large number of international standard courses are also designed by Arnold Palmer and Jack Nicklaus; offered at the golf courses providing the golfers with adequate challenge.


Maybe a pickling meet or just for connecting with each other?
Great idea. When I first joined the forum was looking for fellow members but not much activity was on at that time.
Good if this takes off with Delhi and so many sister cities around, this could grow quick.
Sadly I am not in town anymore but will definitely join when I am around.
Good idea. Count me in if it is at the shooting range, It would be good to meet fellow members and blast off a few rounds.
Yeah, sure thing, let us know.
Is it only the firearms owners or air gunners can join too?
any plans for a meet in NCR?
Is it possible to organise a range trip in or around the NCR, to practice shotguns & hand guns.


Epilepsy Durham Region is a vibrant community that welcomes the participation and contribution of people from all walks of life. The quest to heighten the awareness and dispel the myths of Epilepsy is urgent, we need your help. Voluntering is an exchange of skills, friendship and empowerment. Your ability to donate a few hours a month directly impacts the quality of life of those touched by Epilepsy. Joining our network of dedicated volunteers upholds the self-esteem and commitment of those with whom you volunteer and together you directly impact the quality of life for so many.


text:
State Street Global Advisors
CEOs back updated governance principles
More than 20 corporate and investment leaders urge long-term focus
The CEOs of major public companies and institutional investment firms have signed up to a revised set of principles designed to provide what the authors call 'a basic framework for sound, long-term-oriented governance.'
The new document updates an initial set of principles released in 2016. That version was signed by CEOs of 13 organizations, including Berkshire Hathaway, BlackRock, General Electric, General Motors, JPMorgan Chase, State Street Global Advisors and Vanguard.
They are joined in signing the latest version by the leaders of a further nine organizations, including DowDuPont, Johnson & Johnson, Procter & Gamble and the Washington State Investment Board.
In an open letter, the CEOs pledge to apply the principles in their own business and call on others to do likewise. A new 12-page document, referred to as Commonsense Corporate Governance Principles 2.0, covers a wide range of topics:
Board of directors' duties, composition and internal governance
Board of directors' responsibilities
Shareholder rights – including that public companies should allow for some form of proxy access and that dual-class voting is 'not a best practice'
Public reporting
Board leadership, including the lead independent director's role
Management succession planning
Investors' role in corporate governance.
The authors say the principles are meant to 'promote a constructive dialogue on good corporate governance to benefit the millions of Americans who work for and invest in America's public companies, create economic growth and sustain the health of America's corporations and markets.'
Warren Buffett, chairman and CEO of Berkshire Hathaway, says in a statement: 'Good corporate governance is critical to the success of American companies and to the American economy overall. This document takes it to another level of sound, commonsense principles that have been endorsed by multiple prominent business leaders and investors. It is a living document to help spur a larger conversation among boards, investors and companies for the benefit of all Americans.'
The updated principles incorporate several additions and enhancements, including that:
Board members should be prepared to serve for a minimum of three years
If board elections do not take place every year, companies should explain why
Companies and shareholders should engage early on important proxy proposals
Poison pills and other anti-takeover defenses should be put to a shareholder vote and re-evaluated by the board on a periodic basis
Asset managers should disclose whether they rely on proxy advisers to inform their decision-making
Asset managers should disclose their conflict-of-interest policies in their proxy voting and shareholder engagement activities
Portfolio managers should be compensated based on performance over an appropriate term, given the strategy and investment time horizon for the portfolio
Asset owners should promote sound, long-term oriented governance in their direct interactions with both companies and asset managers.
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The week in GRC: SEC eyes revamping exempt-offering framework, and investors urge compliance with CDP reporting
The week in GRC: Anadarko shareholders to vote on Occidental deal, and DoJ to credit antitrust compliance programs
How TCFD targets climate-related risk reporting
Inside CDP's method for environmental reporting
The week in GRC: Anadarko...
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What is CDP's main ESG focus and who does it serve? We focus on the E of ESG by asking companies, cities, states and regions to...Read more


text:
The Burghers of Calais - Stanford, CA, United States - Specific Wars Monuments and Memorials on Waymarking.com
The Burghers of Calais - Stanford, CA, United States
in Specific Wars Monuments and Memorials
Posted by: saopaulo1
10S E 573434 N 4142679
Quick Description: A memorial by Rodin for the Hundred Years' War at Stanford University.
Location: California, United States
Waymark Code: WMH2BH
Published By: Torgut
"The Burghers of Calais
In 1884 the French city of Calais commissioned Auguste Rodin to create a memorial honoring heroes of the Hundred Years' War. He depicted the six burghers, or citizens, who in 1347 volunteered to leave the defeated city barefoot, tied to a rope at the neck, and offer their own lives and the keys to Calais to King Edward III of England.The burghers' fortitude, determination, and devotion to their community preserved Calais from being pillaged at the end of a devastating siege. The burghers are shown at the moment of departure from the city.
For Rodin this episode was an opportunity to celebrate the idea that heroic deeds may be performed by ordinary people. He did not follow tradition by idealizing the figures, rather he was uncompromising in his depiction of the emaciated hostages and represented them as distinct individuals. Their faltering steps, despairing gestures, and anguished expressions eloquently express the inner turmoil of each man struggling in his conscience between fear of dying and devotion to their cause.
This installation of independent casts was suggested by the sculptor's wish to have the figures set amidst the paving stones of Calais' town square so that the citizens of today might learn from the example of their heroic ancestors."
War: Hundred Years' War
Is it permanently accessible to the public?: yes
Is it necessary to pay a fee to gain access to the place?: no
Year of the memorial or monument: Not listed
At least a picture taken by yourself is requested. Try to provide a descriptive log of your visit to the local.
Nearest Specific Wars Monuments and Memorials
There are no logs for this waymark yet.


text:
Салахедин Сбай (на арабски език - صلاح الدين السباعي) е марокански футболист, национал на Мароко, който играе като защитник.

Кариера
Сбай започва да играе професионално в белгийския Шарлероа. През 2005 г. преминава под наем за 2 сезона в Тубиз. Завръща се в Шарлероа през август 2008 г.

На 24 юни 2009 г. Ним Олимпик привлича Салахедин, който е и бивш юноша на клуба.

На 27 януари 2011 г., Сбай е преотстъпен до края на сезона на английския Блекпул, който тогава е в Премиършип. Веднъж попада в групата за мача срещу Манчестър Юнайтед, но в предивид голямата конкуренция не успява да запише игрови минути, а Блекпул изпада от Висшата лига.

Национален отбор
Сбай е бивш младежки национал на Мароко. Дебютира за мъжкия национален отбор в квалификация за световното първенство през 2010 г. срещу Мавритания на 11 октомври 2008 г.

Източници

Марокански футболисти


We use the same fantastic filling that is used in our finest quality lamb pies to create this quality suet pudding. Blended with a rich minty gravy, all encased in a tasty suet pudding.
Lamb 40%, Filling (lamb, gravy (water, lamb stock, gravy powder (modifed maize starch (sulphites), salt, wheatflour (with calcium, iron, niacin & thiamine), herbs, preservative (sodium diacetate), malt extract (barley), yeast extract, flavouring (soya), onion powder, spice extract, herb extract)), Pastry (Vegetable Suet (vegetable oil, wheatflour (with calcium, iron, niacin, thiamine), water).


text:
Kink Kloset
Episode 24 - Dreck Sau
February 15, 2021 Thomas Seggie / Dreck Sau Season 1 Episode 4
Feb 15, 2021 Season 1 Episode 4
Thomas Seggie / Dreck Sau
We have now had two dozen of these, it is the Twenty Fourth episode of the Kink Kloset!
Smoking us out is the oink worthy, Dreck Sau! On this episode we are travelling back to London town to visit Dreck. Dreck was born in the UK, yet split his time growing up between here and Mexico City. He has always seen himself as a fetishist from a young age. Dreck still remembers fondly the moment when he stole a pack of cigarettes from the kitchen table, sneaking away and taking his first drag. That moment awoke feeling inside of him he couldn't deny. Not too long after that, he was gifted leather from his father who owned various leather and punk gear during his biker days. The feeling of leather and seeing how others reacted to it inspired Dreck to see the fashion in fetish. It comes as no surprise that Dreck soon embraced his creative side, infused it with his fetishes, and started to have some great fun exploring what fetish meant to him.
Dreck has always been a person who marches to the beat of his own drum. From being a trailer blazer in the online smoking community, to not confirming to conventional dress codes at fetish events, Dreck has always done it his way. Deep down he knows you need to be honest with yourself and what you're feeling. Even after having his online fetish life maliciously revealed to all of his close family and friends, Dreck never stopped embracing his fetish. Looking back on it, he is somewhat thankful because it allowed him to freely express himself. It appears that even through times of adversity, Dreck has managed to stay true to himself and has bounced back with more creativity and a deeper connection with his fetishes.
All content © 2022 Kink Kloset.


Thousands of migrants and refugees call the Calais camp home have doubled in the last two months.
French officials are trying to clear hundreds of migrants and refugees from a sprawling camp in Calais, nicknamed "The Jungle," ahead of plans to bulldoze the site on Monday.
The camp has been a makeshift home for thousands of people from the Middle East and North Africa attempting to make their way across the border into the UK from France.
The move comes after France opened a new camp nearby on Monday, made of converted shipping containers with bunk beds inside, offering better protection from the elements. The containers can house 1,500 people, giving priority to children and families.
Dozens have already relocated to the new camp, and on Friday, more people began to pack up their small bundles of belonging and break down tents. Most in the camp are from Syria, Iraq, Afghanistan, and Eritrea, where they have fled war, violence, and economic instability.
But others have vowed to stay firmly put and insist that they will not move into the new camp, despite deplorable conditions in "The Jungle."
They fear the barbed-wire fencing and new barriers resemble a prison and will be used to shut them in. In order to use the new accommodation, those in the camp will have to submit to 3D fingerprinting.
Nico Stevens who works with an aid group in the camp told The Guardian that the new site facilities "look like a detention centre."
Calais has long been a stopping point for migrants hoping to travel to the UK, but as the European migrant and refugee crisis exploded last year, the camp quickly swelled to thousands.
"The Jungle" soon grew into a makeshift community, with shops, mosques and a church between the tarps and tents that are often thick with mud. Up to 6,000 people were staying in the camp this autumn, though recently numbers have decreased.
Migrants in the Calais border camp are awaiting their fate as the deadline for the clearance and eviction of over a quarter of the site looms tomorrow.
French and British officials have criticized each other for inaction over the deplorable conditions that have continued for months. Both countries have tried to discourage people from coming to the camp, but that have continued to arrives in hopes of eventually making it to the UK by any means possible.
"To stay here or move to the containers is the same for me," said Ahmed Alhamad, a Syrian refugee told the Associated Press. "I want to seek asylum in Britain."
"The Jungle" in Calais is not the only camp in France where migrants have gathered by the thousands.
French authorities have approved plans from aid group Médecins Sans Frontières (MSF) to relocate another squalid camp outside nearby Dunkirk. In Grande-Synthe, the mayor's office approved relocating a camp mired in mud to another location, after weeks of discussions among local authorities and Doctors Without Borders, which led the effort. The new camp will open in four weeks. Up to 2,500 people stay in the Grande-Synthe camp, known as a haven for smugglers.
Authorities are cautious not to allow the new and improved housing to attract more migrants. The goal is to reduce the Calais migrant population to 2,000. Security has been tightened at the port and Channel tunnel.
"I think it's very clear from now on that it's impossible to get to the U.K. from Calais," said Nicolas Pauliac of the Pas de Calais prefecture.


You are awesome :-) I loved your books, loved all the details, every single page..... I was not able to put it down .... your words magical .... for us readers you made me feel their pain their love .... his messed up personality .... I am speechless .... I fell in love with these characters ...... :-) can't wait for your other books !!
Completely amazing and unforgettable, beautifully written with such deep and rich characters. This book is one for the heart and soul.


XFER, Mobile Tickets: You ll need an iOS or Android smartphone to scan your tickets at the gate.,Mobile ticket: Scan your tickets from your mobile phone for this event. Do not print these tickets.
XFER Mobile Entry Tickets. Must have smart device on hand to enter event. Do not print these tickets. These seats are on the aisle with purchase of the entire group.
XFER, Partial View,Mobile Tickets: You ll need an iOS or Android smartphone to scan your tickets at the gate.,Mobile ticket: Scan your tickets from your mobile phone for this event. Do not print these tickets.
OPRA BOX / PARTIAL VIEW These tickets are printed Obstructed or Partial View; however you will be able to see the action uninterrupted and only part of the stage/set/field will be blocked.


What are the most obvious areas in your school that are stopping you being judged good. Put in order from Most (at the top) to Least (at the bottom) important.
What do we know about schools that improve?
January to August 2012 under previous framework. Primary schools have 47% improvement to Good or better, in secondary it is 41%. This is before additional support provided by Ofsted. Michael Wilshere worried about the 38% of Primary and 40% of Secondary which didn't shift, and the 15% of Primary and 19% of Secondary which went into Special Measures.
It is easier to shift a school in a least deprived area than in a more deprived area – focussed on attainment rather than progress. Since then Pupil Premium funding has come in.
Leadership of a determined and resolute headteacher – irritating leadership which says failure is not an option. Sharing a clear vision with high expectations of staff and pupils. Establishing effective SLT – this may require changes in personnel; and reinvigorate the governing body – they must be able to play a strategic role. This then leads to tools for success ensuring staff effectiveness by holding to account and ensuring ability to improve. Where is the school in the "model".
In the majority of schools the headteacher introduced pupil progress meetings to hold staff to account for progress – annually is not nearly enough – three times a year is better – but if you are a vulnerable school it should be six times a year.
In the majority of schools written guidelines for teaching and learning were produced. These were described as 'non-negotiable' and set the standard for good teaching. These are things that are important across the board to help all teachers, e.g. NQTs, creating a learned behaviour in the school.
In three quarters of the schools headteachers described themselves as visible in order to set an example and model the behavior that they wanted staff to adopt – e.g. modelling speaking and listening, handwriting.
In several schools a non-negotiable behaviour policy for pupils was established.
In all schools staff were subject to challenging conversations and in just over half of them it resulted in teachers leaving the school – you go into teaching as someone who cares about people – but there will be some people who are barriers to your school getting to good – you can't duck this, you must deal with it, to ensure every child gets a good education – they only get one stab at it.
In two thirds of the schools the headteacher quickly strengthened the SLT.
There is no one way to teach, no formula. But children do need to know success criteria, they need to know what it would look like if they were to succeed. The whole point of planning is planning for every child, and you can't do that without assessment data. The problem is teachers not using the assessment data to plan for all children, including SEN, with short-term targets that the pupils, parents, LSAs and others all know. Assessment for Learning is about the whole thing.
Progress and task completion are not the same thing – it is not about task completion but progress – what do you know now that you did not know at the beginning, what skills have you learnt (even though lesson is normally content based).
Too often teachers ask if pupils understand, teacher doesn't know whether or not pupils understand, pupils won't admit in front of 30 of their friends that they don't understand or haven't made progress.
Teaching is not about performance it is about learning and inspiration. Once received a note "To the Inspector", opened it up and it said "Are you as bored as I am"? Sometimes there is too much talking, and too many instructions. When in silence pupils get three times as much done.
Getting pencil grip right, especially for left handers, is critical. Boys hates writing as their motor skills are not good enough – but sometimes that is due to poor grip. In Year 7 you can often spot children's primary schools by looking at their handwriting. Equally letter formation is often not good enough – it needs to be corrected.
Many pupils in Year 6 gain a secure Level 4, by Easter of Year 7 they have a Level 3 in extended writing in non-core subjects but in English have a Level 5 – that is because teachers aren't correcting this. Non-English teachers often don't have the vocabulary to verbalise appropriately to pupils.
The critical thing for a good teacher is to think about learning, not teaching. They need to move away from the scaffolding to do this. Thorough planning does not always work – focus on activities, and doesn't always support the actual learning by pupils.
Critical issue is progress – good progress in all groups is the crucial element. Ofsted doesn't require a particular approach to teaching – ticking boxes doesn't have to be done. Achievement isn't just end of Key Stage data, you may have some pretty grim data, 2012 could be bad, 2013 might be better it might not. The judgement on achievement is based on past data, current school's data and progress in lessons. You must also demonstrate that previous predictions were accurate – that you knew those pupils weren't doing well, helping to secure data on current lower down the school pupils.
The questions that Inspectors ask are based on the historical data they can read, so answer those reasonable questions, answer the why and show how issues are dealt with through planning and that they are making a difference. Do present data in 3-4 sides of A4 with impact and analyzed, already know the core data already so want the analysis.
Headteachers in all schools perceived performance management as necessary to build the capacity for consistent and sustained school improvement – link to teachers standards.
Coaching and mentoring procedures were established in all schools visited. In half the school part of a mentor's performance management was to be responsible for the improvement in performance of their mentees.
In the majority of schools programmes of peer working were established that were judged to be highly effective.
In all schools professional development programmes were tailored to the ability of staff – and were helping to motivate them.
In some schools staff meetings had been remodelled to focus on teaching and learning.
In most schools recruitment and induction were described as crucial. In half only good or outstanding candidates were considered.
In half the schools staff were provided with opportunity to take external qualifications.
In most schools the headteacher had reinforced that it was the teacher who was responsible for their own performance management.
Effective headteachers teach as you want your teachers to teach. Do not neglect the skill of your own teaching due to operational busyness. Model that good teaching and teach other people how to do it. It is no good just monitoring, you have to coach people. It is no good just doing the what and the why – you need to show the how as well.
Just over half the "improving" schools said they used performance management to manage staff departure. Most but not all, used it to manage performance improvements.
How well does your improvement plan link with plans for staff development? Are your CPD targets on your plan?
Is there a clear relationship between promotion and accountability?
Have you clearly indicated the contribution to be made by teaching assistants and other staff? Are they accountable? Are the SEN children busy, and delighted at completing the task – it should be what have they learnt?
Lack of a critical friend approach – often not enough challenge but rather trying to be good friends – instead the need to be irritating leaders and not accepting things being brushed under the carpet.
Over reliance on information from the headteacher, e.g. do subject leaders present to Governing Bodies.
Lack of systematic visits to school – this is very tough given people are often working full-time – it needs balance. Not monitoring lessons, it is the Governors role to make sure systems are in place to monitor learning and teaching.
Lack of engagement with school development planning – it is the strategic side of governance and need to be involved in the development and know whether or not it has the feel of something that is active. Success criteria shouldn't be task completed – need to have evaluation tools to show what has worked and why has it or has it not worked. Inspectors will also expect you to know your SEF inside out.
Limited role in monitoring and none of it "independent". As a tip write challenging questions from GB in minutes in red so it stands out and is easily seen – but can also be easily followed up.
One of the most useful activities is a learning walk with the subject co-ordinator, pointing out key features in teaching of subject through the displays and lessons.
Limited understanding of data and school quality – RAISEonline is a nightmare – it is a question of making sure you have the training from your LEA. Talking it through with your headteacher, understanding which bits are important, it now marks key Governor pages with a G. RAISEOnline is produced by Ofsted and DfE, Family Fischer Trust now doesn't produce data across all LEAs, as RAISEOnline has improved by HMI it is now much closer to providing all the data from Family Fischer Trust.
Positive impact: drive, strive, ambitious vision, more strategic, provide clear direction, rigorously drives improvement, steer through change, increasingly effective.
Reviewing and analysing data independently.
Guidance is if you have a school that was previously outstanding, if your pupils who are Pupil Premium are not closing the gap then you cannot be outstanding. London has seen an incredible closing of the gap between FSM and other pupils. The South East has the widest gap of anywhere in the UK. In LEA terms it goes from West Berkshire, Isle of Wight, Hampshire up to Reading and Slough is the best – under performance of FSM eligible pupils compared to non FSM pupils at GCSE in 2012 by LA! By the age of 5 these children were already behind by 18 months, wider at KS1, and again at KS2, and by KS4 life chances are hugely less.
Be as creative as you like about that money. The one critical report is "Unseen Children Access and Achievement" on what is the problem in this area. Don't neglect Pupil Premium children who do we well the access issue is inspiration – this is what parents can't or won't give.
The more children on FSM in a school the smaller the gap in achievement.


text:
Matalanjärvi eller Matalajärvi är en sjö i Finland. Den ligger i kommunen Suomussalmi i landskapet Kajanaland, i den nordöstra delen av landet,  km norr om huvudstaden Helsingfors. Matalanjärvi ligger  meter över havet. I omgivningarna runt Matalanjärvi växer huvudsakligen  Den är  meter djup. Arean är  hektar och strandlinjen är  kilometer lång. Sjön

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Insjöar i Kajanaland
Suomussalmis natur