Griswold Home Care has been providing people the help they need in the place they love for over 35 years.
Our office just celebrated it's 10th anniversary. Our mother/daughter owners bring a unique perspective and committment to the industry. Our office is small by design, our passion is knowing each of our Caregivers and Clients individually. This allows us to provide a very personal experience for everyone involved in the care process.
As the industry pioneer, Griswold Home Care has a unique position and understanding of the business of compassionate care at a deeper level. Our company was built upon the timeless values of compassion and care. These ideals are still at the heart of all we do. They are the living legacy of a remarkable woman who set out not to create a business, but to help neighbors in need. Jean Griswold's idea was so powerful that it evolved and grew to become a nationwide organization that now serves tens of thousands of people every day.
1. The care recipient who seeks to maintain quality of life in their home with the aid of caregivers who help them retain the dignity of independent living in the place they love.
2. The caregiver who has chosen a profession of compassionate care and is deserving of the dignity and recognition for their tireless and often selfless work.
3. The Griswold Home Care Directors, their employees, and the Home Office staff who have chosen to work in a special business of dignified purpose at the intersection of commerce and compassion.
Jean Griswold was an extraordinary woman. Her experiences helped her appreciate the job of a caregiver, and her disability helped her understand the needs of a client.
Though Jean is gone, her commitment to dignity lives on—because dignity is timeless.
We offer hourly and live in care provided by trained employees who are covered by all necessary insurances for your protection. Caregivers are selectively screened through interview, rigourous on-going backgroud and reference checks and meet all state and federal requirements.


Just in case you'd forgotten that the Game of Thrones universe was filled with gruesome deaths, episode 8 of GoT season 4, "The Mountain And The Viper", was there to remind you.
And those numerous grisly and inventive exits we've seen on the show over the seasons got Flicks And The City wondering: how would the Game of Thrones cast members like to die if they could chose any way to meet their maker on the show? So, we asked them!
Check out our video to see Game of Thrones stars Daniel Portman (Pod), Finn Jones (Loras Tyrell), Maisie Williams (Arya Stark), Kristian Nairn (Hodor), Tom Wlaschiha (Jaqen H'ghar), Alfie Allen (Theon Greyjoy), Iwan Rheon (Ramsay Snow / Bolton), David Bradley (Walder Frey), Ian McElhinney (Barristan Selmy), Indira Varma (Ellaria Sand), Richard Dormer (Beric Dondarrion), Mark Stanley (Grenn), Ellie Kendrick (Meera Reed), Gemma Whelan (Yara Greyjoy), Joe Dempsie (Gendry), Josef Altin (Pyp), Oona Chaplin (Talisa Stark), Laura Pradelska (Quaithe), Eugene Simon (Lancel Lannister), Joseph Gatt (Thenn Warg), and George Georgiou (Razdal Mo Eraz) reveal how they'd like to die on the show.


- The Transaction Log file is with wrap-around nature. This means that whenever we reach the end of the file, the engine will try to reuse the first VLF. If this is not possible, and auto-grow is enabled, SQL Server will try to grow it.
- Log Blocks are between 512 bytes and 60 kilobytes large. These are respectively the smallest and largest amount of data that can be flushed to disk by the Log Writer.
- In SQL Server, almost every operation is logged. Data modifications/DML(insert, update, delete), page allocation/deallocation or the beginning and end of a Transaction, etc. The database engine is recording these changes by creating Log Records for it. Each Log Record is identified by a unique number called LSN(Log Sequence Number). The LSN number is increasing so the next Log Record will always have a higher LSN than the previous one. LSN is 10 bytes in length and it is consisting of three parts: VLF Sequence Number (4 bytes): Log Block Number (4 bytes): Log Record Number (2 bytes).
- Transactions are reflected into the Log as a chain of Log Records. Log Records are stored in a serial sequence as they are created so the LSNs that are part of the same Transaction are not necessarily located next to each other. Each transaction has an ID that is pointed in every Log Record. SQL Server is using this to create a chain using backward pointers in order to track all the LSNs that are part of a specific transaction and speed up the rollback process.
fn_dblog allows us to examine Log Records.
- If a Data Page is being written to disk – all the log records up to including the last one affecting this page must be written to disk regardless of which transactions they are part of.
How It Works: Always On–When Is My Secondary Failover Ready?


Ask about our Sauna series! Buy 5 get 1 free!
Utilize a section of the natural light band to rid your body of toxins, stimulate your immune system and help relieve pain and stress. Call us to schedule your appointment today!
Far infrared is a section of the natural band of light that is not visible to the human eye, but can be felt as heat. Unlike the high heat produced in traditional saunas, far infrared heat is able to penetrate the body to a depth of 1.5 to 2 inches. This stimulates the body's cellular detoxification process more effectively and at a lower temperature than a traditional sauna.
Our level of toxic exposure far surpasses our body's natural elimination mechanisms leaving our bodies full of chemical residue.


text:
KIPRONO TO BATTLE FOR THIRD BLOOMSDAY VICTORY
Kenyan Sensation Limo Hopes to Add Bloomsday to Her Resume
Spokane, Washington—Last year's Bloomsday champion, Allan Kiprono, is back to defend his title this Sunday, and if successful he'll become only the second male to win three Bloomsdays. Kiprono was victorious in 2012 and again last year, and only Kenyan great John Korir has managed to win the race three times.
"Last year Allan cruised comfortably to a 29-second margin of victory, expanding his lead with each block on Broadway," said Elite Athlete Coordinator Jon Neill. "With a victory on Sunday, Kiprono has the opportunity to elevate his status to that of Bloomsday legend."
Kiprono's task won't be easy, though, as a group of topnotch road racers will be in the hunt, including 2014 runnerup Kevin Lochei and fellow Kenyans Lani Rutto, Leonard Korir, Phillip Langat, and newcomer John Muritu. Along with the Kenyans, Ethiopian Solomon Deksisa and Americans Patrick Smyth and Luke Puskedra promise to make the battle up front interesting.
While the men's race will focus on Kiprono's quest for a third title, the pre-race favorite in the women's field is newcomer Cynthia Limo of Kenya. Limo has been tearing up the roads this spring, with second place finishes at the World's Best 10K, Crescent City Classic, and Cherry Blossom 10 Mile, along with a stunning 31:08 10K en route to a 1:07 finish at the RAK Half Marathon.
"Since this is Limo's first Bloomsday and knowing the way she races, plan for her to bolt early," predicted Neill.
To add a Bloomsday victory to her resume, Limo will have to get by three-time champion Lineth Chepkurui, who finished second last year, as well as Risper Gesabwa, who finished third. American Blake Russell, who won the US National Marathon title at the LA Marathon in March, and Ethiopians Makida Abdela and Ruti Agi, as well as Kenyan Ann Wanjiru, should also be factors in the women's race, which boasts a slew of top road racers.
This year's elite wheelchair division is the best in Bloomsday history, with a stunning array of top competitors in both men's and women's divisions. Three former men's champions—Scott Parson, Aaron Gordian and Josh George—will grace the men's field, with 2014 winner George the pre-race favorite after winning the World Marathon Championship less than a week ago in London. In the women's field, past champions Amanda McGrory and Susannah Scaroni will have their hands full in battling recently crowned World Marathon Champion Tatyana McFadden, who will be racing her first Bloomsday. And to complete the World Marathon Championship theme, Quad-52 World Marathon Champion Ray Martin will try to outduel ten-time Bloomsday Champion Santiago Sanz.
"When you already have a stellar field coming to town and you're gifted with three newly crowned World Marathon Champions one week before the race," said Wheelchair Coordinator Bob Murphy, "You know it's incredibly special."
Nearly $100,000 in prize money is offered in the 2015 Lilac Bloomsday Run, including a $10,000 purse ($5,000 - $2,500 - $1,250 - $750 - $500) for the top male and female Americans who finish in the top 25. The Lilac Bloomsday Run is the fourth race in the Professional Road Running Organization (PRRO) series of major U.S. road races. Drug testing of top competitors is conducted at all PRRO Circuit events in partnership with the US Anti-Doping Agency (USADA).
A field of nearly 50,000 runners, joggers and walkers are expected to have entered by the time registration closes on Saturday evening. Procrastinators will have until 6:30 on Saturday to sign up.

redpajama_set_name: RedPajamaCommonCrawl


text:
A Villa Reale azaz Királyi Villa vagy más néven Villa Belgiojoso Bonaparte (Via Palestro 8.) egy milánói palota.

Története
A klasszicista palota Leopold Pollack bécsi építőmester tervei szerint épült fel 1790-ben, Lodovico Barbiano di Belgioioso gróf, osztrák generális és diplomata részére. 1801-ben a tulajdonos meghalt, és a palota a Ciszalpin Köztársaságra maradt, majd Napóleon birtokába került, aki feleségével, Josephine-nel egy ideig itt tartózkodott, majd  mostohafiának, Eugéne de Beauharnais-nak lett székhelye. 1857-ben Radetzky marsall rendezte be itt a rezidenciáját. Itt is halt meg 1858-ban. Ezek után a Savoyai-ház birtokába került, majd 1919-ben városé lett.  1921-ben itt rendezték be Olaszország egyik legjelentősebb modern képtárát (Galleria d'Arte Moderna).

Múzeum
A 19. század legnevesebb észak-itáliai festőinek műveit őrzi: Andrea Appiani, Francesco Hayez, Gerardo Bianchi, Domenico Induno, Tranquillo Cremona, Daniele Raozoni, Gaetano Previati, Giovanni Segantini, Cesare Tallone, Antonio Fontanesi, Giuseppe De Nittis, Domenico Morelli, Filippo Palizzi, Armando Spadini, Eugenio Gignous, Giovanni Fattori, Telemaco Signorini, Raffaello Sernesi, Antonio Mancini, Giovanni Boldini; a szobrászok közül Pavel Trubeckoy, Giuseppe Grandi, Antonio Canova, Vincenzo Gemito és Medardo Rosso.

Források

 Blanchard Paul: Northern Italy (Blue Guide sorozat), W. Norton Company, London, 2005,
 Fajth Tibor: Itália Panoráma útikönyvek, Athenaeum Nyomda, Budapest, 1980
 Lindner László: Milánó és az északolasz tóvidék, Panoráma útikönyvek, Franklin Nyomda, Budapest, 1984,

Milánó kastélyai, palotái
Olaszország 18. századi építményei

redpajama_set_name: RedPajamaWikipedia


Good morning and Happy Friday, Whitenoisers! It's enough to make you want to sing, ain't it? Just a few more hours and we can soar off into the weekend again. I'm all aflutter.
So what do you think about this fine Friday, friends? Can we get it off the ground? Perhaps even swoop around a .gif or two? Check in and chirp up the state of your impending sunshine.
ITS FRIDAY! GOOD! Now flip out and have fun!


So, here I am, blogging, again. This time it literally landed on my desk!
A small bundle of happiness wrapped in a shiny purple and gold wrapper. Delicious toffee coated chocolateness of a Cadburys chocolate éclair.
…can happiness sell your home?
Why? Because I'm happy & I love what I do.
People buy things to make them feel better. To make them look better, so they feel better. They buy things that ultimately they think will make them happy.
How can happiness sell your home?
Brighten up your entrance hall. Invest in mirrors, add lights and a clean your flooring to really bring that zing!
Light up any dark corners in a room with lamps. Change your lightbulbs to the new halogen ones to make it feel brighter.
Swap your dark ceiling light shades for light coloured ones to let the light flow.
According to recent sources white tea and fig is THE smell to sell your home. But I think clean and fresh wins every time. Throw open your windows and let the air circulate.
Make them positive. Add in little extras that will please your target market. It may be that there is a play area next door for those mums with a large brood or your patio might be the best place for dining. You may have a secluded area at the back, perfect for getting lost in a book with your favourite glass of wine.
A good estate agent will smile. A FANTASTIC estate agent will smile and make you smile with them through every step of selling your home.
So what makes me happy? My children, the silly things they say, the funny things they do. The little noises they make when I kiss them goodnight when they are sleeping.
Do you know what else makes me happy? Finding the last chocolate éclair and devouring it in one swift movement!
I bet you thought I was going to say selling houses! That also makes me happy, it makes me 'I can do a cartwheel' happy.
This Lancaster driveway also made me happy.
Ps. I also know a joke, feel free to call me and ask me to tell you it! It's the only one I know.
Uncover the secrets to selling to your term with our Ultimate Guide to Selling in Lancaster.
Next StoryProperty Health Checks – Is it really Terminal?


ART SHOT is an independent production company, focused on developing and producing artistic animated films. The founder and producer of the company, Agnė Adomėnė, aims to produce visually engaging animations with the potential for international co-production and distribution.
In 2016 ART SHOT produced film RAGNAROK (A short puppet animation directed by Urtė Oettinger and Johan Oettinger, Lithuanian - Denmark co-production) was awarded by Lithuanian Film Academy as The Best Lithuanian Animation Film of the year.


text:
Judicial Reasoning in a Codified System: letter of law vs. legal consciousness? - /тезисы доклада/
Poldnikov D.
The report addresses the methodological challenge of studying judicial reasoning in a Codified Systems of such Western countries as France and Germany in the 19th century and Russia in the late 19th early 20th century. The difference in style of Western European and Russian decision should be explained by taking into account national legal consciousness along with black letter rules of the codes and statutes.
Keywords: legal reasoninglegal argumentationjudicial decisionslegal historylaw of Western EuropeRussian lawlegal consciousnessmethodology
Publication based on the results of: Сравнительно-правовой анализ аргументации в судебных решениях по спорам об исполнении договорных обязательств (опыт общего права (Англия, США) и континентального права (Россия, Германия, Франция)(2013)
In book
Congress of International Academy of Comparative Law
M.: 2012.
О некоторых проблемах трансформации конституционного законодательства в современной России
Лукьянова Е. А. В кн.: Мониторинг правоприменительной практики законодательства последних лет в области защиты гражданских прав. М.: Московская Хельсинская группа, 2013. С. 135-143.
Проблема рациональности в правовой аргументации судебных решений
Шаповалов И. А. Юридическая техника. 2013. № 7-1. С. 377-383.
Mediation in Russia: Regulation and Practice
Davydenko D. In bk.: Mediation. Principles and Regulation in Comparative Perspective. Oxford: Oxford University Press, 2012. Ch. 23. P. 1165-1200.
The chapter in a monograph gives an insight into the key problems and most recent tendencies of the law and practice of mediation in Russia. Russia already has detailed federal legislation governing mediation. Also, mediation has been practised in Russia for years, even when such legislation was not in force. Furthermore, Russian law governing mediation is in rapid development. Thus current Russian experience can be of interest to legislators and practitioners from many countries which also face problems with case overload in the state courts.
The Digest of Laws of the Russian Empire: the Phenomenon of Autocratic Legality
This article is devoted to the Digest of the Laws of the Russian Empire – an embodiment of the operative legal system in late imperial Russia. Even though the Digest contained the law in force, and thus should be studied as a crucial source on Russian (legal) history, its meaning has been often overlooked. The reason for that is a remarkable difference between the original texts of laws adopted by the legislator, and their published form in the Digest. This difference came from the necessary editing procedures when every new piece of legislation was included in the existing system of the Digest. This strange feature of legal procedure when two different versions of a particular law – the original one and the one codified in the Digest – both remained in force should be considered as a part of official autocratic legality in late imperial Russia. Even though it may seem inefficient and irrational, the practice of obligatory codification of laws in the Digest existed for a rather long time – from 1835 until 1917. My research aims to find possible explanations for the Digest's prolonged existence in the context of political and legal culture of late imperial Russia. What did Russian 'official legality' actually mean on the levels of theory and action?
Проблемы истории мирового и отечественного религиоведения: Сборник учебно-методических материалов
Антонов К. М., Колкунова К. А., Фолиева Т. А. и др. М.: Издательство Православного Свято-Тихоновского гуманитарного Университета, 2015.
Gender in Late Medieval and Early Modern Europe
Edited by: Muravyeva Marianna. Routledge, 2013.
This project is an attempt to challenge the canonical gender concept while trying to specify what gender was in the medieval and early modern world. Despite the emphasis on individual, identity and difference that past research claims, much of this history still focuses on hierarchical or dichotomous paring of masculinity and femininity (or male and female). The emphasis on differences has been largely based on the research of such topics as premarital sex, religious deviance, rape and violence; these are topics that were, in the early modern society, criminal or at least easily marginalizing. The central focus of the book is to test, verify and challenge the methodology and use the concept(s) of gender specifically applicable to the period of great change and transition. The volume contains two theoretical sections supplemented by case-studies of gender through specific practices such as mysticism, witchcraft, crime, and legal behaviour. The first section, "Concepts", analyzes certain useful notions, such as patriarchy and morality. The second section, "Identities", seeks to deepen this analysis into the studies of female identities in various situations, cultures and dimensions and to show the fluidity and flexibility of what is called femininity nowadays. The third part, "Practises", seeks to rethink the bigger narratives through the case-studies coming from Northern Europe to see how conventional ideas of gender did not work in this particular region. The case studies also challenge the established narratives in such well-research historiographies as witchcraft and sexual offences and at the same time suggest new insights for the developing fields of study, such as history of homicide.
Некоторые размышления о "междисциплинарности" правоведения
Антонов М. В. В кн.: Актуальные направления анализа права: проблема междисциплинарного понимания и сотрудничества. М.: НОРМА, 2015. С. 126-135.
Principes fondateurs des droits français et russe
Edited by: G. Esakov, N. Masek, F. Mélin-Soucramanien. P.: Dalloz, 2011.
Ce manuel est une première dans la coopération juridique bilatérale entre nos deux pays. Cet ouvrage est destiné à offrir aux étudiants et aux professionnels du droit et de la justice des clés de lecture communes de deux droits souvent donnés comme divergents. L'une de ses richesses majeures est de montrer comment, en dépit de législations, de doctrines juridiques et de pratiques judiciaires différentes, les droits français et russe restent, dans un nombre important de domaines, très proches. Les branches principales des droits public et privé français et russe y sont ainsi abordées les unes à la suite des autres, alternant approches françaises et russes, afin de permettre au lecteur de mieux comprendre le fonctionnement de son propre droit à la lumière du droit de l'autre pays. Plus qu'un instrument de comparaison de nos deux systèmes, ce manuel se veut donc un instrument de coopération juridique entre nos pays, invitant à s'interroger sur ce qui fait le droit et l'identité juridique d'un Etat.
Обучение наблюдением: cтуденты в исследовательском процессе
Кордонский С. Г., Плюснин Ю. М., Моргунова О. М. Вопросы образования. 2010. № 4. С. 54-69.
Education by observation: Students in research process The article argues for a new technology in teaching students of state and municipal management. The method is based on direct observation and description of management practices by students who lack any systematic research skills (the «naive observer» method). The authors ague that the use of this method allows to solve two types of problem at once: a pedagogical one and a scientific one. Students observe, and provide a description of, facts of the Russian provincial life without any interpretation whatsoever, which allows to obtain a picture of the social life that is closer to the reality than the one obtained by use of interpretational schemes of sociologists and journalists. It is only the latter picture that is currently used by the authorities as a basis for management decisions and for developing projects of social changes.
Творчество и человеческий капитал: рефлексивно-психологические аспекты взаимодействия и развития
Семенов И. Н. Мир психологии. Научно-методический журнал. 2010. № 2. С. 37-51.
In this work the problem of learning and development of creativity with a view to the position of reflexive psychology, akmeology and pedagogics in the context of the human capital analysis in the conditions of modern society globalization is raised. The theme is urgent from the practical point of view in demand of a creative personality under conditions of the economic crisis and at the same time it is actual, because it interprets creativity in a new way according to interdisciplinary approach. The author emphasizes that a reflexively-creative potential is considered to be the backbone factor of professional and innovative activity in modern social space. On basis of philosophical foundations' analysis of psychology of creativity we theoretically build the conceptual model of reflexive creativity and we also examine the precedents of its psychology-pedagogical development in the secondary and high education (in case of reflexive-psycological support).


text:
appleby ruminates on coming home on new EP "While You Were Sleeping"
Photo by Annie Rhodes Kane
On appleby's newest release, the six-song While You Were Sleeping EP, the L.A. by way of Chicago artist renders an intimate vignette of a homecoming teeming with optimism. Written during a period in which both appleby and the girl he loves were visiting family — her in Jamestown, Rhode Island and he in Elgin, Illinois — back in the same room he'd wrote his first songs in. While You Were Sleeping, with its dreamy electronic soundscapes made that much more lush by elements of R&B, soul, and pop slipped into them, hones in on those overflowing feelings of love that can only be confessed under the intimate and vulnerable cover night.
Tracks like the "You're My Home" soothe via appleby's tender instrumentation and dulcet cooing; while others like the thrumming beats of "Heavy Metal Spaceship" grow sonorously within the cavernous depths of its buzzing electronics, moving to crescendo as appleby ruminates over the decisions and dreams that beamed him away from home in the first place. But the EP isn't just affectionate retrospection — appleby is all blissful celebration on the sunny ecstatics that shimmering and shout on "Enough," or even on the more subdued "HEAT" with its gilded guitar riffs and spacey sonics.
"Nearly every night we'd FaceTime till sunrise then say our goodbyes in the AM," appleby said of the trip and keeping in touch with his partner. "Halfway through my trip I began muting myself while she slept. The first song I made was 'You're My Home.' I was obsessed with how warm and nostalgic it felt. The next evening I wrote 'Enough,' and when I said good morning to my girlfriend the next day I knew those two songs were the beginning of my next EP."
Visit appleby's Twitter and Instagram to stay updated on new releases and tour announcements.
Listen to appleby's new EP While You Were Sleeping below!
This entry was posted in Album Reviews, New Music and tagged appleby, black artists, LA artists, la bands on August 10, 2021 by Steven Ward.


Take advantage of special offers, promotions and incentives offered by Regulator and their partners, Yamaha and Raymarine. Earn up to $22,745 in savings when you purchase any new Regulator by combining factory incentives along with the Yamaha Reliability Starts Here Sales Event and the Raymarine Gear Up promotion. Now is a great time to buy your new Regulator, so contact your Bluewater Sales Professional or visit one of our 10 offices to learn more about this exciting promotion before it ends March 31st, 2015!


I've been praying for you. Just the other day I realized something; you are really going to have your work cut out for you. You see, these girls God has entrusted to us, they have one of the very best Daddy's on earth…and that makes the bar super high for you.
These girls, they're used to their Daddy bringing them home flowers, just because he loves them. They get their own, in a vase, for their bedroom…special from Daddy.
They have a Daddy that can make them laugh, not just any laugh, but a belly laugh…over and over…every night, at bedtime. And even during painful accidents and lots of tears, their Daddy has a special gift to make them laugh and not look at the negative.
These girls, their Daddy [dare I say it?] spoils them. And not in the way you might be thinking. He spoils them by showing them unconditional love, being patient and kind while disciplining, allowing them to pick out winter pj's that are on sale in July…and then letting them wear them in public, because "why not"?!
He takes them for tractor rides, even after a long day of work. He lets them steer and feel/know they are so very brave. He takes them fishing and lets them mess the line all up, because that's how they learn. Top of the shoulder rides…they're given out whenever asked for…with twirls and fun sound effects to go with the ride.
These girls, they don't even realize [just yet] the gift they have. Their Daddy loves Jesus. And the number one legacy he wants to leave, are children who really know Jesus. So, he stays up late to pray with them. He bends low to kiss boo-boo's and ask God to take the pain away. He is quick to forgive and give hugs. He does silly movements to songs with them to help them memorize scripture, and legit…he prays for you too.
Prays that you know how loved you are by the God of the entire universe. Prays that you love God more then you will love his daughter. Prays over your family and your friends. That they would be uplifting, encouraging and speaking words of life to you… That you would come to know Jesus at an early age and walk with Him, hear His voice and follow. That you would know your one True Love way before you find your true love here on earth.
So, I write all of this to you to let you know, you have BIG shoes to fill…but I know you can do it. You were created for this. You'll make mistakes, and so will she. All you will need to do is… love her the way Jesus loves the church…that's her Daddy's secret 😉 and one day it will be yours too.
Please know, we are praying for you, their Daddy and I. And we cannot wait to meet you one day!


The Stone and Gothic cottages are my favorites . . . Love the pumpkin made from canning rings . . . Happy autumn . . .
Happy autumn to you, Lynne. I've been catching up on your latest posts. Love what you share.
Hi Nancy, I am in Fall cottage heaven. Especiall love the stone ones and that ivy growing on the side is breathtaking. Love all of the Fall inspiration and the canning jar lid pumpkin is too cute!
Hi Jann. I've just been catching up on your blog posts. So many pretty and fun things to see there. Thanks for stopping by and commenting. Hugs back.


text:
class TokyoMetro::Factory::Generate::Api::MetaClass::Info::Fundamental

  # Constructor
  # @param var [Hash / Array / String] インスタンスの元となるハッシュ,配列,文字列
  # @note ハッシュは第1階層の情報であるとは限らない。
  def initialize( var , on_the_top_layer: true )
    @on_the_top_layer = on_the_top_layer
    if to_check_validity? and var.instance_of?( ::Hash )
      check_validity( var )
    end
    if var.instance_of?( ::Hash )
      @hash = var
    elsif var.instance_of?( ::Array )
      @array = var
    elsif var.instance_of?( ::String )
      @string = var
    end
  end

  # API から取得したハッシュからインスタンスを生成するためのインスタンスメソッド
  # @note ハッシュは第1階層の情報であるとは限らない。
  # @return [Object] self.class.info_class のインスタンス
  def generate
    self.class.instance_class.new( *variables )
  end

  def to_check_validity?
    @on_the_top_layer
  end

  # API から取得したハッシュからインスタンスを生成するためのクラスメソッド
  # @param h [Hash] インスタンスの元となるハッシュ
  # @note ハッシュは第1階層の情報であるとは限らない。
  def self.process(h)
    self.new(h).generate
  end

  def self.instance_class
    info_class
  end

  private

  # Info クラスに送る変数のリスト
  # @return [::Array]
  # @raise [RuntimeError] サブクラスで定義するため、このクラスでは例外が発生するようにしている。
  def variables
    raise "The class method \"#{__method__}\" is not defined yet in this class."
  end

  # API から取得したデータをもとにインスタンスを作成する際に、RDF タイプ、 Context などが正しいか否かをチェックするメソッド (1)
  # @param h [Hash] API から取得したデータのハッシュ
  # @return [nil]
  def check_validity( h , barrier_free: false )
    if barrier_free
      ::TokyoMetro::Factory::Generate::Api::MetaClass::Info::Fundamental::ValidityChecker::BarrierFree.process( h , self.class )
    else
      ::TokyoMetro::Factory::Generate::Api::MetaClass::Info::Fundamental::ValidityChecker::Normal.process( h , self.class )
    end
  end

end

redpajama_set_name: RedPajamaGithub


How to Play Football Squares, also known as Super Bowl Squares?
Can I change the Rules and Payouts?
How do the Players pay for their Squares?
Are there discounts for Charities, Fund Raisers or Non-Profit Organizations?
What if I need Additional Grids?
Can I use this Service for Games other than the Super Bowl?
Is it Legal to run a fund raiser online?
What happens if the Grid doesn't, or won't fill up?
How are the Numbers Generated?
How do I Invite Players?
How do I edit a Player's entry?
If I have further questions, is there someone I can speak to?
We provide a template of Rules, payouts, images, etc. for you to begin with, but you can edit them to match your needs.
We let the Admin decide how to collect funds from the Players.
You can put a link or instructions within the Rules section of your grids about how you would like to collect funds, whether it be through a link to an online payment solution or through an offline method.
It is very easy to add/remove players from your Grid, so if they don't pay on time you can easily remove them and let other Players choose their square.
The majority of our Customers use our service for this purpose, so our pricing is structured for these type of organizations already.
As the Admin, you can always purchase new Grids, and they will show up on Grids page when you login as the Admin. Any new Grids you get will have their own unique URLs just like the Grid(s) you already have. The easiest way to link them together is put the links for each of the Grids within the Rules section of your Grid(s) and make the public login information the same throughout. This will allow your Users to easily switch back and forth as needed.
Yes, you can definitely use our Service for any game, including College Football games, NFL Regular Season games, NFL Playoff games, etc.. If you are planning on running Squares for Basketball, we recommend using our other site for Basketball Squares.
Each State has their own rules when it comes to allowed fund raising methods, so you'd have to research it for your own particular situation.
When it comes to potentially not filling up a Grid, it is up to the Admin to decide how to handle it, but we usually recommend simply reducing the price of your squares and letting your existing Users select more Squares at the same price.
In order to Generate the numbers please login as the Admin, and you will see a listing of your Grids. On the right side, there is a "Edit" drop down menu that has the option to select "Manage Numbers". Once on the Manage Numbers page you can generate the numbers automatically, or enter them in manually.
You can invite players to join your pool by using your standard email client and making sure to include your Grid URL, along with the Grid's username and password that you set up on the Settings tab for your Grid. The Grid URL is found on the main page when you login as the Admin.
Unfortunately, we do not have enough resources to provide Live phone support, but should be able to answer any specific questions you may have via email. Please use the Contact Us page for the best method of Contact.


Triple Crisis Blogger Sunita Narain published this article in the Business Standard on the problems with the way the world is producing food and managing food safety regulations.
Once again there is a food safety scare. A deadly strain of E coli bacterium has hit Germany, where it has so far taken the lives of 25 people and affected another 2,300. German food inspectors on the trail of the source of contamination first blamed Spanish cucumbers and are now indicting organic bean sprouts — eating healthy will soon be bad.
This is because food inspectors refuse to look where it matters. The fact is that something is seriously wrong with the way the world is producing food and even more with the way it is managing its regulations for safety. But we just don't get it.
Let's recap past food scares to understand the crisis and the response.
In 2005, avian influenza hit the chicken we eat. The world went on the rampage, killing chickens and wild birds to contain the deadly virus spreading across the connected world. But nobody targeted the real problem: the nature of the modern world's poultry business, which is highly vertically integrated and globalised, and produces factory chickens, not food. In this business, companies strive for lower cost of production because agri-business requires scale and global reach.
Read the full post at the Business Standard.


Police are appealing for help to trace the owner of a dog following an incident in Great Yarmouth.
It happened sometime between 4.30pm and 5pm on Thursday 7 February 2019 when a woman was walking her dog along Breydon Water near to Great Yarmouth-Broadland Rugby Club when two dogs, described as being a yellow Labrador and a brown Staffordshire terrier, have attacked her dog.
The victim's dog was taken to the vet for treatment; however was sadly put to sleep as a result of the injuries.
Officers are keen to trace the owner of the two dogs and speak to anyone who may have information regarding this incident.
They're asked to contact PC Gary Gibbs at Great Yarmouth Police Station on 101 or call Crimestoppers anonymously on 0800 555 111.


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Attracting renowned academics from across the world, international industry experts, regional thought leaders and prominent names in family business, the Family Business in the Arab World Conference began today, March 7, at American University of Sharjah (AUS...
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Industry experts, international academics, regional thought leaders and prominent names in family business will feature at the Family Business in the Arab World Conference to be held at American University of Sharjah (AUS), March 7—8, 2018. As the first event...
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In a first for the region, the College of Architecture, Art and Design (CAAD) at American University of Sharjah (AUS) successfully hosted a conference organized around the theme, "Representation: Process and Practice Across Design Disciplines (PPADD)." The...
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Tag Archives: Laura Linney
Genius (2016)
Posted by dullwood68 in Movies
Colin Firth, Drama, Editor, Jude Law, Laura Linney, Maxwell Perkins, Michael Grandage, Nicole Kidman, Review, Scribner's, Thomas Wolfe, True story
D: Michael Grandage / 104m
Cast: Colin Firth, Jude Law, Nicole Kidman, Laura Linney, Guy Pearce, Dominic West
If you've never heard of Maxwell Perkins (Firth) – and it's very likely that you haven't – then Genius, the debut feature by Michael Grandage, won't actually tell you very much about him. You will discover that he was an editor at Charles Scribner's & Sons during the Twenties and Thirties, and that he helped shape the writing careers of both F. Scott Fitzgerald (Pearce) and Ernest Hemingway (West). You'll also learn that he had a wife, Louise (Linney), five daughters, and – apparently – never took off his hat, even at home. But these are just facts about the man. What made him tick, so to speak, what made him so passionate about books and writers, well, that's another matter. And it's one the movie, despite being based on A. Scott Berg's National Book Award-winner Max Perkins: Editor of Genius (1978) and adapted by John Logan, fails to address.
Instead, the movie focuses on Thomas Wolfe (Law), an aspiring novelist whose first work of full-length fiction has been turned down by every other publishing house in New York except for Scribner's. The novel, O Lost, is long, unwieldy, and overly descriptive in a grand romantic manner, but Perkins believes sincerely that it should be published, though with a fair bit of judicious pruning. Wolfe can't believe his good luck, and agrees to working with Perkins to wrestle the novel into a more publishable form. Long months pass, and in 1929, Wolfe's first novel is published to great acclaim with a new title, Look Homeward, Angel.
The two men are polar opposites. Perkins is quiet to the point of apparent catatonia, while Wolfe is brash, loud, and unapologetically hedonistic. He also writes like a man possessed, producing hundreds of pages of prose almost every day, but with no idea of how to corral that prose into a consistent format, or how to self-edit. Hence his need for Perkins to work with him. Wolfe's success is compounded by his second novel (initially even more long, unwieldy and overly descriptive in a grand romantic manner), Of Time and the River, being just as well-regarded and received as his first. But now, jealousy and paranoia begin to take hold of Wolfe, and the idea that his books are only successful because of Perkins' involvement, starts to nag at the author, and he takes steps to distance himself from Perkins and claim all the credit. This leads to an estrangement between the two men, as well as Wolfe signing with another publisher.
Genius moves at an agonisingly slow pace for the majority of its running time, and there are no end of scenes where Perkins sits reading manuscripts with nothing else happening within the frame. His is an interior, contemplative existence, allied to a contained, watchful existence that allows for few displays of honest emotion (when he raises his voice in anger to Louise at one point, it's like a verbal slap across the face, such is the shock of it). Perkins may live most of his life through the pages of the books he edits, and he may be deliberately reclusive in terms of having a social life, but his skills as an editor can't be challenged. The movie makes this point quite cleverly and quite succinctly, during a sequence where Perkins' skill as an editor is given the spotlight. At first he reads out a passage Wolfe has written about the central character in O Lost falling in love at first sight. It's overlong, and Perkins is unconvinced by much of Wolfe's prose. And so he challenges Wolfe's assertions at every turn, and soon the passage has been whittled down to a single, concise paragraph. And it's so much better.
It's also one of the very few occasions where the movie attempts to speed up or show a sense of urgency, but this is down to the editing of the sequence – step forward, Chris Dickens – rather than anything that Logan's script or Grandage's direction does. The slow, measured pace of the movie is its biggest obstacle to being liked, though the way in which Wolfe is introduced to the audience doesn't help either. Where Firth underplays Perkins to silent perfection, Law is a bundle of energy as Wolfe, but in a way that soon proves wearing. He's overly voluble, lacks filters, and is unconcerned if he upsets the people around him, a trait that become more and more entrenched the more successful he becomes. By the time Law has theatrically made his way through his third or fourth literary-style monologue, it's clear that the template for the character has been set. Law is good as Wolfe, but his performance is one that Grandage doesn't seem able to rein in when needed, and as a result, Law seems more in control of his performance than his director is.
While Linney is consigned to the background as Perkins' demure, supportive wife, Kidman is given the more dramatic role of Wolfe's lover, Aline Bernstein. Aline supported Wolfe when he was trying to get O Lost published, but as he found fame and fortune, their relationship became more and more adversarial, thanks largely to Aline's feelings of betrayal and abandonment. Wolfe became dismissive of her feelings, and the disintegration of their relationship adds some much needed meat to the bones of Logan's script. Kidman is caustic yet vulnerable as Aline, and it's a shot in the arm for viewers who may have been thinking that the actress's best work is behind her.
Despite the performances (Pearce is also on good form as a struggling Fitzgerald), the movie appears deliberately gloomy thanks to an almost monochrome colour scheme that's been lit in equally dreary fashion by DoP Ben Davis. This makes the movie seem drier and even more constrained than it actually is, and again, Grandage doesn't have any answers to combat this. Maybe it was a deliberate choice, and the movie is certainly consistent enough for this to be the case, but by making the movie look so unappealing and drab it has a knock-on effect on the material as a whole. It's one of those occasions where you wonder if anyone was watching the dailies that closely.
In the end, the movie is less about Perkins and his talent as an editor, and it's even less concerned with his legacy (trotting out scenes with Fitzgerald and Hemingway appears to be an attempt to do this, but these scenes are more about them than Perkins). The focus is on Wolfe and his need to write to the exclusion of all else that doesn't further his writing. A scene midway through has Wolfe take Perkins to a jazz club. There the differences between the two men are highlighted, but in such a way that Perkins is left adrift as the scene concentrates on Wolfe. What Grandage and Logan have forgotten, it seems, is that Perkins is their main character, and not Wolfe, and this in turn makes one wonder: where was someone to shape and polish the script in the same way that Perkins shaped and polished the novels he helped publish? A fair point, maybe, but not one you're likely to find an answer to.
Rating: 6/10 – good performances all round can't help Genius avoid being labelled as tedious, tepid, or perfunctory; lacking emotions that might instil reactions from its audience, the movie is a dry, humdrum examination of literary excellence behind the scenes, and a love of the printed word aside, never takes flight in the way that it should do.
Sully (2016)
Aaron Eckhart, Airbus A320, Bird strike, Chesley Sullenberger, Clint Eastwood, Flight 1549, Hudson River, Laura Linney, NTSB, Pilot, Tom Hanks, True story
aka Sully: Miracle on the Hudson
D: Clint Eastwood / 96m
Cast: Tom Hanks, Aaron Eckhart, Laura Linney, Mike O'Malley, Jamey Sheridan, Anna Gunn, Holt McCallany, Ann Cusack, Molly Hagan, Jane Gabbert, Sam Huntington, Michael Rapaport
On 15 January 2009, US Airways Flight 1549 from LaGuardia, New York to Charlotte, North Carolina, suffered a catastrophic bird strike that left both engines disabled. It had been in the air for approximately three minutes, and its pilot, Captain Chesley Sullenberger (Hanks) had to make a decision: to turn back and attempt an emergency landing at either LaGuardia or nearby Teterboro Airport, or make a forced water landing on the Hudson River. Sullenberger was certain he wouldn't make it back to either airport and so adopted the latter option. With one hundred and fifty-five people on board, it was a manoeuvre that could have ended in tragedy, but thanks to Sullenberger's forty year-plus experience, he was able to land the plane safely. And with the emergency services and local commercial vessels quickly on the scene, the passengers and crew were rescued in under twenty-five minutes. Later, a representative of the National Transportation Safety Board (NTSB) said that it "has to go down [as] the most successful ditching in aviation history."
Such an event was always likely to be transferred to the big screen, and in the hands of veteran director Clint Eastwood, the story of Chesley Sullenberger and Flight 1549 has been granted a sober re-telling that suits both the man and the nature of the landing. On the surface, Sully is a movie that seems far removed from the intensity and heightened emotion of the event itself, as much of what occurs is played out against a wintry visual patina in keeping with the time the forced landing took place. But like Sullenberger himself, Eastwood – in terms of directing – has over forty years' experience behind him, and in bringing Todd Karmanicki's script to the screen he adopts a straitlaced, measured approach to the material that avoids any possibility of sensationalism or unnecessary hyperbole.
This is important because while the story of Flight 1549 is one of heroism on an unprecedented level – as Sully himself says at one point: "Everything is unprecedented until it happens for the first time" – the forced water landing isn't the focus of the movie, even though we see it from two different perspectives. The focus is Sullenberger himself, a self-contained, humble man who found himself questioning his actions in the wake of the forced landing. It may seem counter-intuitive to examine the mindset of a hero suffering doubts in the aftermath of the very act that defines them as a hero, but it's what makes Sully a much more rewarding experience than you might expect.
This decision is aided immeasurably by Hanks's performance as Sullenberger. Anyone who's seen Captain Phillips (2013) should remember the final scene where Phillips is being tended to by a navy medic, and the shock of what he's been through begins to hit home. It's a bravura moment, with Hanks' expression telling you everything you need to know about how he's feeling. He does the same here, brilliantly revealing the tremendous doubts Sullenberger experiences immediately following the landing and later during the NTSB investigation. As he imagines what could have happened, such as the plane crashing into the centre of Manhattan, Hanks is completely convincing as a man whose instinctive response to impending disaster saved the lives of so many. As he struggles to accept his own role in the forced landing, and what it means not just for himself and everyone else aboard, but for a wider public for whom plane crashes in New York have a whole different meaning, Hanks ensures that Sullenberger's humility and humanity remain to the fore throughout. This is a man who wouldn't rest until he knew everyone on board was safe and alive.
Hanks' performance anchors the movie in a way that allows the script to explore the complex relationship between a man and his view of himself in exceptional circumstances. The actor adequately portrays the effect of the enormity of what happened on Sullenberger, and the lingering, pessimistic anxiety that threatened to undermine his self-confidence. For the purpose of the movie, that anxiety is allowed to overshadow his heroism, and through the one-sided machinations of the NTSB investigation, to be brought into question. But while Sullenberger's heroism is never in any doubt, the NTSB investigation reveals a tactless insincerity about the nature of corporate responsibility, as it puts more faith in computer simulations that say the plane could have landed safely at LaGuardia, than the experience and knowledge of one of the best pilots around.
This is not the script or the movie's finest hour. Demonising the Board and its representatives is the movie's one truly sour note, a decision no doubt arrived at to offset a perceived lack of drama elsewhere. In these instances, there aren't any bad guys, but Karmanicki ensures that the Board in this movie are emotionally hostile, professionally obtuse, and working to an unspecified agenda. It's like watching a McCarthy hearing all over again, and Eastwood doesn't make any attempt to downplay the Board members' hostility to Sullenberger and his co-pilot, Jeff Skiles (Eckhart), until the error of the Board's ways can be confirmed once and for all as both unrealistic and a poor narrative choice.
Hanks aside, this isn't a movie where the performances are required to be more than perfunctory, although Linney as Sullenberger's wife, Lorraine, is memorable thanks to the odd cadence of her portrayal and an underlying, yet unconfirmed, sense that all isn't well in their marriage. As Skiles, Eckhart sports a moustache that seems to have been flown in from the Seventies, while the three-headed "monster" that is the Board (O'Malley, Sheridan and Gunn) is treated so unfairly – and so at odds with what really happened – that all three border on caricature, an unfortunate choice that doesn't do the movie any dramatic favours.
The movie concludes with Sullenberger achieving a victory over the Board that allows for a moment of narrative grandstanding, and which is at odds with Sullenberger's introspective nature. It also appears to offer a feelgood moment when the feelgood moment of the movie has already passed: the moment when it's confirmed that everyone got off the plane and everyone has survived. But Eastwood uses these moments to highlight just how much of a big deal Sullenberger's actions actually were. And why shouldn't he be feted and applauded? To everyone outside the Board, he's a bona fide hero, doubts and all. He's an heroic individual, and the movies love those kind of characters (possibly) above all else. And they love them even more if they don't automatically embrace that heroism.
Rating: 7/10 – memorable more for its examination of a man uncomfortable with the notion of being a hero than the actions that gained him that title, Sully is a muted drama that never quite "soars" in the way that audiences may expect, but which hits home in several unexpected ways instead; bolstered by a terrific, awards-worthy performance from Hanks, this is a quietly impressive movie that benefits from not embracing the standard tropes of the "hero" drama, and proves surprisingly rewarding as a result.
A Slight Trick of the Mind, Bees, Bill Condon, Glass harmonica, Grey glove, Historical drama, Ian McKellen, Japan, Laura Linney, Literary adaptation, Milo Porter, Mystery, Prickly ash, Review, Royal jelly, Sherlock Holmes, Sussex
D: Bill Condon / 104m
Cast: Ian McKellen, Laura Linney, Milo Porter, Hiroyuki Sanada, Hattie Morahan, Patrick Kennedy, Roger Allam, Frances de la Tour, Philip Davis, John Sessions
In 1947, Sherlock Holmes (McKellen), now 93, lives in a Sussex farmhouse, and is looked after by his housekeeper, Mrs Munro (Linney), and her young son, Roger (Porter). He keeps bees and uses royal jelly as a means of improving his memory, which has deteriorated in recent years. A recent trip to Japan in search of supplies of prickly ash, a plant also known for improving the memory, has been undertaken with a view to ensuring that Holmes can complete one last project before he becomes unable to: to write a true account of his last case as a detective. Unhappy with the way Dr Watson portrayed those events, Holmes is struggling to remember the details of the case. Urged on by the interest shown by Roger, Holmes renews his efforts to pin them down.
His recollections take him back thirty years, after Watson has gotten married and their partnership has dissolved. He's visited by Thomas Kelmot (Kennedy), a man worried about the behaviour of his wife, Ann (Morahan). Following two miscarriages, Ann Kelmot has become withdrawn; her husband has advised her to take up a musical hobby but now that has become an obsession, and even though he has forbade her from continuing her lessons with glass harmonica teacher, Madame Schirmer (de la Tour), he has discovered Ann is still visiting her. He suspects the music teacher of some kind of plot and wants Holmes to investigate.
Back in the present, Holmes takes Roger under his wing in and introduces him to his apiary. Roger persists in asking about Holmes' last case; his enthusiasm prompts Holmes to make more of an effort to remember Ann Kelmot, including following her to Madame Schirmer's and from there to various places before he approaches her in a public garden. Their conversation becomes confrontational but Holmes reveals the depth of his knowledge about her situation, and the effect the two miscarriages has had on her.
Mrs Munro, meanwhile, informs Holmes that she is planning to move to Portsmouth and work in a hotel; it will mean taking Roger with her. Roger doesn't want to go, but when Holmes suffers a collapse shortly after, they are forced to stay. While he remains bedridden on the advice of his doctor (Allam), Roger takes care of the bees. He also finds a grey glove in Holmes' study, a memento from the case of Ann Kelmot that Holmes can't remember keeping or having. As Holmes remembers more about the case he also recalls the event that led to his retirement as a detective, and the reasons behind Watson's subsequent involvement. But his remembrance of the past is put into perspective when he finds Roger has been stung by dozens of bees, and the boy's life is hanging in the balance…
Dealing with themes of sadness and loss and regret, Mr. Holmes presents us with a portrait of a master detective beset by echoes from his past. It's a richly detailed depiction of times long past, anchored by a superb performance from McKellen, and redolent of a bygone age, with its frock coats and steam trains and pre-suffrage gender politics. Expertly marshalled by Condon – reunited with McKellen for the first time since they collaborated on Gods and Monsters (1998) – the movie is a flawless recreation of two periods in English history that still exert a strong fascination: the post-Victorian era and the years immediately following the cessation of World War II. There's also Holmes' trip to Japan and the sight of the devastation wrought on Hiroshima. The historical trappings carry so much weight it's almost as if the audience has been transported back with Holmes and are experiencing things themselves.
With the period detail proving so effective, it's the twin mysteries on offer – what really happened during Holmes' last case, and what is causing the deaths of his beloved bees – that unfortunately stop the movie from becoming even more memorable (an ironic outcome for a movie that deals with the loss and despair in losing one's own memory). The story of Ann Kelmot has all the initial hallmarks of a classic Holmes tale, with its anxious husband and a heroine seemingly under the influence of a scheming criminal. But the truth, when Holmes finally remembers it, is far more prosaic than that, and while presented with some emotional impact, still doesn't seem as devastating as Holmes makes out. Maybe it's seeing it from the perspective of an old man trying to make sense of things that remain just out of reach that leaves the viewer with a sense of detachment: if Holmes can't access those recollections and connect with them, how are we to do so?
But the movie, even with its handful of slightly underdeveloped storylines, has several aces up its sleeve that mitigate and make up for the paucity of the plot and the general structure. These are the performances from McKellen, Linney, Porter and Morahan. As already mentioned, McKellen is superb as Holmes, fragile, distressed, playful, curmudgeonly, afraid – tuning his portrayal of the master detective to such a fine degree that it's both an acting and organic masterclass; he's believable and convincing throughout, particularly when he's trying to downplay the public misconceptions about him that are thanks to Watson's writings. As Holmes' housekeeper, Linney adopts a country dialect with precision and aplomb, and imbues Mrs Munro with a stoic dignity that stops her from expressing her misgivings about the relationship between Holmes and her son. As Roger, Porter gives another of those naturalistic, not-even-trying performances that it seems most child actors can produce at the drop of a hat; his scenes with McKellen are affecting and perfectly modulated. And as the focus of Holmes' disturbed memories, Morahan is quietly magnificent as the troubled Ann Kelmot, her tear-rimmed eyes a more than adequate depiction of the turmoil her character has fallen prey to.
The movie has an often stately, measured pace, and some viewers may find the early scenes a little hard going, but once Holmes begins to remember events following the arrival of Thomas Kelmot at Baker Street, Condon increases the rate at which things begin to happen, until the final thirty minutes are as engrossing as any modern day thriller. With Martin Childs' meticulous production design being augmented by often beautiful cinematography from Tobias A. Schliessler, and a delicately evocative score courtesy of Carter Burwell, there's so much to enjoy here that audiences who stay the course will be rewarded by a movie that quietly steals up behind them and warms their hearts.
Rating: 8/10 – modest in intention and design, Mr. Holmes is a small-scale triumph of historical veracity and emotional honesty, focusing as it does on the melancholic suffering of a man for whom his intellect, now foundering, defined him; full of deceptively powerful performances, this is one historical drama that resonates long after it's ended.
Mini-Review: The Fifth Estate (2013)
Anthony Mackie, Benedict Cumberbatch, Bill Condon, Daniel Berg, Daniel Brühl, Internet, Julian Assange, Laura Linney, Leaked documents, Review, WikiLeaks
Cast: Benedict Cumberbatch, Daniel Brühl, Anthony Mackie, Laura Linney, David Thewlis, Alicia Vikander, Peter Capaldi, Moritz Bleibtreu, Carice van Houten, Jamie Blackley, Stanley Tucci
Remarkably similar in tone and circumstance to the creation of Facebook as shown in David Fincher's The Social Network, The Fifth Estate shows how WikiLeaks became such a global phenomenon.
In the beginning, Julian Assange (Cumberbatch) is shown struggling to get his site acknowledged by the wider Internet community. A fortuitous meeting with Daniel Berg (Brühl), a bored IT expert, gives Assange the help he needs in expanding and publicising WikiLeaks, and sets them on the road to international notoriety. Along the way they expose dictatorships, a tax-avoiding Swiss bank, rigged elections, and more. Then comes the tipping point: over 250,000 leaked documents relating to the US war crimes in Afghanistan, and diplomatic cables that describe the US's real feelings about the various governments and world leaders it deals with. Assange and Berg fall out over how to disseminate the information, and the future of WikiLeaks is brought into sharp relief.
Already disowned by Assange, The Fifth Estate shows WikiLeaks' creator to be narcissistic, arrogant, paranoid, and a user of other people. Cumberbatch plays him superbly, all grating Australian accent and sneering condescension; but how close a representation of the man it really is, is difficult to tell. Based in part on Berg's own book, the movie skirts perilously close to demonising the man, while Berg comes out of it looking whiter than white. For a film about a man with a burning desire to show people "the truth" about the world they live in, it's a dangerous approach to take. This is one-sided reportage, and the film ends with Cumberbatch as Assange making reference to the film itself and dismissing it; it's an uncomfortable coda, even though Assange has made his feelings clear about the movie.
That said, the movie is a gripping retelling of recent events and holds the attention throughout. The cast are uniformly excellent, and even though the script by Josh Singer contains large chunks of exposition, it's all presented in an easy-to-follow manner. Condon, fresh off the challenges of the final two Breaking Dawn movies, directs confidently and with a clear eye for the complexities of the material. It's a movie that will attract controversy for some time to come, but as a jumping off point for the wider issues involved, this is where the movie really succeeds.
Rating: 8/10 – powerful, with two mesmerising lead performances, The Fifth Estate is thought-provoking, intelligent and remarkable; while it's not as rigorous in its approach as it would like to be, it's still a fascinating examination of a recent global phenomenon.
10 Reasons to Remember Bibi Andersson (1935-2019)
Dances With Wolves (1990) – The Special Edition
Kiss of the Spider Woman (1985)
The Hallow (2015) and the Curse of "Good" Horror Movies
Bees Make Honey (2017)
Disaster Zone: Volcano in New York (2006)
Batman (1943) - Chapter 8: Lured by Radium
Rush: Time Stand Still (2016)
The Hunter's Prayer (2017)
Oh! the Horror! - The Darkness (2016) and Lights Out (2016)
Edge of Winter (2016)
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Paper: Universal Ring Signatures in the Standard Model
Pedro Branco , Johns Hopkins University
Nico Döttling , Helmholtz Center for Information Security (CISPA)
Stella Wohnig , Helmholtz Center for Information Security (CISPA) and Universität des Saarlandes
Ring signatures allow a user to sign messages on behalf of an \emph{ad hoc} set of users - a ring - while hiding her identity. The original motivation for ring signatures was whistleblowing [Rivest et al. ASIACRYPT'01]: a high government employee can anonymously leak sensitive information while certifying that it comes from a reliable source, namely by signing the leak. However, essentially all known ring signature schemes require the members of the ring to publish a structured verification key that is compatible with the scheme. This creates somewhat of a paradox since, if a user does not want to be framed for whistleblowing, they will stay clear of signature schemes that support ring signatures. In this work, we formalize the concept of universal ring signatures (URS). A URS enables a user to issue a ring signature with respect to a ring of users, independently of the signature schemes they are using. In particular, none of the verification keys in the ring need to come from the same scheme. Thus, in principle, URS presents an effective solution for whistleblowing. The main goal of this work is to study the feasibility of URS, especially in the standard model (i.e. no random oracles or common reference strings). We present several constructions of URS, offering different trade-offs between assumptions required, the level of security achieved, and the size of signatures: \begin{itemize} \item Our first construction is based on superpolynomial hardness assumptions of standard primitives. It achieves compact signatures. That means the size of a signature depends only logarithmically on the size of the ring and on the number of signature schemes involved. \item We then proceed to study the feasibility of constructing URS from standard polynomially-hard assumptions only. We construct a non-compact URS from witness encryption and additional standard assumptions. \item Finally, we show how to modify the non-compact construction into a compact one by relying on indistinguishability obfuscation. \end{itemize}
title={Universal Ring Signatures in the Standard Model},
author={Pedro Branco and Nico Döttling and Stella Wohnig},


text:
Joan Kroc and Serendipity in Giving
Michael Wyland
October 12, 2013; Legacy.com
Joan Kroc, the widow of McDonald's founder Ray Kroc, was famous for her philanthropy, both during her life and after her death in 2003. Her bequest of $1.6 billion to The Salvation Army for children's centers received national attention, as did her $225 million to National Public Radio. There were many other large gifts, too.
What is less well known, according to Legacy.com, is that Kroc often gave multimillion-dollar gifts after a brief encounter with a charity or its supporters. She flew from San Diego to the Midwest seated next to a doctor who told her of his dream to build a hospice. Inspired by the story, she gave $18.5 million to fulfill the dream, and even dropped by unannounced to deliver flowers to patients. A sick hummingbird that flew into her yard was nursed back to health at the San Diego Zoo. In gratitude, Kroc donated $100,000 to the zoo's hummingbird enclosure. Later, she gave a $3.3 million gift for another zoo exhibit.
Nonprofit fundraisers often focus on a donor's passion for mission and history of giving for clues about how best to cultivate a relationship and secure gifts. When done ethically and authentically, this approach often works well.
Kroc's apparently impulsive giving is another facet of the committed major donor. Joan and Ray Kroc were both philanthropically minded, with strong histories of volunteer service as well as making cash gifts. Although they researched and deliberated about many gifts, sometimes serendipity moved them to give for no other reasons than it seemed right and they could.
Sometimes, though, donors avoid the limelight, such as when Kroc refused any acknowledgement for her $15 million gift to Grand Forks, North Dakota, after flooding in 1997 (inspired, the article says, by Kroc's seeing the mayor on TV wearing jeans two sizes too small).
Kroc's giving history reminds us that people give for all kinds of reasons, only some of which are predictable or mappable by fund development officers.—Michael Wyland
Michael L. Wyland currently serves as an editorial advisory board member and consulting editor to The Nonprofit Quarterly, with more than 400 articles published since 2012. A partner in the consulting firm of Sumption & Wyland, he has more than thirty years of experience in corporate and government public policy, management, and administration.
Stay Classy, Donors: A Report on Giving in 2020 Reveals COVID-Induced Shifts
Crisis Crystal Ball: The Future of Fundraising?
By Alan R. Hutson, Jr.
COVID-19 Economic Shutdown Reduces Giving, But Also Changes Its Form
By Deidre Fraser and Steve Dubb
Urging Individual Moral Choices as Economic Impact Payments Head Our Way
By Carole Levine
A Plea to Help Nonprofits with Personal Economic Impact Checks
By Drew Adams
Speculations on the Roots of the Loss of Small U.S. Donors: What Nonprofits Can Do
Civil Society and the Rules of Impeachment in the Age of...
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NY and NJ File Suit to Challenge Feds on Donor Disclosure...
Pink Ladies' $320K Jackpot: A Charitable Game Gone Massive


Does this really count as an apology?
Newly elected congressional freshman (sorry… are we supposed to say freshwoman now?) Ilhan Omar has drawn considerable scrutiny for at least one blatantly antisemitic tweet she posted back in 2012. It definitely seemed to indicate that she's not exactly a big fan of the Jews.
Now, as the Washington Times reports this week, she's finally decided to issue an apology. Well… sort of an apology. Let's see what she has to say for herself.
"In all sincerity, it was after my CNN interview that I heard from Jewish orgs. that my use of the word 'Hypnotize' and the ugly sentiment it holds was offensive," she wrote.
Those quotes came from only the first two in a series of tweets on this subject. The first thing that jumped out at me was the fact that nowhere in the entire thread did she use the words "apologize" or "sorry." But to her credit, she did describe her 2012 comment as carrying an "ugly sentiment," as well as being "unfortunate and offensive." In that sense, I suppose it's sort of an apology, though she's still clearly playing the "I had no idea" card.
If you read further down in that thread, however, the "apology" quickly turns into a self-defense speech. She immediately claims that she was criticizing the government of Israel, not the Jewish people. Not to beat a dead horse here, but I will defend the right of anyone to criticize policy decision by any government, be it Israel, the United States or the rest of the nations on the planet. But when you're talking about wanting Allah to awaken the people and seeing "the evil doings" of the Jewish state, you're pretty much calling the Jews evil.
She then goes on to criticize the people pointing out her earlier tweet, describing such conversations as narratives "designed to demonize and vilify me." Not to put too fine a point on this, but apologies don't generally tend to include attacking your critics.
I wouldn't expect too much to change going forward. In case you missed some of her more recent online activity, Omar has been busy attacking the Covington Catholic students and defending the Black Hebrew Israelites. I'm not sure if anyone has told her, but even the Southern Poverty Law Center has listed the BHI as a hate group. Needless to say, we can probably expect much more of the same from Congresswoman Omar in the exciting two years to come.


Israel's security cabinet is united in its opposition to the framework deal reached between world powers and Iran, Prime Minister Benjamin Netanyahu's office said in a statement issued following a special meeting.
Local media reported that Netanyahu had called a meeting of his security cabinet, including ministers, as well as senior officials from Israel's security services on Friday, after expressing his "vehement" opposition to the deal.
The outline agreement aimed at curbing Iran's nuclear drive was clinched on Thursday after marathon talks in Switzerland, and marks a major breakthrough in a 12-year standoff between Iran and western countries, which have long suspected Tehran of seeking to build an atomic bomb.
Reading out a joint statement on Thursday evening, EU foreign policy chief Federica Mogherini said a "decisive step" had been achieved.
Iranian Foreign Minister Mohammad Javad Zarif called it a "win-win outcome", while US President Barack Obama hailed the deal as a moment that the US and its allies had "reached a historic understanding with Iran".
But Al Jazeera's James Bays, reporting from Lausanne where the deal was struck, said that US diplomats still faced the challenge of convincing opposition Republican dissenters in Congress, and its ally Israel that the deal was sufficient.
Israel has argued relentlessly against such a deal and Netanyahu said on Thursday that an agreement would have to "significantly roll back Iran's nuclear capabilities".
In a phone conversation with Obama, Netanyahu said that a final deal based on this agreement "would threaten the survival of Israel", while the prime minister's spokesperson Mark Regev quoted the premier as saying that the emerging deal "would not block Iran's path to the bomb. It would pave it".
"These are matters of war and peace," he said, and if the Republican party-controlled Congress kills the agreement "international unity will collapse, and the path to conflict will widen".
Netanyahu echoes Obama's concern but conversely. "[The emerging deal] would increase the risks of nuclear proliferation and the risks of a horrific war," Regev quoted him as saying.
Repeating previous Israeli warnings, Intelligence Minister Yuval Steinitz said on Thursday that all options were open. "If we have no choice, we have no choice... the military option is on the table," he said.
Israel is the Middle East's sole, albeit unacknowledged, nuclear power.
Yossi Kuperwasser, until recently the director general of Israel's strategic affairs ministry, said Netanyahu would be seeking to keep up pressure right up until a final accord, which is due to be drafted by the end of June, AFP news agency reported.
Zarif said the countries had agreed on an elaborate mechanism if any of the parties to the agreement "returned to old practises" and reneged on their obligations.
Sanctions related to Iran's nuclear programmes would be suspended by the US, the United Nations and the European Union after the International Atomic Energy Agency has confirmed Iran's compliance.


SAN CLEMENTE, Calif. — DealerSocket announced the availability of MarketPlace Social, one of eight tools under the CRM company's MarketPlace line. MarketPlace Social features customizable options that allow dealers to solicit ratings for social media rating sites such as Yelp, Google and DealerRater.
MarketPlace Social automatically sends a thank you email with a survey link to sold or service customers. Customers who respond positively receive an e-mail with links to online reputation sites of the dealer's choice, and are asked to post a review. If a customer responds negatively to the survey, the dealer is immediately notified, according to the company.
"Knowing who your happy customers are and partnering with them to improve your rankings on top social media rating sites is a crucial component to social media success," said Jonathan Ord, DealerSocket co-founder and CEO. "With MarketPlace Social, dealers immediately know who is happy and, in the case of an unhappy customer, allows the dealer to proactively turn that customer into a raving fan."
MarketPlace Social can be used with DealerSocket CRM or as a stand-alone addition to a pre-existing CRM, according to the company. For more information, visit www.dealersocket.com.


John D. Graham, a senior official in the White House Office of Management and Budget and a former Harvard University professor, was appointed today as dean of the Frederick S. Pardee RAND Graduate School (PRGS).
RAND Corporation President and CEO James A. Thomson announced the appointment and said Graham will assume his new position March 1 as head of the school, which has awarded more doctorates in policy analysis than any institution in the world. He will also conduct research as the holder of a newly created chair in policy analysis at RAND.
PRGS was founded in 1970 as one of America's original eight graduate programs in public policy and the only one based at a think tank. The interdisciplinary doctorate in policy analysis offered by the school is designed to train creative thinkers to play important roles in solving major problems facing the world. Rigorous courses all operate as seminars, and students get the opportunity to work alongside top RAND researchers on a broad range of projects as part of their on-the-job training.
Since July 2001, Graham has served President Bush as administrator of the Office of Information and Regulatory Affairs in the Office of Management and Budget. The office of 50 career policy analysts oversees the regulatory activities of the federal government.
Graham served on the Harvard faculty from 1985 until taking his current federal position. He has taught physicians and graduate students at the Harvard School of Public Health and from 1990 to 2001 led the Harvard Center for Risk Analysis, which he founded. Graham raised more than $10 million in project grants and philanthropic contributions at the center, which won international recognition for analytic contributions to environmental protection, injury prevention and medical technology innovation.
Graham is the author or co-author of nearly 200 books, articles, and reports on a broad array of issues related to risk estimation and management in such policy areas as health, safety, environment and energy.
The Pardee RAND Graduate School — located at RAND headquarters in Santa Monica, Calif. — has awarded 181 doctorates in policy analysis since it was founded. Enrollment has expanded over the years and currently stands at 107 students. Most students arrive after having already earned master's or doctorate degrees.
All PRGS students receive fellowships that pay for all tuition costs and health care, and a stipend based on the work they perform on RAND research projects. Past graduates of PRGS have gone on to careers in government, business, non-profit institutions and academia.
The school was known as the RAND Graduate Institute from 1970 until 1987, when it became the RAND Graduate School. It was renamed the Frederick S. Pardee RAND Graduate School in 2004 to honor former RAND analyst Frederick S. Pardee, who donated a record $10 million to the school. The gift was the largest ever made by an individual to RAND and one of the largest gifts ever by an individual to a single Ph.D. program in the United States.
Graham is the third dean of the graduate school. He succeeds Robert Klitgaard, who left in May to become president of Claremont Graduate University. Rae Archibald has been serving as interim dean.
Graham was born and raised in Pittsburgh, Pa., and earned his B.A. in politics and economics at Wake Forest University in 1978. He earned his M.A. in public policy at Duke University in 1980, and his Ph.D. in Urban and Public Affairs from Carnegie-Mellon University in 1983.


Cape Town — President Omar al-Bashir of Sudan flew out of South Africa on Monday, hours before a court ordered his arrest on the charges of genocide, war crimes and crimes against humanity he faces at the International Criminal Court (ICC).
The past two months have not been good ones for the Africa Rising narrative. South Sudan has imploded and in Central Africa, a genocide of sorts is taking place, with Muslims now targeted in revenge for the atrocities of a short-lived regime that seized power last year.


text:
Jean Thibaudeau, né le  à La Roche-sur-Yon (Vendée) et mort le  à Paris, est un écrivain français.

Biographie

Romancier, essayiste, auteur dramatique et traducteur, Jean Thibaudeau a été membre du comité de rédaction de la revue Tel Quel à partir de , et était un spécialiste de Francis Ponge avec qui il a échangé une correspondance.

Il a traduit en français les œuvres de Julio Cortázar, d'Edoardo Sanguineti, d'Italo Calvino.

Il est aussi l'auteur, dès 1961, d'une œuvre radiophonique novatrice qui a été traduite et adaptée dans de nombreux pays, et qui a été redécouverte en 1998.

Œuvres
Une cérémonie royale, Paris, éditions de Minuit, 1960 — prix Fénéon.
Ouverture, Paris, éditions du Seuil, 1966.
Ponge, Paris, Gallimard, collection « La bibliothèque idéale », 1967
Imaginez la nuit, roman,  Paris, Le Seuil, collection « Tel Quel », 1968
  en France, précédé de Printemps rouge par Philippe Sollers, Paris, Le Seuil, collection « Tel Quel », 1970. Ré-édition Phonurgia Nova, 1998.
 Socialisme, avant-garde, littérature : interventions, Paris, Éditions sociales, 1972.
Ouverture... Roman noir ou Voilà les morts, à notre tour d'en sortir, Paris, Le Seuil, 1974.
L'Amour de la littérature, Paris, Flammarion, 1978.
L'Amérique, Paris, Flammarion, collection Digraphe, 1979.
Journal des pirogues, Paris, L'Un dans l'autre, collection « Palimpsestes », 1984.
Mémoires : album de familles, Seyssel, éd. Comp'Act, collection « Liber », 1987.
Souvenirs de guerre : poésies et journal, suivi de Dialogues de l'aube, Paris, Hatier, collection « Haute Enfance », 1991.
Comme un rêve : roman et autre histoires, Paris, Écriture, 1994.
Mes années « Tel quel » : mémoire, Paris, Écriture, 1994.
Lettres à Jean Thibaudeau par Francis Ponge, présentation et notes du destinataire, Cognac, Le Temps qu'il fait, 1999.
Préhistoires, Monaco / Paris, éd. du Rocher, collection « Esprits libres », 2004.
Ouverture [romans], Grenoble, De l'incidence, 2011.
Dans la Neige : collection diptyque aux éditions de la revue Promesse, illustrations de Sylvie Salgues, 1971 (7 exemplaires de I à VII illustrés de 7 aquarelles originales, et 50 exemplaires de 8 à 57 illustrés de 7 estampes en couleurs ; chaque exemplaire signé par l'auteur et l'illustratrice)

 Mise en scène Le concert de vocables, mise en scène de Christian Rist et Jean Thibaudeau, texte de Francis Ponge. Avec Nelly Borgeaud, Catherine Ferran, Denise Gence (et al.). Représentation à Avignon (France),  .

 Entretiens radiophoniques
 [Cinq] entretiens avec Alain Robbe-Grillet, France-Culture, 1975.  1 disque compact enregistrable (1 h 07 min 55 s), Institut national de l'audiovisuel, Collection Entretiens avec..., 1986
 [Quatre] entretiens avec Italo Calvino, France-Culture, 1976.  2 disques compact enregistrables (54 min 27 s et 51 min 19 s), Institut national de l'audiovisuel, Collection Entretiens avec..., 1986

 Fictions radiophoniques
 Reportage international d'un match de football réalisé par Alain Trutat, France-Culture, 1961.  1 disque compact  (74 min), éditions Phonurgia nova / Ina, Collection Les Grandes heures de la radio.., 1998.
 Mai 68 en France, 1 livre et 1 disque compact d'archives sonores des événements de mai par Europe1, éditions Phonurgia nova, Collection Les Grandes heures de la radio..'', 1998.

Notes et références

Liens externes

Naissance en mars 1935
Naissance à La Roche-sur-Yon
Écrivain français du XXe siècle
Écrivain français du XXIe siècle
Essayiste français du XXe siècle
Essayiste français du XXIe siècle
Romancier français du XXe siècle
Romancier français du XXIe siècle
Traducteur français
Traducteur depuis l'espagnol vers le français
Traducteur depuis l'italien vers le français
Lauréat du prix Fénéon
Décès en décembre 2013
Décès dans le 18e arrondissement de Paris
Décès à 78 ans


Interior Design ~ Fabulous Shampoo Vacuum Cleaner Kirby Shampo System Shampooer Youtube Maxresdefault Interior Design Combo Cleaners 65 Fabulous Shampoo Vacuum Cleaner. Shampoo Vacuum Cleaner Rental. Vacuum Cleaner Carpet Shampooers Combination. Shampoo Vacuum Cleaners Walmartvacuum Cleaner Shampooer Combovacuum Cleaner Shampooer Combo.


Kawaii is Japanese for cute or adorable. This term is used to describe artwork, entertainment, clothing, food, toys, behavior and appearance. It's the most important phrase in the modern Japanese pop-culture. You could think of it just like the English word "cute", but the Japanese "kawaii" is so much more.
Just try to google cute and kawaii, and see the difference in results!
When it comes to hair and make-up, it's just the same. Many kawaii girls like to use bright colors in their make-up too, and many dye their hair. Whatever looks cute on you goes!


text:
Mattel's Synopsis For Justice League Shifts Focus From Batman To Wonder Woman
There's a new synopsis for the DC Extended Universe's Justice League and it looks like the brief summary of the superhero mash-up movie has its focus on Gal Gadot's Wonder Woman.
After photos of Mattel's newest Mera (Amber Heard) figure made its way online, Heroic Hollywood managed to spot a new synopsis for Justice League in the packaging for the company's Barbie Signature Mera doll.
However, unlike the official summary of the upcoming DCEU movie, this new synopsis focuses on Diana Prince instead of Ben Affleck's Bruce Wayne.
Here's the synopsis:
"Once again, Wonder Woman must demonstrate her ability as a fierce warrior. Facing a great enemy, she and Batman join forces to recruit a group of metahumans to stand against this newly awakened threat. Having formed an unprecedented League of heroes, they set out to save the planet from an assault of catastrophic proportions."
Of course, while this new summary doesn't come from Warner Bros. directly, it's understandable how the focus would shift to Diana after the critical and commercial success of Patty Jenkin's Wonder Woman.
Though Batman has always been considered the team leader in Justice League, Warner Bros. has been making subtle changes to the tone of its marketing material by giving Wonder Woman more prominence in the Justice League Comic-Con preview. Though it's yet to be seen whether the studio would change the official synopsis of the film, it's likely that we'll see more of Wonder Woman in upcoming previews.
Here's the official synopsis for the film:
"Fueled by his restored faith in humanity and inspired by Superman's selfless act, Bruce Wayne enlists the help of his newfound ally, Diana Prince, to face an even greater enemy. Together, Batman and Wonder Woman work quickly to find and recruit a team of metahumans to stand against this newly awakened threat. But despite the formation of this unprecedented league of heroes—Batman, Wonder Woman, Aquaman, Cyborg and The Flash—it may already be too late to save the planet from an assault of catastrophic proportions."
Justice League premieres November 17, 2017.
Read: Doctor Strange Director Defends Zack Snyder's Watchmen Movie And Calls It "A Masterpiece"


The roots of Darneitha Banks's 40 year nursing career run deep. When Banks was young, her grandmother fell ill with dementia. With nowhere to go or anyone else to care for her, Banks's mother welcomed her into their home for respite. Her grandmother had always done wonderful things for others, and caring for her during her final days served as a way to give back. Banks spent a great deal of time with her throughout her illness, which sparked an early interest in nursing that never fizzled out.
Throughout her lengthy career, Banks has honed the ability to sustain a positive attitude for the residents, regardless of her day-to-day struggles or negative environmental factors at large. She stresses an attitude of humility and selflessness, often reminding her co-workers that, "it's not about [them], it's about the residents," and to set aside personal matters in order to create an uplifting environment for all. Ultimately, the smiles on the residents' faces and their appreciation for her motivate Banks to keep coming back to love them so well.
Mary Smith, former Human Resources Coordinator, describes Banks as a "blessing," and says that over the years, "[Banks] has seen numerous people come and go, but she has remained faithful and dedicated to providing exceptional care." And fellow staff members aren't the only ones to sing their praises and gratitude for her. One of Banks's beloved current residents says that on Banks's off-duty days, the absence has a palpable effect on her, and tells Banks that she "just doesn't feel right." Banks describes the Bonview community as a "family," and one in which it seems she plays a crucial part.


text:
Gang Olsena () – seria czternastu duńskich kryminalnych komedii filmowych, opowiadających o fikcyjnym duńskim gangu sympatycznych przestępców-nieudaczników, do którego należy szef gangu Egon Olsen (Ove Sprogøe) i dwójka jego przyjaciół: Kjeld Jensen (Poul Bundgaard) i Benny Frandsen (Morten Grunwald).

Pierwsze trzynaście filmów reżyserował Erik Balling, scenariusze pisali Henning Bahs i Erik Balling. Po siedemnastu latach przerwy nakręcono ostatni, czternasty film, reżyserowany przez Toma Hedegaarda i Mortena Arnfreda, w trakcie realizacji którego zmarł aktor grający rolę Kjelda. W 2001 roku powstał film opowiadający o młodzieńczych latach gangu Olsena, jednak przez wielu nie został on uznany za oficjalną część serii (przede wszystkim z powodu zmiany obsady).

15 października 2010 premierę w Danii miał film rysunkowy o dalszych przygodach gangu Olsena, Gang Olsena wraca do gry.

Fabuła

Większość filmów rozpoczyna się sceną opuszczania więzienia przez szefa gangu Egona Olsena, który następnie ogłasza oczekującym na niego kompanom kolejny ambitny, drobiazgowo opracowany i "genialny" plan, mający uczynić ich milionerami. Plan opiera się często na pomysłowym wykorzystaniu zwyczajnych przedmiotów oraz psychologii. Ofiary nie budzą sympatii widzów, są nimi często osoby lub korporacje, które nie uzyskały pieniędzy w sposób uczciwy.

Mimo udanego skoku, coś na ogół z różnych powodów zawodzi i członkowie gangu tracą łup, a film zwykle kończy się powrotem Olsena do więzienia.

Gang
 Egon Olsen – mózg gangu, niewysoki, dystyngowany w wyglądzie, z nierozłącznym melonikiem i cygarem, słynie z genialnych pomysłów. Specjalizuje się w otwieraniu sejfów produkcji Franza Jägera z Berlina.
 Benny Frandsen – kierowca gangu, brat Dynamitowego Harry'ego, często się śmieje, kobieciarz; posiada dziwny krzywy wihajster (w wersji programu 2 TVP przetłumaczony jako "szpejo", w innej wersji to "pipsztyk"), dzięki któremu otwiera drzwi, wygrywa na jednorękim bandycie, wyciąga drobne z automatu z papierosami itp. Chodząc, próbuje dopasować swój krok do kroku Egona, przez co często śmiesznie podskakuje. Benny często używa słów Skide godt – "Klawo jak cholera" (tak w tłumaczeniu z wersji TVP z lat 80. oraz na DVD, w wersji tłumaczonej przez Polsat – "Ale ekstra").
 Kjeld Jensen – członek gangu, gruby, w okularach, nieustannie przestraszony, pod pantoflem żony (Yvonne). Nie rozstaje się ze swoją torbą lekarską, w której nosi różne przedmioty potrzebne do skoków oraz obowiązkowo stetoskop, talk i rękawiczki dla Egona, służące do otwierania sejfów.

Członkowie gangu są nieszkodliwi i nie używają przemocy, a jedynie bardzo finezyjnych planów.

Kjeld jako jedyny z gangu ma własną rodzinę, którą tworzą:

 Yvonne Jensen – żona Kjelda, zrzędząca i niezadowolona kobieta, która z jednej strony kibicuje gangowi w nadziei, że ten wreszcie zdobędzie tak upragnioną przez nią fortunę, z drugiej strony narzeka, że wszystko się gangowi nie udaje i pewnie znowu się nie uda;
 Børge Jensen – syn Kjelda, sprytny nastolatek w grubych okularach, stopniowo odgrywający coraz większą rolę w gangu i niekiedy ratujący z kłopotów ojca i jego kompanów.

W pierwszym filmie pokazane jest, że oprócz Børgego Kjeld i Yvonne mają jeszcze jednego syna oraz córkę, a Benny ma ciężarną dziewczynę. Mimo to w następnych częściach postaci te nie pojawiają się ani nie są wspominane, zaś jedynym dzieckiem Kjelda jest Børge.

Okazjonalnym pomocnikiem gangu jest Harry "Dynamit" Frandsen, brat Benny'ego, który jest zaawansowanym alkoholikiem uzależnionym od piwa i (przynajmniej we własnym mniemaniu) specjalistą od materiałów wybuchowych. W odcinku Gang Olsena jedzie do Jutlandii ten sam aktor grał mechanika-niemowę.

Role trzech członków gangu oraz rodziny Kjelda grają we wszystkich filmach ci sami aktorzy. W związku z tym w filmach widać upływ czasu: Jes Holtsø grający Børgego podczas kręcenia pierwszego filmu miał 12 lat, a w trakcie kręcenia serii dorastał, zatem w późniejszych filmach jego bohater sam ma już żonę (Fie) i dziecko.

Stałym elementem serii od piątego filmu jest detektyw policji Jensen, wraz z asystentem Holmem – sfrustrowany, pozbawiony złudzeń konformista pragnący spokojnej emerytury i cierpiący z powodu niemożności ujęcia prawdziwych, wielkich przestępców (w trzech wcześniejszych filmach występował zamiast niego nieudolny policjant Mortensen).

Aktorzy
 Ove Sprogøe – Egon Olsen
 Morten Grunwald – Benny Frandsen
 Poul Bundgaard – Kjeld Jensen
 Kirsten Walther – Yvonne Jensen
 Jes Holtsø – Børge Jensen
 Axel Strøbye – Detektyw policji (Kriminalassistent) Jensen (10 filmów)
 Ole Ernst – Asystent policji (Politiassistent) Holm (8 filmów)
 Ove Verner Hansen – pomocnik "czarnego charakteru", najczęściej jako osiłek Bøffen
 Preben Kaas – Dynamite Harry, brat Benny'ego
 Bjørn Watt-Boolsen – głównie role różnych "czarnych charakterów" w 9 filmach serii (Bang Johansen, Holm Hansen, baron Løvenwold, Hallandsen)
 Ejner Federspiel – role epizodyczne lub drugoplanowe w 6 filmach serii

Główne motywy

Gang Olsena jest protoplastą współczesnych seriali z gatunku procedurali – odcinki mają zbliżoną budowę i powtarzalne motywy, epizody, zwroty akcji.
 Niezależnie od tego, czy ma to miejsce w danym czy poprzednim filmie, plan bohaterów nie udaje się, zaś Egon trafia do więzienia. Dziwnym trafem Benny i Kjeld zawsze dają radę uniknąć odsiadki, często dzięki ucieczce z miejsca włamania, gdy nadjeżdża policja. Po wyjściu z więzienia Olsen jest witany serdecznie przez kolegów pod bramą, którzy czekają przy samochodzie i machają flagami Danii. Następnie bohaterowie piją piwo w mieszkaniu Kjelda, gdzie Egon przedstawia kolejny plan zdobycia fortuny, opracowany w więzieniu, często przy użyciu informacji uzyskanych od współwięźniów.
 Nierzadko w planach uczestniczy syn Kjelda: Børge Jensen.
 Głównym wozem grupy jest stary zdezelowany Chevrolet z przełomu lat 50. i 60., najczęściej Chevrolet Bel Air z 1959.
 Częstym motywem jest kradzież walizki zawierającej pieniądze lub dokumenty, na ogół czerwonej; walizki bywają też często mylone.
 Na Egona czai się nierzadko Bøffen (grubas mający zlecenie na zlikwidowanie Egona), który go łapie i zamierza zabić w wymyślny sposób, ale w porę Benny i Kjeld ratują go z opresji.
 Olsen na ogół używa swoich kasiarskich talentów na sejfach produkcji Franza Jägera z Berlina (w jednym z filmów: Francisa Huntera, co stanowi angielską formę tego nazwiska).
 Po udanym głównym skoku gang zazwyczaj traci łup i następnie skupia się na jego odzyskaniu, lecz ostatecznie łup prawie zawsze przepada.
 Egon często traci łup i zostaje oszukany, gdy udaje się sam na negocjacje z "czarnym charakterem" (granym na ogół przez Bjørna Watt-Boolsena)
 Często do utraty łupu po udanym skoku doprowadza Yvonne.
 Często członkowie gangu portretowani są idący szybko nabrzeżem, jeden za drugim, w kolejności (od przodu): Egon, Benny i Kjeld. Benny nieustannie myli krok i w charakterystyczny sposób stara się dopasować do rytmu narzucanego przez Egona.
 Członkowie gangu i Yvonne marzą o zostaniu milionerami i wyjeździe na Majorkę.
 Podczas ucieczki gangu samochodem po udanym skoku, często kończy im się paliwo, mimo zapewnień ze strony Benny'ego, że zatankował bak do pełna.

Filmy serii

W cyklu ukazały się też części bez udziału głównej trójki aktorów:

 Mały gang Olsena – Olsen-Banden Junior (2001). Gang Olsena rozpoczyna swoją złodziejską karierę w sierocińcu, gdzie Egon, Kjeld i Benny próbują ukraść ciastka. Tutaj też poznajemy małą Yvonne, w której kocha się Kjeld.
 Gang młodego Olsena schodzi pod wodę – Olsenbanden Junior går under vann (2003)
 Gang młodego Olsena na fali rocka – Olsenbanden Junior på rocker'n (2004)
 Gang młodego Olsena w cyrku – Olsenbanden Junior på cirkus (2005)
 Olsenbanden Jr. Sølvgruvens hemmelighet (2007)
 Gang młodego Olsena i czarne złoto – Olsenbanden Junior og det sorte gullet (2009)
 Olsenbanden Junior Mestertyvens skatt (2010)

W cyklu ukazała się też wersja animowana filmu z odcinkami:

 Gang Olsena wraca do gry – Olsen Banden på de bonede gulve (2010)
 Gang Olsena na pełnym morzu – Olsen Banden på dybt vand (2013)

Muzyka
Słynny temat przewodni z całej serii filmów skomponował Bent Fabricius-Bjerre, a wykonuje go duński zespół jazzowy (istniejący do dziś) Papa Bue's Viking Jazzband.

Wersje norweska i szwedzka
Równolegle do duńskiej istnieje norweska seria filmów o perypetiach gangu Olsena (14 filmów, z czego 12 wyreżyserowanych przez Knuta Bohwima). Główną rolę gra w niej Arve Opsahl, a w rolach Benny'ego i Kjella (norweski odpowiednik Kjelda) obsadzono Sverrego Holma i Carstena Byhringa.

Najmniej znaną jest wersja szwedzka, w której główny bohater nazywa się Charles-Ingvar "Sickan" Jönsson, a gra go Gösta Ekman.

Przypisy

Linki zewnętrzne

Duńskie komedie kryminalne
Serie filmowe
Komedie kryminalne


text:
Q: Is mongodb performance slower when disk storage almost full I'm still new for using mongodb database.
I thing mongodb is quite good, but now i have some issue.
I have java apps with mongodb and now it's running on production server for 3-4 months. The storage that allocated for mongodb is 1,5T. The server is redhat with mongodb v3.2.
In 1 to 2 month is good because the storage still bellow 60% of the allocated storage. But some reason after the disk above 80% the process is slower and become slower.
The mongodb server is single node, not using replica set or sharding.
And my questions:

*

*Is this normal?

*If yes, is there any idea to solve this problems?

Thanks in advance

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