text:
The Voice of Many: Honduran citizens hold the state to account to secure farm investment
Uploaded by Oxfam
Rural communities in Western Honduras have long been marginalized, suffering high levels of poverty and inequality. Governments have shown little interest in smallholder agriculture and as a consequence have invested little in the region. Following ten years of action to build civil society, however, communities and local authorities are now working together to claim their rights. Working progressively at different levels – community, municipality, regional, and national – Oxfam and its partners have campaigned to promote small-scale agriculture as a viable means of building livelihoods and reducing poverty. As a result, new funding is beginning to have an impact in rural areas.
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The Voice of
Programme Insights
Honduran citizens hold
the state to account to
secure farm investment
A farmers market in Copan Ruinas where farmers sell their
produce directly to consumers in the urban area. OCDIH, 2009
Rural communities in Western Honduras have long been
marginalized, suffering high levels of poverty and
inequality. Governments have shown little interest in
smallholder agriculture and as a consequence have
invested little in the region. Following ten years of
action to build civil society, however, communities and
local authorities are now working together to claim their
rights. Working progressively at different levels
community, municipality, regional, and national Oxfam
and its partners have campaigned to promote small-
scale agriculture as a viable means of building
livelihoods and reducing poverty. As a result, new
funding is beginning to have an impact in rural areas.
Honduras suffers from some of the highest poverty levels in Latin
America. Of its population of about 7.2 million, 55 per cent of urban
households and 70.8 per cent of rural households live below the
poverty line, and one-quarter of the population 1.6 million people
live in conditions of extreme poverty (UNDP).1 Although it is classed
as a middle-income country, Honduras scores 0.667 on the UNDPs
Human Development Index (HDI), significantly below the Latin
American average of 0.797,2 due to its highly unequal income
distribution.
Although 55 per cent of the population live in rural areas, over the
years the state has reduced funding and technical assistance to the
rural sector (UNDP).3 Instead, governments have prioritized support
to large- and medium-scale commercial agriculture for export crops.
This has hampered the countrys capacity to produce food for
domestic consumption and has increased its dependency on
imported food. With rising global food prices and more land being
used to produce ethanol for fuel, Honduras is increasingly vulnerable
to food insecurity.
Citizens have historically been excluded from decision-making.
Between 1963 and 1982 the country was ruled by a succession of
military governments.4 The 1980s saw a culture of authoritarianism
and party political sectarianism, with violent persecution of those
opposing the government; many leaders of social movements were
killed. While elections have been held more regularly in recent times,
real participatory democracy is still a challenge. Governments have
generally accepted participation that supports the implementation of
their own policies, but have been less accommodating of
participation by citizens when the aim is to bring about real change.
Nevertheless, in 1990 the Honduran government initiated a process
aimed at decentralising decision-making. The central government
retained responsibility for determining policy, but operational
functions were devolved to the municipalities5 and the private sector.
A new Law of Municipalities gave them autonomy to approve
budgets, collect payments for local services, operate public utilities,
and create mechanisms allowing citizens to participate in local
democracy. The municipalities were to fund this new model with the
income they collected, while an additional 5 per cent of national
income was transferred to them from central government (UNDP).6
More additional resources became available in 1999, when Honduras
became a beneficiary of the Highly Indebted Poor Countries (HIPC)
initiative.7 In return for debt relief, the country agreed to design a
Poverty Reduction Strategy (PRS), setting out how funds would be
invested. This provided a policy framework for negotiating new
funds with the International Monetary Fund and the World Bank.
1. The Voice of Many, Programme Insights, Oxfam GB. April 2011 2
Honduras also joined in the global commitment to work towards the
Millennium Development Goals (MDGs), which necessitated
stringent public budgeting. The PRS and the MDGs became reference
points to determine how state income whether from grants, new
foreign debt contracts, or domestic income could be used.
As the allocation of resources and operational decision-making
became increasingly decentralised and the state developed a greater
focus on reducing poverty, so the opportunities for civil society to
influence budget decisions at municipal and regional levels increased
dramatically. Oxfams engagement in the process began in 1999,
through a programme designed to support the development of a
movement of active citizens in Western Honduras.
Empowering citizens in Western Honduras
In the country as a whole, rates of illiteracy range between 50 per
cent and 70 per cent, and malnutrition, poor housing conditions, and
limited health services mean that diseases such as polio and
tuberculosis are rife (FAO).8 Western Honduras, comprising the
departments of Lempira, Copn, and Ocotepeque, has experienced
particularly acute problems of poverty, exclusion, and
marginalization. The six departments of Honduras with the lowest
HDI rankings are Lempira, Copn, Ocotepeque, Intibuc, Santa
Brbara, and La Paz, where the population is mostly of indigenous
origin (Lenca and Maya Chortis ethnic groups).9
Initially the focus of Oxfams intervention was on creating space for
citizens to participate and engage in dialogue with those who
governed them, with the aim of finding ways to tackle the root
causes of poverty. However, it was also clear that improving the
capacity of rural people to generate income was critical in
overcoming poverty and exclusion. Oxfam introduced a programme
under its Global Agricultural Scale Up Initiative (GASUI), which
consisted of two key components. First, the programme aimed to
demonstrate the viability of agriculture as a livelihood activity that
could link rural people to profitable markets (see Box 1); second, it
engaged in advocacy and campaigning work that would be critical in
changing local, regional, and national policies on agriculture and
creating an enabling environment to support smallholder farmers.
Box 1: Demonstrating the viability of smallholder agriculture: small
farmers and their businesses lead the way
Oxfam has been working with local partner the Christian Organization for
the Integrated Development of Honduras (OCDIH) since 2006 to
demonstrate the viability of small-scale agriculture as a profitable livelihood
option. This means turning small family plots used to grow basic grains into
integrated, diverse farms producing a range of fruits, vegetables, and
livestock for consumption and for market. The model also aims to
demonstrate the most effective and profitable ways of investing in the
sector. In particular, the programme has supported:
3 1. The Voice of Many, Programme Insights, Oxfam GB. April 2011
Improved natural resource management: Through the development of
irrigation systems and farmer-to-farmer training programmes, the
programme has reached over 20,000 beneficiaries increasing yields of
corn by 54 per cent from 2006 to 2010 and incomes by 27 per cent in the
same period. Farmer training programmes and demonstration farms have
encouraged farmers to diversify the crops and livestock they produce, as
well as to adopt new soil and water management practices that reduce the
need for costly inputs, such as fertilisers.
Access to credit: Poor access to credit hampers the ability of farmers to
invest in their farming activities. Formal financial institutions offer credit at
extremely high interest rates. The programme has established over 90
savings and loan community funds (cajas rurales); in 2008 these had
accumulated capital of $294,370 and over 2,000 beneficiaries, 48 per cent
of whom were women. Lower interest rates for women have improved their
access to loans and their ability to repay them, and have also increased
their ability to make autonomous decisions about the use of credit.
Linking to new markets: As well as boosting production, the programme
has supported farmers to develop agriculture through small businesses in
order to access new markets and achieve better prices. It has contributed
to increasing producers sales by $150,000 in the past year in municipal
farmers markets and through wholesalers and supermarket chains. The
number of women who have access to goods and agricultural inputs and
are active in the market has now reached 31 per cent, far greater than the
1 per cent recorded in 2006. As a result, the base line of the Economic
Justice programme reflects an increase in the contribution of women to
household income from 10 per cent in 2007 to 20 per cent in 2008.
The first phase of work to influence policy and investment took place
in 19992000, and was aimed at building active citizenship in the
Western region. In 1998 the Association of Non-Governmental
Organizations of Honduras (ASONOG) carried out an assessment on
democracy and citizen participation in the region. Oxfam agreed to
work in partnership with ASONOG on a process aimed at closely
linking citizen participation with human development, in a way that
would change the political culture in Honduras.
In that year Hurricane Mitch struck the country with devastating
force, leaving 5,000 people dead, most of its crops destroyed, and
damage estimated in the billions of dollars (World Bank).10 In the
aftermath of the disaster, ASONOG supported municipal authorities
with training in relevant municipal laws, planning, budget
formulation, tax collection, and resource management. It also
provided them with funds to develop small projects of social benefit
for the poorest and most excluded people, after consulting with the
communities themselves about the relevance of each project.
The programme began at the community level. Oxfam and ASONOG
set out to engage with citizens and to encourage them to take action
to claim their democratic rights. Successful strategies included:
Using theatre, traditional dance, music and poetry festivals, and
radio and TV programmes to educate people about the
importance of democracy and about what being a citizen
involves;
Developing advocacy schools for different population groups,
offering citizens training in advocacy and campaigning. These
schools brought together different groups, leading to a collective
dialogue and analysis of the situation in Honduras and the
formation of networks;
A training of trainers model for communicating knowledge.
Local leaders who received training committed to pass on what
they had learned within their own communities or social
organizations.
Combining recreation and education was a very efficient way of
overcoming the apathy felt by many citizens towards the democratic
process and of promoting an attitude of collaboration. In particular,
collaboration on small community projects made it possible to lay the
foundations for a more transparent use of municipal resources, as
community members were informed about the quality and costs of
materials and contracts agreed for machinery and equipment.
This set the stage for the next level of citizen participation, which saw
the programme focus its efforts at the municipal level. In response to
legislative changes introduced in 2002, which reduced the role of
civil society in the countrys Departmental Development
Commissions,11 ASONOG worked to support the mancomunidades
(associations of municipalities). The mancomunidades were born out of
a joint planning effort between civil society and municipal
government, and are made up of representatives of each. They
already existed when ASONOG began its civil society participation
programme in 1999, but at that time had achieved only low levels of
co-ordination and joint management.
Efforts were also focused on the patronatos (community councils);
these involve community members in decision-making at the local
level and raise funds to implement small-scale projects. Associations
of community councils (asociaciones de patronatos) were set up to
create alliances with municipalities in order to raise funds jointly.
ASONOG also built up the social network by integrating member
organizations (17 NGOs and farmers associations) into its training
and education programme. The programme also built the capacity of
partners to mainstream gender, for example by including gender
indicators in their planning processes and monitoring the progress of
economic empowerment of women in the region. Womens increased
influence in decision-making in the use of municipal funds in the
Western and Central regions (Intibuc and La Paz) is evident in the
increased allocation of special funds for womens projects. Ten per
cent of the PRS funds, the equivalent of about USD 8000, was utilized
for projects run exclusively by women.
The programme reached the next level when in 2005 a regional-level
co-ordination council the Western Regional Platform of Honduras,
or EROC was established, consisting of equal numbers of municipal
mayors and representatives of civil society.12 EROC acts as a channel
for political discussion with the central government about
development issues in the region. It represents a cultural change at
the local level, fostering collaboration between actors with different
political and party affiliations. The creation of the council was
fundamental in enabling the development of a specific PRS for the
Western region and in securing additional funding from central
government to implement it (see Box 2).
Box 2. A critical moment: the development of a regional PRS
Hondurass first national Poverty Reduction Strategy (PRS) was ratified by
the government and the IMF in 2001, even though the proposed draft
neglected many of the concerns voiced by civil society. In Western
Honduras, dissatisfaction with this national plan was channelled into the
positive process of creating a regional PRS of its own. Led by EROC, the
design of the Western Region Strategy began at the community level and
involved thousands of individuals from community associations, womens
groups, and municipal authorities. In 2006, the initiative was launched as an
alternative to the national PRS.
There are key differences between the two. For example, while the national
PRS proposes extractive industries (mining and timber exploitation) as key
areas for economic growth, civil society in the Western region (represented
by a coalition of 120 national organizations leaded by ASONOG and
FOSDEH, the Social Forum on External Debt and Development )
proposes as key actions environmental protection and recovery, the
conservation of water resources, and reforestation. While the national PRS
proposes tackling food insecurity by increasing food imports, civil society
believes that the emphasis should be on access to credit to enable farmers
to improve production for domestic consumption. The official PRS proposes
distributing debt relief funding according to size of population (which would
favour large cities), while civil society in the Western region proposes
distribution based on poverty indicators.
The central government originally refused to recognise the validity of the
Western regions PRS, but two important factors forced it to change its
mind. First was the fact that municipal authorities had been strongly
involved in the design of the strategy and were publicly committed to it.
Second was the national-level lobbying carried out by civil society in
partnership with other networks such as the CCERP (Consultative Council
for Poverty Reduction), with the support of the international development
community and the World Bank, which publicly recognized the quality and
validity of the Western Region Strategy.
The achievement of the Western region in formulating its own PRS is
impressive, but at the national level huge challenges remain. Only a
small proportion of PRS funding is decentralised, and civil society
and the donor community have questioned the governments
distribution of funds. It was originally proposed under the PRS to
invest 50 per cent of available resources in rural programmes to
promote agriculture and micro-businesses, but this has not
happened. Instead, successive presidents have applied their own
interpretations of PRS principles, making the excuse that small-scale
agricultural production is uncompetitive in markets. During the first
six years of PRS implementation, there was scarcely any investment
in the rural economy, while in 200708 it amounted to just 1 per cent
of the total received in debt relief (World Bank).14
In response to this, in 2009, the Oxfam-supported programme
launched a national advocacy campaign on small-scale agriculture
aimed at leveraging change in policy and investment at the national
level. Its objectives were the introduction of a reform law for the
agricultural sector and a 10 per cent increase in resources for small-
scale agriculture in the national budget. ASONOG is leading the
campaign jointly with two of its member organizations, the Christian
Organization for Integrated Development in Honduras (OCDIH) and
the Organization for the Development of Corqun (ODECO).15 The
campaign is active in six regions of Honduras, and at national level is
linked to the Meso-American campaign and regionally to Oxfam
Internationals Economic Justice Campaign within Guatemala,
Mexico, and Honduras.
The NGOs have gathered evidence on how small producers can be
competitive in markets, generating income to pay taxes and to raise
funds that contribute to the development of their communities. In
2008 four important groups joined the campaign, giving it a
genuinely national reach: the Central de Cooperativas Cafetaleras de
Honduras (National Coffee Co-operatives Centre), the Co-ordination
Council for Small Farmers Federations (COCOCH), and local NGOs
Asociacin Ecolgica de San Marcos de Ocotepeque (AESMO) and
Coordinadora de Mujeres Campesinas de La Paz (COMUCAP), a
rural womens organization.
The campaign was launched nationally in March 2009, with mass
events held simultaneously in six regions of the country bringing
together small producers, academics, and senior government
officials. This level of mobilization was made possible by the
organizational work and capacity-building that had started ten years
earlier. It has paid dividends: recognizing the social force behind the
coalition leading the campaign, the government has agreed to discuss
a potential 10 per cent increase in the budget for small-scale
agriculture. Additionally, the campaign was featured in the national
media for five weeks after it was launched, which helped to generate
favourable public opinion.
Results and achievements
Programming efforts over a period of nine years have led to
significant changes in the political dynamics of the Western region of
Honduras and its ability to access funds from government and other
sources, such as the Swedish International Development Agency
(Sida) and other NGO and government donors. The participatory
approach taken by ASONOG has proved adaptable and has grown in
scale over time. Starting in 1999 with ten municipalities, ASONOG is
now implementing the intervention with its two partner
organizations, OCDIH and ODECO, in 67 municipalities. As a result
of this work, civil society has been radically changed. At the
municipal level, there are currently more than 400 patronatos able to
act independently of party political interests, 13 patronato
associations, five youth networks, 25 womens networks, and 67
citizen transparency commissions which audit the use of funds by
the municipalities. The intervention has also led to the creation of
EROC, which co-ordinates the efforts of community groups and
municipal authorities at regional level.
The programme has improved the regions ability to secure debt
relief funding. In 2006, a total of $37m of PRS funding was devolved
to municipalities nationwide, but with conditions attached that not
all municipalities could meet.16 The Western region was the first
and so far the only region to draw up its own regional PRS, in a
joint effort by civil society and municipal leaders. In 2006, it received
a total of $8.84m for projects, the highest amount allocated to any of
the countrys five regions. Elsewhere, municipalities did not base
their budgets on PRS funding and civil society was unable to
influence the destination of funds.
As a consequence, Western Honduras has gained greater influence
with the national government. Previously, the region was the most
isolated and marginalized in the country, starved of funds for public
investment and with no civil society representation at national level.
The government engaged in dialogue only with politicians and big
business. Now, however, the region has a voice and is able to present
proposals to decision-makers, who are prepared to listen. EROC has
engaged with the Consultative Council for Poverty Reduction (the
body set up in 2002 to oversee national PRS funding, representing
civil society, donors, and the state) and with the technical unit of the
government responsible for analysing projects and municipal
investment plans, which have gone to the Secretary of Finance,
parliamentary whips, and the President of the Republic himself.
Box 3. Defending smallholders interests at the national level
The capacity of civil society in the Western region to influence national
policy was put to the test when the government of Manuel Zelaya, elected in
2006, rescinded an agreement signed by the previous government, led by
Ricardo Maduro, to direct 100 per cent of debt relief funds to reduce poverty
in the countrys poorest municipalities.
Instead, President Zelaya issued a decree ordering the distribution of funds
according to population density, and redirected Lempira 900m ($47.6m) to
finance current expenses and election campaign commitments, leaving just
Lempira 700m ($37m) to invest in poverty reduction. The decree also
reduced the role of the Consultative Council for Poverty Reduction by
transferring responsibility for allocation of funds to the National Congress.
However, both provisions were revoked following joint action by civil society
in the Western Region, led by EROC, and national-level lobbying by
ASONOG and FOSDEH.
This unprecedented improvement in its status has put the region in a
much better position to negotiate, and in 2006 it obtained funds of
$8.84m from debt relief and donors to invest in projects under its
own PRS. By working at different levels, it has also proved possible
to leverage resources from other donors. While negotiating on
development issues with regional and national governments, for
instance, EROC has established links with the wider donor
community. In 2008 it obtained $4.76m in funding from the Swedish
government to support projects in 30 municipalities identified as
being the poorest of the 67 in the region. The funds will be managed
by the municipalities and audited by the citizens transparency
commissions. Of these funds, 31.7 per cent was used for
infrastructure projects, which improved access to agricultural
markets, and 4 per cent was invested directly into home-based
agriculture, such as growing vegetables and rearing pigs or poultry.
Meanwhile, community associations have raised funds from central
government and from donors to develop projects that they
themselves have identified as priorities.17 Between 2006 and 2008,
with assistance from OCDIH, community council associations in the
north of Copan and the municipality of Lepaera in Lempira carried
out 16 fundraising missions, obtaining $1.9m to develop 83 rural
community projects. Of this, 15 per cent went to fund community
banks (cajas rurales), agricultural production, and rural infrastructure
projects to improve transport to markets.
The availability of increased resources has had a clear impact on the
livelihoods of smallholder farmers. The funding earmarked for
improving infrastructure is supporting work done under the
Honduras Agricultural Scale Up programme, improving access to
markets for farmers in remote areas. If the national agriculture
campaign builds on its promising start and manages to secure a 10
per cent increase in the national agricultural budget, this will have an
even more significant impact on the lives of over five million rural
Hondurans.
Scaling up and replication
Oxfam and its partners pursued a strategy of scaling up which relied
on their ability to secure financial resources from other actors at
community, regional, and national levels. Establishing and
strengthening community, municipal, and regional institutions for
planning work and transparently managing funds have put in place
sustainable structures to ensure the appropriateness and
effectiveness of future investment.
Building links between the advocacy component of the programme
and work that demonstrates the competitiveness of small-scale
producers in agricultural markets has been a critical aspect of this
initiative. It has enabled the programme to secure investments far
greater than any that a single civil society organization could have
invested by itself.
The programme has also been strategic in using its positive
experiences at regional level to leverage change at national level. The
development of the national agricultural campaign builds on work
with farmers to support production and market access as well as
capitalizing on the growing influence of the Western region in
national government. These experiences have made it possible for the
campaign to provide both the government and the general public
with real examples of how support to small-scale agriculture can
contribute to reducing poverty and how such interventions can be
managed successfully. The programme also plans to make the most
of opportunities presented by regional and national debates on food
security. Oxfam and its partners will strongly advocate for
investment in smallholder agriculture as an effective means of
providing affordable food for both urban and rural populations.
Another way of scaling up the approach has been to promote
replication of the model in other regions. In 2005, using the learning
gained in the Western region, development organizations Trcaire of
Ireland, DanChurchAid of Denmark, Diakonia of Sweden, and
Development and Peace of Canada began a process to develop
regional poverty reduction strategies in three departments in the
north of Honduras (Atlantida, Yoro, and Colon) and in the Sula
Valley in the south of the country.
However, their success was more limited as they were not able to
invest in the long-term, bottom-up process of building civil society at
the community level. They were therefore not able to address the
allegiances of patronatos to political parties, and ideological
differences hindered them from establishing social alliances and
networks. This meant that differing levels of engagement were
achieved between municipalities and civil society in each of the
regions. With a weaker base, civil society has less power to negotiate
with the state. This only serves to emphasise the value of the process
of building active citizenship that took place in Western Honduras.
1. The Voice of Many, Programme Insights, Oxfam GB. April 2011 10
Successes and challenges
A number of factors have contributed to the success of the
programme in Western Honduras. Elements that have worked well
The initial investment made in training and education on
advocacy, democracy, and citizens rights was minimal compared
with the impact and reach achieved by means of participants
passing on what they had learned within their communities and
through farmers and womens organizations. This made it
possible to create a mass movement by disseminating skills and
knowledge throughout the population.
The strategy of gradually scaling up the intervention first
through action at community and municipal levels, then at the
regional level, until finally reaching the national level proved
effective. It allowed an incremental build-up of human capital,
stimulating networking amongst civil society and a systematic
weaving of alliances with municipal authorities.
The capacities developed by citizens and the alliances established
with local governments gave the campaign legitimacy in the eyes
of the government and of donors. This facilitated fundraising
activities and helped to progress the decentralizing of resources
in favour of the poorest rural communities.
The creation of a strategic alliance between NGOs, such as
ASONOG, OCDIH, ODECO, and others, and farmers and
womens organizations to promote the agriculture campaign was
a crucial factor. A high level of inter-agency co-ordination
allowed the NGOs to pool their expertise and learning in a spirit
of co-operation. Their proposals were seen by the government not
simply as another demand from the farming sector, but as the
reasoned and articulate response of an alliance of social actors
acting in pursuit of a common goal.
Some important challenges remain, however. Among them are
illiteracy and low levels of education, and actions taken by political
parties and charitable organizations that hinder social empowerment
of citizens for example, badly managed donations that encourage
passive dependency amongst communities and bypass institutions
established to manage these resources.
However, the most significant threat to the programme is the
political crisis in Honduras. President Zelaya was sent into exile on
28 June 2009 amid a power struggle over his plans for constitutional
change. Prior to the coup, most space in the media was taken up by
the activities of the main political parties, which hindered the
programmes advocacy and campaigning, as there was little
opportunity to position other issues on the national agenda.
Following the coup, there was a break in relations between central
11 1. The Voice of Many, Programme Insights, Oxfam GB. April 2011
and local governments, over lack of resources and political issues.
What little aid there is has become politicized and centralized.
Following a period of interim government, elections were held in
November 2009. Despite international criticism of the coup, President
Porfirio Lobo was sworn into office in January 2010 as Zelaya went
into exile. Following the coup, the programme strategy has been
redefined to respond to the changing context. A new emphasis has
been put on developing the leadership capacity of youth and
womens groups, to further enable them to develop their own
agendas and their ability to take part in political dialogue and to
contribute to the construction of new state law. However, continued
insecurity and disregard for human rights have resulted in threats,
violence, and political persecution of leaders, so activities promoting
protection have become more key to the programme.
The most significant conclusion to be drawn from this experience is
the importance of the bottom-up process in influencing policy and
investment decisions. It is clear that the work done to mobilize civil
society at different levels was central to the success of the national
campaign, especially as the many efforts previously undertaken in
this area had failed. The impact of the work can be seen in the
relationships established between communities and municipalities
and between municipalities and the national government. As a result
of this engagement, the state is much better equipped to allocate
funding to activities that are relevant and desired by community
members themselves.
The ultimate outcome of the national campaign cannot yet be known,
but its immediate achievements, in terms of the media profile given
to the launch and the willingness of the government to engage with
its proposals, could never have been imagined just ten years ago.
UNDP (2006) Human Development Report, Honduras, p.40.
Ibid., p.27.
The last Honduran military dictatorship was led by Policarpo Paz Garca,
who ruled from 1978 to 1982.
The 18 departments of Honduras are further divided into 297 municipalities.
The municipalities have elected majors and municipal councils rather than
departmental governors who are appointed by the President. Municipalities
vary considerably in size, and their governments are constituted accordingly.
Those with a population of under 5,000 have four council members, those
with 10,000 have six, those with more than 10,000 have eight and a mayor,
and those with more than 80,000 have ten and a mayor. See US Library of
Congress: http://www.countrystudies.us/honduras/88.htm
UNDP (2006) op. cit., pp.83-87.
This was precipitated by Hurricane Mitch, which devastated the country in
1998. The IMF had repeatedly rejected Hondurass inclusion in the HIPC
initiative, arguing that its economy was healthy. After Hurricane Mitch,
however, this argument was untenable and Honduras was granted debt relief
(Foro Social de Deuda Externa y Desarrollo de Honduras FOSDEH).
FAO (2005) Status of Food Security in Honduras, p.35.
Around 90 per cent of the countrys population are mestizo (of mixed
indigeneous/European descent), with 2 per cent of African origin and 1 per
cent European (US Library of Congress). According to the Confederation of
Autochthonous Peoples of Honduras (CONPAH), 7 per cent of the
population is made up of indigenous ethnic groups, among them the Lenca,
Chorti, Garfuna, Tolupan, Pech, Nahoa, Miskito, and Tahuaca.
Word Bank. Honduras Country Brief. Accessed 21 December 2009.
http://web.worldbank.org/WBSITE/EXTERNAL/COUNTRIES/LACEXT/HON
DURASEXTN/0,,contentMDK:21035522~pagePK:141137~piPK:141127~the
SitePK:295071,00.html
President Ricardo Maduro reformed the Decree for the Creation of the
Departmental Development Commissions (CODEP) in mid-2002.This reform
reduced the participation of civil society in decision-making, with increased
responsibility given to Congress and the Governor Coordinator, both political
positions designated by the President.
12 In Spanish, EROC stands for Espacio Regional de Occidente.
In Spanish, Foro Social de la Deuda Externa y Desarollo de Honduras.
FOSDEH is a national NGO network created in 1996 by an ASONOG
initiative.
According to government figures, in 200002 Honduras received $81.7m
in debt relief and spent $67.2m; in 200305 it received $718.2m and spent
$14.5m; and in 200608 it received $215.1m and spent $141.3m. The main
areas of expenditure were salaries for teachers and police, medicines, and
social protection and infrastructure. Source: World Bank Strategy for
Honduras.
DURASEXTN/0,,menuPK:295083~pagePK:141132~piPK:141105~theSitePK
:295071,00.html
OCDIH (Organismo Cristiano de Desarrollo Integral de Honduras) and
ODECO (Organizacin para el Desarrollo de Corqun) are both members of
the ASONOG federation.
At the same time, the Government withheld $104m to implement election
promises and to support charitable causes promoted by the First Lady.
Members of community associations have been trained as fundraisers and
supported by OCDIH.
Oxfam GB, April 2011
This paper was written by Sonia Cano. We acknowledge the assistance of Katie
Allan, Emma Donne, Maritza Gallardo, Claire Harvey, Hector Ortega, Kirsty
Wilson, Abigail Humphries Robertson and David Wilson in its production. It is part
of a series of papers written to inform public debate on development and
humanitarian policy issues. The text may be freely used for the purposes of
campaigning, education, and research, provided that the source is acknowledged
in full.
For further information please email publish@oxfam.org.uk or go to
http://publications.oxfam.org.uk.
ISBN 978-1-84814-837-6. This paper is part of a set Small Farmers, Big change:
Achieving scale in the development of smallholder agriculture.
This paper is also available in Spanish.
Oxfam GB is a development, relief, and campaigning organization that works
with others to find lasting solutions to poverty and suffering around the world.
Oxfam GB is a member of Oxfam International.
Oxfam House
John Smith Drive
OX4 2JY
Tel: +44.(0)1865.473727
E-mail: enquiries@oxfam.org.uk
www.oxfam.org.uk
Poverty & Homelessness
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text:
February 6, 2019 / 2:56 PM / 5 months ago
Serbia picks Lazard-led consortium to advise on major bank sale
BELGRADE, Feb 6 (Reuters) - Serbia's government has chosen financial adviser Lazard, the Belgrade-based office of auditors KPMG and local law firm Prica and Partneri for the privatisation of Komercijalna Banka, the finance ministry said on Wednesday.
Serbia last year invited applications for a financial adviser to sell the government's stake in the Balkan country's second largest lender.
"The next step is an analysis of bank's financial position and preparation of all necessary documents needed for the (privatisation) tender," the ministry said in a statement.
The state is the single largest shareholder in the bank, holding 41.75 percent. The European Bank for Reconstruction and Development (EBRD) and the International Finance Corporation (IFC), part of the World Bank group, hold 24.43 and 10.15 percent respectively.
A day earlier, Sinisa Mali, Serbia's Finance Minister said the tender for the sale would be launched in May or June.
Serbia wants to privatise Komercijalna Banka as part of 30-month non-financial advisory and monitoring programme Between Belgrade and the International Monetary Fund (IMF).
Last month, Komercijalna Banka's CEO Vladimir Medan said the lender has put its 2018 consolidated profit estimate at around 8.35 billion dinars ($80.37 million), the highest in a decade.
Bermuda-headquartered Lazard had a market share of 25.1 percent for completed deals globally in the latest reported quarter, according to Refinitiv data.
$1 = 103.8900 Serbian dinars Reporting by Aleksandar Vasovic; Editing by Louise Heavens

redpajama_set_name: RedPajamaCommonCrawl


text:
Константи́н Серге́евич Руби́нский (род. 20 марта 1976) — российский поэт, драматург, либреттист, литературный, театральный, музыкальный критик, педагог. Член Союза писателей России. Член Союза театральных деятелей России. Лауреат Международного конкурса учителей (2001, I Место, награда «Золотой Глобус»). Лауреат премии им. М. Клайна. Лауреат премии «Золотая Лира» (2008). Неоднократный лауреат Государственных губернаторских премий (Свердловская область и Челябинская область). Победитель конкурса «ТОП50. Самые знаменитые люди Челябинска» в номинации «Культура и искусство» (2016). Автор шести спектаклей-лауреатов Всероссийской национальной театральной премии «Золотая маска». Лауреат Российской национальной премии «Музыкальное сердце театра» (2022).

Биография и поэтическая деятельность
Родился в семье уральских интеллигентов. Отец — Сергей Александрович Гржебинский, литератор, журналист. Мать — Наталья Борисовна Рубинская — поэт, педагог, музыкант. Рано начал писать стихи, удостоен ряда наград и премий. Публиковался в газете «Неделя», журналах «Пионер», «Светлячок», «Урал», «Детское творчество», «Мы», «Юность». С 1988 года — стипендиат Детского фонда и Фонда культуры. С 1990 года — стипендиат Межрегионального благотворительного фонда «Новые имена». Лауреат первого Всероссийского детского фестиваля культуры и спорта (I место в поэтической номинации и конкурсе композиторов). Лауреат Международного фестиваля «Рыцари СпАрта» (1991). В 1994 году окончил Челябинский музыкально-педагогический колледж, а в 2001 — Литературный институт им. А. М. Горького в Москве. Печатал подборки стихотворений в региональных журналах и сборниках. Первая книга — «Фантазия для души с оркестром» — вышла в 1992 году. В 1997 году вышел сборник стихотворений «Календарные песни». В 1999 году принят в члены Союза писателей России. В 2000-е годы занимался музыкальной, педагогической, драматургической деятельностью, автор многочисленных либретто, мюзиклов, постановщик спектаклей, участник множества творческих проектов, активный культуртрегер. Поэзия К. С. Рубинского публикуется на страницах региональных и федеральных изданий, в 2009 году выходит сборник «Развязка»,. Стихи Константина Рубинского входят в региональные учебники для школ «Литература. Россия. Южный Урал»,.Лауреат конкурса «Южноуральская книга-2013» в номинации «О детях для взрослых». Включен в «Антологию современной уральской поэзии». Участник антологии «Русская поэтическая речь-2016». Своим любимым поэтом называет Кушнера. Исследователи отмечают успешность его выступления в жанре видеоарта. Видеоклип на стихотворение «Офелия» (режиссёр А. Богомолова) вошел в шорт-лист Международного Волошинского фестиваля. Участник Пермского поэтического фестиваля СловаNova. Выступает как литературный, театральный, музыкальный критик. Поэтесса Римма Дышаленкова отметила в творчестве Рубинского «сильные чувства, острые, пронизывающие пространство мысли, драматические метафоры».

Педагогическая деятельность
Ведет спецкурсы и мастер-классы по поэзии и литературе, участвует в работе с одарёнными детьми.

В лицеях № 11, 31, 93 Челябинска вёл курс литературного мастерства по авторской программе «Развитие литературно-творческих способностей детей». Было выпущено несколько сборников поэзии и прозы его воспитанников,. На протяжении года публиковал творческо-педагогические эссе в журнале «Литература», рубрика «Спецпроект».

Ведёт мастер-классы поэзии на Международной творческой школе «Новые имена» (ЮНЕСКО) в Суздале, и в Москве при Российском фонде культуры. Лев Оборин, участник творческой школы, на презентации журнала «Стержень» о мастер-классах Рубинского сказал: «Я не так давно был в том возрасте, в котором печатается основная часть авторов журнала, и имел удовольствие и счастье участвовать в мастер-классах Рубинского в Суздале и Москве, где меня поражало, как он всегда был готов придумать что-то новое для своих студийцев-воспитанников».

В 2001 году распоряжением Президента РФ премирован в числе педагогов, внёсших особый вклад в работу с одарёнными детьми.

Книга «Введение в детствоведение» перепечатывалась московскими журналами «Детское творчество» и «Credendo Vidas», второе издание книги вышло в 2013 году.

Культуртрегерская деятельность
Соавтор (совместно с Адиком Абдурахмановым) художественно-просветительских проектов «Поэзия с оркестром» и «20 музыкальных шедевров, изменивших мир».

Автор идеи и руководитель концертного проекта с ведущими российскими артистами театра и кино «Нобелевские лауреаты России по литературе».

Составитель (совместно с И. Розиным) книги «Мифы и были Челябинска».

С 2016 года совместно с поэтессой Наталией Санниковой организовывает и проводит в Челябинске фестиваль «InВерсия» (в рамках арт-фестиваля «Дебаркадер»), ставший заметным событием в литературной и поэтической жизни города и страны. По словам Геннадия Каневского, «трудно припомнить литературный фестиваль, который начинался бы так мощно, как началась InВерсия». По мнению «Вечернего Челябинска», InВерсия стала главным литературным мероприятием, а Константин Рубинский — культуртрегером 2016 года.

Автор идеи и ведущий (совместно с Наталией Санниковой) просветительской серии лекций «Подрамник. Разговоры о поэзии» в Челябинской галерее современного искусства «OKNO».

Участник литературно-критических дискуссионных проектов «Полёт разборов» и «MyTalk» (Москва).

Библиография

 Фантазия для души с оркестром. — Челябинск, Рифей, 1992, 64 с.
 Календарные песни. — Челябинск, Версия, 1997,  274 с.
 Введение в детствоведение. — Челябинск, Фотохудожник, 2000, 64 с.
 Элегия дождя. — Челябинск, Автограф, 2001, 40 с.
 Дневник колумниста. — Челябинск, Цицеро, 2008, 138 с.
 Развязка. — Челябинск, Версия, 2009, 112 с.
 Введение в детствоведение (второе издание) — Челябинск, Издательство Марины Волковой, 2013, 68 с.
 Теперь никто не умер. — Москва-Екатеринбург, Кабинетный учёный, 2020, 80 с.

Театральная деятельность и спектакли
1994 — Это всё, что от вас осталось (композиция по произведениям А. Вертинского). Композитор, аранжировщик. Постановка: Новый художественный театр, Челябинск.

1998 — Silentium (театральные медитации на стихи О. Мандельштама). Композитор, аранжировщик, автор литературной композиции. Постановка: Новый художественный театр, Челябинск.

2004 — Три призрака для скряги (святочные сновидения в 2 частях, композитор Е. Кармазин). Драматург, автор стихотворных текстов. Постановка: Свердловский государственный академический театр музыкальной комедии под названием «Ночь открытых дверей». Награды спектакля: национальная театральная премия «Золотая Маска» (победа в 2 номинациях, в том числе «Лучший спектакль»); премия национального театрального фестиваля «Арлекин» («Лучший спектакль»), премия «Браво».

2005 — Храни меня, любимая (притча в двух частях, композитор А. Пантыкин). Драматург (в соавторстве), автор стихотворных текстов. Постановка: Свердловский академический театр музыкальной комедии, Екатеринбург. Награды: премия «Браво»; номинация на премию «Музыкальное сердце театра» как лучшего автора текстов к российскому мюзиклу.

2007 — Силикон (reality-мюзикл в двух действиях, композитор А. Пантыкин). Драматург, автор стихотворных текстов. Постановки: Свердловский академический театр музыкальной комедии под названием «www.силиконовая дурa.net»; 2008 — Волгоградский музыкальный театр; 2010 — Одесский музыкальный театр им. Водяного под названием «Силиконовая дура»; 2011 — Железногорский музыкальный театр; 2012 — Оренбургский музыкальный театр под названием «Silicone». Награды спектакля: национальная театральная премия «Золотая Маска» (победа в 2 номинациях) .

2007 — Аркаим (хореографическая притча, композитор Т. Шкербина). Автор либретто. Постановка: Челябинское концертное объединение). Награды: Государственная премия Губернатора Челябинской области.

2009 — Цыганская любовь (оперетта, композитор Ф. Легар). Автор русской версии либретто. Постановка: Свердловский академический театр музыкальной комедии совместно с Будапештским театром оперетты.

2009 — Мёртвые души (гоголь-моголь в двух актах, композитор А. Пантыкин). Автор сюжета (в соавторстве), драматург, автор стихотворных текстов. Постановки: Свердловский академический театр музыкальной комедии, 2011 — театр оперы и балета республики Коми, 2014 — Краснодарский театр музыкальной комедии, 2017 — Красноярский музыкальный театр,, 2022 — Иркутский музыкальный театр. Награды спектакля: Национальная театральная премия «Золотая Маска» (победа в 4 номинациях, в том числе, «Лучший спектакль»), Государственная премия республики Коми в области культуры и искусства, премия «Браво» (7 номинаций, в том числе «Лучший музыкальный спектакль»), Государственная премия Губернатора Свердловской области (2011).

2010 — Всё, что было не со мной (спектакль-акция). Автор идеи и литературно-драматургического монтажа вербатим. Постановка: Челябинский камерный театр. Награды спектакля: специальная номинация областного фестиваля «Сцена-2010».

2010 — Кировка (первый в истории Южного Урала авторский мюзикл, композитор В. Ошеров). Драматург, автор стихотворных текстов. Постановка: Челябинское концертное объединение. Награды (персонально): Государственная премия Губернатора Челябинской области.

2013 — Сирано (мюзикл по пьесе Э. Ростана, композитор В. Баскин). Драматург, автор стихотворных текстов. Постановки: Новосибирский театр музыкальной комедии; Иркутский музыкальный театр им. Загурского; Северский музыкальный театр; Театр мюзикла при Свердловской государственной детской филармонии. Награды спектакля: победа в номинации «Лучший спектакль 2015 года по итогам зрительского голосования» (Иркутск).

2013 — Чаплин («Chaplin») (бродвейский мюзикл К. Кертиса и Т. Меана). Автор русской версии. Постановка: Санкт-Петербургский Театр музыкальной комедии. Награды спектакля: национальная театральная премия «Золотая Маска» (победа в 3 номинациях, в т.ч. "Лучший спектакль").

2013 — Письма Печорину (драма в двух частях). Драматург. Постановка: Челябинский молодёжный театр.

2014 — Дело Макропулоса (музыкальный рецепт бессмертия в двух частях, по пьесе К. Чапека, композитор В. Баскин). Драматург, автор стихотворных текстов. Постановки: Челябинский молодёжный театр; 2015 — Иркутский музыкальный театр им. Загурского под названием «Секрет её молодости»; 2017 — Новосибирский театр музыкальной комедии под названием «Средство Макропулоса»; 2018 — Одесский музыкальный театр им. Водяного под названием «Тайна Макропулоса»; 2019 — Рязанский музыкальный театр под названием «Средство Макропулоса», 2022 —Санкт-Петербургский театр "Мюзик-холл" под названием «Средство Макропулоса».

2014 — Белые ночи (опера по мотивам произведений Ф. Достоевского, композитор Е. Кармазин). Драматург. Постановка: Театр современной оперы, Екатеринбург.

2014 — Се ля ви («C'est la vie») (мюзикл Г. Опелки, США). Автор русской версии. Постановка: Свердловский академический театр музыкальной комедии.

2015 — Белый. Петербург (опера-мистерия по мотивам одноименного романа А. Белого, композитор Г. Фиртич). Драматург, автор стихотворных текстов. Постановка: Санкт-Петербургский Театр музыкальной комедии),. Награды спектакля: национальная театральная премия «Золотая Маска» (победа в 2 номинациях), Премия правительства Санкт-Петербурга.

2015 — Венская кровь (оперетта, композитор И. Штраус). Автор русской версии либретто. Постановка: Свердловский академический театр музыкальной комедии.

2017 — Ты меня любишь, Соня Кривая? (исторический псевдо-вербатим). Драматург (в соавторстве). Постановка: фестиваль «Дебаркадер» на площадке Челябинского исторического музея.

2018 — Великий Гэтсби (мюзикл по мотивам одноименного романа Ф. Фицджеральда, композитор В. Баскин). Автор поэтического либретто. Постановка: 2019 — Санкт-Петербургский театр Мюзик-Холл, 2020 — Калининградский музыкальный театр, 2021 — Красноярский музыкальный театр, 2022 — Новосибирский музыкальный театр.

2018 — Моцарт vs Сальери (опера-буфф, композитор Е. Кармазин). Драматург, автор стихотворных текстов. Постановка: Свердловский академический театр музыкальной комедии. Награды спектакля: премия «Браво» (победа в 4 номинациях), Государственная премия Губернатора Свердловской области (2020).

2019 — Отпетые мошенники (вестерн-мюзикл по мотивам новелл О'Генри, композитор М. Дунаевский). Драматург. Постановка: Новосибирский театр музыкальной комедии.

2019 — Фома (рок-мюзикл, композитор Ю. Шевчук). Драматург. Постановка: Новосибирский театр музыкальной комедии. Награды спектакля: национальная театральная премия «Золотая Маска» (победа в 3 номинациях, в т.ч. "Лучший спектакль").

2020 — Ангел & Бес (саунд-пластик-треш, композитор И. Кривопалов-Москвин). Драматург. Постановка: театр "Манекен" (Челябинск).

2021 — Боккаччо (опера, композитор Ф. Зуппе). Автор оригинальной русской версии. Постановка: Свердловский академический театр музыкальной комедии.

2021 — Вдоль по Дерибасовской (мюзикл по произведениям Михаила Жванецкого, композитор В. Баскин). Автор либретто. Постановка: Одесский музыкальный театр им. Водяного под названием "По Дерибасовской".

2022 — Ты не прощайся (музыкальная притча по произведениям Микаэла Таривердиева). Автор либретто (в соавторстве). Постановка: Свердловский академический театр музыкальной комедии.

2022 — Осторожно: танго! (музыкальный моноспектакль). Автор пьесы. Постановка: Санкт-Петербургский академический драматический театр им. В. Комиссаржевской.

2022 — Петр Первый (мюзикл, композитор Фрэнк Уайлдхорн). Драматург, автор стихотворных текстов. Постановка: Санкт-Петербургский Театр музыкальной комедии.

Спектакли для детей
2008 — Вовка в 3D царстве (музыкальная сказка, композиторы Т. Шкербина (первая версия), В. Баскин (вторая версия). Драматург, автор стихотворных текстов. Постановки: 2008, 2012 — Дворец пионеров и школьников им. Крупской, Челябинск; 2012 — Белгородская государственная филармония; 2013 — Ивановский музыкальный театр; 2014 — Саранский музыкальный театр; 2014 — Санкт-Петербургский театр Мюзик-Холл; 2015 — Свердловский театр музыкальной комедии; 2019 — Ростовский музыкальный театр, 2022 -- Тюменская государственная филармония.

2010 — У Емели Новый год, или По щучьему велению (детский мюзикл, композитор М. Бушмелева). Драматург, автор стихотворных текстов. Постановки: 2010, 2014 — Дворец пионеров и школьников им. Крупской, Челябинск; 2011 — Свердловский академический театр музыкальной комедии; 2011 — Иркутский музыкальный театр им. Загурского; 2012 — Волгоградский музыкальный театр; 2013, 2017, 2020 — Саранский музыкальный театр; 2013 — Музыкальный театр республики Карелия; 2014 — Ростовский музыкальный театр; 2017 — Челябинский молодёжный театр, 2020 — Крымский академический драматический театр, 2021 — Алтайский музыкальный театр.

2011 — Мальчик-звезда (детский мюзикл, композитор М. Бушмелева). Драматург, автор стихотворных текстов (в соавторстве). Постановка: 2011, 2019 — Дворец пионеров и школьников им. Крупской, Челябинск. Награды спектакля: Гран-при городского фестиваля «Новогодний переполох», лауреат Международного конкурса «Урал собирает друзей», лауреат детской премии «Андрюша».

2011 — Дюймовочка (композитор Т. Шкербина). Драматург, автор стихотворных текстов. Постановки: Челябинское концертное объединение; 2015 — Новосибирский театр «Орфеум». Государственная премия Губернатора Челябинской области (2011).

2013 — Двенадцать месяцев (новогодний мюзикл-сказка, композитор М. Бушмелева). Драматург, автор стихотворных текстов (в соавторстве). Постановка: Дворец пионеров и школьников им. Крупской, Челябинск.

2014 — Рикки-Тикки-Тави (музыкальная сказка). Автор стихотворных текстов. Постановка: Челябинский Камерный театр.

2015 — Стойкий оловянный солдатик (мюзикл-сказка, композитор М. Бушмелева). Драматург, автор стихотворных текстов. Постановка: Челябинский молодёжный театр.

2015 — Тайна волшебного зеркала (музыкальная сказка, композитор М. Бушмелева). Драматург, автор стихотворных текстов (в соавторстве). Постановка: Дворец пионеров и школьников им. Крупской, Челябинск.

2016 — Аленький цветочек (мюзикл-сказка, композитор М. Бушмелева). Драматург, автор стихотворных текстов. Постановка: 2016 — Дворец пионеров и школьников им. Крупской, Челябинск, 2018 — Челябинский академический театр драмы им. Н. Орлова, 2018 — Саранский музыкальный театр.

2016 — Алиса в стране новогодних чудес (музыкальная сказка). Драматург, автор стихотворных текстов (в соавторстве). Постановка: Челябинская государственная филармония.

2017 — Невероятные приключения Умки (музыкальная сказка-ревю). Драматург. Постановки: Государственный музыкальный театр, Ростов-на-Дону; Дворец пионеров и школьников им. Крупской, Челябинск.

2017 — Сказка о потерянном времени (музыкальная сказка, композитор В. Ошеров). Драматург, автор стихотворных текстов. Постановка: Челябинская государственная филармония.

2018 — Золушка: сказка нашего Дворца (новогодняя музыкальная фантазия, композитор М. Бушмелева). Драматург, автор стихотворных текстов. Постановка: Дворец пионеров и школьников им. Крупской, Челябинск.

2018, 2022 — Семь волшебных лепестков (музыкальная сказка, композитор В. Ошеров). Драматург, автор стихотворных текстов. Постановка: Челябинская государственная филармония.

2018 — Снегурочка (музыкальная сказка, композитор В. Ошеров). Драматург, автор стихотворных текстов. Постановка: Челябинская государственная филармония.

2022— Питер Пэн (мюзикл, композитор И. Левин). Драматург, автор стихотворных текстов. Постановка: Ростовский музыкальный театр.

2022 — Кот в сапогах (новогодний музыкальный блокбастер, композитор М. Бушмелева). Драматург, автор стихотворных текстов (в соавторстве). Постановка: Дворец пионеров и школьников им. Крупской, Челябинск.

2022 — Остров сокровищ (музыкальная сказка). Драматург. Постановка: Челябинская государственная филармония.

Примечания

Поэты России
Писатели России
Драматурги России
Либреттисты России

redpajama_set_name: RedPajamaWikipedia


The American judicial system is based upon the principles of due process, and the idea that everyone is innocent until proven guilty. But what happens when this system fails the very people it has sworn to protect? What happens when the system allows bias to cancel reason, and innocent people are thrown in jail?
The Badgers discuss #GamerGate with special guests Christian Chisson from TFI and Matthew Rappard of the Fine Young Capitalists.


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0 Grade from Qualys SSL Labs, as the check takes some time the grade might be outdated.
1 Grade from Observatory by mozilla, the value is updated on a daily basis.
2 The response/query time depends on the probed site default search engine settings.
3 Invalid chains will report this error as well as invalid certificates.
Scraped 121 sites in 365.316 seconds.


text:
Alex Fryer
Director of new Consumer Financial Protection Bureau is a 'cop on the beat'
Originally published March 18, 2011 at 3:29 pm Updated March 18, 2011 at 5:31 pm
Elizabeth Warren, the president's choice to head the new Consumer Financial Protection Bureau, thinks of herself as a "cop on the beat." Columnist Dana Milbank imagines then that the banks are the robbers and the members of Congress grilling her are their lawyers.
Dana Milbank
WASHINGTON — It seems everybody is afraid of Elizabeth Warren, the Harvard law professor charged by President Obama with setting up the new Consumer Financial Protection Bureau.
The Wall Street Journal editorial page called her "President Warren" and a "czar" in command of an "empire." Richard Shelby of Alabama, the top Republican on the Senate banking committee, thinks she's orchestrating a "regulatory shakedown" of mortgage companies. And Spencer Bachus, chairman of the House Financial Services Committee, told Warren on Wednesday that she is "probably directing the most powerful agency that's ever been created in Washington."
That will come as news to the Pentagon.
But in the tradition of Chief Justice John Roberts, who described himself to lawmakers as a lowly "umpire," Warren declared herself to be a mere sheriff's deputy.
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"If there had been a cop on the beat with the authority to hold mortgage services accountable a half-dozen years ago," she announced, "the problems in mortgage servicing would have been exposed … long before they became a national scandal."
Warren added: "We need a cop on the beat that American families can count on. It is critical that we get this right — a real cop on the beat."
"You kept saying 'cop on the beat, cop on the beat,'" complained Rep. Shelley Moore Capito, R-W.Va., who chaired the day's hearing.
Warren could not dispute this. In reply, she said that banks must know "there will be a cop on the beat" and that her agency will need "enough money to put enough cops on the beat." Before completing her testimony, Officer Warren made four more references to cops-on-beats — possibly putting her in violation of public-nuisance statutes.
But it was a useful metaphor: If she's the cop, then banks are the robbers, and members of the Republican majority on the committee sounded like lawyers for the accused.
Echoing the talking points of their banker clients, the lawmakers complained that Warren's new agency will be run by a director rather than a bipartisan board (never mind that the Office of the Comptroller of the Currency, another banking regulator, runs the same way), and that it is exempt from the congressional spending process (never mind that other regulators are treated the same).
Basically, the members of the panel didn't want the new CFPB to have anything that would displease bankers.
Rep. Blaine Luetkemeyer, R-Mo., said the agency was "the last thing that our lenders need." Rep. Robert Dold, R-Ill., ridiculed the "theoretical consumer protection" the agency would provide. Rep. Sean Duffy, R-Wis., complained that, in Warren's agency, "consumer protection could trump safety and soundness."
The obvious refutation of Duffy's complaint was the mortgage bubble, in which lightly regulated banks ignored consumer protections — and the financial industry nearly collapsed. But instead of going there, Warren smiled pleasantly and nodded understandingly. She tried to establish herself as a regular gal ("the first house we ever bought was for $23,300") and a patriot ("I went down to Lackland Air Force Base, where my brothers had taken basic training.") She said she had been "schooled" by the lawmakers and given "good counsel."
The flattery got her nowhere with committee Republicans. They were particularly annoyed that she is on the job without being formally nominated to run the CFPB, which opens for business in three months.
"You have no statutory authority to engage in these matters that you are engaging in," Patrick McHenry of North Carolina informed her.
Bachus, who wants to abolish the CFPB director's position before it is even occupied, dubbed her "the acting director of this to-be agency."
"No, congressman, there is no acting director," Warren replied.
Duffy disagreed. "If it walks like a duck and it quacks like a duck and it looks like a duck, it's a duck," he said, prefacing his duck test with the disclaimer: "I don't want to beat a dead horse."
The whinnying continued: "Ma'am, you've spent 30 seconds of my time not answering my question. … You're backtracking. … You're demanding something from the people you will enforce things over that you're not willing to give yourself, and that is, straightforward, clear, concise answers."
The final questioner, Rep. Scott Garrett, R-N.J., skipped all but the last few minutes, arriving just in time to suggest that Warren was breaking the law. "What legal authority does a political appointee have in a situation like this?"
Officer Warren again flashed her proverbial badge. "Congressman," she said, "I think we need cops on the beat to enforce the law."
Dana Milbank's column appears regularly on editorial pages of The Times. His e-mail address is danamilbank@washpost.com


text:
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redpajama_set_name: RedPajamaStackExchange


Facebook is a one of the most popular social networking site in world that allow you to share information and makes the world more open and connected. Millions of people use Facebook everyday to keep up to date with friends, upload an unlimited number of photos, share links and videos, and learn more about the people they meet. And there is also so many useful Greasemonkey Scripts are available on web for Facebook which will help you to improve your Facebook Experience. So here are some of 35 Killer Greasemonkey Scripts For Facebook.
Facebook album merger : It will add a drop-down list on the "Edit Album" page that will automatically select the album you want to move all the photos in the current album. This is useful since Facebook has increased the maximum photos an album can hold to 200 photos.
Hide YouTube on Facebook : Hides all posts with YouTube videos on your profile.
Full screen YouTube & Vimeo (+others) on Facebook : All embedded YouTube & Vimeo videos (plus others) viewed in Facebook, by default have the full screen button/feature disabled. This script adds the button for full screen back. Works for Firefox 3.6+.
Facebook Places – With Google Maps : Facebook places by default has Bing maps, but if you wish to have Google Maps instead. This is the right script for you.
This is an excellent script to automatically share your messages on Facebook.
It supports multiple facebook logins, multiple pages, messages lists and Facebook accounts.
did anyone mentioned facebook theme scripts ???
u can enjoy stunning transparent looking nature facebook themes.leave comment and suggestions pls.am regularly updating codes…vl add up more beautiful themes.
@Shahrukh At the end of the sentence called as (link).


Danielle Eliska Lyle, a Detroit native, returned to the city to attend the premiere of Kathryn Bigelow's film Detroit. These are her thoughts.
While I admire Kathryn Bigelow's success in the industry and will continue to root for her, I had a hunch the film would be problematic. It was confirmed when the film's development team — the writers, producers, and cinematographers — were invited on stage: Everyone was white, with the exception of Detroit native Michael Eric Dyson, who introduced Bigelow.
Driving around Detroit with a native that has been absent from the trenches of the city since the 1980s might have been a good start for anybody interested in telling the real story of the '67 Detroit rebellion. But given the void I felt in the film, Detroit's black voices were neglected. The lack of any blacks on the development team didn't help.
And, yes, I've seen screenwriter Mark Boal's piece for Vulture explaining why he wrote Detroit. Boal attempted to explain away any flaws viewers may see, and to dodge questions whether his research was done with native Detroiters who lived through it. He reinforces his defense by pointing out that his research team included Bloomfield Hill's David Zeman and journalist work from the late John Hersey.
But I believe it wasn't enough. A lot of aspects of the film fell flatter than a two week-old opened can of Vernors. The opening's animated sequence based on Jacob Lawrence's migration series was dope, but the Great Migration started in 1916. A lot had happened between then and 1967. And the reason blacks were moving north weren't just for job opportunities, alone. They were also escaping the south where white racists literally published bounty ads, calling for the lynching of black families that owned anything they felt they should've own instead. They were forced to drop everything and flee north. In Northern cities, such as Detroit, blacks thought they'd find freedom but instead were met with police brutality, harassment, redlining, and violence. The racism and mistreatment collected over decades.
That's the sort of statement we could have used in the opening. While I'm a fan of Jacob Lawrence's work, I would have gladly traded that sequence for a taste of what Werbe described.
Another problem with the film are the characters. I care deeply about the '67 rebellion and everything Detroit, and consider the history of Detroit part of my cultural DNA. We all want to connect with surrogate characters on the screen—it's one of the reasons we all have favorite flicks. But the one-dimensional characters in Detroit left me wondering why I was watching the film. It was no doubt easier for Bigelow to tell the story of the two women in Algiers hotel — because Bigelow can see herself in those women.
But if there's any message I'd like filmmakers to take away, it's the importance of hiring people of color when developing films about people of color.
For example, I'm willing to bet the development team for the upcoming HBO show Confederate didn't have one black producer or PR person in the room, because if they did, they would've been able to head off the backlash that ensued. I tried keeping an open mind when I heard the news, but, as with Bigelow's Detroit, I feared the worst— given how in Game of Thrones, the only black people in this fantasy world are servants and slaves to the dragon queen. Yet, I try to give folks the benefit of the doubt because we are all growing. But if you've developed a show that's literally about antebellum Dixie winning a war driven by racism, oppression, colonization, and murderers conquering land and people — you can expect trouble when black people aren't in the room to school a room full of privileged white men on their blind spots.
I get it. People see through the lens they were born with. But you'll never catch me writing a feature or television show that historically deals with strife between Ireland and Britain without having Irish and British people on my creative squad. I'd want to know a great deal about their stories, their historical roots and the emotions invested in the subject. If you don't, it easily becomes exploitation.
To use another example from the world of visual arts: Dana Schutz. She had a show a year ago in Manhattan, Fight in the Elevator, commemorating Beyoncé, Jay-Z, and Solange's private confrontation in an elevator. I was able to see Schutz's work up close — her figurative, expressionistic work is well-known for its satirical, humorous, whimsical tendencies, as described in her artist statement.
So imagine my surprise when I saw Dana's painting of Emmett Till at the Whitney Biennial. Open Casket felt like a slap in the face because there's no parody in Till's brutal murder by white supremacists in 1955. You don't have to be black to see that. Emmett's mother Mamie Till allowed photographs into the media in an effort to bring Emmett's murderers to justice. Schutz refuses to discuss the "why" of her painting and when she did say something in the very beginning, it was clear she did not amply research Till's story and had her facts screwed up. Furthermore, I don't know of any prolific black painters who have the desire to re-create that image. The picture is forever branded in our brains already.
I felt the same sort of misuse of controversy in Detroit. And so did a lobby of full of people who walked out before the film was finished.
What's worst of all is what might have been done if a real spirit of inclusion had prevailed, giving voice to those who are heard the least. Despite Bigelow and Boal's grand intentions, Detroit represents a monumental failure.
Detroit was yet another example of "missing the mark" and strengthens my conviction — we must un-gentrify Hollywood. We cannot afford to be tone-deaf to other cultures, especially in the times we are living in today. It is our responsibility to do the extensive research in order to make sure we get the story right.


text:
CHINBEARD BOOKS
Read and Grow
New Beard
Buy Beard
Spiteful Beard
Charity Beard
Dyed Beard
Comic Beard
About Beard
Contact Beard
FROM TIME TO TIME, WE COMMISSION BOOKS THAT CAN ONLY HAVE ONE LIMITED PRINT RUN (FOR VARIOUS REASONS).
THESE BOOKS CANNOT BE REPRINTED OR TURNED INTO EBOOKS.
WE'RE REALLY PROUD OF THESE BOOKS AND WE KNOW THAT THOSE WHO MANAGED TO GRAB A COPY ALSO TELL US HOW GROOVY THEY ARE. SO, HERE'S OUR SOLD OUT COLLECTION!
THE GOODIES: AVENGERS DISSEMBLE
By Barnaby Eaton-Jones
(Additional material by Graeme Garden, Kenton Hall, and Daniel McGachey)
With a foreword by Dame Joanna Lumley
Cover/Internal Artwork and Design by Daniel McGachey
"There was an idea. To bring together a group of remarkable people, to see if they could become something more. It didn't work out. In fact, The Goodies Superhero Talent Agency is rapidly running out of steam. Which certainly isn't going to make Iron Man's life any easier.
Clearly, it's time for Graeme, Bill, and Tim to cut out the middleman, fire up the Trandem, and become heroes themselves.
What could possibly go wrong?"
In 2019, The Goodies reunited for a new and original adventure on audio called The Big Ben Theory. Due to the success of this audio adventure, a whole series was commissioned; mapped out by Graeme Garden, Bill Oddie, and Tim Brooke-Taylor, with the help of Barnaby Eaton-Jones, Gareth Gwynn and John-Luke Roberts. Sadly, Tim passed away in early 2020, before the recordings could take place.
But now, with the approval of all involved, here's the first of those audio episodes, novelised (and featuring the return of Dame Joanna Lumley, who had appeared in The Big Ben Theory). This range is a limited edition, so only one print run of each book will be available. Once they're sold out, that's it!
Ranger Editor: Graeme Garden. Editor: Paul Simpson. With quotes from Bill Oddie, Graeme Garden, and Christine Brooke-Taylor.
25% of the royalties from each book sold will go to the Thames Valley Adventure Playground, the charity that Tim Brooke-Taylor was President of for over 25 years.
Chinbeard Books makes no money from this book, it's just our privilege to be able to publish it.
AND THEN IT WAS NOW
By Christopher Guard
With a Foreword by Brian Blessed OBE
Actor, singer-songwriter, and artist Christopher Guard has starred in many films and television shows in a career that's spanned over fifty years; including the roles of Bellboy in Doctor Who's classic The Greatest Show in the Galaxy serial, Jim Hawkins in Disney's lavish Return to Treasure Island series (alongside Brian Blessed as Long John Silver, who also provides a Foreword for the memoir), and as Frodo in Ralph Bakshi's seminal animated version of Tolkien's The Lord of the Rings.
He's worked alongside Sir Ian McKellen, Liam Neeson, Dame Diana Rigg, Julie Christie, and Elizabeth Taylor (to name but some) and been directed by Sir Peter Hall and Hal Prince, working for the Royal Shakespeare Company and the Royal National Theatre as well as performing his own award-winning songs at festivals and legendary venues like Ronnie Scott's.
He even had high praise from the iconic composer Stephen Sondheim, who cited him as 'the only one with natural rhythm' when in rehearsals for the film version of A Little Night Music. All of which he explores in his kaleidoscopic memoir, And Then It Was Now
"A cracking read. Funny and heartfelt." - Kevin McNally (Pirates of the Caribbean, Doctor Who)
A NEW VERSION OF AND THEN IT WAS NOW WILL BE PUBLISHED IN 2023, BY OAK TREE PUBLISHING, THOUGH IT WILL DIFFER IN PHOTOS AND ILLUSTRATIONS..
SPECTRUM IS INDESTRUCTIBLE
An Unofficial Captain Scarlet Celebration
By Fred MacNamara
Cover/Internal Art and Design by Robert Hammond
Foreword by Jamie Anderson (son of Gerry Anderson, and owner of Anderson Entertainment)
Edited by Paul Simposon
In the aftermath of Thunderbirds, the twilight years of Supermarionation would commence with a disturbed, ruthless take on children's science fiction entertainment - Captain Scarlet and the Mysterons.
Pop culture writer Fred MacNamara captures over 50 years of Captain Scarlet history; a comprehensive and passionate celebration of the series. Featuring extensive reviews of all 32 episodes, in-depth retrospectives of the spin-off media, new interviews with people who worked on the series, and more.
"An exhaustive examination of the series in a way that few would dare to tackle." (Jamie Anderson)
GORMLESS
By Rich Davenport
Illustrations by Minty B
Rich is a comedy poet, stand-up, comedian and musician from exotic Bolton, in the UK.
Inspired by Spike Milligan, Billy Bennet, John Cooper-Clarke, and by his friend and fellow Boltonian, the late Hovis Presley, Rich has gigged all over the UK, spreading mirth and making loud noises.
He was first encouraged to compile a book of his poems of extreme gormlessness by Hovis Presley in 2003. After accidentally winning a couple of poetry slams, other encouraging individuals said the same thing.
And now, here it is, and all wonderfully illustrated by Minty B.
THE SEQUEL =- HORSETROUSERS - IS AVAILABLE FROM RICH'S WEBSITE
(AS IS A NEW PRINT RUN OF 'GORMLESS')
THE OFFICIAL ROBIN OF SHERWOOD ANNUAL (1987)
Commissioned and edited by Barnaby Eaton-Jones
Layout and Design by Robert Hammond
A brand-new and official Annual, to accompany the only Robin of Sherwood Annual that was ever released (1986), which only featured the first Robin, in the form of Michael Praed.
This 1987 Annual features Jason Connery's Robin too, and is full of all-new content, including illustrations, stories, comic strip, quizzes, facts, interviews (with cast and crew), behind the scenes photos, and more!
It was designed to look like it was made in 1987, and all the interviews and articles are also written as if this was 1987 too.Thanks to everyone who contributed.
This was a non-profit publication.
(c) Chinbeard Books 2023


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Flash Games and Embed CodeKulkis -Kulkis is a cool action game for retro fans like you. Smash the colored glass blocks with the kulkis ball by hitting them from the top or bottom. Clear them all to open the exit.
Flash Games and Embed CodeTruck N' Duck -Use various weapons to kill the mean monsters and save the world from the invasion!
Flash Games and Embed CodeZombies Runaway -Undo the undead with this pint-sized powerhouse! Slay zombies and collect gems to continue your quest for the legendary Lily of Life!
Flash Games and Embed CodeJust Shoot -Just6 shoot is exactly what you do in this game aswell as upgrade and collect different weapons. Lots of different level to play with many power ups.
Flash Games and Embed CodeSpace Arcade -A SHMUP(Shoot 'em up) flash game. Quick progression shooter with upgrades and 30 levels.
Instructions: ARROWS + Z or CTRL (move/shoot).


A week ago, I came to the very difficult decision of bringing "The Dark Globe" to a halt.
A week later, my life is still very hectic, but I very much miss being connected to other Artists.
I've decided that I don't want to try to Manage a Site quite as Lofty as "The Dark Globe" had become… So I've Conceived a New Format, and Idea for the Site, which is a 'Writer's Story Showcase Site".
Here's how it will Work. I will be bringing on 6 other Writers to the Site, and each of them will be Given a Day out of each week… Such as Tuesday, or Monday, Etc., To Begin Posting a Story (Chapters, Segments Etc.) of their Own… This may be something that they've already Wrote, and would like to Share with the World… Or something Brand New, Written Specifically for this Site.
Once I've Determined Which Day works for each of the Writers, I Myself will take the Remaining 7th Day… On this 7th Day, I will either be Posting a Story of My Own, or Having a Guest Author Post on that day.
This is the Concept so Far, and My Hope is that it will Give Writers an Opportunity to Share Their Work with Our Readers, as well as Future Readers that Follow the Site.
By Design, this Site should be much, much easier to Maintain. I Loved "The Dark Globe"… It was a Huge Success, and I'm hoping all of the Contributors got as much out of it as I did. None of "The Dark Globe" Content will be Removed from the Site. We all Poured Our Hearts and Souls Into it, so Here it Shall Remain. I've Created a Specific Tab Up Above that Lists Many of the Categories from "The Dark Globe".
It's Time for a New Chapter, One that I Hope You The Readers will Enjoy, and The Contributors will be Excited about.
Thanks for Sticking with us During this Format Change… I hope that you will Enjoy the New Content.
Hey guys, I have some bad news… I'm going to go ahead and Stop "The Dark Globe" for now… I have way too many other things coming at me in My Personal Life to maintain the Level that I like it to be at.
I also want to Thank All of the Contributors, Current, and Past, for all that they've Contributed to the Site.
Thank you also to Our Followers, I can't Thank You Enough for all that you have also Contributed.
I don't feel comfortable handing the reigns over to anyone, or I would.
I'm not going to take down the Site, so all of the Content We've Put into it is still Available.
Will I Ever Start it up again? I can't say, only that the only way that I would is if I find that I can Pour the Same amount of Energy into it as I Always Have.
Once Again, I'm sorry to The Contributors, they are Awesome, and most of Their Personal Site Links can be Found on The Crew Page, or in the Blog Roll Below.
I'm a bit bummed about this, so This Post may not be as Colorful as most of My Posts… But I do Truly Appreciate all that you the Followers, and Contributors have meant to the Site.
It's Saturday night, I have nothing going on for a change, so I thought I'd share some bits of randomness for the other people that have nothing going on to at least keep them entertained/informed for a few minutes.
One of my favourite actors and my most recent favourite song mashed together into this awesome video showing clips of Tom Hardy's previous films.


President Trump falsely declared on Twitter on Thursday that "3,000 people did not die" when Hurricane Maria devastated Puerto Rico last year. A government report last month found that 2,975 people died on the island as a result of the storm. Trump tweeted that when he left Puerto Rico after an October visit, "they had anywhere from 6 to 18 deaths," and he claimed that Democrats worked to report a higher death toll "in order to make me look as bad as possible, when I was successfully raising billions of dollars to help rebuild Puerto Rico." The government report tallied deaths caused by both immediate damage as well as people who died as a result of the ensuing power outages and water shortages.


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text:
Ruth Glöss (* 2. August 1928 in Dresden; † 7. Dezember 2014 in Berlin) war eine deutsche Schauspielerin und Hörspielsprecherin.

Leben
Ruth Glöss nahm Schauspielunterricht im Schauspielstudio "Max Eckhart und Alfons Mühlhofer" in Dresden. Ihre künstlerische Arbeit begann sie als Kabarettistin. Als Theaterschauspielerin hatte sie Engagements am Theater Greiz, am Staatstheater Cottbus, am Theater Gera und an den Städtischen Bühnen Karl-Marx-Stadt. Danach spielte sie von 1964 bis 1983 an der Volksbühne Berlin. Dort trat sie unter anderem als Königin Anna in der Salonkomödie Das Glas Wasser (1966), als Lady Milford in Kabale und Liebe (1967), später auch als alte Pförtnerin in Macbeth (1982, Regie: Heiner Müller; mit Corinna Harfouch als Lady Macbeth) auf.

Für ihre Darstellung der Miss Gilchrist in dem Theaterstück Die Geisel von Brendan Behan am Maxim-Gorki-Theater erhielt sie 1966 den Kritikerpreis als "Beste Darstellerin". 1982 erhielt sie den Kritikerpreis für die "Beste Darstellerin der Spielzeit".

Seit der Spielzeit 1986/1987 war sie Mitglied des Berliner Ensembles, dem sie bis zu ihrem Tod angehörte. Dort verkörperte sie schwerpunktmäßig tragische Rollen im Rollenfach der Alten. Zu ihren Rollen dort gehörten: Blutige Frau in Der aufhaltsame Aufstieg des Arturo Ui, die Hofdame in Leonce und Lena, Alte Hure in Die Dreigroschenoper, die Alte in Totentanz, die Haushälterin Brigitte in Das Käthchen von Heilbronn und der Narr (Fool) in einer Bühnenfassung der Shakespeare-Sonette in einer Inszenierung von Robert Wilson.

Glöss spielte in insgesamt über 100 Fernseh- und Kinofilmen mit. Zu ihren wichtigen Fernsehrollen gehörten die Frau Wittenberger in dem Fernsehmehrteiler Die Bilder des Zeugen Schattmann (1972), die Josefina in dem Schauspiel Morgen werde ich einen Sombrero tragen (1981), die Witwe Bimm in der Literaturverfilmung Altes Herz geht auf die Reise (1987), nach einem Roman von Hans Fallada sowie die Darstellung der Königin von Eisenerz in dem aufwendig inszenierten DEFA-Märchenfilm Rapunzel oder Der Zauber der Tränen (1988) auf der Basis des grimmschen Kindermärchens. Außerdem spielte sie in mehreren Episoden der Krimiserien Polizeiruf 110 und Der Staatsanwalt hat das Wort mit.

Nach der Wende übernahm Glöss gelegentlich Rollen in Fernsehserien Wolffs Revier (2004), Bella Block (2005), KDD – Kriminaldauerdienst (2008) und Türkisch für Anfänger (2009).

In dem Märchenfilm Die zertanzten Schuhe war sie 2011 in der Rolle der Alten zu sehen.

Ruth Glöss starb am 7. Dezember 2014 in Berlin im Alter von 86 Jahren.

Filmografie (Auswahl)
 1962: Tanz am Sonnabend – Mord?
 1965: Endlich allein
 1966: Der Staatsanwalt hat das Wort: Der Rosenkavalier (Fernsehreihe)
 1971: Die Pulverprobe
 1972: Die Bilder des Zeugen Schattmann (Fernsehserie)
 1973: Das zweite Leben des Friedrich Wilhelm Georg Platow
 1975: Kriminalfälle ohne Beispiel: Mord im Märkischen Viertel (Fernsehreihe)
 1976: Das Untier von Samarkand
 1977: Dantons Tod (Studioaufzeichnung)
 1978: Polizeiruf 110: Die letzte Chance (Fernsehreihe)
 1979: Professor Tarantoga und ein seltsamer Gast
 1981: Morgen werden ich einen Sombrero tragen
 1982: Märkische Forschungen
 1982: Der Lumpenmann (Fernsehfilm)
 1987: Altes Herz geht auf die Reise
 1990: Alter schützt vor Liebe nicht (Fernsehfilm)
 1991: Der Tangospieler
 1991: Heute sterben immer nur die andern
 1995: Das Versprechen
 1996: Das Geheimnis der Kormoraninsel
 2001: Der Tunnel
 2003: Nur Anfänger heiraten
 2003: Abschnitt 40
 2003: Wunschkinder und andere Zufälle
 2004: Wolffs Revier
 2005: Die Schokoladenkönigin
 2005: Bella Block: Die Frau des Teppichlegers
 2006: Die Hochzeit meiner Töchter
 2007: Stella und der Stern des Orients
 2007: Polizeiruf 110 – Verstoßen
 2008: Unschuldig
 2008: KDD – Kriminaldauerdienst
 2009: Türkisch für Anfänger
 2010: Satte Farben vor Schwarz
 2011: Die zertanzten Schuhe
 2011: Ein guter Sommer

Theater
 1964: John Boynton Priestley: Skandalöse Affäre von Mr. Kettle und Mrs. Moon (Teenager) – Regie: Hans-Joachim Martens (Volksbühne Berlin – Theater im III. Stock)
 1964: Carlo Goldoni: Mirandolina (Deianiro) – Regie: Ottofritz Gaillard (Volksbühne Berlin)
 1965: Brendan Behan: Die Geisel (Miss Gilchrist) – Regie: Horst Schönemann (Maxim-Gorki-Theater Berlin)
 1966: Eugène Scribe: Ein Glas Wasser (Königin Anna) – Regie: Horst Bonnet (Volksbühne Berlin)
 1967: Georg Kaiser: Nebeneinander (Tochter des Pfandleihers) – Regie: Wolf-Dieter Panse (Volksbühne Berlin)
 1967: Friedrich Schiller: Kabale und Liebe (Lady Milford) – Regie: Hans-Joachim Martens (Volksbühne Berlin)
 1968: Boris Djacenko: Doch unterm Rock der Teufel (Rentnerin Ulicha) – Regie: Fritz Bornemann (Volksbühne Berlin)
 1971: Bertolt Brecht: Der gute Mensch von Sezuan (Witwe Shin) – Regie: Benno Besson (Volksbühne Berlin)
 1971: Heiner Müller: Weiberkomödie (Anna Zabel) – Regie: Fritz Marquardt (Volksbühne Berlin)
 1975: Jean Racine: Britannicus – Regie: Brigitte Soubeyran (Volksbühne Berlin)
 1980: Ivan Radoev: Die Menschenfresserin (Jota) – Regie: Fritz Bornemann (Volksbühne Berlin)
 1983: Heinrich von Kleist: Der zerbrochne Krug – Regie: Helmut Straßburger/Ernstgeorg Hering (Volksbühne Berlin)
 1987: Jorge Díaz: Die ganze lange Nacht (Olga) – Regie: Alejandro Quintana (Berliner Ensemble)
 1989: Nikolai Erdman: Der Selbstmörder – Regie: Manfred Wekwerth (Berliner Ensemble)
 1991: Bertolt Brecht: Der gute Mensch von Sezuan – Regie: Alejandro Quintana (Berliner Ensemble)

Hörspiele (Auswahl)
 1965: Vercors: Zoo oder Der menschenfreundliche Mörder (Sybill Graeme) – Regie: Edgar Kaufmann (Rundfunk der DDR)
 1967: Michel Cournot: Die Kinder des Gerichts (Mdm. Lallemand) – Regie: Fritz Göhler (Hörspiel – Rundfunk der DDR)
 1968: Giles Cooper: Die unverdauliche Auster – Regie: Wolfgang Brunecker (Hörspielkomödie – Rundfunk der DDR)
 1968: Day Keene/Warren Brand: Naked Fury – Nackte Gewalt – Regie: Helmut Hellstorff (Kriminalhörspiel – Rundfunk der DDR)
 1969: Friedrich Schiller: Die Verschwörung des Fiesco zu Genua (Julia, Gräfin Imperiali) – Regie: Peter Groeger (Hörspiel – Rundfunk der DDR)
 1969: Wilfried Schilling: Kellergespräche (Anneliese) – Regie: Joachim Staritz (Hörspiel – Rundfunk der DDR)
 1970: Sophokles: Die Antigone des Sophokles (Botin) – Regie: Martin Flörchinger (Hörspiel – Rundfunk der DDR)
 1970: Wolfgang Kohlhaase: Ein Trompeter kommt (Blanche) – Regie: Fritz-Ernst Fechner (Hörspiel – Rundfunk der DDR)
 1971: Heinrich Mann: Die Jugend des Königs Henri Quatre – Regie: Fritz Göhler (Hörspiel – Rundfunk der DDR)
 1973: Linda Teßmer: Am schwarzen Mann (Christel Fenske) – Regie: Joachim Staritz (Hörspiel – Rundfunk der DDR)
 1973: Lia Pirskawetz: Spinnen-Palaver (Perlhuhn) – Regie: Barbara Plensat (Hörspiel – Rundfunk der DDR)
 1974: Ivan Isacovic: Alter schützt vor Torheit nicht (Lehrerin) – Regie: Albrecht Surkau (Hörspiel – Rundfunk der DDR)
 1975: Irmgard Keun: Das kunstseidene Mädchen (Therese) – Regie: Wolfgang Brunecker (Hörspiel – Rundfunk der DDR)
 1975: Horst-Ulrich Semmler: Bereitschaftsdienst – Regie: Maritta Hübner (Kinderhörspiel – Rundfunk der DDR)
 1976: Joachim Brehmer: Meine Frau Inge und meine Frau Schmidt (Kellnerin) – Regie: Achim Scholz (Hörspiel – Rundfunk der DDR)
 1977: Peter Goslicki/Peter Troche: Glassplitter (Hedwig) – Regie: Joachim Staritz (Hörspiel – Rundfunk der DDR)
 1978: Helmut Bez: Jutta oder die Kinder von Damutz – Regie: Fritz Göhler (Hörspiel – Rundfunk der DDR)
 1978: Jacob Grimm/Wilhelm Grimm: Das Meerhäschen (Herzogin) – Regie: Christa Kowalski (Kinderhörspiel/Kurzhörspiel – Rundfunk der DDR)
 1981: Werner Buhss: Hotte, einfach Hotte (Mutter) – Regie: Horst Liepach (Hörspiel – Rundfunk der DDR)
 1982: Hans Siebe: Der Tote im fünften Stock (Frau Quandt) – Regie: Barbara Plensat (Kriminalhörspiel – Rundfunk der DDR)
 1987: Selma Lagerlöf: Der Wechselbalg – Regie: Christa Kowalski (Hörspiel – Rundfunk der DDR)
 1987: Erich Kästner: Fabian oder Der Gang vor die Hunde (Fabians Mutter) – Regie: Joachim Staritz (Hörspiel – Rundfunk der DDR)
 1988: Jan Drda: Der vergessene Teufel (Marthe) – Regie: Karlheinz Liefers (Kinderhörspiel – Rundfunk der DDR)
 1989: Reinhard Lakomy: Der Wolkenstein (2. Nase) – Regie: Rainer Schwarz (Kinderhörspiel – VEB Deutsche Schallplatten Berlin)
 1989: Gerhard Rentzsch: Szenen vom Lande – Regie: Karlheinz Liefers (Hörspielreihe: Augenblickchen Nr. 1 – Rundfunk der DDR)
 1989: Annelies Schulz: Die Feuerprinzessin (Lehrerin) – Regie: Manfred Täubert (Kinderhörspiel – Rundfunk der DDR)
 1990: Rita Herbst: Eine schrecklich nette Person (Fräulein Hubka) – Regie: Detlef Kurzweg (Kriminalhörspiel/Kurzhörspiel – Rundfunk der DDR)
 1990: Georg Seidel: Carmen Kittel (Frau Schaller) – Regie: Fritz Göhler (Hörspiel – Funkhaus Berlin)
 1991: Paul Zech: Das trunkene Schiff (Alte) – Regie: Wolfgang Rindfleisch (Hörspiel – Funkhaus Berlin)
 1991: Edgar Hilsenrath: Das Märchen vom letzten Gedanken – Regie: Peter Groeger (Hörspiel – SFB/HR)

Literatur
 Frank-Burkhard Habel, Volker Wachter: Das große Lexikon der DDR-Stars. Die Schauspieler aus Film und Fernsehen. Erweiterte Neuausgabe. Schwarzkopf & Schwarzkopf, Berlin 2002, ISBN 3-89602-391-8, S. 110.

Weblinks

 Ruth Glöss – Agentur

Einzelnachweise

Filmschauspieler
Theaterschauspieler
Hörspielsprecher
Darstellender Künstler (Berlin)
Darstellender Künstler (DDR)
Darstellender Künstler (Dresden)
DDR-Bürger
Deutscher
Geboren 1928
Gestorben 2014
Frau