Semmes' Labor and Employment Practice Group represents small, medium and large employers in a wide range of industries in labor, employment and civil rights matters. In this regard our services range from giving a client telephone advice to defense of class action litigation.
Federal and State Wage and Hour Matters.
We represent management in traditional labor disputes, including union organizational drives and representation elections, NLRB hearings, collective bargaining, labor arbitration and labor-related litigation and injunction proceedings, as well as matters arising under the wage hour laws, ERISA, and the occupational safety and health laws. Our attorneys also routinely defend employers against state common law claims, including wrongful discharge, defamation, breach of contract and intentional infliction of emotional distress.
Our labor and employment attorneys also provide clients with advice, counseling, and training in all aspects of the employment relationship. We assist clients in the evaluation, development and implementation of employment policies and procedures, handbooks, applications, job evaluation forms, offer letters, drug and alcohol testing programs, employment contracts, and non-compete, confidentiality and trade secret agreements. We conduct training programs for employers specifically designed to minimize and prevent claims, including state of the art interactive programs for supervisors and managers in areas such as workplace harassment, occupational safety and health, union avoidance techniques, employee disability and leave rights, and workplace accommodations for qualified applicants and employees with disabilities.
We represent management in a wide range of compliance matters, including development, implementation and monitoring of affirmative action programs for federal contractors and subcontractors as required by the U.S. Department of Labor (DOL) Office of Federal Contract Compliance Programs (OFCCP) under Executive Order 11246 and its implementing regulations; representation of federal contractors and subcontractors in affirmative action audits instituted by OFCCP; and representation of employers in wage and hour audits instituted by DOL's Wage Hour Division under the Fair Labor Standards Act.
Our attorneys recognize the importance of technology in the workplace. We provide employment law advice to business regarding e-mail and Internet use; the development of interactive multi-media CD-ROMs for employment training purposes; surveillance by employers of electronic communications; potential employer liability for technology-based employee misconduct; employer exposure to defamation, discrimination and harassment charges related to technology misuse; use of technology for the distribution of employee handbooks, company policies, and as an accommodation to disabilities; and advice to employers regarding protection against on-line access to confidential employment information pertaining to personnel records, medical records, customer lists and/or trade secrets.


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Last Updated: 01 March 2019
Klaipėda County Public leva Simonaitytė Library (KCPISL) was founded in 1950. Through 68 years of library lifetime, not only the name of the library has changed, but also, the line of activity was expanded in regard to the changes of conditions. Moreover, over the 68 years, the historical and social contexts have changed too. Since its establishment, the library is the centre of coordination and methodological management of the activity of public libraries of Klaipėda area. Today, the library provides methodological, informational and organisational support to 11 centralised library systems acting in Klaipėda and Tauragė counties (201 libraries): 11 public libraries in the centres of municipalities, 23 city subsidiaries, 167 rural subsidiaries.
Each year, the library has about 14-16 thousand registered users and 28 percent of them are from other cities and regions around the district. The library is daily visited by more than 1000 readers, who borrow at an average of 1,771 documents. Also, every year library of I. Simonaitytė organises over 400 various events, openings of 200 exhibitions and more than 100 educational activities. The library has five reading rooms, open book funds for adults and children, rooms for relaxation, aesthetic space designed especially for various visual and oral events, and two cozy yards. The library has events and conference rooms and Gerlach's Attic, where there is a permanent exhibition of the Sea Heritage. It should also be noted that the library premises of the former wheel house is rented to a cafe and bookstore. In 2017, the Educational space was opened for everyone who seeks to improve, develop, co-operate and learn. It has a modern computerised training classroom with 16 places, sound record studio and an entrepreneurial space. Here people have an opportunity to participate in free workshops of paper production and computer literacy trainings. The KCPISL also has the International Center of Translators and Writers in Nida, which is the only institution of that purpose in Lithuania. This center provides favorable conditions for writers and translators from Lithuania and abroad to live and create.
The library has always aimed being the keeper of national culture, satisfying the informational needs of the district, guaranteeing the right to information, freedom of expression, trying to make the possibilityforeveryoneto use the information resources of the library. Therefore I. Simonaitytė library has collected not only an extensive fund of publications, but also valuable ethnographic, manuscript documents. The library forms and keeps relevant document funds, important to the culture of the district, and aims all this to be available to as wide group of society as possible.
In 2011 the library signed the contract for the transfer of the AdM archive to Klaipėda. For the first time, the wealth of old Klaipėda residents cultural collections that were accumulated over the past six decades while they lived in Germany was introduced to the community of port city Klaipėda and was given to the homeland. This archive is comprised of more than two thousand rare books about old Klaipėda, 150 original paintings and copies, the works of famous painters, also, glass negatives with the panorama of Memel, old Prussian maps, the Bible, translated by Liudvikas Rėza and published in 1816 with his own preface and original paintings by G. Boese, M. Pechstein, H. Kallmeyer. New products of the library are created during the implementation of the projects. One of the products of KCPISL, which encourages getting in touch with the cultural heritage of Klaipėda, is the interactive Guide of the heritage of the district formed in 2014 as a mean dissemination of Klaipėda digitalised cultural heritage. The guide provides all information in four languages: Lithuanian, English, Russian and German. It announces not only concentrated information, but also photographs, video material, recollections and routes which can be used for travelling. In 2016, mobile application "Klaipėda Heritage Guide" was created (it can be downloaded from Google play). The application is intended for the user who wants to see the objects of cultural heritage while travelling in a convenient way. The content of the guide of the land's heritage is created and filled by KCPISL and 11 partners of this project. This guide is supplemented with e-product as well - educational game "Greenfoot" ("Žaliapėdis") for 3-10-year-old children. While playing this game, children perform funny, useful tasks and learn about Klaipėda city in an innovative way.
In 2016 the first literary table game in Lithuania "Knygosūkis" was created to encourage reading by youth. Even though, the game is dedicated to the youth, it could be played by all those who are interested in literature as well. A Lot of professional Lithuanian writers and artists such as Andrius Mamontovas, Aistė Smilgevičiūtė, Sigutė Ach, Nijolė Narmontaitė, Justinas Žilinskas, Vytautas Juozapaitis, Juozas Šikšnelis, etc. attributed to the creation of the game. While playing the literary table game "Knygosūkis", the youth gain literary knowledge, widen their horizon and after playing are more able to use critical thinking in selection of materials to read. During the project the exhibition about the authors of "Knygosūkis" was organised. Also, the meetings with one of the game authors and some presentations of "Knygosūkis" as well as game afternoons in various regional libraries and schools were arranged. With the educational game "Knygosūkis" library has visited more than 30 cities and towns.
The project "Education cycle: (in)visible becomes touchable" was implemented in 2018. The target audience of this project is 14-16-year-old students and visually impaired people. During the educational activities, students improve their creativity skills, expand their knowledge of technology and gain new competences in the areas of 3D modelling, scanning and programming. Later, the gained theoretical knowledge is applied practically by scanning the old photographs of Klaipėda where most famous cultural objects are shown, which are programmed and produced with 3D technologies. Produced 3D models are used in the project's educational, cognitive excursions which are visited by the students and visually impaired people.
"Travelling library" is the project which encourages reading in untraditional areas. In spring and summer, outside reading-rooms are established in various places that people like to spend their leisure time, festivals and various events. In these outside reading-rooms you can find books, table games and participate in various contests. This project is very flexible and mobile. Therefore, it can be quickly settled in any place and provide services for the residents of Klaipėda district. "Travelling library" was active during the Karklė music festival. Also, in Smiltynė old ferry port boat, Melnragė beach, public garden of the Danė River, on the hill of John, Dienovidis public garden and Vilnius book fair. "Literary buffet" is one more project implemented by KCPISL. This educational event not only encourages reading and present classical literary works but also allows looking at the process of reading and to see the person, who reads from a different perspective. Famous Lithuanian people created the list of their read and recommended books by rendering it through the prism of food and they presented this list to the public. It's interesting that these recommendations were the guidance of what type of literature need to be read with what kind of food. Literary menu was created by the philosopher Leonidas Donskis, poets, essayists Rolandas Rastauskas and Kęstutis Navakas, as well as the singer, TV show presenter, Marijonas Mikutavičius. Literary menu was also created by two families of music creators: Aistė Smilgevičiūtė and Rokas Radzevičius as well as Jurga Šeduikytė and Vidas Bareikis.
Opening of the bench of the writer I. Simonaitytė in the areas of KCPISL.
The library, which is having the name of famous Lithuanian writer leva Simonaitytė, is often organizing various events, initiatives intended for commemorating this writer of Klaipėda district. Every year, in January, those authors, who make the district of Klaipėda famous with their literary works, are awarded with leva Simonaitytė literary prize. All 2017 was declared as years of leva Simonaitytė. That is why the library implemented the project "Literary berry" in which the laureates of her prize was introducing their creative work to the youth of Klaipėda district. During the year of leva Simonaitytė, creative workshops "Ėvikė readers' theatre" were organised in which participants had an opportunity to read and interpret the writer's work, get in touch with the culture and history of Lithuania Minor (Mažoji Lietuva) as well as to develop communication, acting, and stage language skills. In the same year, the library took the initiative and created the internet site of leva Simonaitytė, where all the necessary information about this writer of Klaipėda district are held. In 2018, the bench was solemnly opened in the yard of the library with the meaningful words of the author "I shall never put the last full stop" and her autograph printed on the metal plate.
The library aims at becoming a modern institution in the context of the world thus it has been arranging international conferences for many years in which the reports are read by the representatives of various countries. In 2016, during the mentioning of the library year, the international conference was held in I. Simonaitytė library called "Dispersed libraries - dispersed heritage: many ways to get to know". The objective of the conference was to pay attention to the documentary heritage which is the part of world memory, manifest about historical, political, cultural, social processes, have influence on the development of the society during the establishment and destruction of the states, development of science, personal destinies. In 2018, the international conference "Library for the development of smart society" was held. The reports in this conference were read by Latvian, Slovenian, Polish and Latvian participants who shared the good experience of their libraries, innovations and exchanged academic information.
Klaipėda County Public leva Simonaitytė Library is modern and up-to-date, flexibly adapting to constantly changing world. Therefore everyone coming to the library can feel here comfortably and can find suitable activity.
© 2000 - 2020 Klaipėdos apskrities viešoji Ievos Simonaitytės biblioteka
Address: Klaipėdos apskrities viešoji I. Simonaitytės biblioteka, Herkaus Manto g. 25, Klaipėda LT- 92234, tel. +37046412533, fax. +37046412539, e-mail: biblioteka@klavb.lt

redpajama_set_name: RedPajamaCommonCrawl


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Tulane Institute of Sports Medicine Launches Professional Athlete Care Team
Tulane Institute of Sports Medicine...
Tulane Medical Center May 23, 2017
There are two Jabari Greers.
There's the Saints cornerback and Super Bowl champion, a celebrity and football star. And there's the former athlete, a husband and father navigating his own healthcare – and his future after football.
"The person that people think they know – the football player – isn't around anymore. He's gone," Greer said. "But when you're in public, everyone reminds you of the player that was. When you're in a public healthcare setting, it's very hard to keep up that 'warrior' persona and still be honest with your doctor about what you're going through. You have to be transparent if you're going to start healing."
That's why the Tulane Institute of Sports Medicine has created the new Professional Athlete Care Team, or PACT, and its dedicated clinic at Tulane Medical Center. PACT uses a unique care model specifically designed to meet the needs of former professional athletes. A partnership between the Tulane University School of Medicine and Tulane Health System, its focus is supporting athletes' health and safety both on and off the field, said Dr. Greg Stewart, Tulane's chief of physical medicine and rehabilitation and the PACT medical director.
"Professional athletes have a different relationship with healthcare than most of us," said Dr. Stewart, who also provides direction for the medical aspects of the National Football League Player Care Foundation's Healthy Body and Mind screening program. "Obviously, their bodies undergo stresses unique to their sports and positions, and we at Tulane have the experience and caregivers to ensure optimum care for those needs.
"But it's not just the high level of healthcare we provide. From high school to college to the pros, these athletes typically experience 'concierge' service – and it can be difficult when they retire and that goes away. So we've built a program that picks up where they left off and gives these athletes the level of care – and service – they're used to."
One of the keys to the program is the use of certified athletic trainers in the role of care navigators, said Eric Beverly, PACT's director of operations.
"Professional athletes trust athletic trainers," said Beverly, himself a 10-year NFL veteran who played for the Detroit Lions and Atlanta Falcons before his retirement in 2007. "We've spent time together in locker rooms and on the field. The trainers know the athlete's psyche and know what questions to ask, what needs to anticipate. That's important in connecting athletes to the right services and in helping communication between patients and physicians."
Also important is the athletes' ability to maintain their anonymity when accessing care. That's why Tulane Medical Center invested $1.1 million in its PACT clinic, a new space – designed to look like a professional fieldhouse – where former athletes can "be their true selves," Greer said.
"You have to feel safe enough to disclose what you're really going through," he said. "When you can be yourself – not the guy under the helmet – your transparency and vulnerability becomes a strength in helping you get better and stay healthy."
The 5,000-square-foot clinic includes exam rooms, meeting space, rehabilitation equipment and new, state-of-the-art digital x-ray equipment.
"Former players aren't the only patients who travel to Tulane Medical Center to seek care – patients from all over the world regularly seek out Tulane's world-renown experts from everything from transplant surgery to cardiovascular health," said Dr. William Lunn, Tulane Health System's president and CEO. "That level of expertise, coupled with the amenities available in New Orleans – itself a proud NFL city – makes this the perfect place to expand this partnership and develop a truly unique service for former players and athletes."
The Tulane Institute of Sports Medicine has a long history of working with college and professional athletes, notably the NFL. In addition to serving as the official healthcare provider of Tulane University athletics, Tulane is one of just four medical facilities in the United States chosen by the NFL Players Association to provide care for former players through an organization called The Trust. The Trust provides a benefit for former NFL players to visit Tulane for a three-day, comprehensive physical, neurological and behavioral evaluation.
"The Tulane team has been a tremendous partner in helping us provide a continuity of care to former players," said Bahati VanPelt, executive director of The Trust. "Privacy, transparency and trust are so important to effectively manage one's healthcare, and former players get all those things – as well as expert care – at Tulane. This new center will only enhance the care and service former players receive at Tulane."
Tulane caregivers also travel the country providing mobile health screenings to former players through the NFL Player Care Foundation's Healthy Mind and Body screening program. The NFL Player Care Foundation hosts screenings across the country in NFL cities and at regional events that attract large numbers of former players, such as Pro Football Hall of Fame Week and the NFL Players Association and NFL alumni annual meetings. The screenings are offered as part of the NFL Player Care Foundation's research programs, which help to advance public awareness and scientific understanding of health issues that affect former NFL players. Tulane doctors screen more than 500 players a year through the program.
"Player safety is always our top priority, on or off the field," said Belinda Lerner, executive director for the NFL Player Care Foundation and the NFL's vice president of alumni affairs and former player programs. "We know Tulane shares that priority, and we've seen it demonstrated throughout our relationship – in research partnerships, in screening programs and in investments like the Professional Athlete Care Team."


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Eskişehir, Turkey, To Save $4.4 Million by 2030 with New Building Efficiency Commitment
With heightened Building Efficiency Accelerator collaboration, Eskişehir becomes Turkish leader on energy
Eskişehir, Turkey. Photo by Raicem/wikimedia
Today, Eskişehir Metropolitan Municipality announced a new collaboration with the Building Efficiency Accelerator (BEA), a public-private initiative that turns global expertise into action to accelerate local government implementation of building efficiency programs and policies.
TheCityFix Labs México Sparks Intersectoral Dialogues on Investing in Green Urban Infrastructure
Jorge Macías, Director of Urban Development and Accessibility at WRI México, presents at TheCityFix Labs Mexico dialogue. Photo by WRI México
On January 28th, WRI México convened experts to discuss how to catalyze the financing of green urban infrastructure within the framework of TheCityFix Labs México. TheCityFix Labs México is an effort of the Financing Sustainable Cities Initiative, implemented by WRI México and supported by Citi Foundation, to help cities understand how to better finance green infrastructure projects in Mexico.
Nagpur, India, Announces Deep Dive Commitment with Building Efficiency Accelerator
With building commitments, Nagpur becomes a leading city on energy efficiency in India
Nagpur, India. Dhirajphotography/Wikimedia Commons
Nagpur, India is the latest city to be selected for a deep dive partnership with the
Government of India Launches Global Housing Technology Challenge to Seek Alternative and Innovative Solutions for Affordable Housing
India aims to provide over 10 million affordable houses in urban areas by 2022 using resource-efficient and sustainable technologies
CEO of WRI India OP Agarwal speaks at the Global Housing Challenge India launch event. Photo by WRI India.
To make constructing affordable houses in India cost-effective, speedier and of high quality, Union Minister of Housing and Urban Affairs Hardeep Singh Puri launched the Global Housing Technology Challenge - India (GHTC-India) on January 14, 2019, in New Delhi. The aim of the initiative is to fast-track the construction of affordable housing and meet the target of constructing 10 million urban homes by 2022.
RELEASE: New Research Shows Challenges of 'Upward' and 'Outward' Urban Expansion in Unprecedented Detail
Unmanaged outward growth of cities exacerbates poverty, inequality, environmental problems
The juxtaposition of tarp-covered informal settlements and high-end developments in Mumbai makes urban inequities starkly visible. Photo by Johnny Miller/Unequal Scenes
WASHINGTON (January 31, 2019) — More than half of all people on Earth live in urban areas today and another 2.5 billion people will be added to urban areas by 2050. Urban land area is on track to increase 80 percent between now and 2030 if current trends continue. New analysis of the physical expansion of nearly 500 cities shows the challenge of rapid outward growth is greatest in lower-income cities.
City of Bandung Honored at Indonesia Road Safety Awards
Before and after images of a WRI road safety intervention at the Cikudapateuh intersection in Bandung, Indonesia. Photo by WRI Indonesia
In recognition of its commitment to improving road safety, the city of Bandung, Indonesia, was honored at the 2018 Indonesia Road Safety Awards (IRSAs) in Jakarta. Awarded for safer streets, post-crash care, and best innovation and education, Bandung won three of the ten IRSAs.
RELEASE: NUMO Alliance Announced to Harness Tech Disruptions in Urban Transport to Build More Sustainable, Joyful Cities
Seed funding pledged for global pilot projects and research
NUMO aims to guide policymakers, the private sector and people toward a shared vision of cities and urban mobility.
WASHINGTON, DC (January 15, 2019) – The pace of technology-driven disruption in transportation is not only changing how people get around but changing cities themselves. Governments, companies, non-profits and residents are increasingly asking how to incorporate ride-hailing, dockless bikes and scooters, and even autonomous vehicles into their communities in the right way.
WRI Ross Center at 2019 Transportation Research Board Annual Meeting
Bike-share system and bus rapid transit corridor in Fortaleza, Brazil, recipient of the 2019 Sustainable Transport Award. Photo by WRI Brasil
The Transportation Research Board (TRB)'s 98th Annual Meeting will be held in Washington, D.C., January 13-17, 2019. The program covers all modes of transportation, with more than 5,000 presentations in 800 workshops and sessions. WRI has been an active TRB participant for years, presenting numerous papers and presiding workshops and committees, and has won two prestigious Burggraf Awards.
RELEASE: Dario Hidalgo Appointed Executive Director of Fundación Despacio
Dario Hidalgo presents on autonomous vehicles at Transforming Transportation 2018. Photo by Valeria Gelman/WRI
WASHINGTON, DC (January 11, 2019) – After 11 years at WRI, Dario Hidalgo will become the Executive Director of Fundación Despacio, a non-profit research center created in 2008 by Carlos F Pardo based in Bogotá, Colombia, that strives to promote a better quality of life for people in citie
ADVISORY: Transforming Transportation 2019
Will New Mobility Deliver Sustainable Transport for All?
Transforming Transportation 2019.
WASHINGTON, DC (January 10, 2019) – The World Bank and the EMBARQ mobility initiative of WRI Ross Center for Sustainable Cities invite the press to attend Transforming Transportation 2019, one of the largest global conferences dedicated entirely to sustainable transport.


OWINGS MILLS, Md. — Terrell Suggs and other veterans on the Ravens defense vow it won't happen again.
After forcing a whopping 10 turnovers and allowing a total of 10 points in the first two games of the season, the Baltimore defense collapsed in London in an embarrassing 44-7 defeat. An inept offensive performance that included three turnovers certainly didn't help, but the 44 points were the most allowed by the Ravens since the 2013 season opener in Denver.
No matter the explanation, the defense fell painfully short of the expectations set for the 2017 campaign after general manager Ozzie Newsome used extensive resources on that side of the ball this offseason.
The feelings from that type of loss can linger, making it critical for players to regroup to focus on Sunday's AFC North showdown with Pittsburgh. There's also the reality of readjusting from the five-hour time change in London, leading some to believe the Ravens are essentially playing on a short week while the Steelers made only a short trip to Chicago last Sunday.
As ugly as the loss to Jacksonville was, the Ravens know a strong defensive performance and a win over their biggest rival would wipe away any lingering disappointment. The Steelers didn't exactly fare well against the Bears, who ran for 222 yards against them in an overtime win. The optics may have been brutal, but the Ravens lost only the opportunity to move ahead of Pittsburgh in the AFC North standings when the emotions began to calm.
And if you're even looking for some historical perspective, the vaunted 2000 Baltimore defense gave up 36 points to the Jaguars — at home, no less — in Week 2 while the 2012 Ravens were throttled by Houston in a 43-13 loss in Week 7. Both of those teams would go on to win the Super Bowl that season, reminding that even the best teams can have nightmare performances.
"A lot of guys were just distraught after the game — which you love to see," safety Eric Weddle said. "Everyone deals with losses differently. Some guys, they are who they are. Some guys don't want to talk; some guys are mad and mad for days. That's good, but you also have to understand that it's one game.
The defense knows there is work to be done, however, especially after losing defensive end Brent Urban for the season due to a foot injury. Standout defensive tackle Brandon Williams will also miss his second straight game with a foot ailment, putting further strain on a young defensive line lacking experience.
Missed tackles, a lack of pressure on Jaguars quarterback Blake Bortles, and poor linebacker play were evident at Wembley Stadium, but defensive coordinator Dean Pees insisted Thursday there were fewer assignment mistakes against Jacksonville than in the first two games of the season. That's difficult to fathom when a defense gives up over 400 yards of offense and five touchdowns, but it lends credence to the belief that the Ravens were flat because of the time change, the emotions stemming from President Donald Trump's harsh comments about protesting NFL players last weekend, or both.
Whatever the reason, the Ravens were sleepwalking and failed to force a single turnover after coming away with five each against Cincinnati and Cleveland.
On Sunday, there should be no excuse for the intensity to be lacking with the Steelers coming to M&T Bank Stadium, a place where they haven't won since 2012. The Ravens will even be wearing their alternate black jerseys, a popular look with both players and fans.
But there's a sleeping giant looming if the Ravens aren't ready. Despite possessing some of the best skill-position talent in the NFL as well as a well-regarded offensive line, the Steelers have struggled offensively, ranking just 22nd in total offense and tied for 16th in points per game. After holding out during the preseason, Pro Bowl running back Le'Veon Bell is averaging just 3.5 yards per carry so far and has yet to accumulate 100 yards of offense in any of his first three games.
The lone bright spot of the offense has been All-Pro wide receiver Antonio Brown, who has twice as many receptions (26) as Baltimore wide receivers combined (13). The memory of him stretching across the goal line to eliminate the Ravens from postseason contention last Christmas Day should provide more than enough motivation to want to keep him in check, but that's still easier said than done.
Longtime quarterback Ben Roethlisberger has accepted the blame this week, saying Pittsburgh's offensive struggles can be traced back to his own play. That's an admirable stance from a team leader, but it's one the Ravens aren't buying for a minute.
After enduring one of the worst losses in franchise history last week, the Ravens better have their minds right if they want to make good on their promise and keep the giant snoozing for another week.


Our Instructors have a wide knowledge base with the experience to back it up, as well as passion for sharing their skillset. They come to us from multiple industries and wilderness roles as skilled outdoor professionals: military service (including military survival schools with Canadian and International experience), Search and Rescue, Wilderness Guides (canoe, dog sled), Wildland Firefighters, and more. Even outside their professional careers our instructors maintain a keen interest in the outdoors, often participating in pursuits such as hunting (whether bow, black powder, or rifle), fishing, commercial licensed trapping, backcountry canoeing, and more.
Dave was born in Southern Ontario and spent his childhood in the outdoors hunting, fishing, and exploring the Bay of Quinte. He joined Army Cadets at age 12 and never looked back, joining the Army Reserves (Toronto Scottish Regiment) at 19, and transferring into the Regular Forces a year later as a Weapons Technician to serve in CFB Valcartier for 6 years including a deployment as a UN Peacekeeper to Nicosia, Cyprus.
In 1993, he challenged himself in the the Search and Rescue Technician (SARTech - similar to American Pararescue) Selection course and was accepted into one of the Canadian Forces elite trades. His first posting as a SARTech was CFB Trenton (424 Transport & Rescue Squadron). 6 years later he was posted to CFB Winnipeg (435 Transport, Air-to-Air Refueling, and Rescue Squadron).
Due to injuries sustained on the job, he was then assigned as the SARTech in attendance to the Canadian Forces School of Survival and Aeromedical Training (which operates out of Nopiming Provincial Park, Manitoba). There Dave served as a Survival, Evasion, Resistance, and Escape (SERE) Instructor for both Basic and Advanced Courses.
After 25 years of Military Service, Dave retired in 2010. Not knowing what to do, but remembering the sights seen and lessons learned, he created the International Canadian School of Survival (ICSOS) to pass on his experiences to a public largely ignorant of the knowledge contained within the military community.
Trevor grew up running through the forests with Scouts, and completed a stint in the Army Reserve as a "young lad". He left to explore the world a bit, but returned to the woods to become a Professional Wilderness Guide, primarily leading backcountry canoe trips and dog sledding expeditions.
Looking for something a little different he joined ICSOS to pass on what he's learned and help others explore the bush safely.
In his "spare time" he is also a member of the Lac du Bonnet Emergency Operations Team as well as the Fire Department, and volunteers with the Civil Air Search and Rescue Association.
Instructor for NATO aircrew winter survival course in Moose Jaw, Saskatchewan.
Numerous mobile teaching teams (MTT's) for air crew pre-deployment briefings and exercises prior to going overseas.
Presented winter survival techniques at NATO flying training center in Moose Jaw, Saskatchewan.
Instructed on Survival and or participated on survival courses in every environment on the planet with most of NATO.
Emergency, Industrial, and Wilderness First Aid.
Environmental Survival in the arctic, boreal forest, desert, mountain, and ocean.
is licensed by Manitoba Sustainable Development as a Resource Tourism Operator and authorized as an outfitter to conduct Safety and Survival Training, Ecotourism, and Angling.


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Appoquinimink School District
COVID-19: Visit the Delaware Department of Education COVID-19 resource page for information relevant to Delaware schools.
District Summary
313 South Fifth Street
Odessa, DE 19730-4010
SchoolDigger Rank:
9th of 35 Delaware districts
See the 2019 Delaware District rankings!
Grades served: PK, KG-12
Students: 11,317
Primary Schools: 11
Middle Schools: 3
High Schools: 2
Alternative Schools: 0
Boundaries: District
Loss (Olive B.) Elementary School
Public 1-5
Rank: 4th of 105
Rank: 14th of 105
Waters (Alfred G.) Middle School
Rank: 10th of 52
Bunker Hill Elementary School
Appoquinimink High School
Rank: 8th of 40
Students: 1,672
Townsend Elementary School
Rank: 31st of 105
Old State Elementary School
Brick Mill Elementary School
Redding (Louis L.) Middle School
Rank: 21st of 52
Meredith (Everett) Middle School
Rank: 32nd of 52
Appoquinimink PreSchool Center
Public PK
Cantwell Bridge Middle School
Cedar Lane Early Childhood Center
Public K
Lorewood Grove Elementary School
Odessa High School
Spring Meadow Early Childhood Center
Townsend Early Childhood Center
Ranking ()
SAT English Language Arts (2019)
SAT Mathematics (2019)
SAT Essay (2019)
Smarter Balanced Assessments English Language Arts (2019)
Smarter Balanced Assessments Mathematics (2019)
Average Standard Score ()
Statewide Rank ()
State Percentile ()
SAT English Language Arts 11th
SAT Mathematics 11th
SAT Essay 11th
Smarter Balanced Assessments English Language Arts 3rd
Smarter Balanced Assessments English Language Arts 4th
Smarter Balanced Assessments Mathematics 3rd
Smarter Balanced Assessments Mathematics 4th
Loss (Olive B.) Elementary School Public 1-5 200 Brennan Boulevard Bear 19701 New Castle County Appoquinimink School District No No No No (302) 832-1343 629 39 16.1 339 (53.9%) 92 (14.6%) 35 (5.6%) 138 (21.9%) 2 (0.3%) 1 (0.2%) 22 (3.5%) 94.1 4th of 105 public elementary schools 96.2% (n/a) 76.4 85.3 84.7 79.5 80.8 73.4 $12,755 $230 $15,364
Meredith (Everett) Middle School Public 6-8 504 South Broad Street Middletown 19709 New Castle County Appoquinimink School District No No No No (302) 378-5001 895 60 14.9 493 (55.1%) 263 (29.4%) 66 (7.4%) 22 (2.5%) 3 (0.3%) 0 (0.0%) 48 (5.4%) 44.3 32nd of 52 public middle schools 38.5% (n/a) 49.5 67.1 57.1 32.0 36.0 30.5 $12,293 $178 $14,494
Middletown High School Public 9-12 120 Silver Lake Road Middletown 19709 New Castle County Appoquinimink School District No No No No (302) 376-4141 1,702 102 16.6 911 (53.5%) 544 (32.0%) 124 (7.3%) 67 (3.9%) 6 (0.4%) 2 (0.1%) 48 (2.8%) 70 9th of 40 public high schools 77.5% (n/a) 60.9 34.6 54.8 $12,738 $264 $15,053
Redding (Louis L.) Middle School Public 6-8 201 New Street Middletown 19709 New Castle County Appoquinimink School District No No No No (302) 378-5030 894 57 15.6 427 (47.8%) 317 (35.5%) 77 (8.6%) 35 (3.9%) 1 (0.1%) 2 (0.2%) 35 (3.9%) 56.7 21st of 52 public middle schools 59.6% (n/a) 55.3 60.4 64.8 39.1 41.0 51.0 $11,794 $202 $13,951
Silver Lake Elementary School Public 1-5 200 East Cochran Street Middletown 19709 New Castle County Appoquinimink School District No No No Yes (302) 378-5023 559 35 15.9 261 (46.7%) 176 (31.5%) 72 (12.9%) 15 (2.7%) 1 (0.2%) 0 (0.0%) 34 (6.1%) 50.1 56th of 105 public elementary schools 46.7% (n/a) 55.1 54.3 57.0 56.6 46.7 32.6 $13,179 $514 $15,238
Townsend Elementary School Public 1-5 126 Main Street Townsend 19734 New Castle County Appoquinimink School District No No No Yes (302) 378-5020 558 33 16.9 334 (59.9%) 120 (21.5%) 63 (11.3%) 10 (1.8%) 6 (1.1%) 1 (0.2%) 24 (4.3%) 68.2 31st of 105 public elementary schools 70.5% (n/a) 62.2 62.0 68.6 59.5 52.5 52.5 $12,130 $315 $14,235
Appoquinimink PreSchool Center Public PK 502 South Broad Street Middletown 19709 New Castle County Appoquinimink School District No No No No (302) 376-4400 155 1 155.0 87 (56.1%) 32 (20.6%) 15 (9.7%) 15 (9.7%) 0 (0.0%) 0 (0.0%) 6 (3.9%) (n/a) $30,523 $604 $36,816
Old State Elementary School Public 1-5 118 South Sixth Street Odessa 19730 New Castle County Appoquinimink School District No No No No (302) 376-4128 687 48 14.3 434 (63.2%) 162 (23.6%) 43 (6.3%) 12 (1.7%) 4 (0.6%) 2 (0.3%) 30 (4.4%) 63 46th of 105 public elementary schools 56.2% (n/a) 57.1 57.6 67.2 52.6 51.8 57.3 $14,627 $233 $17,708
Spring Meadow Early Childhood Center Public K 611 Campus Drive Townsend 19734 New Castle County Appoquinimink School District No No No Yes (302) 378-6760 221 29 7.6 113 (51.1%) 64 (29.0%) 23 (10.4%) 9 (4.1%) 0 (0.0%) 0 (0.0%) 12 (5.4%) (n/a) $15,129 $380 $18,723
Townsend Early Childhood Center Public K 10 Brook Ramble Lane Townsend 19734 New Castle County Appoquinimink School District No No No Yes (302) 378-9960 222 15 14.8 113 (50.9%) 45 (20.3%) 39 (17.6%) 8 (3.6%) 0 (0.0%) 1 (0.5%) 16 (7.2%) (n/a) $15,060 $395 $18,404
Cedar Lane Elementary School Public 1-5 1259 Cedar Lane Road Middletown 19709 New Castle County Appoquinimink School District No No No No (302) 378-5045 856 54 15.8 482 (56.3%) 197 (23.0%) 49 (5.7%) 94 (11.0%) 1 (0.1%) 0 (0.0%) 33 (3.9%) 81.4 14th of 105 public elementary schools 86.7% (n/a) 73.0 71.7 75.7 65.1 65.8 56.3 $12,350 $257 $14,530
Bunker Hill Elementary School Public 1-5 1070 Bunker Hill Road Middletown 19709 New Castle County Appoquinimink School District No No No Yes (302) 378-5135 542 36 15.0 290 (53.5%) 158 (29.2%) 46 (8.5%) 28 (5.2%) 0 (0.0%) 0 (0.0%) 20 (3.7%) 74 24th of 105 public elementary schools 77.1% (n/a) 75.5 63.3 67.5 70.5 48.7 60.5 $14,615 $412 $17,384
Lorewood Grove Elementary School Public 1-5 820 Mapleton Ave. Middletown 19709 New Castle County Appoquinimink School District No (n/a) (n/a) (n/a) (302) 842-2575 (n/a)
Brick Mill Elementary School Public 1-5 378 Brick Mill Road Middletown 19709 New Castle County Appoquinimink School District No No No Yes (302) 378-5288 469 35 13.4 197 (42.0%) 166 (35.4%) 55 (11.7%) 25 (5.3%) 0 (0.0%) 1 (0.2%) 25 (5.3%) 62.6 47th of 105 public elementary schools 55.2% (n/a) 56.2 67.8 70.0 49.4 51.7 45.5 $15,082 $481 $18,244
Cedar Lane Early Childhood Center Public K 1221 Cedar Lane Road Middletown 19709 New Castle County Appoquinimink School District No No No No (302) 449-5873 281 21 13.3 153 (54.4%) 44 (15.7%) 14 (5.0%) 48 (17.1%) 3 (1.1%) 0 (0.0%) 19 (6.8%) (n/a) $12,763 $176 $15,662
Waters (Alfred G.) Middle School Public 6-8 1235 Cedar Lane Road Middletown 19709 New Castle County Appoquinimink School District No No No No (302) 449-3490 975 60 16.2 608 (62.4%) 161 (16.5%) 60 (6.2%) 105 (10.8%) 8 (0.8%) 0 (0.0%) 33 (3.4%) 80.3 10th of 52 public middle schools 80.8% (n/a) 68.3 78.3 64.3 69.8 60.4 53.1 $12,493 $190 $15,189
Appoquinimink High School Public 9-12 1080 Bunker Hill Road Middletown 19709 New Castle County Appoquinimink School District No No No No (302) 449-3840 1,672 105 15.9 981 (58.7%) 447 (26.7%) 113 (6.8%) 97 (5.8%) 3 (0.2%) 0 (0.0%) 31 (1.9%) 73.5 8th of 40 public high schools 80.0% (n/a) 64.0 40.3 51.8 $12,932 $307 $15,025
Odessa High School Public 570 Tony Marchio Drive Townsend 19734 New Castle County Appoquinimink School District No (n/a) (n/a) (n/a) (302) 376-4128 (n/a)
Cantwell Bridge Middle School Public 550 Tony Marchio Drive Townsend 19734 New Castle County Appoquinimink School District No (n/a) (n/a) (n/a) (302) 376-4128 (n/a)
Districts nearby
MOT Charter School 1.92 mi 1
New Castle County Vocational-Technical School District 6.43 mi 4 27th
Colonial School District 9.55 mi 15 30th
Smyrna School District 10.91 mi 9 12th
Providence Creek Academy Charter School 10.95 mi 1 8th
See the top DE Delaware districts
SchoolDigger data sources: National Center for Education Statistics, U.S. Department of Education, the U.S. Census Bureau and the Delaware Department of Education.
SchoolList (c-SD2L2_10_00080____2_2_011110011__) retrieved by Redis in 24.5102 milliseconds


text:
Q: CRITICAL:pika.connection:Attempted to send frame when closed I have used Pika to integrate the Websocket in Tornado and RabbitMQ. It sucessfully runs on various queues till some time. Then raises the following error:
CRITICAL:pika.connection:Attempted to send frame when closed
I have taken the code reference from https://github.com/haridas/RabbitChat/blob/master/tornado_webapp/rabbit_chat.py
I have gone through my code thoroughly, however fail to understand why it raises such an error.
Can someone help troubleshoot!
Thanks!
Also note changing the backpressure multiplier does not solve the problem. So looking for a real solution for this one.

A: Sometimes the pika connection just terminates because of a blip in the network. You should add code to the PikaClient class to handle reconnecting automatically when the connection goes down. Something like this (untested, but should give you the idea):
def on_connection_closed(self, connection, reply_code, reply_text):
    """This method is invoked by pika when the connection to RabbitMQ is
    closed unexpectedly. Since it is unexpected, we will reconnect to
    RabbitMQ if it disconnects.

    """
    self.channel = None
    if self._closing:  # Don't reconnect if you explicitly closed the connection.
        pass
    else:
        logger.warning('Connection closed, reopening in 5 seconds: (%s) %s',
                       reply_code, reply_text)
        self.connection.add_timeout(5, self.reconnect)

def reconnect(self):
    """Will be invoked by the IOLoop timer if the connection is
    closed. See the on_connection_closed method.

    """
    # Create a new connection
    self._reconnecting = True
    self.connection = self.connect()

A: Since the consumers and producers were queuing - dequeuing from a particular queue, at a point PIKA Client just choked out due to the multiple asynchronous threading systems over the shared queue.
Thus, in case anybody else faces the same issue follow the several check ups in your code:

*

*How many connections are you having? How many channels? how many queues? How many producers- consumers? (These could be determined by the sudo rabbitmqctl list_queues etc )

*Once you understand the structure you are using, track the running transactions. For several requests by several users.

*Thus on each transaction, print the thread action, so that you understand the pika activities. Since these threads run in async, if overwhelmed wrongly, causes the pika client to crash. Thus create a Thread Manager to control the threads.
Solution was advised by Gavin Roy & Michael Klishin, from Pika & RabbitMQ respectively.

redpajama_set_name: RedPajamaStackExchange


The concept of "freedom" affects different people in different ways. I believe the reason for the varied instances freedom impacts us is because we each define freedom in ways that are meaningful to us. For some, "freedom" is the ability to leave a corporate job in favor of entrepreneurial pursuits. For others, freedom means being able to stay at home and raise their children. For still others, freedom can mean having an hour of downtime to use for taking a nap!
So, what does freedom mean to you? Is something in your life making you say, "If only . . ." If you can think of a response to finish that sentence, more than likely your response represents an area in which you desire freedom – whether it's freedom to do, freedom to stop doing; freedom to be or freedom not to be. Now, reflect on your response and answer this question: What says "freedom" to you? Do you desire financial freedom? Or maybe you need freedom from worry and fear? Do you need freedom from a habit – or a sin – that keeps bringing you down?
The Jewish leaders in Jesus' day had a warped view of freedom. By virtue of their connection to Abraham, these unbelieving critics claimed they had known freedom since birth and had never been enslaved. Sadly, the truth was not only had they known physical slavery, they were also slaves to sin. Their hatred and rejection of Jesus caused them to reject the truth concerning the reality of Him being God's Son and the promised Messiah. This rejection kept them enslaved to sin and enslaved to error – the antithesis of freedom.
Regardless of your area of need, the good news is that Jesus is the purveyor of true freedom! We don't have to be slaves to fear, doubt and unbelief. We don't have to mimic the behavior of the Pharisees and Sadducees and reject the Son of God. We can believe the gospel and receive the Lord's life-giving salvation – and thus experience the ultimate freedom. Thanks be to God, when we are born again, we are born free! Be Blessed.
All I can say is…all the above. There is so much confusion right now, just need the Lord. God bless.
freedom 2 me my sister is the acceptance of CHRIST'S antoning sacrifice 4 my sins , 4 whom the SON sets free is definitely FREE INDEED !!
FREEDOM 2 ME IS THE ACCEPTANCE OF JESUS CHRIST'S ATONING SACRIFICE 4 MY SINS; 4 WHOM THE SON SETS FREE IS TRULY FREE INDEED !


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The leader of the central islet of Lelcar, Wasil�s thankless job is to mediate between the factions on Lelcar, and their disagreeing leaders.
Lelcar is always divided on issues: Back during Arshtat�s reign, most of the people there followed the three major Senators: Godwin, Barows, or Rovere. After the death of the monarch, the factions split into Godwin supporters, Prince supporters, and neutrals. The central islet was Prince supporters, and thus, Wasil asks for the Prince�s aid to defend Lelcar from Zahhak drafting and taxing.
Wasil recognizes the Prince despite his incognito appearance, having viewed paintings of the family whenever he visited Rovere in Lordlake. The Prince agrees to protect Lelcar, and Wasil convinces Volga to let the Prince handle matters.
Wasil assists in defending Lelcar, and then subsequent evacuations. The three leaders of Lelcar support the Prince, and Wasil joins his army.
Wasil, unlike many people in Falena, was not on the side of any particular nobility, he was a royalist who supported Arshtat. Rovere was one of Wasil�s closest friends, and after the Lordlake uprising, Wasil petitioned the Queen to spare his life.


We hope that you find the Key Information booklet useful and that it provides you with the information you need for the new academic year. The booklet includes essential information including details of pick up locations, term dates and school meals.
Click on the document below to read the booklet.


The Martial Arts Illustrated Open Championsips 2010 took place on the 26th September 2010. The BCKA would like to thank all those who represented the club at the championships. Congratulations to all fighters who competed.


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Alicia Vikander is Lara Croft in the reboot of the Tomb Raider. Before anyone criticizes her performance, Vikander won an Academy Award for her supporting role in the movie "The Danish Girl." She is known for Ex Machina," "The Man from U.N.C.L.E.," and "Jason Bourne." She went to extensive training to buff up her muscles to be Lara Croft.
Alicia is tiny as 5"5' she had put on 12 pounds of muscles to become the famous Tomb Raider. Her Trainer Magnus Lygdback transforms her body three months before she started filming the upcoming movie.
Lara Croft is the fiercely independent daughter of an eccentric adventurer who vanished years earlier. Hoping to solve the mystery of her father's disappearance, Croft embarks on a perilous journey to his last-known destination — a fabled tomb on a mythical island that might be somewhere off the coast of Japan. The stakes couldn't be higher as Lara must rely on her sharp mind, blind faith and stubborn spirit to venture into the unknown. Running time is 120 minutes or 2 hours.
As one may know The Big Bang Theory was name favorite comedy on CBS, it's a hilarious show and I still watch it on reruns in the middle of the night. Also, Kaley Cuoco hosted the show. Did anyone know she was in the R.L. Stine's Nightmare Room series back in 2001 when she was a teenager? The show was like The Twilight Zone a collection of short stories. She opened the show doing parodies of various movies and TV shows that was nominated for that night. They had three performers on the show, and they were Christina Aguilera, Jason Aldean and Alicia Keys.
When Taylor Swift presented, she wore a white floor length Ralph Lauren gown with a plunging neckline, is this how she gets a man and later dumps them within 3 months of dating and then writes a song about the relationship, maybe she could write a song about her dress. I like her and I have her album. It may make the best dress for the night.
The "Hunger Games" was named favorite movie, action movie and movie franchise, and stars Jennifer Lawrence, Chris Hutcherson and Liam Hemsworth had fans' favorite on-screen chemistry. Lawrence also won favorite movie actress and "face of heroism." By the way, Jennifer Lawrence wore a glittering silver and black gown that made her look as if she had stepped out of a sci-fi movie. She was gorgeous.
Olivia Munn in a tiered black and white dress that screamed "picnic" and the beautiful Kristin Kreuk looked beautiful in a two-tuned peach outfit.
Congratulation went to Jimmy Fallon for Late Night talk show host he is hilarious to watch late night.
Even though, Jennifer Aniston won for Comedic Actress, she was funny on the Jimmy Kimble show for a few minutes on the show the night before, but I switch back to the Jay Leno show, he had Emma Stone. She is hot, beautiful and young.


text:
"The Story Is Just an Excuse": An Interview with Adoor Gopalakrishnan
Adoor Gopalakrishnan
Adoor Gopalakrishnan is a household name for cinema lovers in India and in Indian households around the world. Over the last forty years he has created a personal body of work that is among the richest of his generation, films set in his native Kerala in the Malayalam language that are regionalist yet universal. "Among the many," wrote Professor Peter L. Attipetty, "he is alone and his films are exceptional." Gopolakrishnan has won the prominent National Award of India nine times, the Smithsonian Institution in Washington, D.C. has presented him at a retrospective as the "Poet Laureate of Indian Cinema," and he has been decorated with the Légion d'honneur and the Commandeur de Ordre des Arts et des Lettres in France.
Few of his films or documentaries are available in DVD in English-speaking countries.1 Although they evince the quietism of Ozu and the naturalism of Satyajit Ray, and they often protest injustices, his films are also lyrical and poetic and not easily compared to other filmmakers. "Like Kirarostami, Gopalakrishnan is a master of the unsaid," wrote Mark Cousins in Sight & Sound; his films are like "silent screams."
Among those available in DVD is the third of his eleven features, Rat-Trap (Elippathayam, 1981), which concerns a wealthy aristocrat who is trapped by his own manipulations. Shadow Kill (Nizhalkkuthu, 2002) depicts the inner doubts of a state hangman in the kingdom of Travancore (later part of Kerala) in 1941. Four Women (Naalu Pennungal, 2007) tells the story of four archetypal women under class or societal constraints at different periods in Kerala history. (His documentary explorations of the Kathakali style of classical dance theater can be found in extracts on YouTube.
In the U.S. recently to take part in the Maximum India Festival at the Kennedy Center, Gopalakrishnan passed through Milwaukee to speak at the Milwaukee Area Technical College.
Cineaste: Can you tell me a little bit about the Malayalam culture and the Kerala state in India?
Adoor Gopalakrishnan: "Mala" means "the hills." "Alam" is derived from the word Azhi, meaning the sea. It is the land between the hills and the sea. Over time the whole culture became known as Malayalam and that became the name of the language as well.
What happened some time ago is that there was a reorganization of the Indian states on the basis of the languages spoken. We used to have something like 350 princely states in the whole country. Some of the languages and culture had deteriorated, but on the basis of languages and culture and geographical contiguity some areas were joined together—in the South, for example, the area where Tamil was spoken and so it became the Tamil state. Mostly in the northern parts they spoke Hindi—and other languages—but Hindi was the most common. Hindi along with English was the national, universal language. Growing up, everyone in a state had to study three languages—your mother tongue, English, and Hindi. In the South we studied these three languages but in the North they did not study a third language, Malayalam. They studied only Hindi and English.
Kerala is the southernmost part of India, a narrow strip of land on the Arabian coast sea. It's between the hills and the sea, very fertile land with a high concentration of population. It is the most literate state in India. We have Hindus, Christians, and Muslims living together; forty percent are Hindus; each of the others represent thirty percent each. We even had a small Jewish population for a long time. We have a great tradition of living in harmony because there has never been an incursion from the outside and a forcible conversion from one religion to another; these kinds of things happened in the northern regions, but never in Kerala, which is insulated because of the hills and the sea.
We had more contact with the rest of the world. Kerala used to be known as the Malayalam Coast. It used to be a destination in the old days for Europeans, for travel, and for muslin clothing, for example. It was a stopover when people traveled from China on the spice trail. Over the years there has been a lot of cross-fertilization of cultures, languages, and ideas.
It's a very modern state also. If you travel in Kerala now the whole state is almost like one contiguous living place. You almost cannot separate one city from the next; there has been an even growth everywhere. We have modern-day amenities and facilities everywhere—electrification, transportation, telecommunications, roads, social services, health care.
In terms of living standards the South is far ahead of the rest of the country. In Kerala we don't really have homeless or very poor people, for example. Wages are high, people have jobs. Kerala happens to have been the first state with a local Communist government and even today Communists are often involved in the coalitions.
Cineaste: You started out making documentaries. You don't make as many anymore, do you?
Gopalakrishnan: In the beginning I used to make films on every subject that came my way. In the last few years I have been concentrating on documentaries with subjects that have to do with theater or the classical art forms of Kerala. I don't do many other documentaries anymore but I enjoy the ones I do make because I learn a lot in the process. The research is always very exciting. To learn how or why a particular form of art or theater has advanced in Kerala, how it reached today's growth, this is really exciting for me. In between feature films there are long intervals and so I always make these other kinds of films as a change of pace. And it refills my creative energies.
Making documentaries has influenced me in many ways. In the beginning it was for me almost like being a one-man unit. I used to do my own camerawork. I used to do my own sound. I used to do everything. That kind of discipline and learning helped me.
Documentaries also have affected the reason why in my fictional films I don't like to fake any reality. I try to be truthful. What I am saying in the film may have many levels of interpretation, but I always say that at one level, at the basic level, the film has to be real document of the period, a real place, and people at a certain time in history. Maybe that has come from the documentary experience.
I am not interested in creating a reality that engages the audience just on its surface. I want the audience to explore beneath the surface. I have learned, for example, that holding a shot makes the audience watch more closely what is going on within the frame. In a moving shot, the movement itself becomes important, not always what you are seeing within the frame. The moment you start holding the shot, for some length of time, you start to notice the texture, the composition, and so many other things.
Cineaste: So you prefer static shots?
Gopalakrishnan: Not necessarily. It depends on what I am shooting. Of course I do try to keep the camera moving, but not so much that the audience is watching it. I don't want them to see that my camera is moving. I want them to watch the scene, not the camera movement.
Cineaste: Has the impulse towards truthfulness and real documents always been present in your film work?
Gopalakrishnan: Always from the very beginning—in film. I used to do plays before film. I used to write, perform, and produce plays in my high-school and college days. I had a job also, for a short period. I gave up all that to join the Pune Film Institute, the national film school, when it was started in 1961. This was the first film school in the whole country. I joined the second year. When I passed out of the school in 1965, I realized it was impossible for me to make the kinds of films I wanted to make right away. The traditional way would have been to apprentice myself to someone for years and then slowly, if one is lucky, one gets a chance to make a film. I made documentaries during that period instead, and it took seven years for me to make my first feature [One's Own Choice (Swavamvaram, 1971-2)].
During that period I also started a film-society movement in Kerala. We got outstanding films from other countries and from our own country and we showed them to young people who were interested in the cinema. The film society movement started as a low-budget escape but it inspired many young people to go and study cinema and then make their own films.
Cineaste: Wasn't the impulse towards realism or truthfulness at odds with your theater background? Your films certainly are not very theatrical or stylized.
Gopalakrishnan: When I entered the Pune Film Institute I stopped doing theater and left that behind. But it was important and good for me that I did theater before I did cinema; I learned exactly where theater stopped and where film started.
Film is perhaps innately more realistic than theater. Theater can be realistic too but it has a different vision of reality. The whole thing is different. If you put a piece of furniture on the stage, it takes on a meaning different from that of a mere object of daily use. Everything is difficult in theater—sound, for example, is different in the theater—while everything is possible in the medium of cinema and nothing is taken for conventional and attributed meanings.
Cineaste: Were you influenced from the beginning by particular filmmakers that you had watched in school or in the film society years?
Gopalakrishnan: There have been many because I studied cinema very formally and watched films from Méliès down to all the great masters. I cannot pick out one or two influences.
Cineaste: The Italian neorealists?
Gopalakrishnan: Yes, but my films do not belong to neorealism, not at all.
Cineaste: Do they belong to any school?
Gopalakrishnan: No, I don't think so, because my reality—the way I experience reality—is different from others. I cannot transplant someone else's ideas or traditions. The more I watched the great masters, the more I understood you have to have your own way of looking at reality. Your salvation lies in that. Not imitating, not following someone else. All the great masters have taught us how to look at reality, but when each looked at reality their own way, their films become very personal statements.
Cinema has a lot to do with one's own culture—my culture in my case. I'm not just telling a story. It's beyond that. The story is just an excuse. I am trying to make the audience experience many things—not just that one thing—the story. The story is just an excuse to keep the audience inside the hall. Of course there has to be this element of the audience wanting to know what happens next. That's why they stay. Otherwise they'll walk out. The story is what keeps them sitting. But my primary goal is for the audience to share the experience I want to give them, hopefully an experience on many levels.
Cineaste: Does the humble way of life, the village life, still exist in Kerala as is depicted, for example, in your films Shadow Kill and Four Women?
Gopalakrishnan: Those films take place in the 1940s, the British period. Then there were very few amenities. In Four Women, for example, I show a very waterlogged area of Kerala. Transportation in the country in those days was by boats. Now things have changed, to a great extent.
Cineaste: You seem very attuned to the rituals of the period.
Gopalakrishnan: In some ways. I have to be faithful to the period and those films are documents of that period. Very truthful documents—I'm proud of that. And the rituals are very important. Shadow Kill is about the ritual of killing someone, and in Four Women, for example, the coming-of-age or fertility ritual for young women is also very important. That's the whole point of one story in that film, because with the coming of age the relationships change in that house—suddenly the father becomes protective of his daughter; her older sister becomes jealous and selfish; and the brother-in-law sees another man in the picture. The relationships change. The fertility ritual is really important because the lives of the women depend on those relationships—on marriage and the coming of age. The fertility ritual becomes the real ground for the story to take place.
Cineaste: I cannot help but notice that you prefer to set the stories of your films in the past.
Gopalakrishnan: My films are devoted to the period I have lived through, yes. I would find it harder to make a contemporary film because I feel you have to have had the perspective of living through a particular time. I don't know what I think about something until I have gone through the experience and some time has passed.
The farthest back I have gone is the 1940s, not before, because I was born in the Forties and I grew up in the Forties, so I am physically depicting things I really knew, things I've seen and heard and experienced.
Cineaste: So the films are always, in some sense, autobiographical.
Gopalakrishnan: I suppose so.
Cineaste: Are the actors in your films always professionals?
Gopalakrishnan: I use both, professionals and nonprofessionals. The casting is done on the basis of whether the particular actor will look like the character or the role, not based on his fame or popularity. A popular actor can be harmful because some of them have only been seen in a certain mould. If you try to break the mold that can be a problem—for the actors also—if they have been doing a certain type all their life it can be difficult asking them to change too much.
Normally, if I do not know an actor, I cast him in a small role first, see what he does and if he's good. If I find that he is responsive and can do what I want him to do, then I cast him in a bigger role. With nonprofessional actors I don't cast them in the main roles of course. If I see them somewhere—on the stage or in other films or even sitcoms—and their look is right.
Cineaste: Do you cast people from seeing them on the street or at the market in town, for example?
Gopalakrishnan: I've done that also. Many people come to me, in fact, often when I'm between films, to ask for a role in my next film. I tell them to come back when I'm ready—but only if they have the right look.
Cineaste: Do actors sometimes contribute anything to the ideas in the script? In the case of Four Women, for example, because it is all about women's lives, I wonder if the actresses contributed anything to the content of the scenes, either in discussion or improvisation.
Gopalakrishnan: I don't want actors to interpret a role on their own. What the actor thinks might lead to a clash of styles. I ask them to follow the script specifically. No improvisation.
Cineaste: I notice that you are rather stingy with music in your films, or that music doesn't play that big a role unless it is integrated into a scene, with characters playing instruments for example. Is that a reaction to Bollywood?
Gopalakrishnan: I don't use music too much, no. I don't use it to heighten a scene. I might use it as a theme, or a leitmotif. But I don't score music under everything on the screen. I don't believe in that. Music can really hurt you unless you use it with real restraint.
In general sound can contribute a lot. You can listen to so many other alternative sounds in one of my films. And silence also can be effective. In the commercial films, from frame one to frame last, there is a score. People have gotten used to hearing music all the time. Where they don't hear a diagrammed score they think something must be wrong. They grow restless. This is the sad part.
Cineaste: The colors of nature are so lush in your films, sometimes in contrast to the humble lives of the people. Do you put a lot of thought into the color scheme?
Gopalakrishnan: One has to think about the colors. You can't always allow the predominant color to be green, for example. And there are many, many shades of green. In fact there are two main monsoons in Kerala, and during the monsoon you see so many shades of green. I love that. I have shot one entire film [Man of the Story (Kathapurushan, 1996)] during the monsoon because everything is so clear and clean—just waiting for the rains to stop and then shooting. I wanted to catch the many shades of green.
Cineaste: Is there a big tradition in Kerala of noncommercial filmmaking, or are you pretty much the tradition?
Gopalakrishnan: [Laughs] There were other filmmakers in Kerala before me but they were not off-beat like me. They were trying to do better films in the framework of the commercial cinema. Their films were not a departure from anything. In the beginning, my films were seen as a departure from what had been there before.
Cineaste: Who is the intended audience of your films? How are they distributed inside India?
Gopalakrishnan: They are mainly shown in Kerala, but Kerala has a huge population. We have thirty million people and an educated audience and something like 4,500 cinemas. There are a number of big commercial houses in a number of cities all over India where they also can be shown with subtitles for non-Malayalam speaking people.
Cineaste: In how many other languages are your films subtitled or dubbed within India?
Gopalakrishnan: Just English, because almost everyone in an educated audience understands English, and they are the people who go to see this kind of film. There is a whole lot of the other kind of cinema, the popular cinema, where they sing songs and dance dances and there is nonstop action. Those are the big Bollywood kind of films, which is not cinema.
Cineaste: How do you define your cinema?
Gopalakrishnan: It is a very personal kind of cinema, which tries to communicate with good audiences anywhere, everywhere.
Cineaste: After Kerala are the metro cities scattered throughout India a good market for you?
Gopalakrishnan: Yes—or I should say, it is a developing market. We also get media exposure on national television.
Cineaste: After the films have been shown theatrically?
Gopalakrishnan: Yes, until recently. They used to show "The Best of India" on national television, but for the time being this has stopped. National television also wants to make more money, and they feel these kinds of films don't make enough money, even on national television, which is run by the government. They think they don't get as many advertisements as they do with the other kind, the big films, the more commercial films.
Cineaste: It doesn't sound as though the "parallel cinema" is very healthy in India.
Gopalakrishnan: I don't promote that term. I don't encourage people to say "parallel cinema." I don't make "parallel cinema." I just make cinema. It's a journalist's coinage. You may as well call it "off-beat cinema," because we have no real "parallel" way to screen our films to audiences. We depend entirely on the same cinemas where they show the commercial films to the masses.
Cineaste: Really?
Gopalakrishnan: There is nothing like a parallel distribution.
Cineaste: There's no such thing as an art house?
Gopalakrishnan: We don't have art houses. We say art-house films because that is the term used, but there are no art houses.
Cineaste: So a theater in a metro area might show your film one week and a Bollywood film the next?
Gopalakrishnan: Yes. Bollywood and all kinds of films like Bollywood, because other regions make all kinds of bad films too. Each region produces its own bad films, which are very popular with audiences, which follow the ballads of its local heroes and stars. The so-called Bollywood of Bombay—that's the commercial cinema of Bombay—they don't even produce thirty percent of the total production of the films made in India. The bulk of the production comes from the South in four different languages—Malayalam, Tamil, Telagu, and Kannada. Those are not Bollywood but the bulk of them are bad films often very much like Bollywood.
Our films are indeed small films by comparison. It's very difficult to make our films because we don't get the same size audiences. The audience is complexly conditioned by the other kind of cinema. For them, cinema means all those things that we consider nonessentials—singing, dancing, action. The nonessentials become essentials in those films.
Cineaste: Personally, do you struggle to reach an audience?
Gopalakrishnan: I do, but my struggle is not very difficult now because I have made so many films and I have a certain reputation. It's not extremely difficult for me to get financing, and normally people don't lose money on my films. Most of the other small films do badly perhaps, but mine cover the costs and are sometimes profitable. I have faithful audiences.
Cineaste: What's a typical budget for one of your films?
Gopalakrishnan: It varies. I don't work on so-called shoestring budgets, because I always say I don't want a big budget or a small budget, I want the right budget. I prefer to make my films the way I want to make them and I always have. I never compromise on the film because I don't have the right amount of money.
Cineaste: What was the budget of your last picture, for example?
Gopalakrishnan: Ten million rupees. A typical Bollywood picture, by comparison, might cost three hundred million rupees, but some cost ten times more than that.
Cineaste: Do you have to go outside Kerala to get financing?
Gopalakrishnan: It's always possible to get financing in Kerala. Four Women actually was a production of my own because I was doing it also as a program for national television. Shadow Kill was a coproduction with France because there are certain advantages to French collaboration. The film is then released in France and Europe.
Cineaste: What's your best market outside of India?
Gopalakrishnan: It depends. Each film is different. Some films do well outside of India, other films don't.
Cineaste: What are you working on now? Have you decided on the subject of your next film?
Gopalakrishnan: I don't know. I'm not settled on anything yet. It takes a long time for me to decide on an idea. I ask myself, is it a transient subject? Or is it an idea that will have standing value beyond the time when the film is made? I ask myself these kinds of questions over and over before I even start writing a script. An idea has to be very strong, strong enough to sustain and carry me along this whole process of making a film. For myself, it also has to be something new, not repeating something that I've done before, because for me, films are both ruminations and discoveries.
Shadow Kill is distributed by the Global Film Initiative. Rat-Trap and The Man of the Story (The Protagonist) are distributed by Second Run DVD.
Patrick McGilligan is the author of numerous books, including, most recently, Backstory 5: Interviews with Screenwriters of the 1990s and Nicholas Ray: The Glorious Failure of an American Director.


text:
Q: C program compilation woes When this code is compiled the resulting calculations for the Total and Average sections are displaying varying results other than shown below. I have displayed below in this question what the results should look like. However if you click on the link provided to IDEone you can see the results I am getting from my code. My question is what needs to change in my code to achieve the correct outcome?

Name            Clock#   Wage   Hours     OT     Gross
---------------------------------------------------------
Connie Cobol    098401   10.60   51.0    11.0    598.90
Mary Apl        526488    9.75   42.5     2.5    426.56
Frank Fortran   765349   10.50   37.0     0.0    388.50
Jeff Ada        034645   12.25   45.0     5.0    581.88
Anton Pascal    127615   10.00   40.0     0.0    400.00
---------------------------------------------------------

Total:                          215.5    18.5    2395.84
Average:                         43.1     3.7    479.168

Link to Ideone Here
#include<stdio.h>

/* Define Constants */
#define NUM_EMPL 5
#define OVERTIME_RATE 1.5f
#define STD_WORK_WEEK 40.0f

struct employee
{
char first_name[20];
char last_name[20];
long clock_number;
float wage_rate;
float hours;
float OT;
float gross;
float total_hours;
float avg_hours;
float total_OT;
float avg_OT;
float total_gross;
float avg_gross;
};

/* define prototypes here for each function except main */
void Get_Input (struct employee [NUM_EMPL]);
void Gross_pay_calc (struct employee [NUM_EMPL]);
void Output_results_screen (struct employee [NUM_EMPL]);
void Total_and_Avg (struct employee [NUM_EMPL]);

/*************************************************************************/
/* Function: Output_results_screen */
/* */
/* Purpose: Outputs to screen in a table format the following */
/* information about an employee: Clock, Wage, */
/* Hours, Overtime, and Gross Pay. */
/* */
/* Parameters: employeeData - an array of structures containing */
/* employee information */
/* */
/* Returns: Nothing (void) */
/* */
/************************************************************************/

void Output_results_screen (struct employee employeeData[NUM_EMPL])
{
int idx; /* loop index */

        printf ("\n\tGeorge Smith, C Programming, Fifth Homework Assignment\n\n");
        printf ("\t----------------------------------------------------------\n");
        printf ("\tName            Clock#  Wage    Hours    OT      Gross\n");
        printf ("\t----------------------------------------------------------\n");

/* printf information about each employee */
for (idx = 0; idx < NUM_EMPL ; ++idx)
{
        printf("\t%s %s \t%06li \t%5.2f \t%4.1f \t%4.1f \t%6.2f \n",employeeData[idx].first_name, employeeData[idx].last_name, employeeData[idx].clock_number, employeeData[idx].wage_rate, employeeData[idx].hours,employeeData[idx].OT, employeeData[idx].gross);
} /* for */
        printf ("\t----------------------------------------------------------\n");
        printf ("Total: \t\t\t\t\t%5.1f \t%5.1f \t%5.2f\n",employeeData[idx].total_hours, employeeData[idx].total_OT, employeeData[idx].total_gross);
        printf ("Average: \t\t\t\t%5.1f \t%5.1f \t%5.3f", employeeData[idx].avg_hours, employeeData[idx].avg_OT, employeeData[idx].avg_gross);
} /* Output_results_screen */

/*function for user input*/
void Get_Input (struct employee employeeData[NUM_EMPL])
{
     int idx; /* loop index */

     /* printf information about each employee */
     for (idx = 0; idx < NUM_EMPL ; ++idx)
     {
         printf("\nEnter hours worked for employee %06li : ",employeeData[idx].clock_number);
         scanf("%f",&employeeData[idx].hours);
     }
}
/*function to calculate overtime and gross pay*/
void Gross_pay_calc (struct employee employeeData[NUM_EMPL])
{
     int idx; /* loop index */

     /* printf information about each employee */
     for (idx = 0; idx < NUM_EMPL ; ++idx)
     {
         if (employeeData[idx].hours <= STD_WORK_WEEK)
         {
            employeeData[idx].OT = 0.0;
            employeeData[idx].gross = employeeData[idx].wage_rate * employeeData[idx].hours;
         }

          else if (employeeData[idx].hours > STD_WORK_WEEK)
          {
            employeeData[idx].OT = employeeData[idx].hours - STD_WORK_WEEK;
            employeeData[idx].gross = (STD_WORK_WEEK * employeeData[idx].wage_rate) + (employeeData[idx].OT * (OVERTIME_RATE * employeeData[idx].wage_rate));
          }

     }
}

/*function to calculate overtime and gross pay*/
void Total_and_Avg (struct employee employeeData [NUM_EMPL])
{
int idx; /* loop index */
float total_hours=0;
float avg_hours;
float total_OT=0;
float avg_OT;
float total_gross=0;
float avg_gross;
/* printf information about each employee */
     for (idx = 0; idx < NUM_EMPL ; ++idx)
{
    total_hours+= employeeData[idx].hours;
    avg_hours= total_hours/employeeData[idx].hours;
    total_OT+= employeeData[idx].OT;
    avg_OT= total_OT/employeeData[idx].OT;
    total_gross+= employeeData[idx].gross;
    avg_gross= total_gross/employeeData[idx].gross;
}
}

int main()
{
/* Variable Declaration and initialization */
struct employee employeeData[NUM_EMPL] = {
{"Connie", "Cobol", 98401, 10.60},
{"Mary", "Apl", 526488, 9.75},
{"Frank", "Fortran", 765349, 10.50},
{"Jeff", "Ada", 34645, 12.25},
{"Anton", "Pascal", 127615, 8.35}
};

/* Call various functions needed to reading, calculating, and printing as needed */
Get_Input(employeeData);
Gross_pay_calc(employeeData);
/* Function call to output results to the screen in table format. */
Output_results_screen (employeeData);
Total_and_Avg (employeeData);
return(0); /* success */

}; /* main */

A: Why do you have:
float total_hours;
float avg_hours;
float total_OT;
float avg_OT;
float total_gross;
float avg_gross;

inside struct employee ?
If I understand your design, then these are numbers that you only want one copy of each, and you update that single set of numbers based on every employee.
The code in the Total_And_Avg function makes no sense at all, because you are just updating local variables which you never return (so they are lost).
Your garbage output comes from the line:
printf ("Total: \t\t\t\t\t%5.1f \t%5.1f \t%5.2f\n",
  employeeData[idx].total_hours, [...]

because at this point idx has gone off the end of the loop, so you are reading from invalid memory.
Also, you call Output_results_screen before you call Total_and_Avg so even if you did that right you would still get garbage.
You need a major design re-think.  I'd start by removing those bogus variables from struct employee. Then you will have to do something with the variables in Total_and_Avg.  It would be easiest to just output them at the end of that function, moving the last 3 lines of Output_results_screen into Total_and_Avg.
If you want to use a different function to calculate totals than to display totals, you will have to ensure those variables are visible in both.  One way to do that would be to put those variables into another struct, which you create in main() and pass by reference to both Total_and_Avg and Output_results_screen.
Finally, your calculations in the Total_and_Avg function are very wrong.  Once you fix your program structure so that you can properly display these results, then you can try again to get them right. Think about how you'd work out the totals and averages on paper, and then try to make your code reflect that.

A: take this: it shows right  results, your code is not wrong you are just mis-using stuff
#include<stdio.h>

/* Define Constants */
#define NUM_EMPL 5
#define OVERTIME_RATE 1.5f
#define STD_WORK_WEEK 40.0f

struct employee
{
char first_name[20];
char last_name[20];
long clock_number;
float wage_rate;
float hours;
float OT;
float gross;
//float total_hours;
//float avg_hours;
//float total_OT;
//float avg_OT;
//float total_gross;
//float avg_gross;
};

struct total
{
float total_hours;
float avg_hours;
float total_OT;
float avg_OT;
float total_gross;
float avg_gross;
}total_calc;

/* define prototypes here for each function except main */
void Get_Input (struct employee [NUM_EMPL]);
void Gross_pay_calc (struct employee [NUM_EMPL]);
void Output_results_screen (struct employee [NUM_EMPL]);
void Total_and_Avg (struct employee [NUM_EMPL]);

/*************************************************************************/
/* Function: Output_results_screen */
/* */
/* Purpose: Outputs to screen in a table format the following */
/* information about an employee: Clock, Wage, */
/* Hours, Overtime, and Gross Pay. */
/* */
/* Parameters: employeeData - an array of structures containing */
/* employee information */
/* */
/* Returns: Nothing (void) */
/* */
/************************************************************************/

void Output_results_screen (struct employee employeeData[NUM_EMPL])
{
int idx; /* loop index */

        //printf ("\n\tGeorge Smith, C Programming, Fifth Homework Assignment\n\n");
        printf ("\n\t----------------------------------------------------------\n");
        printf ("\tName            Clock#  Wage    Hours    OT      Gross\n");
        printf ("\t----------------------------------------------------------\n");

/* printf information about each employee */
for (idx = 0; idx < NUM_EMPL ; ++idx)
{
        printf("\t%s %s \t%06li \t%5.2f \t%4.1f \t%4.1f \t%6.2f \n",employeeData[idx].first_name, employeeData[idx].last_name, employeeData[idx].clock_number, employeeData[idx].wage_rate, employeeData[idx].hours,employeeData[idx].OT, employeeData[idx].gross);
} /* for */
        printf ("\t----------------------------------------------------------\n");
        printf ("Total: \t\t\t\t\t%5.1f \t%5.1f \t%5.2f\n",total_calc.total_hours, total_calc.total_OT, total_calc.total_gross);
        printf ("Average: \t\t\t\t%5.1f \t%5.1f \t%5.3f", total_calc.avg_hours, total_calc.avg_OT, total_calc.avg_gross);
} /* Output_results_screen */

/*function for user input*/
void Get_Input (struct employee employeeData[NUM_EMPL])
{
     int idx; /* loop index */

     /* printf information about each employee */
     for (idx = 0; idx < NUM_EMPL ; ++idx)
     {
         printf("\nEnter hours worked for employee %06li : ",employeeData[idx].clock_number);
         scanf("%f",&employeeData[idx].hours);
     }
}
/*function to calculate overtime and gross pay*/
void Gross_pay_calc (struct employee employeeData[NUM_EMPL])
{
     int idx; /* loop index */

     /* printf information about each employee */
     for (idx = 0; idx < NUM_EMPL ; ++idx)
     {
         if (employeeData[idx].hours <= STD_WORK_WEEK)
         {
            employeeData[idx].OT = 0.0;
            employeeData[idx].gross = employeeData[idx].wage_rate * employeeData[idx].hours;
         }

          else if (employeeData[idx].hours > STD_WORK_WEEK)
          {
            employeeData[idx].OT = employeeData[idx].hours - STD_WORK_WEEK;
            employeeData[idx].gross = (STD_WORK_WEEK * employeeData[idx].wage_rate) + (employeeData[idx].OT * (OVERTIME_RATE * employeeData[idx].wage_rate));
          }

     }
}

/*function to calculate overtime and gross pay*/
void Total_and_Avg (struct employee employeeData [NUM_EMPL])
{
int idx; /* loop index */
float total_hours=0;
float avg_hours;
float total_OT=0;
float avg_OT;
float total_gross=0;
float avg_gross;
/* printf information about each employee */
     for (idx = 0; idx < NUM_EMPL ; ++idx)
{
    total_hours+= employeeData[idx].hours;

    //avg_hours= total_hours/employeeData[idx].hours;

    total_OT+= employeeData[idx].OT;

    //avg_OT= total_OT/employeeData[idx].OT;

    total_gross+= employeeData[idx].gross;

    //avg_gross= total_gross/employeeData[idx].gross;

}
avg_hours = total_hours/NUM_EMPL;
avg_OT = total_OT/NUM_EMPL;
avg_gross = total_gross/NUM_EMPL;

total_calc.total_hours = total_hours;
total_calc.avg_hours = total_hours/NUM_EMPL;
total_calc.total_OT = total_OT;
total_calc.avg_OT = total_OT/NUM_EMPL;
total_calc.total_gross = total_gross;
total_calc.avg_gross = total_gross/NUM_EMPL;
}

int main()
{
/* Variable Declaration and initialization */
struct employee employeeData[NUM_EMPL] = {
{"Connie", "Cobol", 98401, 10.60},
{"Mary", "Apl", 526488, 9.75},
{"Frank", "Fortran", 765349, 10.50},
{"Jeff", "Ada", 34645, 12.25},
{"Anton", "Pascal", 127615, 10.0} // 8.35
};
//total total_calc;

/* Call various functions needed to reading, calculating, and printing as needed */
Get_Input(employeeData);
Gross_pay_calc(employeeData);
/* Function call to output results to the screen in table format. */
Total_and_Avg (employeeData);
Output_results_screen (employeeData);

return(0); /* success */

}; /* main */