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Home » COMMUNITY » In Conversation with Filmmaker, Jeremy Frindel, The Doctor From India
In Conversation with Filmmaker, Jeremy Frindel, The Doctor From India
We recently chit-chatted with Jeremy Frindel, director of the 2012 documentary, One Track Heart: The Story of Krishna Das about his new film, The Doctor From India. A poetic documentary about the pioneering work of Ayurveda Physician and Educator, Dr. Vasant Lad, BAM&S, MASc.
Frindel's immersive portrait shares Dr. Lad's journey in bringing Ayurveda, a holistic-based healthcare system, to the United States in the late 1970's. Documenting Dr. Lad's life from childhood to present day, the film includes interviews with Deepak Chopra and longtime friend, Ayurveda physician Dr. Robert E. Savboda. Frindel's meditative documentary brings new light to Ayurveda and captures the accomplishments of a doctor and healer with a humanitarian spirit.
Q & A with Jeremy Frindel
Rumin Jehangir (RJ): Hi, Jeremy. I am so excited to be talking with you today. Thanks for taking the time. I thought we could just jump right into the questions. I'd love to hear how this film came about. How were you introduced to Dr. Lad, were you a student of Ayuverda?
Jeremy Frindel(JF): I knew pretty much zero about Ayurveda going in. I was, through a series of circumstances, brought to a retreat, through the teachings that Dr. Lad was giving at the Ananda Ashram. Which is in upstate New York. Not too far from where I live. I knew a little bit about Dr. Lad. What I knew going into that {the retreat} was that a friend of mine who had been incredibly sick, who was a very strong person and for years couldn't figure out what was going on, in and out of hospitals and doctors. Nobody could figure out what was wrong with her. She saw Dr. Lad. He read her pulse, gave her a few herbs and told her to change some things in her diet and within two weeks what doctors couldn't figure out for years, he cleared up. And she's been fine and the problem hasn't arisen since. So that made a pretty strong impression on me.
Before that, years earlier, a friend of mine told me how she was going to India to study with this man named Vasant Lad, and how he spent half of his year in India treating villagers for free and giving them free medicine. And that she was going to learn with him and help him in that. Which I thought was incredible. And she came back glowing from the experience.
So those are the only two things I knew about him, which had me pretty intrigued but I was mostly unfamiliar. So I went to this retreat. I was kind of tired of going to listen to the same quote, unquote yoga teachers that I'd spent years hearing with on the circuit. I studied for a long time with Dharma Mittra and traveling with Krishna Das.
I felt kind of like I'd heard it all and was a little bit fatigued of the whole routine. And then I walked in the room with Dr. Lad and was just totally blown away. He just moved me instantly and for the week I was pretty much transfixed with him. I was lucky and was able to get a sort of private consultation with him where he read my chart, jyotish, my Vedic astrology chart. It was just a really powerful experience for me.
Normally when I'm anywhere I'm always looking for stories and films and you know, I'm at the grocery store and I get an idea for film, I kind of sweat these ideas and somehow it didn't cross my mind at all to make a film about Dr. Lad until the very final, puja, closing ceremony of the week. This man came and sat next to me named Sartaj and we started talking and we really hit it off.
And somehow in the conversation with him, it just sort of came through. Like oh, you need to make a film about Dr. Lad. After hearing Dr. Lad telling stories about his life and just the depth of wisdom, I was incredibly intrigued by him. It felt like I wanted to know more about him. I felt like there was something really meaningful to share by exploring his life and trying to bring it through in a film. Sartaj knew about the film I had made about Krishna Das. Sartaj also knew Dr. Lad. So within a couple of months, Sartaj had called Dr. Lad, asked him about us making the film. I sent him the film I made about Krishna Das. Dr. Lad agreed. He felt like it would be a nice way to share his life's work. A couple months later I had a camera and I was traveling in India with Dr. Lad and had begun filming.
RJ: Wow! That's amazing. I feel like that's such a blessing because as you know, Dr. Lad is a private person. Haven taken two intensives with him and talking to some of his regular students at the Ayurvedic Institute in New Mexico, even the people who work with him day in and day out, don't seem to know much about his private life. And so that was one of…I think that's one of the gifts of the film. As a student {of his}, you already know that he lives the life he's talking about. You see that in every sense of his movement and his being. But then to go in and see his personal space it just gives you this whole other level of insight….You were in his bedroom in India. I mean I was like oh, my god! How did that happen? How did you build up that trust with him? First of all, how long did it take you to make this? When did you first go to India?
JF: I should have that year down in my mind but I don't. I think it was 2013 or 2014. It was a while ago. He's private and it was interesting for me. One, it was definitely a process of building trust. You know, I think this is kind of the same thing with Krishna Das. For the first six months or so that I filmed, I don't think barely any of it ended up in the film. It's almost just like a process of me getting to know him, the subject, and just building a rapport. Me, learning more about the world and where I want to focus my attention and just really building a relationship and a trust. So that there's a certain invisibility that can start to grow with the camera.
I sort of fade into the general atmosphere of what's going on and you start to forget to some extent that there's a camera recording you. To whatever extent I can create that environment that's definitely something I'm trying to cultivate. And with Dr. Lad it was like a bit of a process of just building that…definitely trust is a part of it but just like a general comfort level.
I think part of why maybe he opened up to me in a different way than he does with his students often is because I wasn't a student. I was coming in from a bit of a different angle. I think there's a different expectation in the teacher-student relationship. So I think I was maybe coming in like a bit a of a side door that just created a different opening there.
I found it really interesting getting to know his students over the years of being around students who had studied with him for years but knew so little about his personal life from the sort of love story with his wife, Usha, to some sort of like key details of how he became who he is. Things to me that were like sort of foundation parts of his story that very few people knew. Which I found fascinating that people who'd kind of given up their lives to study with him who knew the experience of him but knew so little of his story. So for me, it's really exciting to be able to share that because his story really is profound. I think very moving and so few people know it which I kind of sensed that a little bit.
I spent many years traveling around meeting all kinds of different yoga teachers and sort of spiritual teachers and while Dr. Lad is very, you know, successful and well known. In the world of Ayurveda, he's a legend. He's not all that well known in the larger sphere, like sort of pantheon of spiritual teachers, and to me, he's so profound and that the breadth of his wisdom is incredible. He feels a bit like a hidden gem, which is part of what I think is so exciting for me to be able to share him in this way. People who I think will love him know very little about him. I knew much more about Robert Svoboda going into making this film than I did about Dr. Lad. So to me, it was a beautiful process of discovering Dr. Lad and all of the sort of fascinating pieces that brought him where he is and the way he really quietly ushered Ayuverda into the rest of the world outside of India.
RJ: That brings me to two points. One is I don't want to give away too much of the story because I think one of the things that I enjoyed so much, is exactly what you said…I didn't know about his personal life so as that unraveled in the film it was amazing to experience it. So I don't want to talk too much about it. But I do want to say…. one thing…. Dr. Lad's a little bit of a rebel, you know? I didn't realize that. You would never think someone who is so focused on the traditional aspect of Ayurveda… knowing a little bit about his life [through this film}… I was like he's got a little bit of rebel in him. It brought this whole new light to me about him and it makes sense. It makes so much sense to see that side of his spirit.
JF: I think that's something that people don't know about him and that you're right, absolutely right. It's not readily apparent. You know, he doesn't wear it so obviously, but I mean even just like bringing Ayuverda to the US and coming here when nobody knew anything about it to teach, that's a pretty bad ass rebel move. Let alone the other things you're talking about of this story with Usha and some other aspects, which I agree are fun to unfold in the film. Yeah, he's definitely a rebel and an unexpected one because he doesn't wear it obviously at all.
RJ: He doesn't wear it at all.
One of the things I found very interesting about the film., is the subplot with Deepak Chopra. I want to talk a little bit more about that. Was that something that you discovered in the process of making the film? Did it come in the editing process? How did that {part of the }story come about?
JF: That was something that I learned right away when I first was doing my research as we were first approaching Dr. Lad and starting the conversation. I was digging around, reading and learning everything I could about him. Seeing what the stories were on the internet and that was one I had come across. The sort of intersection with Deepak Chopra and Dr. Lad and Maharishi in the early '80s. Where it was this, you know, very fascinating opportunity that Dr. Lad passed on. Deepak then picked up. You just have to kind of wonder how differently things could have been for both of those men. If Dr. Lad had made a different decision and how poetic and perfect it is the choices that each of them made.
RJ: Yeah, I agree. I heard about Dr. Lad much later {in my journey}. I started my journey with Ayuverda, my formal journey with Ayuverda in 2009. I went to school here in the Bay Area down in Fremont at the Kerala Academy, which is now in Milpitas. One of my teachers there was part of the Maharishi group, Dr. Suhas and he was one of my main teachers. So I was more familiar with that world. I had, of course, heard about Deepak Chopra much earlier, and then through my studies, I started hearing about Dr. Lad, because of his books. And then I finally had an opportunity to go to Albuquerque and study with him, but before that, I had watched his videos for hours and hours.
There's such a large library of his work. And it was incredible because, to me, he reminded me of my grandfather and my grandmother, in a way. In our family we would sit down a lot of the times and have these spiritual conversations or what people might have considered woo-woo, I want to get to that part of the film a little bit too. And I would just sit there as a young child, on my grandmother's lap or have my head on her lap and listen. When I first started hearing Dr. Lad that's what Dr. Lad reminded me of and I was like wow, this is what I've been missing from the side of Ayuverda, that I was formally learning. …I'm just so happy you made this film because I think this is the side of Ayuverda that people need to see more and understand that it's not just about taking baths and it's not just about self-care.
It's this profound medical system that's larger. It's an environmental science…its so many things and Dr. Lad kind of keeping to the traditional aspect of it as Deepak Chopra says, and Deepak having a different approach. You know, they're coming from two different angles but they're both successful in their own right. I'm just so grateful for Dr. Lad and it's just beautiful to see. Especially as Ayuverda grows here, as yoga grows, as meditation grows in the United States to have these two parallel stories and these two different approaches and what that says. And I'm glad that you went there with the film.
JF: In terms of the more esoteric elements?
RJ: Well, in terms of some of the stuff with the Maharishi.
JF: Oh, yeah.
RJ: And it was also interesting to see Dr. Lad's response to it compared to, and I can't believe his name is escaping me but…
JF: Len Blank
RJ: Yeah. I just love how you put that story together and how you showed the different personalities and the different perspectives. It shows Dr. Lad's spirit even more, in that part of the story. I don't want to say too much but…
JF: Yeah, I understand. It was definitely a delicate theme to edit, but I think it comes through respectfully and you see just the different elements. I find it a very fascinating moment. It's hard not to talk about it…sort of talk about it… without talking about it.
RJ: Yeah, exactly. We'll move on.
JF: Okay.
Trailer: The Doctor From India
http://chitchaaatchai.com/wp-content/uploads/2018/03/the-doctor-from-india-trailer_hd.mp4
RJ: I also wanted to talk about, you know, some of the "woo-woo" stuff. People might use that word woo-woo, but the spiritual aspect. Talk to me about that and why you decided to keep it in the film and how do you think audiences are going to perceive that?
JF: I had a variety of thoughts on how to approach the like more esoteric, the woo-woo, so to speak, kind of element. One approach would be to kind of keep them out so that it doesn't alienate a certain audience. But one of the things that was really fascinating to me, from my own experience right away with Dr. Lad, the first time I met Dr. Lad, he told me that I should get a white sapphire stone in a gold setting to wear on my right index finger. I didn't know anything about crystals. I never wear jewelry. I don't think I'd ever had my astrology chart read in any real significant way before. It was all stuff I pretty much had zero interest in. As soon as the opportunity came for him to read my chart, I was instantly intrigued.
After seeing him speak and just getting the feel of him, I didn't feel like this was somebody who's into hogwash. And as soon as he told me to wear this ring I felt like the ghost of it on my finger, like it was missing. It was like a very tangible sensation. Within a very short amount of time he had expanded my possibility of like all right, maybe there's something to this stuff that I'd always kind of dismissed. And then being around his students, I saw that same kind of thing with so many people, that his deep belief expands the idea of what's possible for people around him. So when he decides that there's something really powerful about wearing these gemstones and you see his hands like beautifully blinged out in all of these rings, I think for people it's like all right.
Some people probably dismiss it and may not be open, but for me, I found it very intriguing and part of how I see my job as a filmmaker and what I'm trying to do is to give the experience of this person. As clearly and potently as I can. There's always going to be an element of interpretation where it's coming through my particular lens. I'm making all of these choices of where to point the camera and what to include and what to cut out, but it's all coming through this intention of really presenting the experience of him as potently and as clearly as I can. So a big part of that to him is his idea of how the world works is that there are pieces that don't fit into necessarily the typical mechanical Western scientific belief.
I think that's important and it felt important to share that and portray that as unobtrusively as possible. So I try not to draw too much attention to it, while also not shying away from it. Like you see him at one moment in the film helping somebody pick out a stone and it just kind of happens in the flow of this other stuff that's happening, which is how it feels around him.
In the clinic that he has in India where he goes every night, first of all, the schedule that man keeps is unbelievable. He just wore me out trying to chase him around. He starts at seven in the morning and finishes at ten at night and doesn't really stop. He kind of runs that way throughout most of the year. But anyway, he does this clinic from I think it's six to nine p.m. every night and you never know who's going to roll in and people are coming in with different things and families.
The gem guy comes through and starts giving people rings. It's kind of a fun, wild atmosphere, that happens. The moment the woman is asking Dr. Lad about which stone, it's just kind of in the flow of a typical night there. So it felt like a nice way to just kind of introduce it without dwelling on it or talking about it or trying to explain it because as soon as I would even think about trying to explain a lot of these things, it's beyond the scope of the film by far. So it's just you kind of see it moving through his reality. I was trying to weave that stuff in.
RJ: And then did you end up getting a white sapphire? Do you mind me asking?
JF: I do. I've been wearing it for several years now. I tried to get it in New York and went to probably 15 different jewelry shops, Indian jewelry shops in Jackson Heights and two of them had any idea of what I was talking about. One told me they could get me one for thirty dollars and another one told me they could get me one for two thousand dollars. So I realized I had no idea of what I was doing and thirty dollars didn't seem right and two thousand dollars didn't seem right. So when I got to India, was filming with Dr. Lad for the first time I told him you suggested I get this when I first met you, and I couldn't figure out how to do it in New York. So he {Dr.Lad} sets me up, has the guy come.
He {Dr.Lad} picks out the stone for me and days later I was walking through the city with him and he said did you ever pick up your ring? And they {jewelers} had told me to come back on Sunday night at six p.m. to pick up the ring, and we'd {Dr.Lad} spent the day together and been all over the place. I hadn't told him anything about when they told me to pick it up or anything. I had no idea where we were. He said "did you ever pick up your ring?". Then I looked at the clock and it was like 6:02 on a Sunday night. It was like the moment I was supposed to pick it up. Actually, they told me it'd be ready right now {Jeremy say to Dr. Lad}. He said, "oh, beautiful!" We were right in front of the jewelry shop at that moment. It was one of those kinds of like magical moments that tend to happen with him {Dr.Lad}.
RJ: ….Yeah… I had heard about the amount of work he does when he goes to India, but to see it on film… it's a lot of hours and the service he provides. I mean he truly lives his life this way and you can see it in all aspects. It's not about money for him. It's not about fame. It's just about healing. It really comes through in the film and it's so lovely to see that and I'm so excited for people to see this aspect of him, you know.
JF: Yeah. It's incredible to me just how humbly he goes about doing the work that he's doing. The first scene of the film you see him coming into his clinic at night. You drive by other… and maybe I should have included this in the film, in some way just to show the contrast for people who don't understand, but you go by a typical Ayuverda place in India and often there's like a big neon photo of the doctor out front and the whole thing. Dr. Lad's… it's this old funky sign, up these narrow stairs. You see him setting up the whole thing and running it by himself, so humble. And everything he's doing in the evening clinic is by donation. In the morning clinic where people come, he's treating them all for free and giving them all free medicine, these are villagers who don't have much access to medical care and this is what he calls his vacation.
He spent the past year in India sort of on vacation where he works, you know, from…he leaves his house I think at seven or eight in the morning and gets home about ten at night. Working the whole day, teaching, treating people, and he's continually trying to expand the offerings of what's available there and he'll spend more time teaching in India. It's amazing. There were several times he kind of had to, like, put me to bed, take a nap because I was just worn out. He was still going, a man twice my age, very humbling for me.
RJ: It's like we use the word work but for him, it's seva. It's just service. It's like that's what you do.
JF: Yeah.
RJ: And when he picked up the phone I was so surprised. I love that you put that in the film. It's so different than the experience that you get here when you go to Albuquerque. I mean it's not just feasible to do…it's two different worlds, to do what he does in India, to do it here. But I love that he picked up the phone. I just was like oh, my, Dr. Lad. There was another moment in the film where you are in his house and you're walking in the dark and he's opening the lights to every room. There was this cute moment, just like a really sweet moment, where he looks at you and it's almost like he's looking out for you too. I just thought that was so sweet. It's like here you are making a film about him and he still has your back and is like telling you to come. It was almost like he was saying come. It's okay to come. I don't know, what he was saying, but I just thought it was so sweet.
JF: Oh, yeah, he was so sweet with us the whole time in the process of making it. It was incredible. Yeah, and I loved that moment too. Then one of my favorite things was having tea with him at his home and driving around for hours in the car.
RJ: How many hours of footage did you end up having?
JF: Oh, god, I couldn't even begin to calculate – a lot.
RJ: Was there something…what didn't you include? Is there something you can share with us that maybe you didn't include?
JF: Well, there was so much. There are so many stories of his life and it was kind of just, for me, a process of finding the essence of how to bring through the experience of what it's like to be with him. He talks about the speaker coming through. There are these moments when he kind of gets overtaken by like this inspiration or however you want to understand it. To me, what I was trying to do with the film was bring that feeling of being with Dr. Lad in those magical moments and to capture that somehow. There's a very delicate flow to build that throughout the film. So there are so many stories. I would have loved to have shared, but to tell a story takes a long time, you know, most stories.
So it was kind of really picking and choosing the moments that would help build that sort of space. There were many other stories of Vimalananda. You mentioned the son with the fever. Those are my personal favorite stories, just kind of magical ones. And I'd read Robert Svoboda's books about Vimalananda long before I had any contact with Dr. Lad. So that was one of the things I was particularly excited about, learning more about Vimalananda, so hearing Dr. Lad tell some of those stories. I also spent a time with Robert Svoboda and Dr. Lad where they were both telling Vimalananda stories together which was amazing that I would have loved to have included more of in the film, but it's like a really delicate flow trying to build and the movie already ended up being…I was kind of imaging it in about the 80-minute range and it ended up being in the 90-minute range. Which felt nice but I didn't want to push it any farther than that.
RJ: And that's one of the things I also loved about the film was the pace of the film. You know…there was a poetic kind of energy about it. Very similar to how Dr. Lad is and his journey coming here. I really felt that in the pace of the film. It kind of mirrored Dr. Lad's life to me. It's almost like that energy is in the energy of your story and the pace of the story.
JF: Beautiful. That was something I was working really hard to craft and there were some up and down moments where I wasn't sure that it was really coming through. The music, I think, really helped the pace a lot. There was a woman who did the score, Rachel Grimes, incredibly talented, somebody I've been a huge fan of for a very long time. So I was excited that she agreed to do the score. She wasn't familiar with Dr. Lad when I approached her but after a while, she watched some footage. I think she did some research on her own. She really connected with him and I feel like she really helped build the pace and the music, I think, it is just gorgeous. It really helps weave you through. Kind of brings you through and kind of bring the subtle emotions through, just a real spirit to it.
Between the music and the cinematography, the guy who shot a lot of the film with me, Jimmy Ferguson, I also think just did a beautiful job…from the start I really wanted to have this kind of a feeling of just floating through his world with him, very intimate. When he's with patients, the camera just kind of like floating gently about. And it was all, to kind of build that atmosphere, and that feeling of being with him, and real intimacy. I think between Dr. Lad's just kind of presence and the openness with the look and the music, you just kind of get swept into his world what he's working towards.
RJ: Yeah, I agree. And it'll be interesting to hear from people who don't know Dr. Lad and to hear their perspective and how they feel after the film. Has Dr. Lad seen the film?
JF: He has, yeah. I sent a cut to him. He's seen a few edits along the way. I showed him the first cut a while ago but when I got to the point where I was pretty sure I was done, before I went into getting the sound mix and the color correction, I sent a cut for him and Wynn to watch. Wynn runs the Ayurvedic Institute with Dr. Lad. He's been working with him a long time. So I sent an edit for the two of them to watch and they were planning on calling, we had an appointment for them to call me at a certain point when they were done watching it. So I was pretty nervously waiting by the phone hoping he would feel good about what I'd done. I got a phone call. It was Dr. Lad and Wynn and his kids and a whole house full of people. They were all really excited. Dr. Lad said "exquisite. It's elegant. It is divine". Those were the three words he used. That was a nice moment for me.
RJ: Wow! I bet. That's amazing. From the time you started not knowing anything about Dr. Lad really, to when you finished the film, I know we've talked a lot about things that you discovered about Dr. Lad, but was there anything that kind of took you by surprise?
JF: I mean, one thing was the humility and just kind of endless fountain of what I was getting from him continually surprised me. He's just absolutely a hundred percent committed to what he's doing. And.. whatever most people would call personal life is completely woven in with the work he does. In a way that I hadn't experienced really with anyone else.
They told a story of him. At one point people insisted that he go on a vacation and they bought him a trip to Hawaii. He was there for a couple days and was like I'm ready to come home and go back to work now. He wants to be with people and teach and treat and heal and help. That's the air he breathes and what he does. So that was pretty striking to me to just see and feel that in somebody so profoundly.
RJ: Very selfless kind of energy and it seems like that's where he feels the most fulfilled. If he's going on vacation, it's like he's choosing to come back and do what he loves to do. It seems like, that it's not work for him. That in itself his life is a vacation, you know. It's like he just feels…probably…I don't know. I'm assuming just from the story that you shared. That's amazing. I hope that I can one day feel that in my life.
Just a couple more things. One is how can audiences see this film? I know you have a screening coming up in Philadelphia.
JF: I think it's April 4 {2018}. I don't have a date in front of me but I believe that's what it is, at the Ritz Theater. Yeah, there's a bunch of screenings that are starting to come through. The film got picked up for distribution by Zeitgeist Films who I worked with on my last film, One Track Heart, which is really exciting. They're wonderful. They do great work. They're very well respected in the film industry and it gives the film a real beautiful platform to move throughout the US. So they're starting to book screenings all over the country. We're going to my hometown of Louisville, Kentucky, in April, on April 12, I think, for a screening which is exciting for me. I think we might have a screening in Nashville possibly at that time.
It's playing in Jacksonville, Florida, at a film festival at the end of March. We've got a little tour of the Southwest lined up in May where we fly to Sedona showing the film for two nights and then going to Albuquerque on…let me look at my calendar here…Albuquerque on May 11 where Dr. Lad and I will talk after the film.
RJ: Oh, my god.I'm going to come for that.
JF: Yeah, come on. Then on Saturday, the next night, May 12, in Santa Fe Dr. Lad and I will go to Santa Fe and show the film there. I'm really excited for that. It's a beautiful tour of the Southwest, going to Sedona, Albuquerque, Santa Fe, sharing the film with the whole community out in New Mexico. And there are a bunch more screenings lining up. We're working on getting dates set for New York, LA, the Bay area. There's probably a bunch of other places I'm forgetting right now but as soon as the details are set, we're trying to get up on Facebook as much as we can and Zeitgeist has a website, zeitgeistfilms.com. They have a page for the "Doctor From India" where they're putting all the screenings up.
And we're working on more countries. We got distribution in Germany. I think that we're going to have a screening or two in Cologne when Dr. Lad is in Germany teaching this July. So he'll be there for that. We're doing everything we can to bring it out and it feels important to try to get as much of a theatrical experience for people as possible. For me, nothing compares to seeing a film in community with other people on a big screen with a good sound system. It's such an immersive experience. It's not possible watching it on your laptop. So whatever extent we're able to make that possible, I plan to get as much of that as we can because it's such a different experience to share with a group and see it in the ideal environment where you can really get swept up into the subtleties.
As much as we can get it in theaters, we're working to do that. Anybody who wants to organize a screening in their town, Nancy and Emily from Zeitgeist have been great working with people. You know, Larry, the screening in Philadelphia was organized by Larry so it was him reaching out to them and helping put it together is how that came about. So if people are interested in trying to arrange something in their town, it's possible.
RJ: I'm definitely up for that. I'm waiting to hear back from them and I'd love to support any way that I can here in Oakland or the Bay area and help with that.
JF: Fantastic.
RJ: So I just want to say thank you so much for making this film and documenting Dr. Lad's journey and showing his beautiful soul. I think this film is just such a gift for us, today, but I think it's also going to be a gift for generations to come. I want to wish you continued success in your future endeavors.
JF: Thank you so much and thank you for taking the time in reaching out to chat and help us share the film and getting the word out. It's a big part of helping us to bring the film to people, what you're doing. So it's greatly appreciated. Thank you.
RJ: Thank you.
For information on screenings, visit zeitgeistfilms.com or the film's Facebook page.
Disclaimer: The views expressed in this article intend to highlight alternative studies and induce conversation. The information is not intended for use in the medical advice, diagnosis, treatment, cure or prevention of any disease, even if and to the extent that this article features the advice of physicians and medical practitioners. please consult a trained health professional who can fully assess your needs and address them effectively. Check with your doctor before taking herbs or using essential oils when pregnant or nursing.
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steep me


Jane Eyre, published in 1847, is considered author Charlotte Bront's most celebrated work, and a classic feminist text.
Where the Northern Ocean, in vast whirls,Boils round the naked, melancholy islesOf farthest Thule; and the Atlantic surgePours in among the stormy Hebrides.
In the days when we went gipsying, A long time ago.
"My feet they are sore, and my limbs they are weary; Long is the way, and the mountains are wild;Soon will the twilight close moonless and dreary Over the path of the poor orphan child.
Why did they send me so far and so lonely, Up where the moors spread and grey rocks are piled?Men are hard-hearted, and kind angels only Watch o'er the steps of a poor orphan child.
Yet distant and soft the night breeze is blowing, Clouds there are none, and clear stars beam mild,God, in His mercy, protection is showing, Comfort and hope to the poor orphan child.
Ev'n should I fall o'er the broken bridge passing, Or stray in the marshes, by false lights beguiled,Still will my Father, with promise and blessing, Take to His bosom the poor orphan child.
There is a thought that for strength should avail me, Though both of shelter and kindred despoiled;Heaven is a home, and a rest will not fail me; God is a friend to the poor orphan child."


text:
Driving sustainable and inclusive growth
Related topics Global review
At EY, we strongly believe that the things we do every day go a long way toward fulfilling our purpose of building a better working world.
EY people also make positive contributions to the public interest by playing important roles across business and through their communities as members of professional associations, of trainers, by working with standard setters and participating on boards.
An important part of the answer lies in demonstrating that business can be an important part of the solution by driving sustainable and inclusive economic growth, to which everyone can contribute and from which everyone can benefit.
So we're using our influence to create positive change across the business world in a number of ways:
Amplifying our social impact through our new corporate responsibility platform, EY Ripples
Building trust through more transparent corporate reporting
Supporting entrepreneurs: who are significant drivers of social and economic impact
Operating responsibly across our organization
We believe business can and must do more to foster the kind of economic growth that benefits everyone, not just a few. More than doing business responsibly, that means applying the knowledge, skills and experience we use in our business every day to help address society's toughest challenges.
(Chapter breaker)
This year, EY invested US$112 million in projects dedicated to strengthening our communities and our people contributed over 739,000 hours to hundreds of initiatives across the world. In addition, EY partners and people make significant personal donations to a variety of community initiatives.
To further amplify our social impact, we are bringing greater focus, scale and cohesion to our efforts by better aligning them with the knowledge, skills and experience of our people. We will launch a new global initiative in FY19, EY Ripples, to focus on two areas of social impact:
Working with impact entrepreneurs to help scale businesses that purposefully and successfully target progress toward the United Nations Sustainable Development Goals
Helping young people to develop the mindsets and transferable skills they need most to find and sustain meaningful work in this transformative age
Impact entrepreneurs build businesses that tackle the causes and symptoms of social inequality and empower people to change their lives. Their enterprises create an outsized impact on the lives and livelihoods of people in their communities by accelerating creation of quality jobs; providing avenues for women, young people and other underrepresented groups to actively participate in the economy; advancing equitable access to vital goods and services; and/or by innovating products and services that help protect and restore the environment.
By making EY knowledge, skills and experience available to these businesses on a not-for-profit basis, we help improve their resilience, productivity and capacity for sustainable growth.
Hywel Ball — Building trust
EY has a long and proud history of supporting young people by creating pathways to education and employment. But today's transformative age poses challenges that access to education alone can't solve. We know this because global youth unemployment figures remain unchanged over recent years, despite more young people successfully completing secondary and tertiary education. When many school children today will end up in jobs that don't even exist yet – and when many of the jobs that do may disappear because of automation – we need to think differently.
This is why we're sharpening the focus of our support for the next generation, placing greater emphasis on the development of mindsets and transferable skills such as initiative and self-reliance, creativity and innovation, and critical reasoning and complex problem-solving.
FY16 FY17 FY18
Hours invested in community initiatives worldwide by EY people (000's) 700 700 739
Value of time contributions (US$m) 44 47 51
Cash investments (US$m) 57 58 61
Total 101 105 112
Our focus areas let us use our distinctive knowledge, skills and experience and, our existing social impact initiatives, to tackle some of the biggest challenges affecting our world. They allow us to create a powerful ripple effect, not only on our people and our business, but also on communities and economies – a ripple that brings to life how the knowledge, skills and experience we use, and the actions we take, can build a better working world for all.
In recent years, there has been much conversation about corporate reporting and whether current methods are still fit for purpose.
Business, the media, governments and regulators, and academics have all been involved. The growing consensus is that if businesses want to build trust then they must tell a more complete story of how they are creating value for all of their stakeholders. This story must go beyond presenting a narrow range of financial metrics to encompassing a broader range of both financial and nonfinancial metrics that provide a more transparent view of an organization's purpose, strategy and execution.
Different groups have suggested different principles and practices, and EY has been involved in several efforts, including with the International Integrated Reporting Council and the United Nations Global Compact. For the past year, we've been working on an initiative called The Embankment Project for Inclusive Capitalism, in an effort to produce a common framework to measure foundational elements of long-term value creation. This will help companies better demonstrate how they create value for a full range of stakeholders, including employees, supply chains, communities and society at large – promoting more inclusive and sustainable growth.
Entrepreneurs make a difference. They not only have great ideas, but also the drive to make them a reality. They use their fresh thinking and hard work to create positive social change – bringing new concepts and products to market, and creating jobs and wealth.
We have long recognized the potential of entrepreneurs. For more than three decades, we have been working with entrepreneurs, adapting our experience, industry capabilities and resources to work for entrepreneurial, fast-growth companies. We work with a range of businesses, from those receiving their first venture funding through to large mid-cap companies, whose value may be measured in billions of dollars. Our commitment to entrepreneurial companies, in both emerging and developed economies around the world, helps ensure that we're working with more of tomorrow's global leaders, today.
EY started the Entrepreneur Of The Year™ Awards program to celebrate successful entrepreneurs, so they could share their stories, inspire others and receive the recognition they deserve. Our first program took place in 1986 in Milwaukee, Wisconsin, USA. Today, the program spans more than 140 cities in more than 50 countries, which together represent more than 90% of the global economy.
The 18th EY World Entrepreneur Of The Year™, which ran from 13-17 June, 2018, saw 56 Entrepreneur Of The Year finalists descend on Monaco. We also convened some of the world's most inspiring entrepreneurs, game changers and government leaders to discuss the transformative age we're living in. There were sessions on digital disruption, industry convergence and geopolitical uncertainty. This year's winner was Rubens Menin from Brazil who grew his company, MRV Engenharia, into Latin America's largest residential real estate developer out of a desire to provide affordable housing for families struggling to take their first step on the property ladder.
Spanning 65 countries and 430 participants, the EY Entrepreneurial Winning Women™ program identifies high-potential women entrepreneurs whose businesses show real potential to scale and provides them with ongoing support to help accelerate their growth. Now in its 11th year, the program targets savvy women founders who have built profitable small companies but have not yet found the essential tools needed to expand sustainably. EY gives the founders ongoing access to our vast resources, rich networks and know-how, helping to strengthen their abilities to become market leaders. At the same time, the program creates a vibrant global community of successful women entrepreneurs and inspiring peer role models.
Recognizing the ever-growing importance of entrepreneurial startup companies in driving innovation, EY has established a global digital resource known as EY Velocity. It's designed to help these companies connect with peers, established entrepreneurs and EY professionals; focus on relevant hot topics and the 7 Drivers of Growth; and act to identify key actions to be addressed. In FY19, the next release of EY Velocity will also help these companies to identify much-needed sources of capital.
To credibly engage others in driving sustainable, inclusive growth, we must lead by example.
We want to embed principles of responsibility, sustainability and inclusive growth more deeply in everything we do, and improve our ability to show that we meet the highest standards of ethical business. This includes galvanizing further effort across our global organization to minimize the negative impacts of EY operations on the environment.
We have clear global polices ranging that include our Global Code of Conduct, our Supplier Code of Conduct and our Data Privacy Policy that set out how we operate responsibly. We are a signatory to the UN Global Compact, and we are guided by our values and our purpose.
Minimizing our environmental impact
Individual Regions have already made far-reaching commitments to environmental sustainability – up to and including becoming carbon and water neutral – and are taking action on specific issues such as plastics pollution as well. In the UK, for example, we are switching all offices away from disposable cups and catering consumables, which will reduce consumption of single-use plastic items by nearly 8 million pieces and almost 60 tons a year.
We've also made positive strides in using technology – especially high-end video conferencing to reduce our air miles and on-demand printing to dramatically reduce paper waste – and this has helped reduce our greenhouse gas emissions from 5.23 tons per person to 4.89 tons this past year. But we recognize we need to do much more, particularly to reduce business travel, which makes up around 80% of our emissions.
Our priority now is to establish a global framework that helps accelerate leading practices across the whole of our global organization. That's why, in FY19, we will implement a new Global Environmental Statement to help drive further action to improve environmental performance across our businesses and supply chain.
It will also stress the power every EY professional has to drive positive change. Everyday choices we each make about things like when and how we travel, and how we manage our waste, can feel small and insignificant. But when more than 260,000 of our people make the same smart choices, the ripple effect can create a huge difference.
Greenhouse gas emissions, metric tons CO2 (estimated)*
Total emissions 986,000 1,185,000 1,190,000
Emissions per employee (FTE) 5.15 5.23 4.89
Scope 1/2 GHG protocol 204,000 209,000 189,000
Scope 3 GHG protocol 782,000 976,000 1,001,000
* The carbon footprint of our global organization is calculated in line with the EY global carbon footprint methodology. This is based on the Greenhouse Gas (GHG) Protocol developed by the Word Resources Institute (WRI) and World Business Council for Sustainable Development (WBCSD), using its "location-based" approach to reporting.
Emissions calculations use 2017 conversion factors published by the Department for Business, Energy & Industrial Strategy in the UJ, or locally published factors where appropriate. The conversion factors used to calculate emissions from air travel include the impact of "radiative forcing."
For further details, please refer to https://www.gov.uk/government/publications/greenhouse-gas-reporting-conversion-factors-2017
Driving sustainable growth through our supply chain
Our commitment to promoting principles of inclusiveness, sustainability and responsibility extends beyond our own organization. It also includes our continued efforts to promote high business standards within our supply chain, and to maintain and grow a diverse supplier base that reflects the markets, clients and communities we serve.
Just as the EY Global Code of Conduct sets out the standards expected of every EY person, the Global Supplier Code of Conduct does the same for our suppliers. We view their performance as an integral part of the EY value chain and expect all suppliers to meet high legal, ethical, environmental and employment-related standards.
Identifying, developing and doing business with diverse suppliers is a key component of our strategic sourcing and procurement activities. Through our D&I procurement initiative, we actively encourage small and minority-owned businesses to become registered suppliers and support them to achieve their full potential. EY has committed to sourcing US$100 million of products and services from women-owned businesses by 2020.
Explore the global review
Hear from our Global Chairman and CEO
Building trust and confidence
Developing purpose-driven leaders
Turning waste into opportunity

redpajama_set_name: RedPajamaCommonCrawl


text:
Gloria Guevara Manzo (Guadalajara, México, 1 de septiembre de 1967) es una informática y política, conocida por ostentar altos cargos en varias empresas de México, en especial con relación a la industria de viajes y turismo.

Biografía

Es Licenciada en Informática por la Universidad Anáhuac, donde también curso una especialización en Mercadotecnia. Cuenta con estudios de Dirección en el IPADE, en Administración de Proyectos en la Universidad de George Washington y tiene un MBA en la escuela de Negocios de Kellogg de la Universidad Northwestern.

Fue cuarta mujer en ocupar la Secretaría de Turismo; la primera fue Rosa Luz Alegría, durante la administración de José López Portillo (1976-1982); Silvia Hernández en el sexenio de Ernesto Zedillo (1994-2000), y Leticia Navarro, en la gestión de Vicente Fox (2000-2006).

Antes de regresar a México y durante los últimos seis años trabajó para Sabre Holdings, dos años en Southlake Texas, donde estuvo a cargo de la Vicepresidencia de Relación con Proveedores y Soluciones de Viaje a nivel mundial, en el área de Information Office. En este puesto estuvo a cargo de las soluciones tecnológicas ofrecidas en Norteamérica, Latinoamérica, Europa y Asia. Anterior a este, estuvo cuatro años basada en la ciudad de Coral Gables Florida, en donde fue la Directora de Tecnología, Servicio a Clientes y Operaciones para Sabre Travel Network América Latina y el Caribe. Antes de mudarse a Estados Unidos, Gloria estuvo a cargo de la Dirección de Servicio a Clientes, Ventas y Capacitación y Directora de Operaciones y Tecnología, ambos en Sabre Travel Network México.

Comenzó su carrera profesional hace más de 24 años en NCR Corporation y AT&T G.I.S México, iniciando su experiencia laboral en ingeniería de sistemas y pasando por áreas como sistemas, educacional, mercadotecnia y servicios profesionales entre otras. Esto le permitió adquirir experiencia en diferentes disciplinas y también le dio la oportunidad de viajar a más de 20 países en América Latina, Medio Oriente, África y en Estados Unidos representando a NCR Corporation en el área de educacional, dando entrenamiento y ofreciendo más de 100 conferencias.

En los últimos tres años ha sido nombrada como una de las 50 mujeres más influyentes en México por la revista Expansión (CNNExpansion).

Trayectoria

Secretaría de Turismo y Directora General del Consejo de Promoción Turística de México
El 10 de marzo de 2010 fue nombrada Secretaría de Turismo del Gobierno Federal por el C. Felipe Calderón Hinojosa, Presidente de los Estados Unidos Mexicanos. Días después, el 26 de marzo, fue designada también por el presidente, directora general del Consejo de Promoción Turística de México.

En noviembre de 2005 fue nombrada vicepresidenta y directora general para Sabre Travel Network México. Sabre Travel Network es una empresa líder en el mundo de sistemas de reservas, tecnología y viajes. En México cuenta con la mayor participación de mercado, formada por la alianza estratégica entre Sabre Holdings, Aeroméxico y Mexicana.

La Secretaria Guevara cuenta con más de 15 años de experiencia en la industria de viajes y turismo. Bajo su liderazgo, Sabre logró crecer la participación de Mercado en México significativamente, obteniendo un 75% y un crecimiento de 10 puntos en cuatro años. Al mismo tiempo, Sabre México fue reconocida como una de las mejores empresas para trabajar en México por Great Place to Work Institute, como una Top Empresa por la revista Expansión y como la empresa de su ramo con el más alto nivel de satisfacción de clientes.

World Travel & Tourism Council Presidente y CEO
El 1 de agosto de 2017 fue nombrada presidente y CEO del Consejo Mundial del Viaje y el Turismo (WTTC)

Referencias

Enlaces externos

 Secretaria de Turismo – Sitio web oficial
 2011, Año del Turismo en México
 Cumbre Mundial del Turismo
 GGM -CNN Expansion  - Las 50 mujeres más poderosas de México 2010

Véase también
 Gabinete de Felipe Calderón Hinojosa

Nacidos en Guadalajara (México)
Secretarios de Turismo (México)
Gabinete de Felipe Calderón Hinojosa
Alumnado de la Universidad Anáhuac
Informáticos de México
Ejecutivos de México
Secretarias de Estado de México

redpajama_set_name: RedPajamaWikipedia


I remember stories my Grandfather told me of New Canaan. It was located on the Gesto Road between Walker Road and Village of Gesto near the Brush Side Road. His name was Gerald Calhoun he owned farm land 1 mile off the Arner Town Line (I grew up beside his farm) He grew up a few miles south of the Gesto Rd. I remember he told me he went to school in New Canaan, I think grade 2 and on even though he was white. My Great Grandfather was a road superintendent and knew the area well. I remember my Grandfather was very good friends with the woman who ran the Black Heritage Museum in Amherstburg (80's early 90's). He helped her with information on grave sites and building locations probably info he knew from his father . I believe my Great Grandfather helped repair buildings on this site(not sure years though), Back then it was just farm families in the area. From what I remember hearing and reading, there was a store on the Gesto Road, my mother seems to remember that as well. I remember my Grandfather telling me it was far enough from Amherstburg so bounty hunters from the USA could not find it. I believe a the Davis family has roots to this community among others. I have googled co-ordinates and they come up, someone in another post put exact ones.


Theatrical adaptation of this year's One Maryland, One Book selection, All American Boys, by Jason Reynolds and Brendan Kiely. Performance held at North Caroline High School, Ridgely, MD at 7pm.
Theatrical adaptation of this year's One Maryland, One Book selection, All American Boys, by Jason Reynolds and Brandon Kiely. Performance held at Colonel Richardson High School, Federalsburg, MD at 7pm.


text:
Venice inscribed (v): Jan Morris
'When you have wandered around this city for a time, and examined a few of its crooked displays, and inspected some of its paradoxes and perplexities, you will realize that much the most curious thing in Venice is Venice itself.' No one living today has been writing about La Serenissima longer than Jan Morris: these words I have quoted come from her 1960 book, Venice, and now she has published her latest, Ciao, Carpaccio!, only a few months before her ninetieth birthday.
This new book is sub-titled 'An Infatuation', an infatuation with the Renaissance painter, Vittore Carpaccio (1460-1520), famous for his dazzling deployment of the rich rusty colour sometimes known as Venetian red. And in celebrating Carpaccio, Morris celebrates, too, her long love of Venice.
A word about the book itself. It's an unusual oblong format, like an old-fashioned autograph album. Some of Carpaccio's canvasses are exceptionally wide, and this book's dimensions suit well the dimensions of those paintings. Its dust jacket shows a small portion, greatly enlarged, of Carpaccio's Miracle of the True Cross at Rialto (c.1500): four gondolas are being steered across the crowded waters of the Grand Canal by gondoliers more gaudily attired than their passengers, who sit patiently under flimsy-looking awnings. A fluffy white poodle trails her tail. At the waterside, a group of onlookers watches the scene, some though gazing not at the melée on the canal but straight out at us, looking at them. Most are sporting what Jan Morris calls 'the black Venetian cap of fashion'; several wear gowns or cloaks of Venetian red.
Ciao, Carpaccio! is a masterclass in ekphrasis, the depicting in words of something seen – a picture, most commonly, but a sculpture or object also – upon which the writer reflects and comments. Keats' Ode on a Grecian Urn and Auden's Musée des Beaux Arts are two of the most-cited examples, and Morris quotes from Auden's when discussing the Miracle of the True Cross at Rialto. So much is happening in the picture that the miracle itself – a madman healed by a fragment of the True Cross – appears 'almost in brackets as it were', according to Morris. The real focus of the painting seems to be the scene in front of the Rialto Bridge and the procession of gondolas cluttering the canal.
To art historians the interest of the picture lies in its observation of the everyday activity, architecture and costumes of the city. In his obsessive detailing of buildings, backgrounds, people and animals, Carpaccio seems to anticipate Canaletto, but he is like Canaletto on speed: his is a surreal dreamland Venice. Those gondolas, for instance, are not in the least like gondolas as we know them today, nor even like gondolas as they appear in other paintings of Carpaccio's time. They are not so much foreshortened as miniaturized, leaving the gondoliers almost no stern to stand on. The elongated fórcole are too fanciful ever to have been forerunners of the modern oxbow oarlocks; indeed, the gondolier on the left appears to have no fórcola at all. But however cavalier he might have been about gondolas, Carpaccio was the Alexander McQueen of Venetian costume. Look at the skintight breeches worn by the black boatman: they are extraordinary. Who else would have recreated in their silver, grey and white pattern the three-dimensional trompe-l'oeil designs found in Venetian church floors from this period?
The one painting by Carpaccio nearly all tourists see is the 12 feet long portrait of the Lion of St Mark: it hangs in the Doge's Palace. And it's the one painting entirely devoid of people. In the foreground the winged lion steps ashore, hind legs still in the water, one forepaw on dry land and the other holding an open book with its text, PAX TIBI MARCE EVANGELISTA MEA. But mainland Italy this isn't: the stony terrain is hostile; sinister weeds have been parched in the sun. In the background, however, the whole Venetian waterfront stretches serenely from Piazza to Arsenale, the great Venetian shipyard, whence full-sailed argosies are setting confidently out to sea. But the lion is what we notice. His face fascinates Morris:
It is an odd face, set against its saintly halo and looking sidelong out at me. Its eyes seem at once sardonic and a little melancholy. Its forehead is wrinkled. Its mouth could be snarling, but could be smiling. Its teeth look as though they might be false. All in all it is a curiously ambiguous countenance, and its expression strikes me as knowing and slightly impish …
'A curiously ambiguous countenance' is exactly right. But it's not lions, it's the people and the ordinary incidents of life that matter most to this artist. So I'm happy, too, to share Morris's sense that in such incidents Carpaccio reveals what she calls 'the true nature of his genius'. She concludes: 'I believe he is above all a supreme artist of that simple, universal and omnipotent virtue, the quality of Kindness.'
There is a valedictory feeling about Ciao, Carpaccio! I doubt whether Jan Morris intends to publish anything further on Venice, the city that made and has sustained her reputation as one of the great travel writers of our age. So I have gone back to the final paragraph of her first Venetian book:
When at last you leave these waters, pack away your straw hat and swing out to sea, all the old dazzle of Venice will linger in your mind; and her smell of mud, incense, fish, age, filth and velvet will hang around your nostrils; and the soft lap of the back-canals will echo in your ears; and wherever you go in life you will feel somewhere over your shoulder a pink, castellated, shimmering presence, the domes and riggings and crooked pinnacles of the Serenissima.
It's a fine leave-taking; and re-reading it now teaches me that the Venice Jan Morris was describing then matches in every detail the Venice she cherishes still in the paintings of her beloved Carpaccio.
[illustrations: (i) the dust jacket of Ciao, Carpaccio!; (ii) tromp l'oeil flooring in the sanctuary of Santa Marie degli Miracoli, Venice.
[Quotations: from Venice (1960; 3rd ed. 1993 London: Faber and Faber) pp.214, 304; from Ciao, Carpaccio! (London-New York: Liveright Publishing Corporation, 2014) pp.32 (the Lion of St Mark) and 171 (the quality of Kindness).
Here are links to my previous posts about Venice:
Venice at the Edges
Venice Inscribed (i): Donna Leon
Venice Inscribed (ii): Joseph Brodsky
Venice Inscribed (iii): Ruskin and E.M. Forster
Venice Inscribed (iv): Henry James
World and time: In Venice - La Biennale
World and time: (still) in Venice
Text and illustrations © the author
Posted by Adrian Barlow at 04:04 1 comment:
Labels: Alexander McQueen, Jan Morris, La Serenissima, Venice, Vittore Carpaccio


Chanel takes very seriously the task of protecting consumers from inferior replica Chanel goods which are made with inferior materials and craftsmanship. To this end Chanel constantly monitors internet stores and auction websites for sellers of replica Chanel handbags, wallets and boots and takes legal action when necessary. For more information visit ChanelReplica.com.


Over the past two years, the Sydney Cricket and Sports Ground Trust (SCG Trust) has been building what is touted as the southern hemisphere's first fully connected stadium, providing a unique and integrated fan experience for its members and visitors.
In 2014, the group struck a five-year partnership with FanThreeSixty (formerly Sporting Innovations) and adopted the US-based platform vendor's Fan360 customer research platform, tapping data and technology to provide fan insights, marketing and sales improvements and experience enhancements.
On top of this, the venue owner rolled out a new app, allowing fans to order food, watch highlights, bet on matches and buy tickets using their mobile devices. It also debuted free Wi-Fi and IPTV screens across its redeveloped SCG member stands. In 2015, SCG Trust then spent $20 million upgrading its second venue, Allianz Stadium, delivering free Wi-Fi, 1200 IPTV screens, two super screens and its mobile app to visitors.
While the work has brought untold riches in terms of data and communication opportunities, SCG Trust GM of membership and marketing, Jane Coles, said the challenge has been capitalising on the growing array of fan insights.
"We were getting all this data but didn't really know what to do with it," she told CMO. "We have so many customers we deal with regularly as members, but this was a whole new group, and we didn't know how to communicate with them or what they wanted from us.
The Trust is pulling an array of fresh data into its Fan360 Dimension platform, including email addresses from its Wi-Fi splash page, ticketing data and app downloads. It's also uploaded data on its 18,500 members across both venues, plus its 25,000-strong member waitlist for the Sydney Cricket Ground.
Last year, SCG Trust partnered with customer engagement consultancy, Ellipsis, to develop a comprehensive data and communication strategy making the most of the new technology in order to lift fan engagement to a new level.
Prior to this, the Trust had undertaken a member and SCG waitlist segmentation project with data consultancy, Quantium. This created an array of insights on what members are doing onsite and ways of understanding, targeting and segmenting visitors. With Ellipsis, the team united this with data relating to all other visitor categories, from the general public to guests of members.
Based on the work done, the Trust has developed a communication framework based on 10 key customer segments revolving around engagement: Wi-Fi and app, general public, waitlist, members of the SCG, Gold and Platinum members,guests, gym users, heritage and corporate.
"When we went through the process with Ellipsis, we almost had to stop and tell them not to look for anymore because we can't keep up," Coles commented. "It was about prioritising the segments of most importance.
The marketing and membership team has spent time, for example, investigating different game attendees or those using the gym to define similar and distinct communication needs it can fulfil via in-app messaging, EDMs and campaigns.
The Trust's Dimension platform displays all engagement metrics, allowing Coles' team to see who is doing what and when. The team has also mapped out different customer journeys, an exercise made easier thanks to its centralised insights platform. The objective is meeting immediate customer needs based on behaviour when they visit the venues.
As an example of a recent campaign for the NRL final series, the Trust worked with rugby league codes to leverage behavioural insights and come up with targeted promotions for fans. One of these was 'four tries and get a pie', an offer-based campaign pushed out via the app rewarding attendees with a free pie if their team scored four tries during the match.
"We're looking at the touchpoints we have with those different customers then creating strategies that match what they want while rewarding them for the behaviours we want to see," Coles said.
One of the biggest shifts operationally for the Trust has been uniting membership, marketing and ICT divisions under Coles' leadership. "All ICT platforms complement everything else – they're the enablers for us to get messages out and provide engagement opportunities," she said.
Technology investments continue, and the Trust is in the midst of appointing a new CRM vendor. It's also undertaking a website content management system refresh, launching next year, and looking to introduce cashless payments.
One recent achievement was integrating the trust's email management platform, Mailchimp, with its data platform so emails can be targeted based on a customer's lifecycle.
At time of press, Coles said the Trust had chalked up 1 million Wi-Fi sessions and 15,000 app downloads. It's also seeing an app average engagement of 28 per cent onsite.
Ellipsismanaging partner, David Parsons, advised others looking to improve their data and communications strategy to never lose sight of the customer.
Parsons also recommended brands identify customers as individuals, differentiate on the basis of their value to the brand as well as needs, interact based on conversation, customise treatments utilising what you've learnt along the way, then repeat.


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I feel like you should know that topical application of aspirin can cause an aspirin burn on the skin. Aspirin is acidic and is not safe to be placed on the skin's surface.
Baby asprin sounds good. Wish I would have known but I burnt the inside of my mouth with asprin. My toothache started on Friday evening. By Saturday morning it was absessed. Started putting asprin on it (every few hours or so) and it burnt my cheek, tongue, gums, etc. I have also heard of swishing in Jack Daniels Whiskey to draw out the infection. Anybody else?


text:
Yabloko proposes complex measure for support of disabled people, terminally ill, bedridden patients and their families
The Yabloko party, together with the expert community, prepared programmes to support people with disabilities, terminally ill patients, bedridden patients and members of their families. The projects were developed by leading experts in the field of health care, social protection, lawyers and human rights defenders.
The documents set forth concrete steps to address the problems of seriously ill patients in Russia. Yabloko intends to propose its projects to the State Duma via introducing these initiatives in the legislative assemblies of those regions where Yabloko is represented. Yabloko says that these problems are not isolated: they reflect the general state of health care in Russia and result from the planned reduction of state spending on medicine, healthcare and social development, reorientation of the state budget for military and foreign policy activities. The system and the politics of inhuman indifference to troubles and pain, must be left in the past, the documents run.
Yabloko stresses that adoption of a separate federal law on palliative care, which could provide access to such care to all who need it – regardless of the form of the disease, the location of the patient, or his economic status should be among the most important measures.
The Party intends to ensure the provision of a number of beds for palliative care in accordance with the recommendations of the World Health Organisation (in general for Russia this is from 9,000 to 14,000 beds), as well as increase the amount of compensation payments up to the subsistence minimum to those caring for disabled family members. The authors of the project emphasise that an alternative should be provided for family members of bed-bound patients whether to stay at work or leave it, devoting all the resources to a sick relative, or to choose a variant of part-time employment.
Other measures proposed by Yabloko envisage allocation of targeted grants to charitable organisations working for disabled people and bedridden patients of retirement age, preservation of benefits for the disabled, in particular, a 50 per cent discount on housing and utilities bills for disabled people.
Yabloko insists that introduction of new criteria making it harder to recognize a persons disable and thus reducing budget expenditures on the disabled.
It is also necessary to develop and implement federal and regional comprehensive programmes for the prevention of disability (children's disability in the first place), and create in each region of Russia modern equipped centres for postoperative rehabilitation.
Yabloko also envisage special measures for creation an accessible environment for the disabled.
According to Yabloko, about 1.4 million people die in Russia each year, of which 300,000 die from cancer; 520,000 from other chronic diseases. In more than 85 per cent of deaths, patients lack the relief of severe symptoms of incurable diseases and need qualified care.
The figures characterising the attitude of the state to people with disabilities are not optimistic either. Thus, almost 48 per cent of people with disorders of the musculoskeletal system have to deal with barriers when shopping; 66 per cent of people with sight disabilities speak about the difficulties in using or completely inaccessible sports facilities and recreation places, 50 per cent of people with visual impairments and musculoskeletal problems face problems with accessibility of medical institutions.
135,000 families of people with disabilities need to improve their housing conditions today. Only a third of Russians with disabilities of working age have a permanent job.
"These problems are an integral part of the lives of millions of families in Russia," says Alexander Gnezdilov, Deputy Chairman of Yabloko and one of the initiators of the project. "These problems may refer to any of us tomorrow." The President, the government, the parliament have no time, no money, no sincere interest for these painful issues – too much money goes to wars, theft and the self-promotion".
According to Gnezdilov, Yabloko has been working on these projects for over six months, but this is only the beginning of a big process. The task of Yabloko is to make these issues a budget priority.
"The Russian Constitution runs that no one should be subjected to torture, violence, cruel or degrading treatment," says Elena Morozova, lawyer and one of the authors of the projects. "A person should not experience physical pain, fear, should not feel helpless and defenseless when sick or dying. And the task of the state is to provide such conditions".
"When it comes to human life, its quality – every day and until the last day – there can be no compromise. Everything should be done," Olga Demicheva, one of the main initiators and authors of the programs, doctor and specialist in palliative care, says "Both of the Yabloko projects are comprehensive and accurately identify the problems of terminally ill people and disabled people. But the main thing is that concrete measures are indicated to solve these problems. "
Yabloko intends to seek implementation of these measures through introduction of bills in the State Duma via Legislative Assemblies of Russian regions where the party is represented, Yabloko Chair Emilia Slabunova notes.
"Our programme of actions is very detailed. We are ready to develop legislative initiatives on its basis," Emilia Slabunova says. "But whether deputies from the ruling party will vote for them or not will show their true face. In our country, almost 12.5 million people live very hard and poorly, and are constantly overcoming difficulties. This is the pain and shame of modern Russia".
Posted: December 15th, 2017 under Healthcare, Human Rights.


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text:
import os
import warnings
from collections import namedtuple
from enum import Enum
from tempfile import NamedTemporaryFile
from typing import TYPE_CHECKING, Optional, Sequence, Union

import numpy as np
import pandas as pd
from typing_extensions import Literal

from airflow.exceptions import AirflowException
from airflow.models import BaseOperator
from airflow.providers.amazon.aws.hooks.s3 import S3Hook
from airflow.providers.mysql.hooks.mysql import MySqlHook

if TYPE_CHECKING:
    from airflow.utils.context import Context

FILE_FORMAT = Enum(
    "FILE_FORMAT",
    "CSV, PARQUET",
)

FileOptions = namedtuple('FileOptions', ['mode', 'suffix'])

FILE_OPTIONS_MAP = {
    FILE_FORMAT.CSV: FileOptions('r+', '.csv'),
    FILE_FORMAT.PARQUET: FileOptions('rb+', '.parquet'),
}

class MySQLToS3Operator(BaseOperator):
    """
    Saves data from an specific MySQL query into a file in S3.

    :param query: the sql query to be executed. If you want to execute a file, place the absolute path of it,
        ending with .sql extension. (templated)
    :type query: str
    :param s3_bucket: bucket where the data will be stored. (templated)
    :type s3_bucket: str
    :param s3_key: desired key for the file. It includes the name of the file. (templated)
    :type s3_key: str
    :param replace: whether or not to replace the file in S3 if it previously existed
    :type replace: bool
    :param mysql_conn_id: Reference to :ref:`mysql connection id <howto/connection:mysql>`.
    :type mysql_conn_id: str
    :param aws_conn_id: reference to a specific S3 connection
    :type aws_conn_id: str
    :param verify: Whether or not to verify SSL certificates for S3 connection.
        By default SSL certificates are verified.
        You can provide the following values:

        - ``False``: do not validate SSL certificates. SSL will still be used
                (unless use_ssl is False), but SSL certificates will not be verified.
        - ``path/to/cert/bundle.pem``: A filename of the CA cert bundle to uses.
                You can specify this argument if you want to use a different
                CA cert bundle than the one used by botocore.
    :type verify: bool or str
    :param pd_csv_kwargs: arguments to include in pd.to_csv (header, index, columns...)
    :type pd_csv_kwargs: dict
    :param index: whether to have the index or not in the dataframe
    :type index: str
    :param header: whether to include header or not into the S3 file
    :type header: bool
    :param file_format: the destination file format, only string 'csv' or 'parquet' is accepted.
    :type file_format: str
    :param pd_kwargs: arguments to include in ``DataFrame.to_parquet()`` or
        ``DataFrame.to_csv()``. This is preferred than ``pd_csv_kwargs``.
    :type pd_kwargs: dict
    """

    template_fields: Sequence[str] = (
        's3_bucket',
        's3_key',
        'query',
    )
    template_ext: Sequence[str] = ('.sql',)
    template_fields_renderers = {
        "query": "sql",
        "pd_csv_kwargs": "json",
        "pd_kwargs": "json",
    }

    def __init__(
        self,
        *,
        query: str,
        s3_bucket: str,
        s3_key: str,
        replace: bool = False,
        mysql_conn_id: str = 'mysql_default',
        aws_conn_id: str = 'aws_default',
        verify: Optional[Union[bool, str]] = None,
        pd_csv_kwargs: Optional[dict] = None,
        index: bool = False,
        header: bool = False,
        file_format: Literal['csv', 'parquet'] = 'csv',
        pd_kwargs: Optional[dict] = None,
        **kwargs,
    ) -> None:
        super().__init__(**kwargs)
        self.query = query
        self.s3_bucket = s3_bucket
        self.s3_key = s3_key
        self.mysql_conn_id = mysql_conn_id
        self.aws_conn_id = aws_conn_id
        self.verify = verify
        self.replace = replace

        if file_format == "csv":
            self.file_format = FILE_FORMAT.CSV
        else:
            self.file_format = FILE_FORMAT.PARQUET

        if pd_csv_kwargs:
            warnings.warn(
                "pd_csv_kwargs is deprecated. Please use pd_kwargs.",
                DeprecationWarning,
                stacklevel=2,
            )
        if index or header:
            warnings.warn(
                "index and header are deprecated. Please pass them via pd_kwargs.",
                DeprecationWarning,
                stacklevel=2,
            )

        self.pd_kwargs = pd_kwargs or pd_csv_kwargs or {}
        if self.file_format == FILE_FORMAT.CSV:
            if "path_or_buf" in self.pd_kwargs:
                raise AirflowException('The argument path_or_buf is not allowed, please remove it')
            if "index" not in self.pd_kwargs:
                self.pd_kwargs["index"] = index
            if "header" not in self.pd_kwargs:
                self.pd_kwargs["header"] = header
        else:
            if pd_csv_kwargs is not None:
                raise TypeError("pd_csv_kwargs may not be specified when file_format='parquet'")

    @staticmethod
    def _fix_int_dtypes(df: pd.DataFrame) -> None:
        """Mutate DataFrame to set dtypes for int columns containing NaN values."""
        for col in df:
            if "float" in df[col].dtype.name and df[col].hasnans:
                # inspect values to determine if dtype of non-null values is int or float
                notna_series = df[col].dropna().values
                if np.isclose(notna_series, notna_series.astype(int)).all():
                    # set to dtype that retains integers and supports NaNs
                    df[col] = np.where(df[col].isnull(), None, df[col])
                    df[col] = df[col].astype(pd.Int64Dtype())

    def execute(self, context: 'Context') -> None:
        mysql_hook = MySqlHook(mysql_conn_id=self.mysql_conn_id)
        s3_conn = S3Hook(aws_conn_id=self.aws_conn_id, verify=self.verify)
        data_df = mysql_hook.get_pandas_df(self.query)
        self.log.info("Data from MySQL obtained")

        self._fix_int_dtypes(data_df)
        file_options = FILE_OPTIONS_MAP[self.file_format]
        with NamedTemporaryFile(mode=file_options.mode, suffix=file_options.suffix) as tmp_file:
            if self.file_format == FILE_FORMAT.CSV:
                data_df.to_csv(tmp_file.name, **self.pd_kwargs)
            else:
                data_df.to_parquet(tmp_file.name, **self.pd_kwargs)
            s3_conn.load_file(
                filename=tmp_file.name, key=self.s3_key, bucket_name=self.s3_bucket, replace=self.replace
            )

        if s3_conn.check_for_key(self.s3_key, bucket_name=self.s3_bucket):
            file_location = os.path.join(self.s3_bucket, self.s3_key)
            self.log.info("File saved correctly in %s", file_location)

redpajama_set_name: RedPajamaGithub


Newly moved, newly minted, newly anointed…appellate as you like, the posts be flowing again.
The biggest impediment to my writing thatthat wasn't financial or connective in naturewas the marked lack of game-playing which accompanied the afore-indicated impediments. I wrestled with the question: "Can someone who isn't really gaming write about gaming?" But, I admit, i wasn't wrestling all that hard, due to a return to the homestate, new job-action, and the ever-present excitement that is living with my Special Lady Friend. At this point, I believe we've trumped any previously standing records for most consecutive nights spent in the same building, and she's barely been in town a month.
Anypants, before I delve into the meat of this admittedly brief post I want to stress that the Magnificent Amazonian and I do not yet have a relationship which would be grist for angsty, troubled posts. Besides, those would go on my live journal. Because I totes still possess one.
*I should stress that this was actually two separate conversations, but the primary crux of both involves her medical background versus my "I'm a guy what knows things" background. She handily won both conversations.
Obviously, I am a fortunate man. However, I'm also a thoroughly introspective and reflective fellow, so every time my fiancee and I engage in an exchange of comically raised voices I'm given to consider other arguments and disagreements I may have had.
game, who has been featured before. The latter character is a 4th edition Runepriest githzerai liberally stained with PF flavor; the former is a half-orc alchemist built in full-on PF style.
Returning to the heady days of 3.5 brought the value of a single +1 into a perspective I'd all but forgotten, what with 4e's generous paired stats to defenses and level-based modifiers to stats. Suddenly, I was sweating over every skill rank and ability mod in a way I never worry about my 4e characters. Suddenly, I was explaining just why I needed a 7 Cha over an 8…explaining this in my head, mind; vetting arguments ahead of time to be ready if I was challenged.
Of course, there is no need to challenge me on a 7 Cha; my 1st level character's 10 hp aren't much impediment to a pair of solid swings or a lucky crossbow bolt, so my MAD-suffering pirate is hardly game-breaking.
But I've been away from the thick of gaming long enough to be extremely conscious of how valuable every +5% has suddenly become to my character. The fact that the last time I worried this much about numbers was as a DM in Tinderbox only further illuminates the issue; as a DM, I can always find a few +1s, especially since PbP 4th runs best with group initiative. Flank here, bull-rush there, and the elite with the impressive attack will get his hit even on a shoddy roll.
As a player, though, I'm left scrabbling for every modifier I can find. I've already spent a few days pondering ways for Maulmouth to compensate for his weaknesses (Poor Dex in a system where I can't use my spellcasting stat for my spellish attacks) while maximizing his strengths. In turn, I've spent a few days reflecting on how rarely I need to do the same thing in 4th, where 2 good stats and a single decent one usually see you through the battle.
The stark divide between the way I'm thinking of my half-orc pirate and the way I've played games for the last few years has me thinking about modifiers, fighting for them, and allowing them. Specifically, I've been thinking about adding a rule to games that prohibits players from fighting over less than a +2 modifier in any situation, in any edition. Obviously this is a wild hair of a concept at present, something barely formed, but it's weighing on my mind. Would letting players know that no +1 bonus would ever be debated (you either have it or you don't, in most cases gaining it through the pronouncements of the DM) break the experience of the game? Or would it speed and streamline things, allowing players greater opportunities to get lost in the hackery?
I never have been able to play a 4e game, but regarding 3.5, I totally hear where you're coming from. Scrabbling for +1's, especially at super-low levels, can be a harrowing experience. I hate trying to operate at level 1-4 so much that in nearly every game I've run, I've always started the players at level 5 or 6. I've always enjoyed the fact that when you're making a toon at higher levels, you not only get a better feel for the build you're making, but are also a bit more likely to feel competent when you start playing. That's always been my feeling, at least, but then I do believe that the only time I've ever crafted a D&D character at level one is either in computer game form (i.e. Baldur's Gate, Icewind Dale, etc.) or back in the days of 2E playing in your nut-crushing games, lol.
Nearly the whole of my gaming experiences in the last 5 years or so have been with Exalted, where if you really need that +1, you can always get it if you're creative enough. It's a White Wolf system, so every pip on your player sheet translates into dice that you combine into a pool for any particular action. Need to ram a dire lance through an insolent Dragon-Blood's sternum? That's (Dex + Melee + Dire Lance Specialty (if you have it)). Not enough dice? Burn Essence through your Melee Excellency to get MORE dice. Still not feeling froggy enough? Burn a point of Willpower to add an automatic success, OR channel it through a Virtue to get MORE dice.
And that's not counting the Stunt system, either. Essentially, Exalted rewards you for being flamboyant and descriptive. If you say "I hit him with my daiklaive," that's not a Stunt. If you describe the strike, that's a 1 point Stunt, that adds 1 free dice to your pool and you regain 2 motes of Essence. If you describe the strike while making dramatic use of the scenery, that's a 2 point Stunt, which gives you 2 dice and 4 motes of Essence OR regenerates a point of Willpower (and allows you to make dramatic edits to the scenery.) If you go absolutely over-the-top, describing an insane stunt that puts you in nearly as much danger as your opponent, such as running to the top of a mast on a ship rolling in a hurricane and doing a flying elbow drop onto a pirate below, smashing you both through three decks and into the bilges below, that's a 3 point Stunt, granting 3 dice and regenerating 6 motes of Essence OR 1 point of Willpower OR granting one point of bonus XP.
Seriously, that barely scratches the surface of how crazy Exalted can get, especially when you consider that it is essentially "classless" and you can customize your demi-god in nearly any way you can think of. There are some obvious problems with some of the mechanics and it is being errata'd constantly in attempts to balance it, but the SETTING of Exalted is truly spectacular.
Oh, and regarding your question, I honestly don't really see much of a problem with leaving the decision over what constitutes a +1 bonus in the hands of the DM, no matter what (it's actually what reminded me of Exalted's Stunt system.) Assuming your players can get on board with the fact that they cannot ever argue about it (it's only a +1, after all,) I think it's a good way to streamline things a little bit more. If the game is going to stop for debate, better it be stopped for something MORE than a +1.


Get a taste of the Finest walk in the World. Join us on a Milford Track Day walk from Te Anau or Queenstown. Experience scenic Fiordland at its best with lunch at Historic Glade House before walking a section of the famous Milford Track.
This is a full day guided walk with Ultimate Hikes. We will pick you up from your accommodation from our office in Queenstown or Te Anau, and drive you to Te Anau Downs, where you will take a boat ride up Lake Te Anau to the start of the Famous Milford Track.
Walk up the leafy track to historic Glade House, where you can learn about the great pioneers of the track and have a lovely lunch in the lodge. Afterwards it's time to cross the renowned Clinton River and enter the beauty of Fiordland's lush rain forest, unchanged for hundreds of years.
Milford Track Guided Day Walk - Ultimate Hikes, Ultimate Hikes, Te Anau, Fiordland, New Zealand.


text:
Alternative Dispute Resolution Unit 5 Assignment
by	samickens	/ Friday, 02 September 2011	/ Published in Law
Home Page Assignment Page Rules for Writers Page
Cite all sources
1. Discuss and explain the concept and role of a neutral in third-party assistance. (300-500 words) (1 page minimum)
2. Explain how conflict leads to disputes and the need for resolution. (300-500 words) ( 1 page minimum)
3. You have learned about negotiation and mediation. In the following scenario, how could Morty use these ADR methods? Discuss which method would work best, what steps would be taken, and the advantages of that method. (1200-1800 words) ( 4 pages minimum)
Morty went to work for his father-in-law on the family farm. Because they were family, the two did not sign a contract. After his very first day of work, Morty's father-in-law told him to drive the combine to the back forty. Morty started to explain that he had never driven such a large vehicle before and that he did not have time that night after supper to drive that far, but his father-in-law said, "Deal with it!" and hung up the phone. Morty drove the combine and clipped the neighbor's barn while taking a shortcut, causing substantial damage to both the barn and the combine. The neighbor was very, very understanding, but then asked for double what the damage was to the barn. Morty's father-in-law wants Morty to pay for the barn and says his insurance company wants him to sue Morty for damages to the combine, although he says, "I am not sure my daughter would appreciate that." Morty is flat broke, with another child on the way. What should he do?
About samickens
Explain Kohlberg s theory of moral development. What did Carol Gilligan find and why is it a serious problem for the validity of the theory? How do we measure moral development and what are the problems with measurements? Can moral development programs reduce criminality? Discuss the evidence.
What is Just Desert?
In a 3 to 4 page paper, describe a personal experience in which you or someone you know had to make a moral decision for example, cheating on an exam, stealing out of necessity, or being forced to give up a personal freedom. Include the following in your paper:


text:
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Stuttgart: First Round Kicks Off With First Class Tennis
By Anita Stahl
With only 32 players in the draw, the Porsche Grand Prix top players have had to hit the ground running. With many players coming from Fed Cup ties over the past weekend, the slippery fast clay in the Porsche Arena has already produced plenty of fantastic tennis in the first round, despite withdrawals from Simona Halep and Garbiñe Muguruza.
Daria Kasatkina, who has had trouble backing up her success from the beginning of 2018 set a good tone for her clay season with a 7-6(8), 7-5 victory over Elise Mertens. Her first set point came at 5-4 in the first, but Mertens came back and forced a tie break, in which Kasatkina finally took the set on her third chance. After the difficult start she had to the season, this first round victory, her first here is meaningful. Although she struggled at moments, the important takeaway for her is the fact that she could fight past any frustrations to get the win. "I had very good opportunities to close the set early but it didn't happen and the most important for me was to stay focused and not think about the past which was very important and just play point by point […] And, I was trying to play disciplined and do what I had confidence to do."
Victoria Azarenka defeated lucky loser Vera Zvonareva 7-5, 6-4 in a match that took 1:44 hrs. While this is by no means an extraordinarily long match, Azarenka's perseverance is impressive considering she had just gotten off a flight from Australia about 24 hours before and had only managed to practice 30 minutes on the red clay, prioritizing rest. Dazed, relieved, and happy in her press conference, she explained her mental strategy quite simply: "I think the game here with the court and conditions it's not going to be like too many long rallies […] I was just really trying to stay one point at a time because if I start to think too much ahead I would lose my focus and to keep my focus today was not easy obviously with the circumstances."
Belinda Bencic defeated qualifier Mandy Minella 6-2, 6-4. While clay is not her favorite surface today, she did have significant junior success on the surface, winning the 2013 Junior French Open. Only recently mounting a comeback from injuries that just about kept her off clay for three years, she is not putting pressure on herself: "For this season I really want to try to get consistency. I'm making the goal maybe just to win one round in every tournament. I won a round here, so I'm very happy with that. I have no points to defend, so it's really relaxing for me and I can only go up with the ranking points."
Local favorite Julia Goerges had to retire from her match against Anastasia Pavlyuchenkova at 4-6, 6-2, 4-0. She was in tears as she left the court. Talking with press after the retirement, she explained that before Fed Cup she had woken up with pain in her neck and back. The inflammation of the vertebras pressed on nerves that caused her to lose full sensation in three fingers. While she tried to fight through the pain this week, she will now move on to prioritize rest and not return to the court until she is back to full health.
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text:
<!DOCTYPE html>

	<title>Knockout Typeahead Example</title>

Knockout Typeahead Example

	<input placeholder="Jurassic Park" data-bind="value: myValue, typeahead: autocompleteMyValue, remoteFilter: remoteFilterMyAutocomplete, templateName: 'example-suggestion', displayKey: 'Title'" />