For the last 20 years the Newport Beach Film Festival has brought the best of classic and contemporary filmmaking from around the world to Orange County. Under the direction of CEO and Co-founder Gregg Schwenk and the festival’s staff have been committed to entertaining and enlightening the public with a first-class international film program as well as providing a forum for cultural understanding and enriching educational opportunities, the Festival focuses on showcasing a diverse collection of both studio and independent films. The Festival supports the creation and advancement of innovative and artistic cinematic works from both emerging and seasoned filmmakers and proudly embraces the passion, vision and independent spirit of these talented artists. With the integration of the local community and educational institutions, the Festival stimulates an interest in the study and appreciation of film and encourages people of all ages and backgrounds to participate. The Community Outreach Program was created with the idea that film offers new perspectives and possibilities for a changing world. Each year, the Festival partners with over 40 non-profit organizations and pairs each philanthropic organization with a film that aligns with their mission. The Festival gives non-profit organizations a forum to voice their message to large audiences and spread awareness of their organization and mission through the medium of film. Areas of focus include the arts, health and human services, the environment, education, children’s causes, seniors’ and veterans’ programs, and alumni clubs. CEO and Co-founder Gregg Schwenk joins us to talk about a remarkable festival line-up of comedies, dramas, short films, action sports, classics, documentaries, musicals and foreign film excellence.
THE RIVER AND THE WALL follows five friends on an immersive adventure through the unknown wilds of the Texas borderlands as they travel from El Paso to the Gulf of Mexico on horses, mountain bikes, and canoes. Conservation filmmaker Ben Masters realizes the urgency of documenting the last remaining wilderness in Texas as the threat of new border wall construction looms ahead. Masters recruits NatGeo Explorer Filipe DeAndrade, ornithologist Heather Mackey, river guide Austin Alvarado, and conservationist Jay Kleberg to join him on the two-and-a-half-month journey down 1,200 miles of the U.S.-Mexico border. They set out to document the borderlands and explore the potential impacts of a border wall on the natural environment, but as the wilderness gives way to the more populated and heavily trafficked Lower Rio Grande Valley, they come face-to-face with the human side of the immigration debate and enter uncharted emotional waters. Ben Masters is best known for his UNBRANDED, a feature documentary on Netflix, in which he and three friends adopted 16 wild mustangs, trained them, and rode 3,000 miles from Mexico to Canada to inspire wild horse adoptions. Director Ben Masters join us to talk about the spectacular natural beauty of the Rio Grande Valley, the people who live along the Mexico – American border and the on-the-ground reality of a border wall.
“If The River and the Wall runs the risk of being too repetitive, Masters breaks up the argument with a sense of adventure.” – Alan Zilberman, Washington City Paper
“Visually stunning and politically sharp.” – Caryn James, Hollywood Reporter
“The River and the Wall is going to be one of the most-talked about documentaries of 2019 because of its timeliness in the current political environment.” – Danielle Solzman, Solzy at the Movies
BODY AT BRIGHTON ROCK is a psychological thriller about a part time summer employee, Wendy, (Karina Fontes) at a mountainous state park, takes on a rough trail assignment at the end of the season, trying to prove to her friends that she’s capable enough to do the job. When she takes a wrong turn and ends up deep in the backcountry, she stumbles upon what might be a potential crime scene. Stuck with no communication after losing her radio and with orders to guard the site, Wendy must fight the urge to run and do the harder job of staying put — spending the night deep in the wilderness, facing down her worst fears and proving to everyone – including herself – that she’s made of stronger stuff than they think she is. Director and writer Roxanne Benjamin made her directorial debut in the anthology SOUTHBOUND, which world premiered at the Toronto International Film Festival. She was last in the director’s chair for “Don’t Fall”, part of Magnolia Pictures’ all-women-helmed horror anthology XX, which premiered at Sundance in the Midnight section last year. Director Roxanne Benjamin stops by to talk about her slow-burn thriller and the challenges of a wilderness shoot.
“Deftly employing the power of suggestion and an emotionally potent sound design, “Body at Brighton Rock” is a well-crafted thriller with some crafty tricks up its sleeve.” – Joe Leydon, Variety
“Body at Brighton Rock shifts from being a fun and colorful throwback to something a little darker and deeper.” – Meredith Borders, Slashfilm
“Relating to Wendy, and to her terror, is easy, and immediate, and lets the movie hook its claws into the viewer with jolting urgency.” – Andy Crump, Paste Magazine
“Anchored by a star-making lead turn and sporting superb sound design, Body At Brighton Rock is a bloody good time.” – Alan Ng, Film Threat
WILD NIGHTS WITH EMILY tells the story of the mid-19th century poet, Emily Dickinson writing prolifically, baking gingerbread, and enjoying a passionate, lifelong romantic relationship with another woman, her friend and sister-in-law Susan…yes this is the iconic American poet, popularly thought to have been a recluse. Beloved comic and Saturday Night Live alum Molly Shannon leads in this humorous yet bold reappraisal of Dickinson, informed by her private letters. While seeking publication of some of the 1,775 poems written during her lifetime, Emily (Shannon) finds herself facing a troupe of male literary gatekeepers too confused by her genius to take her work seriously. Instead her work attracts the attention of an ambitious woman editor, who also sees Emily as a convenient cover for her own role in buttoned-up Amherst’s most bizarre love triangle. Meticulously researched with the support of the Guggenheim foundation, this dramatic comedy generously intertwines Dickinson’ actual letters and poems into the texture of the film, used with permission from Harvard University Press. A timely critique of how women’s history is rewritten, WILD NIGHTS WITH EMILY remains vibrant, irreverent and tender–a perhaps closer depiction of Emily Dickinson’s real life than anything seen before. Director Madeleine Olnek (The Foxy Merkins, Codependent Lesbian Space Alien Seeks Same) stops by to talk about her “wildly” inventive and poignant reset of the often maligned American literary giant.
93% on Rotten Tomatoes
“Wild Nights With Emily may be Olnek’s most political film to date, one that could forever change the narrative of the world’s most famous woman poet.” – Jude Dry, IndieWire
“Like the remarkable poet at its center, Wild Nights with Emily is playful, clever, and alive.” – Kristy Puchko, Pajiba
“This is an irreverent film, but its lightness is meaningful. With each silly flourish, Olnek offers joy and companionship to a figure whose history was more conveniently presented to generations of readers as solitary.” – Two Bugbee, New York Times
“Olnek has crafted a lovely, heart-warming piece which reminds us of the importance of revisiting and challenging historical narratives and leaves one in both fits of laughter and in need of a few moments of contemplation.” – Hannah Ryan, Much Ado About Cinema
Ollie (Tessa Thompson) is barely getting by in Little Woods, an economically depressed fracking boomtown in North Dakota. She has left her days of illegally running prescription pills over the Canadian border behind, eyeing a potential new job that would finally break her out of the small town. But when her mother dies, she is reunited with her estranged sister Deb (Lily James), who faces a mounting crisis: the combined effect of an unplanned pregnancy and a deadbeat ex (James Badge Dale). The two find they have one week to settle the mortgage on their mother’s house or face foreclosure. As both bills and pressure mount, Ollie faces a choice: whether to return to a way of life she thought she’d left behind for just one more score, or to leave it all behind. Writer-director Nia DaCosta’s debut is an emotionally charged small-town thriller that weaves themes of economic downturn and the opioid crisis into its intimate story of two sisters trying to get by. An unvarnished film anchored by an authentically drawn sibling bond, LITTLE WOODS speaks to both the biggest and smallest elements of the working-class struggle in rural America. Director and writer Nia DaCosta joins us for a conversation on her debut feature film and the crushing burden of a life without options or access to opportunity or education and the toll it takes on well intentioned people.
Tribeca Film Festival – Nominated, Best Narrative Feature – Nia DaCosta
Heartland Film – Winner, Truly Moving Picture Award – Nia DaCosta
Fargo Film Festival – Winner Best Narrative Feature – Nia DaCosta
97% on Rotten Tomatoes
“DaCosta has made a suspense film in which we root for the heroes to break the law, and then she sends us home to ponder all the reasons they need to.” – Ty Burr, Boston Globe
“The film smartly never goes the direction one might assume, embracing full-blown character study that shines a scorching light on many prevailing problems within the underclass of American society” – Robert Kojder, Flickering Myth
“Nia DaCosta’s absorbing debut is laced with urgent dread, experienced by characters you care deeply about.” – Sam Weisberb, pillage Voice
“Little Woods is a story we don’t often see told from a black woman’s lens, especially not in this particular setting. It’s a story of sisters who band together and fight against every complication.” – Aramide Tinubu, Shadow and Act
Fueled by an incendiary performance by Elisabeth Moss, HER SMELL follows Becky Something (Moss) is a ’90s punk rock superstar who once filled arenas with her grungy all-female trio Something She. Now she plays smaller venues while grappling with motherhood, exhausted band mates, nervous record company executives, and a new generation of rising talent eager to usurp her stardom. When Becky’s chaos and excesses derail a recording session and national tour, she finds herself shunned, isolated and alone. Forced to get sober, temper her demons, and reckon with the past, she retreats from the spotlight and tries to recapture the creative inspiration that led her band to success. Anchored by a towering, unflinching performance from Golden Globe and Emmy winner Moss, and supported by a stellar ensemble cast, HER SMELL examines the grit, grace and gravitas of an unforgettable fictional rock star crashing down to earth into the harsh realities of mid-life. With his deeply humane sixth feature, writer- director Alex Ross Perry (Listen Up Philip, Golden Exits) pumps up the volume and shines a light on the terrifying moment when superstardom wanes — and quiet becomes the new loud. Alex Ross Perry joins us for a lively conversation on the film’s fascinating shooting schedule, collaborating with cinematographer Sean Price Williams and working with a remarkable cast of actors.
“Elisabeth Moss turns in a five-alarm blaze of a performance as a frontwoman who makes Courtney Love look like Mother Teresa.” – Peter Travers, Rolling Stone
“Moss varies the volume and the tempo of her performance, calling forth cascades of profane invention and rills of whispery poetry, but she always stays in the same key, the key of Becky.” – A.O. Scott, New York Times
“Formally audacious and ferociously intelligent, Her Smell is Perry’s greatest achievement yet, a wild saga of prestige and madness that is ultimately rooted in the female bonds keeping women sane.” – Natalia Winkelman, The Daily Beast
“Over and above the furious-and ultimately painfully tender-drama, Perry achieves something of a new, grand version of his own cinematic music.” – Richard Brody, New Yorker
Hail Satan? chronicles the extraordinary rise of one of the most colorful and controversial religious movements in American history, Hail Satan? is an inspiring and entertaining new feature documentary from acclaimed director Penny Lane. When media-savvy members of the Satanic Temple organize a series of public actions designed to advocate for religious freedom and challenge corrupt authority, they prove that with little more than a clever idea, a mischievous sense of humor, and a few rebellious friends, you can speak truth to power in some truly profound ways. As charming and funny as it is thought-provoking, Hail Satan? offers a timely look at a group of often misunderstood outsiders whose unwavering commitment to social and political justice has empowered thousands of people around the world. But with their numbers swelling and dozens of new chapters forming in cities across the globe, increased threats of violence against Satanists and disagreements within the group’s own ranks complicate the Temple’s work. As a complex and costly legal battle erupts over a similar Ten Commandments monument in Arkansas, Greaves, Blackmore, and their fellow Temple members struggle to adjust to the movement’s explosive popularity while maintaining the integrity of their core beliefs. Director Penny Lane (Nuts!, Our Nixon) once again joins us for a lively discussion on Satanic beliefs, Lucien Greaves, Jex Blackmore and the creative and subversive strategies for preserving many deeply held patriotic ideals.
“Lane sets out to subvert American history with intelligence and wit. Here, she asks us to question why certain religions are deemed “normal,” even though, notes one Temple member, Catholic mass is all about the symbolic drinking of blood.” – Amy Nicholson, Variety
“Provocative, hilarious, and latently enraging documentary about The Satanic Temple.” – David Ehrlich, IndieWire
“”Hail Satan?” finds that simply presenting reason and historical precedent proves to be audacious and Lane follows the lead of her subjects in showing that it can be done with enormous amounts of fun.” – Stephen Saito, Movable Feast
“Wickedly funny, fascinating and niftily made, this crowd-pleaser will reign at festivals and prove, yet again, that the devil always has the best tunes.” – Leslie Felperin, Hollywood Reporter
Be Natural: The Untold Story of Alice Guy-Blaché, is a documentary about the first female filmmaker, Alice Guy-Blaché, which explores the heights of fame and financial success she achieved before she was shut out from the very industry she helped create. Over the span of her career, she wrote, produced or directed 1,000 films, including 150 with synchronized sound during the ‘silent’ era. Her work includes comedies, westerns and dramas, as well as films with groundbreaking subject matter such as child abuse, immigration, Planned Parenthood, and female empowerment. She also etched a place in history by making the earliest known surviving narrative film with an all-African American cast. Pamela B. Green has dedicated more than eight years of research in order to discover the real story of Alice Guy-Blaché (1873-1968) – not only highlighting her pioneering contributions to the birth of cinema but also her acclaim as a creative force and entrepreneur in the earliest years of movie-making. Green discovered rare footage of televised interviews and long archived audio interviews which can be heard for the first time in Be Natural: The Untold Story of Alice Guy-Blaché, which affords Alice Guy-Blaché to tell her own story. Director Pamela B. Green joins us for a conversation on the winding journey of discovery and the exhilaration that comes from showcasing a visionary artist, producer, studio head, entrepreneur, feminist, and groundbreaking filmmaker.
“What starts as a biography turns into a detective thriller as Green crisscrosses the globe, searching for clues as to why Guy-Blaché has been forgotten.” – katie Walsh, Los Angeles Times
“A scrupulously well-researched documentary about one of early cinema’s greatest pioneers and the world’s first woman filmmaker.” – Leslie Felperin, Hollywood Reporter
“The Untold Story of Alice Guy-Blaché is essential viewing for those who want a complete perspective on the history of film.” – Lorry Kikta, Film Threat
“In her passionate debut film, Green achieves a feat of making a two-level research project informative and entertaining. Exciting and essential documentary for film history!” – Nora Lee Mandel, Maven’s Nest
In 2004, the United States’ first problem-solving court around prostitution was created in Queens County, New York. The court, presided over by the Honorable Toko Serita, attempts to redress the way women and young girls arrested for prostitution are shuffled through the criminal justice system. With unparalleled access to the workings of the court, BLOWIN’ UP captures what it feels like to go through these criminal proceedings as a female defendant. The overwhelming majority of women arrested are undocumented Asian immigrants, black, Latina and transgender youth. We hear directly from these women, in their own words, and we begin to understand the complex scenarios that bring them into the courtroom. As BLOWIN’ UP progresses, and a new administration takes over in the White House in 2016, the courtroom’s fragile ecosystem is tested and the fates of those who pass through become less certain. Director Stephanie Wang-Breal is an award-winning filmmaker and commercial director. BLOWIN’ UP is her third feature length film. Her first film, Wo Ai Ni Mommy (I Love You, Mommy), was nominated for an Emmy®, and was the recipient of three Grand Jury Best Documentary Awards at the AFI/ Discovery Silverdocs Film Festival, the Asian American International Film Festival and the San Francisco International Asian American Film Festival, as well as a 2011 CINE special Jury Award. The film had its national television broadcast in 2010 on the award-winning PBS series POV. Director Stephanie Wang Breal stops by for a conversation on the vicious cycle of poverty, few job prospects, lack educational resources and criminalization of sex work.
Learn more about the organization in the film and how you can get involved
“A true justice league of wonder women in action… one of the most hopeful real-world visions of heroic women ever to fill the screen.” – Sheri Linden, THE HOLLYWOOD REPORTER
“Stephanie Wang-Breal’s fascinating film is an immersive portrait of a courtroom in Queens with a refreshingly nuanced take on a timely issue… Wang-Breal approaches the vastly misunderstood topic of sex work from a non-judgmental feminist perspective.” – Jude Dry, INDIEWIRE
“A powerful film about an innovative court in Queens where judgments are made with real world considerations beyond the letter of the law… The result is brilliant in every way.” – Stephen Saito, THE MOVEABLE FEST
“Candid in its politics and slow and meticulous in its exploration of a workplace and its cast of characters…these individual testimonies show how difficult it is to put someone into a convenient box, effectively blowing up the neat compartments we build around criminals and victims.” – Amy Zimmerman, THE DAILY BEAST
In a media environment dominated by increasingly concentrated corporate interests, eight distribution companies who have long championed the best in independent features, documentaries, and social issue films, have joined forces to help launch a new subscription streaming service, OVID.tv. Starting today, OVID.tv offers more than 350 quality documentaries and art-house films from the collections of its founding content partners: Bullfrog Films, The dGenerate Films Collection, Distrib Films US, First Run Features, Grasshopper Film, Icarus Films, KimStim, and Women Make Movies. Most of the films on OVID.tv are not available on any other streaming platform, and OVID.tv will be adding even more films every two weeks–14 fiction feature films and one 10-part documentary series are already scheduled for release. Despite the odds and with little capital, Icarus Films, Docuseek, and our partners have decided that the time has come to step forward and build a new, independent space, dedicated to the films that we believe in and care about, and that we believe you care about, and value as well. OVID.tv co-founder Jonathan Miller joins us to talk about an affordable option for film lovers looking for the highest quality cinema experience presented by people who share your passion.
For now OVID.tv is only available in the U.S.
“A cornucopia of international movies and documentaries… recent ones as well as classics. It’s far better for recent movies than FilmStruck ever was, and its spectrum of new movies is far more substantial than that of Netflix, wider-ranging than that of Amazon.” – Richard Brody, The New Yorker, March 22, 2019
From acclaimed filmmaker David Sutherland, Marcos Doesn’t Live Here Anymore examines the US immigration system through the eyes of two unforgettable protagonists whose lives reveal the human cost of deportation. Elizabeth Perez, a decorated US Marine veteran living in Cleveland, fights to reunite her family after her undocumented husband, Marcos, is deported. Meanwhile, Marcos is alone in Mexico, working as a soccer referee, struggling with depression and fighting the urge to cross the border illegally to see his family. With his signature raw, unfiltered intimacy, Sutherland weaves a parallel love story that takes us into a world often lived in the shadows. When Elizabeth’s efforts hit a legal brick wall, she must plan for the unthinkable alternative: leaving the US with her children to live in exile in Mexico. “He is missing their entire life,” Elizabeth says. Marcos Doesn’t Live Here Anymore follows Elizabeth on her mission to bring back Marcos, which she pursues with the take-no-prisoners attitude of a Marine squad leader. Marcos Doesn’t Live Here Anymore tells a profoundly human story of complicated, imperfect people doing their best to cope with what life has dealt them. Director David Sutherland (Kind Hearted Woman, Country Boys, The Farmer’s Wife, Out of Sight) joins us to talk about the multi-faceted issues surrounding immigration, family separation, lost time, and the omnipresent fear of the unknown.
Never before released in the US, Franco Rosso’s incendiary BABYLON had its world premiere at Cannes in 1980 but was deemed “too controversial, and likely to incite racial tension” (Vivien Goldman, Time Out) by the New York Film Festival that same year. Raw and smoldering, it follows a young reggae DJ (Brinsley Forde, frontman of landmark British group Aswad) in Thatcher-era Brixton as he pursues his musical ambitions, while battling fiercely against the racism and xenophobia of employers, neighbors, police, and the National Front. Written by Martin Stellman (QUADROPHENIA) and shot by two-time Oscar® winner Chris Menges (THE KILLING FIELDS) with beautiful, smoky cinematography that’s been compared to TAXI DRIVER, BABYLON is fearless and unsentimental, yet tempered by the hazy bliss of the dancehall set to a blistering reggae, dub, and lovers rock soundtrack featuring Aswad, Johnny Clarke, and others, anchored by Dennis Bovell’s (The Slits) atmospheric score. BABYLON is the product of outsiders: director Rosso (1941-2016) immigrated from Italy as a child, Stellman is the son of Viennese Jewish immigrants, producer Gavrik Losey is the son of blacklisted Hollywood director Joseph Losey, and composer Bovell immigrated from Barbados, and was falsely imprisoned for running a sound system—the script was partly based on his experiences. Beyond the significance of being the only feature film about London’s sound system scene, BABYLON unflinchingly observes the place of marginalized people in a society resistant—to the point of violence—to multiculturalism. Writer Martin Stellman joins us to talk about the impact that Babylon had on the Caribbean diaspora living in London, the neo-realism style of the film and winding path that Babylon has taken over the last 40 years.
100% on Rotten Tomatoes
“A STORY WITH LITERALLY EPIC STAKES. It’s no surprise why the film may resonate now—its themes of finding community through art and trying to exist in a society that doesn’t want you are unfortunately both timeless and extremely current.” – Jaya Saxena, GQ
“REMARKABLE. Never lets go for a moment.” – Derek Malcolm, The Guardian
“FEARLESS. Loud and musical and cheerful and funny, and also tragic.” – David Robinson, The Times“EXPLODES IN THE GUT with a powerful mix of pain and pleasure. Like the reggae music that pulses through it, Babylon is RICH, ROUGH and REAL. And like the street life of the young black Londoners it portrays, it’s THREATENING, TOUCHING, VIOLENT and FUNNY.” – Simon Perry, Variety
“FIVE STARS. One of the greatest British films.” – MOJO
“REVOLUTIONARY.” – Miguel Cullen, The Independent
Orna, (Liron Ben Shlush) is the mother of three young children with a husband struggling to start his own restaurant. To help support her family Orna returns to the workplace, landing a job with a former army superior, Benny (Menashe Noy) who is now a successful real estate developer. While Orna embraces her new position and tries to balance its demands with her home life, she begins to experience escalating sexual harassment from her boss. Her rapid rise through the ranks and her increasing financial success seem to parallel a pattern of predatory behavior which ultimately brings her career and marital relationship to the brink. This timely and devastating psychological horror story is expertly told by long time feminist filmmaker Michal Aviad (Dimona Twist, The Women Pioneers, Invisible, For My Children). She joins us for an engaging conversation on an all too familiar story of a woman, simply trying to do her job and finding out its not enough.
“TIMELY AND POWERFUL…. The latest from Israeli director Aviad arrives at just the right cultural moment, being an insightful drama about sexual harassment in the workplace, and the power dynamics that trap women in an office with their abusers…. Ben-Shlush is riveting as a competent, capable woman coming apart under the constant, smothering stress of a situation she never thought she’d experience.” – Norman Wilner, NOW MAGAZINE
“This tightly-focused workplace drama could hardly be more timely… Finely-drawn characters and the kind of grey-area scenario that may be uncomfortably familiar to many women make this a thought-provoking addition to the post #metoo conversation.” – Wendy Ide, SCREEN DAILY
The 17th edition of the fest begins on Thursday, April 11th with an opening night tribute to legendary Indian Actress TABU, who is regarded as one of the most talented Indian actors of her generation, having been honored with two National Film Awards, six Filmfare Awards and notably, the Padma Shri from the Government of India in 2011. In addition to opening with a tribute and moderated discussion with TABU, the festival’s opening night gala event will also include a screening of her latest film ANDHADHUN, a feature directed by IFFLA alum Sriram Raghavan (Johnny Gaddaar).
Some other highlights from this year’s lineup include:
– A moderated panel featuring successful South Asian professionals working across various fields in the television industry. The panel boasts a lineup that includes actor/comedian Nik Dodani (Murphy Brown, Netflix’s Atypical), director Meera Menon (The Walking Dead, GLOW, The Magicians), writer Fawzia Mirza (CBS’ upcoming The Red Line), writer Chitra Sampath (Good Behavior, Southland), writer and co-creator of Fox’s The Resident Roshan Sethi, and actor Dhruv Uday Singh (Freeform’s Good Trouble, CBS pilot Pandas of New York).
-The screening of a trio of Sundance and Slamdance favorites that includes Ronny Sen’s unforgettable feature debut CAT STICKS, the exhilarating and imaginative real-life journey of TAKING THE HORSE TO EAT JALEBIS from theatre-turned-film director Anamika Haksar, and PHOTOGRAPH from The Lunchbox director Ritesh Batra.
-Director Megha Ramaswamy’s THE ODDS would close out the festival on April 14. THE ODDS is a coming-of-age tale about two teens who skip school on an important exam day and go on a fantastical journey through Mumbai. THE ODDS features supporting turns from Abhay Deol (Dev D) and Priyanka Bose (Lion) and special appearance by Monica Dogra, all of whom are expected to attend the Gala along with Ramaswamy and co-leads Yashaswini Dayama and Karanvir Malhotra.
Director of Programming Mike Dougherty stops by to talk the 2019 edition of IFFLA, the future of Indian cinema and the increasing acceptance among mainstream American film lovers.
Regal L.A. LIVE: A Barco Innovation Center
1000 W. Olympic Blvd.
Los Angeles CA 90015
In early 2016, when a dark wave of anti-transgender “bathroom bills” began sweeping across the nation, The Human Rights Campaign published a report identifying 2016 as the most dangerous year for transgender Americans. In Washington State six such “bathroom bills” were introduced in the State Legislature. Documentary filmmaker Vlada Knowlton captured the ensuing civil rights battle from the perspective of a small group of embattled parents as they banded together to fight a deluge of proposed laws that would strip away the rights of their young, transgender children. As one of the parents, Knowlton presents an intimate portrait of her own struggle to protect her 5-year-old transgender daughter from laws inspired by ignorance and fear. From tension-filled Senate hearings in Olympia to intimate household settings of the families involved; from thought provoking conversations with key lawmakers to elucidating facts explained by leading scientists – The Most Dangerous Year explores the transgender civil rights battle in all its richness and complexity. While the film follows the story and outcome of anti-transgender legislation in Washington, the heart of the film lies in the stories of the families who made the decision to accept and support their kids for exactly who they are. Director Vlada Knowlton joins us for a conversation on her deeply personal film about her own family’s story and the stories of other loving and caring families fighting to protect and nourish their own.
“Capturing the perspective from families with transgender children, The Most Dangerous Year is a compelling documentary showing that transgender rights matter.” – Danielle Solzman. Solzy at the Movies
“The Most Dangerous Year excels in doing what great politically-charged pieces of art often do. (Director Vlada) Knowlton centers us, grabs our focus, and makes us listen.” – Michael Ward, You Should See It
The gripping new documentary Roll Red Roll goes behind the headlines on a story that grabbed the national attention seven years ago. At a pre-season football party in small-town Steubenville, Ohio, a heinous crime took place: the assault of a teenage girl by members of the beloved high school football team. What transpired would garner national attention and result in the sentencing of two key offenders. But it was the disturbing social media evidence uncovered online by crime blogger Alex Goddard that provoked the most powerful questions about the case, and about the collusion of teen bystanders, teachers, parents and coaches to protect the assailants and discredit the victim. As it painstakingly reconstructs the night of the crime and its aftermath, Roll Red Roll uncovers the engrained rape culture at the heart of the incident, acting as a cautionary tale about what can happen when teenage social media bullying runs rampant and adults look the other way. The film unflinchingly asks: “why didn’t anyone stop it?” Director Nancy Schwartzman joins us to talk about life in a town where high school football is king, a “boys will be boys” ethos that can easily morph into a rape culture and how a few brave women said no more.
“A tough but essential watch, “Roll Red Roll” documents how a sexual assault in a declining Appalachian town became an international cause célèbre.” – Jeanette Catsoulis, New York Times
“Nancy Schwartzman’s devastating real-life thriller documents a shocking sexual assault in a tight-knit community, and the role of social media in compounding the felony but also helping to solve it” – Peter Howell, Toronto Star
“Documentaries don’t usually horrify the oxygen out of me, but I found myself gulping for air more than once during Roll Red Roll.” – Lena Wilson, Slate
“Roll Red Roll is often hard to watch, but [director Nancy] Schwartzman handles the subject matter with respect, grace, insight, and even hope.” – Erika W. Smith, Bust Magazine
THE WIND tells the tale of an unseen evil haunts the homestead in this chilling, folkloric tale of madness, paranoia, and otherworldly terror. Lizzy (Caitlin Gerard) is a tough, resourceful frontierswoman settling a remote stretch of land on the 19th-century American frontier. Isolated from civilization in a desolate wilderness where the wind never stops howling, she begins to sense a sinister presence that seems to be borne of the land itself, an overwhelming dread that her husband (Ashley Zukerman) dismisses as superstition. When a newlywed couple arrives on a nearby homestead, their presence amplifies Lizzy’s fears, setting into motion a shocking chain of events. THW WIND masterfully blends haunting visuals with pulse-pounding sound design, while director Emma Tammi evokes a godforsaken world in which the forces of nature come alive with quivering menace. Director Emma Tammi stops by for a conversation on “Penny Sermons” and the challenges of isolated, desert shoots and framing a non-traditional western from a woman’s perspective.
“”The Wind” doesn’t seek to make infallible heroes of its women, but to understand and empathize with even their most unforgivable acts. And it’s a hugely promising debut in terms of Tammi’s steady, assured directorial craft.” – Jessica Tiang, Variety
“The Wind is a confident, thoughtful, yet creeping and powerful film, with well-earned jump scares and demons both real and possibly imaginary, enough to make you afraid of the dark and the emptiness of even the most beautiful places.” – Shelagh Rowan-Legg, ScreenAnarchy
“The Wind is a western, but it’s not about a man. It’s also a folkloric, supernatural horror but it’s not exactly about monsters, either. The Wind is a film about a woman, and the domestic space she tends and defends.” – Tara Judah, Desist Film
When Steve Bannon left his position as White House chief strategist less than a week after the Charlottesville “Unite the Right” rally in August 2017, he was already a notorious figure in Trump’s inner circle, and for bringing a far-right ideology into the highest echelons of American politics. Unconstrained by an official post – though some say he still has a direct line to the White House – he became free to peddle influence as a perceived kingmaker, turning his controversial brand of nationalism into a global movement. Alison Klayman’s THE BRINK follows Bannon through the 2018 mid-term elections in the United States, shedding light on his efforts to mobilize and unify far-right parties in order to win seats in the May 2019 European Parliamentary elections. To maintain his power and influence, the former Goldman Sachs banker and media investor reinvents himself – as he has many times before – this time as the self-appointed leader of a global populist movement. Keen manipulator of the press and gifted self-promoter, Bannon continues to draw headlines and protests wherever he goes, feeding the powerful myth on which his survival relies. Director and Cinematographer Alison Klayman (Ai WeiWei: Never Sorry, On Her Shoulders) joins us for a conversation on gaining access and the confidence of a man who has maneuvered his way into the darkest corners of white-wing global brinksmanship.
“STARTLING.” Steven Zeitchik, Washington Post.
“GRIPPING.” Kenneth Turan, Los Angeles Times.
“A MUST SEE.” Manohla Dargis, New York Times.
“The Brink” is an impeccably crafted verité ramble – an engaging and enraging, disturbing and highly revealing movie…” – Owen Gleiberman, Variety
“What makes The Brink so different from just another platform for this professional troll? Though Klayman sticks to a largely vérité approach of following her subject around and observing his various interactions, she also provides important context.” – Bilge Ebiri, New York Magazine / Vulture
TRE MAISON DASAN is told directly through the eyes of the children themselves, Tre Maison Dasan is a moving portrait of three unforgettable young boys struggling to grow up with a parent in prison. They face the pressure of growing up in a society that often demonizes their parents, provides little support for their families, and assumes “the apple doesn’t fall far from the tree.” Society writes them off as criminals, but in their hearts their children still see them as mom and dad. Tre is a charismatic but troubled 13-year-old who hides his emotions behind a mask of tough talk and hard edges. Maison is a funny, charming, hyper-articulate 11-year-old whose Autism Spectrum Disorder presents itself through his ever-active mind and deep love for those around him. Dasan, the youngest of the boys, is a shy and sensitive six-year-old full of curiosity and empathy. Although their parents are incarcerated for serious crimes, the strong and caring relationships they maintain with their kids shatter stereotypes about those behind bars and remind us of the plight of the over 1.7 million American children growing up with an incarcerated parent. Denali Tiller is an artist and filmmaker. Following her work directing and producing TRE MAISON DASAN, Tiller is working on a large-scale, multi-sectoral impact campaign for the film, engaging communities affected by incarceration across the US and in Europe. In 2015, Denali was named one of 10 “Filmmakers to Watch” by Variety. As a director, Tiller is passionate about exploring new perspectives on systemic issues, empowering youth and women, and how we raise boys in America. Director Denali Tiller joins us for an engaging conversation on the implications of incarceration that go far beyond a prisoners time behind bars and into the deeper impacts it has on their family, community and civil society.
Rhode Island International Film Festival – Grand Prize
London Raindance Film Festival – Best Documentary Feature
Olympia International Film Festival for Children and Young People – Youth Jury Award for Best Film and Best Direction
Heartland International Film Festival – Grand Prize (Nominee)
“It’s a remarkable film, powerful in its emotional content and profound in its criticism of a system that sets the next generation up for failure.” – Christopher Llewellyn. Hammer to Nail
“A gripping look at children wounded by their parents’ crimes.” – Stephen Farber, Hollywood Reporter
“Nonfiction filmmaking doesn’t get much better than this.” Chris Reed, Film Festival Today
THE BOY BAND CON: THE LOU PEARLMAN STORY is a documentary feature that tells the story of famed boy band impresario Lou Pearlman. The film tracks his life from his childhood in Queens, New York through discovering mega-bands *NSYNC and the Backstreet Boys, and chronicles his later life, including his perpetration of one of the largest Ponzi schemes in American history. This is the first time this story has ever been told from the perspective of the people involved: from the boy band members themselves, and the Ponzi scheme investors to Lou’s childhood friends. Interview subjects include artists Lance Bass, JC Chasez, and Chris Kirkpatrick (*NSYNC); AJ McLean (Backstreet Boys); and Aaron Carter and Ashley Parker Angel (O-Town). Director, editor and cinematographer Aaron Kunkel (Charlie and the Ghost, The Moment) joins us to talk about an all-too-familiar tale of deception perpetrated by a trusted, likable and conflicted con artist.
“The Boy Band Con, The Lou Pearlman Story is a film wrought with both truth and lies, and Lance and I, and the whole team at Pilgrim, really took to heart uncovering what was real story amongst all the rumors, half-truths and full-blown falsehoods. Lou wove a tangled web. As Johnny Wright, the former manager of Backstreet and *NSYNC says, Lou was like a tabloid: there’s 10 percent of truth to what he says, and the rest is Lou taking it where he wants. We’re living in a time when truth and lies seem to blur together more and more and I wanted to examine the differences between them, while also exploring why they’re becoming – and in a lot of ways may always have been – difficult to tell apart.” – Director Aaron Kunkel
Los Angeles – Arclight Sherman Oaks from Wednesday, March 27th through Tuesday, April 2nd.
New York – AMC 34th Street 14 from Friday, March 29th through Thursday April 4th.
100% on Rotten Tomatoes
“It may be an all-too-familiar refrain – trusted music manager rips off his clients – but “The Boy Band Con: The Lou Pearlman Story” sets it in the broader, more intriguing context of the age-old pursuit of those twin trappings, fame and fortune.” – Michael Rechtshaffen, Los Angeles Times
“Told in jaw-dropping fashion, the The Lou Pearlman Story follows the famed musical talent scout…to the Harvey Weinstein/Bernie Madoff figure he would ultimately become.” – Robert Daniels, ThatShelf.com
“As Kunkel structures the doc, it’s like “Here’s this guy who nobody completely understands, now let’s go back in time and … nobody understood him then, either.” I prefer that to cheap and specious psychoanalyzing.” – Dan Feinberg, Hollywood Reporter
“The Boy Band Con’s most remarkable feat is showing how Pearlman’s two crowning achievements were merely cogs in the vast machinery of his deception.” – Bryan Rolli, The Daily Dot
AMERICAN RELAPSE tells the story of two people fighting to make a difference against the devastating heroin epidemic that’s spawning a billion-dollar treatment industry. Against the odds, in an “Us vs. the World” mentality, two recovering addicts spend their lives pulling needles out of the arms of addicts and assist in placing them in reputable treatment facilities. The film features Frankie and Allie who live and work in Delray Beach, Florida, the Rehab Capital of America, now referred to by some as the Relapse Capital of America. They allowed the film crew all access for one weekend. What transpires over 72 hours is not only captivating and raw, but a heart-breaking rollercoaster ride. Frankie is 38 and has relapsed multiple times but continues to operate his F*ck Heroin Foundation with his mother. Allie is 28 and has been clean and sober for 10 years. While they are at different points on the recovery spectrum, they both share a deep belief in the 12th step: helping others. These unlikely and imperfect heroes opened their lives for the world to see, hoping to shine a light anywhere and any way they can. In the process, they show viewers and addicts alike that despite seemingly impossible odds and devastating damage, empathy and hope can restore a little bit of humanity to those who struggle and can sometimes save their lives. Co-directors Pat McGee (Dopesick Nation, The Deported) and Adam Linkenhelt (24 to Life) join us to talk about their raw, honest film and South Florida’s heroin epidemic and the revolving door of the for-profit rehab industry.
“How the revolving door of drug rehabilitation became big business.” – Louis Proyect, counterpunch.org
“Eye-opening and damning.” – Roger Moore, Movie Nation
“Captures the recurring nightmare of substance abuse, which makes enduring the unthinkable (homelessness, prostitution, crime, death) an inevitable facet of one’s day-to-day.” – Nick Schager, Variety
In BILLBOARD Casey Lindeweiler (John Robinson) inherits WTYT 960 from his legendary radioman father only to discover that it’s on the brink of financial collapse. To right the sinking ship, Casey pulls out the oldest trick in radio, the wacky contest. His grand plan is to host a billboard sitting contest where four people will live on a catwalk in front of a billboard for the chance of winning a mobile home and “nine-sixty thousand” dollars. Unprepared for the spotlight, Casey rises to the challenge of running a business but is faced with relentless attacks from his competition (Eric Roberts), the local authorities, the media, and mother nature herself. Casey struggles to keep his father’s legacy alive while fighting to stay independent. BILLBOARD is inspired by an actual billboard-sitting contest Zelker recalls from his youth. BILLBOARD, which stars: John Robinson (Elephant, Lords of Dogtown). Heather Matarazzo (Welcome to the Dollhouse, The Princess Diaries), Eric Roberts (The Dark Knight, Grey’s Anatomy), Leo Fitzpatrick (Kids, Bully), Darlene Cates (What’s Eating Gilbert Grapes, Picket Fences), and Oakes Fegley (Pete’s Dragon, This is Where I Leave You). A long-time pioneer in what has been called “transmedia” entertainment, Zelker is committed to changing the face of film. The “Billboard cine•experience,” tells variations of its story in different ways per medium, which is something unique and not yet fully embraced by the mainstream movie industry. Zelker explores multiple sides of the narrative and is unafraid to push traditional boundary lines between truth and fiction; all while enabling audiences to become a part of the story. The innovative filmmaker Zeke Zelker joins us to talk about his approach to creating an entire cinematic eco-system and why it is so important for filmmakers to seek out new ways of engaging an audience.
DRAGGED ACROSS CONCRETE tells the tale of two policemen, one an old-timer, Ridgemen, (Mel Gibson), the other his volatile younger partner, Anthony, (Vince Vaughn), who find themselves suspended when a video of their strong-arm tactics become the media’s cause du jour. Low on cash and with no other options, these two embittered soldiers descend into the criminal underworld to gain their just due, but instead find far more than they wanted awaiting them in the shadows. What bad things will good men do for their families? In the hardboiled world of DRAGGED ACROSS CONCRETE, who lives, who dies, and who gets rich is a fate written in bullets. Director S. Craig Zahler stops to talk about his stylishly brutal, modern day film noir and his determination to tell this story on his own terms.
“S. Craig Zahler’s latest film is a true master stroke in filmmaking. It is elegantly slow, contained, precise and notably beautifully framed throughout.” – Ben Ralph, Discussing Film
“Anchored by three brilliant central performances, Dragged Across Concrete is an interesting, unpredictable movie that presents two plots that feel like we’ve seen them before and then zigs when we expect it to zag.” – Sean Fallon, Film Inquiry
“S. Craig Zahler is a singular voice in cinema, one who is willing to take pulp concepts and craft them into unflinchingly violent features.” – Niall Browne, Movies in Focus
“Few filmmakers come to mind who could orchestrate these slow-burning set pieces with such precision; it’s like watching a chess game in which everyone thinks they’re a king but most of them are pawns” – Michael Nordine, IndieWire
Of all the divisions in America, none is as insidious and destructive as racism. The powerful documentary THE LONG SHADOW takes a shockingly candid look at America’s original sin – slavery — and traces the history of slavery from the country’s founding, up through its insidious ties to racism today. We witness from the moment of America’s birth, how slavery was embedded in principal structural elements of society, and yet, even as slavery ended, these systems still operate today in various forms, carrying out their original purpose – to diminish the social role of black people and keep them in a perpetual state of suffering. Director Frances Causey and Producer Sally Holst, both privileged daughters of the South, were haunted by their families’ slave-owning pasts. They grew up in a time when white superiority was rarely questioned, and challenging this norm was often met with deadly consequences. Rejecting the oft-told romanticized version of early U.S. history, they embarked on a journey of hidden truths and the untold stories of how America – driven by the South’s powerful political influence – steadily, deliberately and with great stealth, established white privilege in our institutions, laws, culture and economy. From New Orleans to Virginia, Mississippi and Canada, they traveled the roads of oppression, suppression, and even hope to reveal the direct link from early slavery, Jim Crow and strong-arm Southern politics to the current racial strife and division we face today. Director and Frances Causey is an Emmy-award winning journalist and documentary filmmaker who began her career with CNN. Her 2012 documentary feature, “Heist: Who Stole the American Dream?”was a New York Times Critic’s Pick and is currently seen in over 50 countries. Causey was honored with the Women’s International Film and Television Jury Award for her work on Heist. Frances Causey joins us to talk about the stain of slavery and the legacy of racism that continues to torment the American Promise.
“The Long Shadow is a moving personal and informative history of anti-Black racism in the US packed with revealing details and analysis and leading us towards understanding, healing, and commitment to work for racial justice. A must see for white people concerned about racial equity and social justice.” ~ Paul Kivel, Co-founder, Showing Up for Racial Justice
“The Long Shadow is a gripping personalized history lesson, with Causey covering salient points, including how economics drove the despicable trading of humans. Her of-the-moment feature couldn’t be more necessary.” ~ Randy Myers, Mercury News
“If you want to know the true hidden history of the evil that slavery cast over America, and how it continues to this day, you must watch this movie.” ~ Thom Hartmann, The Thom Hartmann Show
The most awarded “dream team” of documentary talent in decades CRADLE OF CHAMPIONS captures the epic story of three young people fighting for their lives in the oldest, biggest, most important amateur boxing tournament in the world: New York’s Daily News Golden Gloves. CRADLE OF CHAMPIONS follows three extraordinary, inspiring individuals—James Wilkins, Nisa Rodriguez, and Titus Williams—on an urban odyssey through a ten-week tournament, founded in 1927, that has produced more professional world champions than the Olympic Games. Telling a compelling story of dreams, heartbreak, and redemption, the result is a unique work of art. CRADLE OF CHAMPIONS is edge-of-the-seat drama with the polish of a Hollywood feature film and the intimacy of a gritty cinéma vérité classic.CRADLE OF CHAMPIONS Director Bartle Bull is a noted author and journalist who has written for the New York Times, Washington Post, Wall Street Journal, and Financial Times. He joins us for a conversation on his desire to document an iconic sporting event that is teetering on the edge of extinction and the community that continues to support it.
Cradle of Champions Dream Team:
Director of Photography, TOM HURWITZ ASC, – (Valentino: The Last Emperor, Queen of Versailles)
KIRSTEN JOHNSON – (Citizenfour, Cameraperson)
MATT PORWOLL – (Cartel Land )
WOLFGANG WELD – (Escape Fire: The Fight to Save American Health Care, Carrier)
NADIA HELLGREN – (Trapped, Searching for Sugarman, Fahrenheit 11/9)
Editor MICHAEL LEVINE – (Restrepo, Central Park Five, Billy the Kid)
Producer MAIKEN BAIRD – (Icarus, City of Ghosts, Client 9: The Trial of Eliot Spitzer)
Executive Producer DONALD ROSENFELD – (Tree of Life, Jodorowsky’s Dune)
“A new standard for character-driven narrative documentary… the excitement, the powerful story arc, and the unforgettable characters one expects from a first rate fiction film.” – Santa Barbara Independent


Barak, Mitchell remain disputed on settlements
After long meeting in Washington between defense minister, US Mideast envoy, two fail to agree on settlement freeze. Issue to be debated again when Mitchell meets PM Netanyahu in two weeks' time
WASHINGTON - Defense Minister Ehud Barak and US special envoy to the Middle East George Mitchell failed to reach an agreement regarding the Israeli construction in the settlements during their meeting in Washington Monday.
Mitchell is scheduled to meet Prime Minister Benjamin Netnayahu in about two weeks.


text:
Tarun Lalwani is a Test Automation and Solutions Architect and the author of the two most widely read books on QTP, the award-winning ‘QuickTest Professional Unplugged’ and ‘And I Thought I knew QTP!’ As well as working on various automated testing projects, he is the Founder of KnowledgeInbox, a company focused on the research and design of Automation products, as well as providing Test Automation services and consultation. Anshoo Arora is a Test Architect and Software Developer, best known for his Test Automation website, www.RelevantCodes.com. He is continuously researching to find better ways of working with QTP, simplifying automation maintenance and creating extensible test suites/frameworks. A regular contributor at AdvancedQTP and SQAForums, he is also the Technical Editor and Reviewer of QuickTest’s first conceptual book, ‘And I thought I knew QTP!’
I really love the book "QTP Descriptive Programming Unplugged: Master Object Identification Techniques". Read morePublished 5 months ago by Babul D' Nokrek
Item as described. Thank you! Material is well explained. It could go into more details and examples but overall is ok.Published on August 13, 2013 by Iliana
I write QTP scripts for a living.
I use Descriptive Programming exclusively.
I never use the Object Repository: it's fragile and has a gazillion drawbacks.
Mr. Read more
Really nice book.I recommend this to the QTP learners who has the basic. I appreciate the author who wrote this book.Published on February 15, 2013 by saikat
Tarun keeps putting out quality products that are well explained and well coded. I have learned and used tons of information from this book. Read morePublished on January 15, 2013 by blahlah

domain: library


You are here
Tree planting can help communities achieve many resiliency goals such as cooling heat islands, reducing stormwater floods, and building neighborhood cohesion.
In October 2018, the Stockholm Resilience Centre released a report “Transformation is Feasible” to the Club of Rome on how to achieve the UN’s Sustainable Development Goals within Planetary Boundaries.
Located on a former landfill, South Coast Botanic Garden employed a regenerative and systematic paradigm and approach for the design of the Creek Garden and Lake in order to holistically manage large amounts of off-site stormwater, conserve water throug
Water is a precious resource, and water scarcity issues are closely interrelated with climate change worldwide.
Participants will learn about the potential impacts of climate change on 125 tree species of the eastern US.
This webcast will look at two completed pilot projects that have successfully integrated watershed planning, green infrastructure practices and source water protection into FEMA hazard mitigation plans.
Hurricane Harvey of 2017 is tied with 2005's Hurricane Katrina as the costliest tropical cyclone on record, inflicting $125 billion in damage, primarily from catastrophic rainfall-triggered flooding in the Houston metropolitan area and Southeast Texas.
This presentation from NOAA provides examples of severe weather events and what was done to prevent harm and get people to safety.


text:
|Publication number||US7347386 B2|
|Application number||US 11/461,682|
|Publication date||Mar 25, 2008|
|Filing date||Aug 1, 2006|
|Priority date||Jul 20, 2005|
|Also published as||CN1899701A, CN100427217C, DE602005008208D1, EP1731226A1, EP1731226B1, US7118050, US7237729, US20070017507, US20070029406|
|Publication number||11461682, 461682, US 7347386 B2, US 7347386B2, US-B2-7347386, US7347386 B2, US7347386B2|
|Original Assignee||Chiang-Pei Chen|
|Export Citation||BiBTeX, EndNote, RefMan|
|Patent Citations (14), Referenced by (3), Classifications (12), Legal Events (3)|
|External Links: USPTO, USPTO Assignment, Espacenet|
This application is a continuation of U.S. patent application Ser. No. 11/161,027 filed on Jul. 20, 2005, now U.S. Pat. No. 7,118,650.
1. Field of Invention
The present invention relates to a sprayer and, more particularly, to a sprayer with a changeable volume.
2. Related Prior Art
The present invention is therefore intended to obviate or at least alleviate the problems encountered in the prior art.
According to the present invention, there is disclosed a sprayer with a changeable volume. The sprayer includes a container, a pump, a first pipe, a second pipe and a nozzle. The container includes an upper wall and a lower wall. The upper wall can be compressed while not containing water and extensible for containing water. The lower wall is connected to the upper wall. The pump is put in a space defined in the lower wall. The first pipe is led to the pump from a space defined in the upper wall. The second pipe is led to the exterior of the container from the pump. The nozzle is connected to the second pipe.
An advantage of the sprayer according to the present invention is the convenience in shipment and storage of the sprayer, because the upper wall can be compressed and can occupy a small space.
Other advantages and novel features of the invention will become more apparent from the following detailed description in conjunction with the drawings.
The present invention will be described through detailed description of two embodiments referring to the drawings.
The lower wall 11 includes a rigid structure, and defines a space 111 for containing the pump 20.
The upper wall 12 includes a pleated structure, and defines a space 121 for containing water. The volume of the space 121 is changeable because of the pleated structure of the upper wall 12. A strap 112 includes two ends connected to the lower wall 11 in order to restrain the upper wall 12.
Water can be filled in and poured from the space 121 through a port 123 defined in the top portion. The port 123 can be closed of a cover 30.
A first pipe 21 is led to the pump 20 from an inlet 124 in the space 121. A second pipe 22 is led to the exterior of the container 10 from the pump 20. A nozzle 221 is connected to the second pipe 22.
The present invention has been described through the detailed description of the embodiments. Those skilled in the art can derive variations from the embodiments without departing from the scope of the present invention. Therefore, the embodiments shall not limit the scope of the present invention defined in the claims.
|Cited Patent||Filing date||Publication date||Applicant||Title|
|US3726443||Mar 20, 1972||Apr 10, 1973||Harris B||Portable spray apparatus|
|US4592492||Apr 8, 1982||Jun 3, 1986||Tidmore Richard D||Bellows-type container for liquids|
|US5607082||Jun 1, 1995||Mar 4, 1997||H. D. Hudson Manufacturing Company||Reusable compression sprayer utilizing a disposable collapsible bag|
|US5636791||Jul 7, 1995||Jun 10, 1997||Gilmour, Inc.||Backpack sprayer|
|US5667101||May 19, 1995||Sep 16, 1997||The Coca-Cola Company||Collapsible bottle|
|US5752661||Jun 26, 1996||May 19, 1998||Lewis; Kit R.||Motorized pump backpack liquid sprayer|
|US6220526||Sep 20, 1999||Apr 24, 2001||Capitol Usa, Llc||Method and device for applying adhesives|
|US6431406||Jan 29, 2001||Aug 13, 2002||Nicolas Roger Pruett||Collapsible container|
|US6641002||Oct 11, 2002||Nov 4, 2003||Gerenraich Family Trust||Battery bottle|
|US6651907||Nov 21, 2001||Nov 25, 2003||John W Rodd||Portable refillable water container having an interior pump member|
|US6763973||Jul 15, 2002||Jul 20, 2004||Bruce Eric Hudkins||Single use collapsible liquid containment vessel|
|US6981613||Dec 6, 2002||Jan 3, 2006||Cullen Kamisugi||Portable pressurized liquid storage system|
|US20020113101||Jan 8, 2002||Aug 22, 2002||Jeff Skillern||Hydration pouch with integral thermal medium|
|US20060027680||Aug 6, 2004||Feb 9, 2006||Scott Wu||Mobile DC water sprayer|
|Citing Patent||Filing date||Publication date||Applicant||Title|
|US8662413 *||Jan 25, 2010||Mar 4, 2014||Thomas R. Rotondo||Portable cooling device|
|US20110180625 *||Jan 25, 2010||Jul 28, 2011||Rotondo Thomas R||Portable Cooling Device|
|USD759786||May 15, 2015||Jun 21, 2016||Chapin Manufacturing, Inc.||Tank for a backpack sprayer|
|U.S. Classification||239/328, 222/92, 239/375, 222/143, 239/329, 239/332|
|International Classification||B05B11/04, B65D37/00, A01G25/14, B05B9/043|
|Nov 7, 2011||REMI||Maintenance fee reminder mailed|
|Mar 25, 2012||LAPS||Lapse for failure to pay maintenance fees|
|May 15, 2012||FP||Expired due to failure to pay maintenance fee|
Effective date: 20120325

domain: law


text:
Undergoing any type of surgery is a decision that should be thoroughly considered and researched to ensure you are certain about the procedure. Particularly with surgeries like breast augmentation or a facelift, you should understand the results will be a permanent alteration. If you are considering plastic surgery, then here are some important questions to ask your surgeon.
Most often, plastic surgeons will earn a board certification. Ask your surgeon what type of certifications they hold and details about their education and training; it’s important be confident in your surgeon’s skills.
Whether you are considering a facelift or rhinoplasty, you want to ask your surgeon how many times they have performed the procedure. A high number indicates they are familiar with the procedure and its complexities. You can also ask your surgeon which procedure is their “favorite.” This doesn’t have to be a deciding factor, but it helps to know if your surgeon has a specialty.
This might be an obvious question, but it is an important one. Different procedures have varying levels of risk. Knowing the risks and the likeliness of complications is vital information to consider before the procedure.
Know where your procedure will be performed. A procedure like a breast augmentation is safer when performed in a hospital, while liposuction can often be an in-office procedure. Consider the complexity of the surgery you are choosing.
As with any investment, ask about a complete breakdown of the fees you will be paying for your procedure. Doing so can prevent unexpected costs at the end of the procedure and ensure you can afford the surgery.
If you are interested in a cosmetic procedure for a rejuvenated you, then consider Blackhawk Plastic Surgery. We are the premier surgery center for breast, facial, and body procedures. Visit our website or call (925) 272-2464 to schedule an appointment.

domain: medical


text:
Max Payne has bullet time, this is known. The above video wants to make sure of that though, and will fill you in on some of the improvements that have been made to the combat mode. It may also help you get pumped for the pending release of Max Payne 3.
I try not to get too excited about tweaked features in an upcoming game, but even just watching some gameplay action I can’t help grin about this one. Plus with a shaved head, Max reminds me of John McClane.

domain: entertainment


text:
- Angel Merkel's Monday Morning To-Do List
- Three Signs Brazil Could Be Awakening from its Economic Slumber
- South America Is the Worst Place to Buy an iPad
China has inked a deal to farm three million hectares (about 11, 583 square miles) of Ukrainian land over the span of half a century—which means the eastern European country will give up about 5% of its total land, or 9% of its arable farmland to feed China’s burgeoning population.
Under the deal between China’s Xinjiang Production and Construction Corps, or XPCC, and KSG Agro, an Ukrainian agricultural company, crops and pigs raised in the eastern region of Dnipropetrovsk will be sold at preferential rates to two Chinese state-owned grain firms. The project will launch with 100,000 hectares and eventually expand to three million. Here’s some context on what that looks like:
The deal comes after Ukraine lifted a law barring foreigners from buying Ukrainian land last year. As part of the deal, China’s Export-Import bank has given Ukraine a $3 billion loan for agricultural development. In exchange for its produce, Ukraine will receive seeds, equipment, a fertilizer plant (Ukraine imports about $1 billion worth of fertilizer every year), and a plant to produce a crop protection agent. XPCC also says it will help build a highway in Ukraine’s Autonomous Republic of Crimea as well as bridge across the Strait of Kerch, a transport and industrial center for the country.
Critics say the move exemplifies a slew of global land deals that smack of colonialism and resource extraction by richer countries in poorer ones. Today, such deals are increasingly motivated by governments seeking food security for their citizens, rather than profit-mongering by private companies. Saudi Arabia, South Korea, the United Arab Emirates, Britain, the US and other countries have been buying up foreign farmland, especially after the global food price spike of 2007 to 2008 that spurred global riots. According to a report last year by the nonprofit Grain, the main target of these purchases has been Africa but also Eastern Europe, Latin America and Asia. Between 0.7% and 1.75% of the world’s farmland is being transferred from locals to foreign investors, another study in January found.
Given its dwindling available farmland and expanding population, China has been among the most aggressive. The country eats about one-fifth of the world’s food supplies, but is home to just 9% of the world’s farmland, thanks to rapid industrialization and urbanization of the formerly agrarian nation. Its deal with Ukraine is its biggest farmland investment yet. Since 2007, China has bought farmland (pdf) in South America, Southeast Asia and Africa.
Some analysts fear the Ukraine-China pair up paves the way for an eventual Chinese takeover of all of Ukraine’s farmable land. Similar fears about local food security led the government of the Philippines to block a China investment deal; Mozambique has resisted the arrival of Chinese farmers who would have displaced locals.
Others argue the project gives Ukraine the opportunity to boost food exports. Since the breakup of the Soviet Union, the country has been slow to fully privatize and develop its agricultural industry.

domain: geography


text:
CredSocial's Small Dollar Solution Provides Instant, 0% APR Advances.
CredSocial’s proprietary algorithm instantly offers access to earned income in advance of a paycheck for emergencies, to pay bills, and for everyday expenses.
According to a recent study by the Federal Reserve, nearly half of all Americans could not cover a $400 emergency expense without selling a possession or borrowing money. CredSocial’s InstaCred™ platform empowers millions of Americans to forego payday loans and fees by providing instant access to funds via a CredSocial Virtual Account. Advances can be accessed within minutes on any mobile device, after a patent-pending approval process verifies income and employment, then provides an instant advance of a member’s earned funds to a virtual account that can be used at any retailer or biller that accepts debit or credit cards.
“The demand for small-dollar credit is nearly $50 billion annually and over $130 billion weekly is locked up in the payroll and banking system,” said CredSocial CEO Craig Marshall. “People from all walks of life rely on small dollar credit for a variety of needs, like meeting emergency expenses or solving for misalignments in the timing of their income, which can cause shortfalls for covering a monthly transportation expense or even buying groceries. CredSocial has created a simple, straightforward, and transparent cash flow solution for people who need instant, no-cost access to cash advances.”
Unlike a payday or bank loans, there are no fees nor interest to use InstaCred™. CredSocial is a social marketplace community that relies on its members’ generosity for the services provided. The company’s Pay What You Want (PWYW) model trusts members to decide the value of the service and support the company’s cause with commensurate donations in exchange for the solution provided. In addtion, unlike traditional transfers that may take up to 24 hours, InstaCred™ provides instant access to funds when users need it.
With national averages for comparable products increasing every year, CredSocial foresees a future where the end user decides what they are willing to pay for banking services, based on the quality and service provided.

domain: economics


How Machine Translation Has A Habit Of Mangling Multilingual SEO
Recent discussions force me to return to the subject of translation versus SEO — particularly machine translation — as it seems this old topic has not yet gone away. For multinational sites, maintaining your site can be an expensive affair, and the cost savings of machine translation seem outstandingly attractive. But as my mother always […]
Recent discussions force me to return to the subject of translation versus SEO — particularly machine translation — as it seems this old topic has not yet gone away. For multinational sites, maintaining your site can be an expensive affair, and the cost savings of machine translation seem outstandingly attractive.
But as my mother always says to me, “If something looks too good to be true, it usually is.” Machine translation is a good case in point.
Often abbreviated to “MT”, machine translation involves using computers to do the work which human translators would normally do. It is not entirely the same as “computer aided translation”, where similar technologies are used to assist humans, although there is a significant overlap between the two.
Bring Back Humans, All Is Forgiven
Usually, human intervention is needed of a “machine translated” text — equally in cases of computer translations, strings of texts, suggestions and dictionaries are all on hand, automated to a greater or lesser degree.
Monoglots, that is those people who speak one language only, often don’t appreciate that translation involves changing a lot of things other than simply the “words”. They also expect it to be possible to click a button and have “English word” magically converted to “French word”.
There is not always a one-to-one relationship of words. In Swahili, for instance, there are said to be 21 different ways to express “to walk” that in English would be rendered with just the one!
German Speakers Leave The Verb To The Very End
The word order, the length of sentences, and the tenses can all be handled differently and whereas the verb in English typically appears early in the sentence. In Germanic languages, it will often wander off to its end which might be the very last item in a very long statement.
All of this means that using computers for translation is challenging — but organizations such as Google have been demonstrating the power of using the “corpus” of the collected Web combined with statistical analysis to generate a newer form of machine translation — a form which has advantages over the older string replacement approach.
However, for SEO, machine translation remains a demon and here’s why. Keywords are very special creations of the human mind — I once nicknamed them “abbreviated thoughts” and have found myself using that description many times over the years as the easiest way to explain their different nature.
Multiple Ways Of Expressing The Same Idea
There are two problems for keywords (and therefore SEO) caused by machine translation. The first is that there may be multiple correct ways of expressing an idea and the “machine” opts for the version which is less popular or which may not even used as a keyword at all.
The second is that for reasons which I will explain, the corpus doesn’t contain the keyword and therefore the machine translation doesn’t even hold it in its memory as a potential option.
The background is that the published Web content which is inside Google’s index and then used by its translation tools, contains equivalent expressions of other languages which are used as keywords in one but not in the other. Again, the translation is correct — but the keyword mapping is not.
“Car insurance” when expressed in French on websites often uses the term “Assurance automobile”. There is also more of a spread in French between use of the word “voiture” and “automobile”. It is rare for English websites to talk about “automotive insurance”, for instance — but the same is not true in French.
A Different Approach Needed In Different Languages
Additionally, as you can see from the Google keyword research below, there are over half a million searches using the term “auto assurance” where “automobile” is abbreviated by the searchers to “auto”.
Adding on the “voiture” phrases, you would need a very different approach from an SEO perspective in French than you would in English.
Another risk of automated translation, which Matt Cutts has alluded to in this video, machine learning generated translation may actually trigger the Panda filters which are looking for automated spammy content on the Web. He didn’t say whether this included the use of Google Translate!
My advice is to:
- Avoid using machine translation for marketing content.
- Translate only so much content as will produce a good ROI — and don’t translate simply for the sake of it.
- Ensure that some human SEO intervention takes place during the SEO-Translation process.
- Don’t use translators for SEO, use them for what they’re expert at which is translation.


text:
OK! I made this all using Photoshop 7.0 and then cutting out a main BIG picture of the lead vampire from the movie 30 Days of Night. THEN I feathered it.. I was going to feather the smaller pictures but it really did not look all that great.
I REALLY like how this came out. The quote is from part of a song called: Heaven's a Lie by Lacuna Coil. I love that song and I figured it would go great with this wallpaper I made. ^.=.^ I wanted to make it because I LOVE this vampire and the movie was AWESOME!!!!!
Too bad the vampire I REALLY like... had to die...
NOOOOOOOOO!!!! I shall avenge your death...
DOWNLOAD FOR FULL VIEW

domain: artistic


text:
Unité Inserm 1061 « Neuropsychiatrie : recherche épidémiologique et clinique »
04 99 61 45 78
In a traumatic event, such as the attacks on Paris on 13 November 2015, and on Nice on 14 July 2016, the risk for victims and witnesses of developing post-traumatic stress disorder (PTSD) is high.
PTSD is characterised by several symptoms: the person relives the event in the form of recurrent memories, nightmares or flashbacks, avoids anything that reminds him/her of the moment, is in a constant state of alert, and shows difficulty in concentrating. Changes in mood may also occur.
At Inserm, there is ongoing active research to better identify the people most at risk of developing post-traumatic stress disorder, and thereby improve their care.
In the Phoenix study, which evaluates the impact of a trauma or chronic stress on the physical and mental health of 123 patients for a one-year period, work carried out by Isabelle Chaudieu, Inserm Unit 1061 “Neuropsychiatry: Epidemiological and Clinical Research,” is aimed at identifying biomarkers to predict PTSD. Her team is trying to determine whether the allostatic load might make it possible to predict the development of PTSD.
By collecting and analysing personal accounts from 1,000 volunteers over a ten-year period, the 13 Novembre programme (CNRS – Inserm), codirected by historian Denis Peschanski and neuropsychologist Francis Eustache, is aimed at studying the construction and evolution of memory after the attacks of 13 November 2015, and the interaction between individual and collective memory. The researchers will try to better understand the impact of traumatic shocks on the memory, and identify brain markers associated with resilience to trauma.
Read the press release “Attacks: 13-Novembre, a novel research program on traumatic memories.”


text:
How close was Deshaun Watson to playing Thursday?
GA (Grayson HS)
Years Played: 2012 - 2016
Clemson quarterback Cole StoudtCole Stoudt
#18 6-4, 231
View Full Profile reinjured his sore left shoulder on a second quarter run Thursday, and offensive coordinator told the media after the game that he was sure Nick SchuesslerNick Schuessler
RS So. Quarterback
#12 6-3, 195
View Full Profile was going to have to play.
"I went over to Coach (Swinney) and told him I thought Nick was going to have to go in," Morris said. "Cole was pretty banged up, and I thought we were going to have to play Nick."
Asked if Watson was an option, Morris said no, that Schuessler was definitely the second option behind Stoudt.
"Our thinking was that we are going to just get him ready for Georgia Tech," Morris said. "We could have played him if it had been an emergency."

domain: sports


Residents of Ondo Southern Senatorial District have called on President Muhammadu Buhari to rescue them from decades of outright blackout.
The residents who spoke through a social Crusader, Mr. Kolade Omoyeni, in Sabomi, Ilaje/Ese-Odo Local Government Area of Ondo State said that the riverine communities have been disconnected from the national grid by Benin Electricity Distribution Company (BEDC) for over 10 years.
According to Omoyeni, the total blackout has destroyed the socio-economic development of the districts.
In his open letter to the president, entitled: “President Buhari, Save Ondo South From Decades Of Darkness Now,” he said: “The social, economic, and moral growth and development of our people are now in obvious disarray.
“Even politicians have worked to get BEDC to the needy but the electricity distributor is hell-bent on keeping over three million people in darkness.
“There can’t be an industry in Ondo South where the people have been living in darkness for about 15 years.”
While appealing to the president to give an express order to BEDC to immediately restore electricity to the district, Omoyenj said the area once played host to industries such as Oluwa Glass; Araromi Rubber Estate, Okitipupa Oil Palm, and others.
According to him, if there were efforts to rebuild and advance the moribund industries, it could not be achieved without an electricity supply.


text:
Skip to main content
LeClair replaces Kalar in Land, Resource Office
Court orders stay of imposition
Weekly police report - May 17 edition
Sheriff's report - May 17 edition
AgweekTV: Biotech Labeling
Perham makes it seven straight in the HOL
After ice-out, some Minnesota lakes seeing fish kill
Lindberg, Rooney blank Frazee in Perham sweep
Perham closes with a victory over Detroit Lakes
Yellowjackets rebound for split with Detroit Lakes
Joyce A. Lehman
John "Jack" Burns
Donna J. Myers
Dawson James Trepanier
Hayden Beth Mitchell
Dixie Kathaleen Rehborg
Minnesota jobless rate remains steady
Western Minnesota farmers catch up with spring planting after late start
KLN's temporary housing could help break barriers to employment
Burgau honored by Blue Cross
Lakes Area Cooperative adding car wash/pet wash
Fergus Falls Police Chief Bergren announces run for Otter Tail County Sheriff
Public asked to help find missing child last seen in Iowa and may now be in Minnesota
Ottertail hosting first 'Safety Saturday' May 19
Friends of the NRA holds annual banquet April 5
Mother's Day: Being a mother-to triplets
Commentary: At the University of North Dakota, another feud over another logo
Ask A Trooper: How do you become a pilot with the state troopers?
Ask A Trooper: Do vehicles need a working horn?
Your Letter: Kenny Nelson has always been a class act
Ask A Trooper: Must troopers wear safety vests at crash scenes?
Summer melodrama rises from the ashes - fourth season will be in new venue
Brewery comedy tour performs at Disgruntled Brewery May 16
Perham: The Musical
Red River Valley Veterans concerts slated for May 3 in Perham
Bingo, BBQ and storytelling spectacle at two NYM locations
'It's just a feeling you can't explain'
Thankful for family
Community cooking: Making pizzas the old-fashioned way
'Last hope': After 16 years of serious health struggles, a new mix of antibiotics could be the answer for Lois Porath
A ‘good guy’ is gone: Rodney Hanson remembered for his kindness, love of local history and many community involvements
August 30, 2012
Grandparents of child orphaned in murder-suicide fight for custody
FERGUS FALLS, Minn.
August 30, 2012 - 7:43am
Weeding through the 'new normal' at Pelican Lake
Pelican Lake has, for the past couple of years, been the unfortunate poster child of aquatic invasive species -- specifically zebra mussels. The...
August 30, 2012 - 7:22am
August 11, 2012
Benefit set for Sunday morning for Minn. infant whose mother died
August 11, 2012 - 5:12pm
No foul play suspected in death of 23-year-old Fergus Falls man
FERGUS FALLS, Minn. - No foul play is suspected at this time in the death of a 23-year-old Fergus Falls man found in a vehicle Friday morning. The Otter Tail County Sheriff's Office received a report about 10:50 a.m. Friday of an unresponsive male parked in a vehicle in a driveway...
August 11, 2012 - 5:02pm
July 25, 2012
Feds reject individual flooding aid
Federal officials today rejected Minnesota's request to financially help individuals affected by last month's floods in the northeastern part of the state. "It has been determined that the damage to dwellings from this event was not of such severity and magnitude as to warrant" establishing...
July 25, 2012 - 2:27pm
July 20, 2012
Capitol Chatter: Critics make Franson more determined
Death threats, demands to resign and other attacks to have only made state Rep. Mary Franson more determined to stay in office, she says. A Democratic-Farmer-Laborite campaign official sent Internet links to a video clip of a recent Franson speech in Browerville in which she discusses...
July 20, 2012 - 10:55am
July 18, 2012
Bear traffic growing in NW Minnesota
GLYNDON, Minn. -- His face may be gruff -- scarred and beaten from countless scuffles -- but there's a certain smile-like quality to his haggard...
July 18, 2012 - 11:28am
July 9, 2012
Marriage amendment backers ask court to overturn title
ST. PAUL -- Supporters of a constitutional amendment proposal to ban gay marriage are asking the Minnesota Supreme Court to reject a rewritten title that voters will see when they vote on the proposal Nov.
July 9, 2012 - 10:36am
July 4, 2012
Minnesota reports first West Nile virus case of 2012
The first human case of West Nile virus disease in 2012 in a Minnesota resident has been confirmed. State health officials are urging Minnesotans to protect themselves from mosquitoes from now through the autumn frost. A St. Louis County man is the state's first laboratory-confirmed...
July 4, 2012 - 10:51pm
July 3, 2012
Windstorm in Itasca County claims a life
A line of severe storms that ran through northern Minnesota on Monday evening claimed one life, has left thousands of people without electricity, and has the Grand Rapids Police Department recommending only limited travel in the residential areas of the city. Lake Country Power Company...
July 3, 2012 - 1:15pm
June 29, 2012
Health-care debate will continue after ruling
ST. PAUL -- A U.S. Supreme Court ruling is the law of the land. Until it isn't. That is the message Republicans are spreading and Democrats dreading in light of Thursday's 5-4 decision to uphold a new federal health-care law. Minutes after the ruling became public, both major parties...
June 29, 2012 - 9:54am
June 28, 2012
Democrats declare health-care victory
The first Minnesota reaction to today's U.S. Supreme Court health care act ruling came from the Democratic-Farmer-Labor Party chairman, who used it to seek donations. "Victory" is how DFL leader Ken Martin headlined an email to party members seeking contributions to protect the law...
June 28, 2012 - 10:07am
June 27, 2012
Ingebrigtsen receives public policy award
Politics in Minnesota and the Capitol Report have announced that Senator Bill Ingebrigtsen, R-Alexandria, has won an award for the 2012 Leaders in Public Policy in the Business category. Ingebrigtsen is receiving the award along with Rep. Dan Fabian and Jeff Smith of the Minnesota...
June 27, 2012 - 3:05pm
New reports show Minnesota's wetlands are in danger
The Minnesota Pollution Control Agency and the Minnesota Department of Natural Resources jointly issued reports on the state's wetlands last week. Data shows that Minnesota currently has 10.6 million acres of wetlands, which comprise 19.7 percent of the state's land cover, not counting...
June 27, 2012 - 12:57pm
July 20, 2011
Bars may buy alcohol again
ST. PAUL -- Bits and pieces from the Minnesota budget debate and government shutdown: -- A bill legislators passed early Wednesday allows bars and restaurants with expired liquor-buying permits to continue to make alcohol purchases until July 31.
July 20, 2011 - 11:05am

domain: news


text:
While underemployed, it could be tough to make ends meet. This is particularly true when you yourself have costs to blow and you can zero money arriving. Should this be your position, you may believe a payday loan.
But not, before you could do, there are several criteria you should provide. Earliest, you should be about 18 years of age. Next, you really need to have a valid ID. Third, you must have a bank account. Last, you’ll want proof money. Fifth, you should reside in the us. Sixth, you really must have an operating contact number. Seventh, you’ll want an email. 8th, you’ll want an energetic social networking membership.
When you can offer this guidance, up coming an instant payday loan can be advisable to you. Although not, there are several what you need to remember prior to taking away one financing. First thing you have to do try make certain that you really can afford the borrowed funds. Make certain you take a look at fine print very carefully, and that you know the way much the borrowed funds costs during the full. You should also ensure that you merely acquire as often currency as you need. Don’t remove a consumer loan to get more money than just your you want, because this will just enhance the debt weight.
People that are out of work will often have trouble and come up with concludes fulfill. They may you prefer currency to cover dinner, book, and other expense. One choice for members of this situation is to get a payday loan. In this post, we shall talk about the app procedure for pay day loan to own unemployed anybody.
Step one from inside the obtaining an online payday loan would be to select a loan provider that offers funds to help you underemployed individuals. There are various lenders that provide such finance, it should not be difficult to find you to definitely. Once you’ve discovered a loan provider, you will need to promote some factual statements about oneself, including your term, Personal Security matter, and target. You will also must promote factual statements about their a position condition along with your money.
Quite often, try to provide proof of money to be eligible for an online payday loan. The best way to do that would be to render an effective paystub along with your income, or you can use an internet services that can immediately inspect debt transactions and create a good paystub to you personally. In addition, make an effort to have particular files that demonstrate you’re out of work. These could tend to be variations throughout the Internal revenue service and you will evidence of unemployment. When you’re acknowledged to possess an online payday loan, you will then be delivered an agreement so you’re able to signal. That it arrangement will explain brand new terms and conditions of one’s mortgage.
There are different ways that payday loan providers used to disburse fund in order to unemployed anyone. Widely known method is through lead put for the borrower’s bank account. The lender can occasionally require the borrower’s checking account amount and you may routing amount so you’re able to initiate the fresh transfer. Most other steps include mailing a or offering the debtor having a prepaid debit credit. The brand new debtor can pay the lending company back with regards to family savings otherwise making use of the debit credit. The lending company gives brand new borrower that have a prepaid service debit credit, that’s the same as something special credit and certainly will be used for sales at the places one deal with prepaid service notes.
There are a selection regarding pay day loan available to people that try out of work, and several not one of them a checking account. Although not, individuals who do not normally have a lot higher rates than funds that do want a bank account. You should look all the options available in advance of going for a payday loan, because there Texas title loans are most readily useful selection depending on your own personal activities.

domain: finance


text:
In this way, does Roundup kill snake grass?
After cutting, apply an herbicide directly to the cut snake grass. Brush the weed with glyphosate while being careful not to apply on other grasses or plants. It won't be gone the first year, but hopefully in subsequent years, you will find a yard free of this pesky plant.
Thereof, does vinegar kill horsetail?
There is evidence to say that vinegar does kill weeds permanently and can be really effective at keeping your flowers and displays weed-free. From thistle to horsetail, you can use malt, distilled, white vinegar and even apple cider to stop the spread of weeds in your garden.
Work carefully to avoid spreading the spores, and place all debris into a sealed plastic bag to dispose of it. Apply a herbicide containing glyphosate directly to the cut weeds. This typically kills only the top portion of the weed and regrowth will occur, so several applications will be necessary to kill the weed.

domain: chemistry


text:
SHENZHEN, China--(BUSINESS WIRE)--OneConnect Financial Technology Co., Ltd. (“OneConnect” or the “Company”) (NYSE: OCFT), a leading technology-as-a-service platform for financial institutions in China, today responded to certain allegations made about the Company circulated online.
The Company first became aware of these allegations on August 20, 2021 from an anonymous whistleblower complaint containing multiple unsubstantiated claims, including that the Company’s audited financial statements contain material misstatements.
The Company has carefully reviewed the whistleblower complaint. Based upon its review and evaluation, the Company strongly denies these slanderous and meritless allegations.
That said, to provide additional comfort to our shareholders’ against these allegations, the Company’s independent Audit Committee immediately took action by initiating a thorough investigation of the allegations raised in the whistleblower complaint by August 24, 2021. The audit committee is tasked with fully reviewing all allegations and have appointed Cleary Gottlieb Steen & Hamilton LLP as outside counsel to advise the Audit Committee.
On August 25, 2021, the Company reported the incident to the Shenzhen police and has been cooperating with the police’s investigation. Our Company will take appropriate legal action against any public dissemination of untrue statement and retains the right to rebut the allegations.
The Company is committed to maintaining the highest standards of corporate governance, as well as transparent and timely disclosure in compliance with the applicable rules and regulations of the United States Securities and Exchange Commission and the New York Stock Exchange.
OneConnect is a leading technology-as-a-service platform for financial institutions in China. The Company’s platform provides cloud-native technology solutions that integrate extensive financial services industry expertise with market-leading technology. The Company’s solutions provide technology applications and technology-enabled business services to financial institutions. Together they enable the Company’s customers’ digital transformations, which help them increase revenue, manage risks, improve efficiency, enhance service quality and reduce costs.
The Company’s technology-as-a-service platform strategically covers multiple verticals in the financial services industry, including banking, insurance and asset management, across the full scope of their businesses – from sales and marketing and risk management to customer services, as well as technology infrastructure such as data management, program development and cloud services.
For more information, please visit ir.ocft.com.
Safe Harbor Statement
This announcement contains forward-looking statements. These statements constitute “forward-looking” statements within the meaning of Section 21E of the Securities Exchange Act of 1934, as amended, and as defined in the U.S. Private Securities Litigation Reform Act of 1995. These forward-looking statements can be identified by terminology such as “will”, “expects”, “anticipates”, “future”, “intends”, “plans”, “believes”, “estimates”, “confident” and similar statements. Such statements are based upon management’s current expectations and current market and operating conditions and relate to events that involve known or unknown risks, uncertainties and other factors, all of which are difficult to predict and many of which are beyond the Company’s control. Forward-looking statements involve inherent risks and uncertainties. A number of factors could cause actual results to differ materially from those contained in any forward-looking statement, including but not limited to the following: the Company’s limited operating history in the technology-as-a-service for financial institutions industry; its ability to achieve or sustain profitability; the tightening of laws, regulations or standards in the financial services industry; the Company’s ability to comply with the evolving regulatory requirements in the PRC and other jurisdictions where it operates; its ability to comply with existing or future laws and regulations related to data protection or data security; its ability to maintain and enlarge the customer base or strengthen customer engagement; its ability to maintain its relationship with Ping An Group, which is its strategic partner, most important customer and largest supplier; its ability to compete effectively to serve China’s financial institutions; the effectiveness of its technologies, its ability to maintain and improve technology infrastructure and security measures; its ability to protect its intellectual property and proprietary rights; risks of defaults by borrowers under the loans for which the Company provided credit enhancement under its legacy credit management business; its ability to maintain or expand relationship with its business partners and the failure of its partners to perform in accordance with expectations; its ability to protect or promote its brand and reputation; its ability to timely implement and deploy its solutions; its ability to obtain additional capital when desired; litigation and negative publicity surrounding China -based companies listed in the U.S.; disruptions in the financial markets and business and economic conditions; the Company’s ability to pursue and achieve optimal results from acquisition or expansion opportunities; the duration of the COVID-19 outbreak, including the emergence of COVID variants, and its potential impact on the Company’s business and financial performance; and assumptions underlying or related to any of the foregoing. Further information regarding these and other risks is included in the Company’s filings with the SEC. All information provided in this press release and in the attachments is as of the date of this press release, and the Company undertakes no obligation to update any forward-looking statement, except as required under applicable law.


text:
- Il topic è vuoto.
3 Dicembre 2020 alle 1:21 #26140Matthew OliphantOspite
World War One and Partition
by T. Hennessey
- ISBN: 9780415198806 (0415198801)
- Language: english
- Author: T. Hennessey
- Publisher: Routledge
- Format: paperback, 304 pages
- Release date: October 15, 1998
About The Book
This book provides an original assessment of the First World War in Ireland and its consequences, the key to understanding the complexities of the Irish nation today. Thomas Hennessey explores how the War transformed the nature of the Irish and Ulster questions from devolved self-government within the UK to a free Irish republic outside the British Empire, considering such influential figures as de Valera and Michael Collins, and issues such as conscription. He examines both this process of re-evaluation, and the vital question of the consequences for Northern Ireland today.
PDF ebook Dividing Ireland T. Hennessey buy on Book Depository. Paperback Dividing Ireland read online reader. EPUB book Dividing Ireland by T. Hennessey download for Kindle. Hardback ebook Dividing Ireland on Books-a-Million. FictionBook book Dividing Ireland T. Hennessey read.
Hardcover Dividing Ireland on PocketBook on Booktopia. MOBI ebook Dividing Ireland by T. Hennessey download for iPad. MP3 book Dividing Ireland buy cheap on Powells. FB2 Dividing Ireland buy. Online ebook Dividing Ireland by T. Hennessey download PC on Dymocks.

domain: literature


text: Thank you to all the lovely people of Holmes Chapel who visited our stall at the Christmas Fair yesterday evening. We had a great time. All the products we sell are hand made from glass. The flower pictures and bowls are made from glass powders and finely crushed glass which is fused together in a kiln. Beads and pendants are made from rods and sheets of glass cut to shape or melted in a flame. I am planning to attend more fairs next year and will publish dates when they are available. In the meantime, if you have a particular request, please don’t hesitate to ask.