text:
A Journal of Theory on Image and Sound no. 16 (Spring
1993), with Kenneth Ruoff, 115-126.
at the Margins: The Documentaries of Hara Kazuo
make bitter films. I hate mainstream society.
make bitter films. I hate mainstream society.
make bitter films. I hate mainstream society.
The Emperor's
Naked Army Marches On (Yukiyukite shingun, 1987),
a highly original and controversial film, introduced a major
talent in international cinema, the Japanese documentarist Hara
Kazuo. With the release of this film, Hara
was awarded the New Director Prize from the Directors Guild
of Japan. For a documentary, it drew unusually large audiences
in Japan, where it was also the object of significant critical
commentary, including a collection of articles by fifty-five
critics from various publications.2
The Emperor's
Naked Army Marches On traces the efforts of Okuzaki Kenzõ
to chronicle war crimes, including murder and cannibalism, committed
by Japanese soldiers in occupied New Guinea during World War
II. Okuzaki, who is infamous in Japan for having slung marbles
at Emperor Hirohito in 1969, repeatedly
criticizes the emperor during the course of the film, thus challenging
one of the strongest taboos in Japan. For this reason Hara's
film has never been shown on Japanese television, and major
movie studios were afraid to distribute it.3
This provocative work was not Hara's first film, nor his first
brush with controversy.
Hara's first feature,
Goodbye CP (Sayonara CP, 1972), made in collaboration
with a group of individuals with cerebral palsy, shocked audiences
with its images of physical disabilities; critics accused Hara
of sadism for his stark portrayal of the handicapped. Two years
later, he was labeled a masochist for Extreme Private Eros:
Love Song 1974, (Kyokushiteki erosu koiuta 1974,
1974), a film about his stormy relationship with his ex-wife,
a radical feminist. Hara's latest film, currently in production,
explores the intimate sexual relations of short story writer
Inoue Mitsuharu.
By exploring taboo
subjects, Hara's films deliberately raise ethical questions
about representation and responsibility. Unlike most documentary
filmmakers, Hara collabo-
rates extensively
with the subjects on the making of his films. Hara prefers to
make "action documentaries," films that have strong narratives,
dramatic encounters, and characters who struggle against adversity.
Hara cites such films as Batman and Superman as
his models.4 Like his compatriot, Imamura Shõhei,
for whom he has worked as an assistant cameraman, Hara portrays
contemporary Japanese society and history through the lives
of radicals, outcasts, and marginals.
A Civil Rights
Agenda: Goodbye CP
Goodbye CP
challenges taboos about representations of handicapped people,
in particular the shame associated with physical differences.
In a street in downtown Yokohama the main protagonist, Yokota
Hiroshi, proudly displays his naked body. Hara emphasizes this
kind of scene, stating, "It is difficult to look at handicapped
people's bodies so that's what I wanted to show."5
Hara allows the disabled to speak for themselves as participants
rather than as victims; as Yokota says, "Pity, I can do without."
Goodbye CP does not encourage a facile empathy with the
plight of people with disabilities but rather forces viewers
to confront their own fears and misgivings.
As would be the case
with Hara's later films, the making of Goodbye CP generates
considerable controversy. Yokota's wife Yoshiko, also disabled,
argues that the filming undermines their attempts to join mainstream
society. Yokota, however, wants to assert his right to be different,
to crawl around town on all fours rather than use a wheelchair.
Yoshiko threatens divorce if her husband continues his participation,
contending that Hara is portraying him as a freak. Hearing of
Yokota's intention to drop out of the project, his peers show
up at their apartment and encourage him to stand up to his wife.
A harsh battle ensues between Yoshiko and her husband in which
she also lashes out at the filmmaker, stating, "This is an invasion
of the home." Hara includes this argument in the film itself,
generating debate about the process, and the ethics, of representation.
Goodbye CP
had a substantial impact in the arena of social services, redefining
the ways in which people with disabilities were treated and
represented in Japan. Hara was repeatedly invited to speak at
conferences of social workers charged with the care of handicapped
people. After the film's release, both Hara
and Kobayashi Sachiko, the producer of Hara's three films, authored
articles calling for changes in the treatment of the handicapped,
criticizing state interference in the question of whether disabled
individuals should bear children.6
The Personal is
Political: Extreme Private Eros: Love Song 1974
Hara's Extreme
Private Eros: Love Song 1974 explores issues of intimate
family relationships, privacy, gender roles, and sexuality,
subjects that also became topical in
documentary film in the 1970s. In the course of the film, Hara
follows the activities of his ex-wife Takeda Miyuki, a radical
feminist who published numerous articles on women's issues in
the late 1960s and early 1970s.7 Takeda has
an affair with a woman, conceives a child with an African-American
soldier stationed in Okinawa, (in a phone conversation, her
mother suggests that she kill the child), starts a daycare center
for prostitutes, distributes pamphlets to prostitutes (which
leads to Hara being beaten by gangsters), joins a feminist commune,
and works as a stripper in a GI bar, all the while arguing with
Hara and his lover, Kobayashi, the sound recordist and producer
of the film.
confessional tone of Extreme Private Eros: Love Song 1974
startled audiences in Japan, just as similar experiments in
American documentary film did in the United States. Craig Gilbert's
twelve-episode PBS series An American Family (1973) focused
on the controversial topics of divorce and sexuality.8
Early feminist films, such as Joyce Chopra's Joyce at 34
(1972), Amalie Rothschild's Nana, Mom, and Me (1974),
and Martha Coolidge's Not a Pretty Picture (1975), explored
issues of gender, abortion, and rape. In his first-person Diaries,
1971-1976 (1981), Ed Pincus examined the politics of everyday
life; Jane Pincus, the star of Diaries, was one of the
editors of Our Bodies Ourselves.
Like Pincus and other
American documentarists influenced by the women's movement,
Hara, in Extreme Private Eros: Love Song 1974, looks
for signs of social change in his personal life, stating, "At
the time, there was much talk of family-imperialism [kazoku
teikokushugi]. One of the strong sentiments of the time was
that family-imperialism should be destroyed." Hara suggests
that the Japanese family structure mirrors the structure of
Japanese society, that the "family system"
[kazoku seido] and the "emperor system" [tennõsei] reinforce
one another. "I thought that if I could put my own family under
the camera, all our emotions, our privacy," Hara explains, "I
wondered if I might break taboos about the family."9
Hara includes the year of the film's release in the title to
accentuate the historical context.
Hara states in voice-over
that "the only way to keep the relationship was to make a film."
Here, as in Ross McElwee's Sherman's March (1985), the
camera offers a bridge to intimate contact with others, a pretext
for interaction. The camera is not a passive recorder of reality,
but rather provokes certain encounters,
a strategy that Hara explores in all of his films. Hara states,
"I am not the type of director to shoot something just happening
[like a demonstration], but rather I like to make something
happen and then shoot it."10 Hara's
documentaries are virtual collaborations--along the lines of
the ethnographic fictions of Jean Rouch such as Me, a Black
(Moi, un noir, 1957) and Little by Little (Petit
à petit, 1969)--in which Hara encourages the subjects
to act out their lives for the camera.
Hara himself appears
in Extreme Private Eros: Love Song 1974; in fact, when
we first see him, he is crying, obviously distressed by his
conversation with his ex-wife.
Throughout the film,
Takeda accuses the filmmaker of all kinds of personal shortcomings.
She comments to Kobayashi about Hara, "He's only after your
body. He's certainly not good in bed." Takeda even questions
the viability of the film project, and Hara's competence as
a filmmaker, a common scene in Hara's oeuvre, "You can't make
a good film out of this squalor." The filmmaker confesses his
own anxieties in voice-over during a sequence of Takeda giving
birth without medical assistance in his apartment, "I was struck
at how sudden it was. I was the one upset, soaked in sweat,
I got the focus wrong." Few Japanese films have ever shown a
woman giving birth, another taboo that Hara willingly transgresses.
Like many avant-garde
films, Extreme Private Eros: Love Song 1974 ignores conventions
of cinematic style. The sound is never actually synchronous
with the grainy black-and-white scenes; in many instances there
is a radical disjunction between the location-recorded sound
and the images. Like Jonas Mekas' Reminiscences of a Journey
to Lithuania (1972), Hara's film has a strong home movie
flavor accentuated by jump cuts, the lack of establishing shots,
flash frames, first-person voice-over, and a handheld camera,
although Hara uses relatively long takes
as opposed to Mekas' fragmentation of time and space. The absence
of synchronous sound creates a feeling of dislocation and loss.
Hara's voice-over has the same halting, emotional tone as Mekas'
narration in Reminiscences of a Journey to Lithuania.11
Mekas' film was commented on in Tokyo when it was shown there
in 1973 and critics discussed Extreme Private Eros: Love
Song 1974 in relation to Mekas' autobiographical journey
to his native land.
Shortly after Hara
commences filming his ex-wife, she decides to move to Okinawa.
During the postwar era, the Japanese government, while maintaining
its claim to sovereignty over Okinawa, elaborated an unspoken
policy of sacrificing the island to the U.S. military to minimize
American influence on the mainland. The economy of the island
was dominated by the American presence, which included some
50,000 troops at the height of the Vietnam war. In 1972, the
year that Hara began filming, Okinawa was officially returned
to Japan, but the large American military presence has continued
through the present. Many of the characters who appear in the
film work as prostitutes and hostesses in GI bars. While the
U.S. presence is never addressed in a global perspective, it
invades the everyday lives of the characters in Extreme Private
Eros: Love Song 1974. (Curiously, the war in Vietnam is
never mentioned, although many of the soldiers hanging out in
bars and apartments were not far from the combat zone.) Like
Imamura's Pigs and Battleships (Buta to gunkan,
1961), Hara's film paints a savage portrait of a port town corrupted
by the American naval presence.
After Takeda mentions
her intention to move to Okinawa, the scene shifts to a bar
frequented by African-American soldiers. The soldiers dance
to the music of James Brown and pose for a portrait, giving
the black power salute of the Black Panthers. Hara then focuses
on the character of "Chichi, a 14-year-old Okinawa girl," already
prostitute, as an
intertitle states. Later, we see her in bed with an American
soldier. Hara punctuates the narrative with letters he receives
in Tokyo from Takeda in Okinawa. One letter announces that she
is pregnant and the next scene shows her struggling to speak
English with Paul, an African-American GI. Takeda seems particularly
excited about the possibility of giving birth to a mixed-race
child, another controversial subject in Japan. Like Imamura
in History of Japan as Told by a Bar Hostess (Nippon
sengoshi: Madamu Onboro no seikatsu, 1970), Karayuki-san,
the Making of a Prostitute (Karayuki-san, 1973),
and Matsuo the Untamed Comes Home (Muhõ Matsu
kokyõ ni kaeru, 1974), Hara makes films about outsiders
who challenge the mainstream views of Japanese history and society.
The Memory of
the War: The Emperor's Naked Army Marches On
The Emperor's
Naked Army Marches On explores Japanese memories of WWII,
forcing repressed events into consciousness. Not since Ichikawa
Kon's Fires on the Plains (Nobi, 1959) has a Japanese
film dealt so frankly with the issues of cannibalism, the abuse
of Japanese soldiers by their officers, and desertion in the
Imperial Army during the war in the Pacific. No Japanese film
has ever confronted the issue of the war responsibility of the
emperor so relentlessly, with the exception of The Tragedy
of Japan (Nippon no higeki, 1946), a historical documentary
banned by American occupation authorities shortly after its
release for suggesting that Emperor Hirohito be put on trial
as a war criminal.12
The Emperor's
Naked Army Marches On focuses on a man who struggles almost
single-handedly to challenge the claim that Emperor Hirohito
bears no war responsibility. Immediately after the war, American
occupying forces decided to retain the emperor, who could easily
have been put on trial for war crimes in Asia, as the "symbol
of the state and of the unity of the people." The image of the
emperor was consciously managed to present him as a man of peace
who was the victim of a small group of militarist adventurers.
Imperial taboos prevented discussion of the emperor's role in
the militarization of Japan.13 Hara was intrigued
by Okuzaki Kenzõ because, while Japanese intellectuals
debated the relevance of the emperor system and the morality
of individual and collective responsibility for war crimes,
Okuzaki actually took direct action against the emperor.
Okuzaki remains steadfastly
attached to a series of particular events that occurred in New
Guinea at the end of the Second World War. He obstinately implicates
Emperor Hirohito whenever possible in the film, denouncing him
as "the most cowardly man in Japan" and "a symbol of ignorance
and irresponsibility." As in Kurosawa Akira's Record of a
Living Being (Ikimono no kiroku, 1955), the main
character's mad obsession with the war disturbs the surface
calm of the present. Okuzaki had already spent years
in prison, in one
instance for throwing marbles at the emperor. In his fanatical
pursuit of the truth, Okuzaki represents a kind of comic anti-hero.
He is a character without psychological depth, completely animated
by duty to a higher goal. Hara, for example, doesn't explore
the roots of Okuzaki's erratic behavior in his family history;
we know virtually nothing about him at the end of the film.
Okuzaki crisscrosses
the Japanese mainland in search of his former comrades and their
stories of the war. Hara keeps the viewer aware of the national
scope of the drama by detailing the locations in the intertitles:
Fukaya, Tokyo, Hiroshima, Hyogo, Okayama, Yamanashi, Kobe, and
Shimane. Okuzaki retains a healthy notion of individual responsibility
vis-a-vis the emperor and the soldiers who committed war crimes
in New Guinea. When Seo Yukio claims that "In the army orders
always came first," Okuzaki beats him to the ground. Takami
Minoru reiterates this line of reasoning, "An order is an order,
we had to obey." Okuzaki brushes aside the veterans' appeals
to military hierarchy, while at the same time recognizing that
superior officers bear special responsibilities for actions
taken in their names, "I'm accusing the emperor for the same
reason. He was responsible as the Supreme Commander of the Imperial
Army. But he didn't assume responsibility." When Okuzaki makes
a similar accusation against uniformed guards outside the Hiroshima
prison, whom he calls "robots" for their attachment to regulations,
one cannot help but recall the equivocations of Nazi officials
at the Nuremberg trials.
A radical empiricist,
Okuzaki remains fixated on the circumstances of specific war
crimes in New Guinea, hoping to make the central facts of what
happened public knowledge. In particular, he seeks to unearth
the facts of two different cases involving the killing of Japanese
soldiers for desertion twenty-three days after the end of the
war. The ex-sergeant Hara Toshio hesitates when Okuzaki asks
him about the events of forty years ago, claiming "My memories
have faded after many years." In the course of Okuzaki's investigation,
the veterans reveal enough evidence to convince the viewer that
three Japanese privates were actually executed, on trumped up
charges, to be cannibalized by their superiors. Okuzaki pieces
together the traces of the illegal executions by an obstinate
attention to the exact details of how many bullets were fired,
where the principals were standing, and the direction in which
the bodies fell. Like the woman in Alain Resnais' Hiroshima,
mon amour (1959), Okuzaki refuses to live in the present,
to forget, to get on with his life as so many of the other veterans
have done. He remains resolutely, even courageously, stuck in
the past.
The Emperor's Naked Army Marches On might be called a
historical documentary, the film clings tenaciously to the present,
rather than the past. Hara explores the memory of the war, the
resonance of the war years in the present, rather than the past
per se, "What I wanted to do was to trace how the war survives
in Japanese society today."14 Most historical
documentaries, such as Henry Hampton's Eyes on the Prize
(1988) on the American civil rights movement, use extensive
archival footage,
interviews with
eyewitnesses, and authoritative voice-over commentary; many
also include interviews with scholars and journalists.
Hara resists the
temptations of this didactic form, focusing his story on the
present day activities of Okuzaki and the reactions that he
provokes in others. Although Okuzaki frequently refers to the
emperor, Hara never cuts to footage or photographs of him. Nor
is there any reference whatsoever to the atomic bomb, an unusual
omission for a Japanese film about World War II, especially
since Okuzaki visits Hiroshima repeatedly. Occasional photographs
of soldiers appear, but they are found in the homes of the families
of the victims whom Okuzaki visits. Like Claude Lanzmann, whose
nine-and-a-half-hour epic Shoah
(1985) chronicles the history of the Holocaust in Europe, Hara
focuses on the living memory of the war, not in the past as
history. Through synchronous sound interviews and images of
the concentration camps as they exist forty years after the
war, Lanzmann anchors his film in the present, the here and
now, to redeem the past and give the dead "an everlasting name."15
In The Emperor's
Naked Army Marches On, Okuzaki transgresses social norms
in ways that are simultaneously disturbing and amusing. The
film opens with a wedding in which Okuzaki serves as the go-between.
Hara shoots from the level of the seated participants in a parody
of the film style of Ozu Yasujirõ. Okuzaki's anti-establishment
discourse sounds oddly out of place in the solemn context of
a wedding ritual, "Maybe this country means a lot to you but
judging from my experience not only Japan but any other country
is a wall between men. It stops them from joining each other.
It's a big wall. I think a family is another wall. It isolates
human beings from each other. It cuts ties. It's against divine
law. So I attack it." Hara initially conceived of shooting the
film in a static, contemplative, style, as a contrast to his
earlier works, but his plans changed as he struggled to keep
up with his energetic protagonist.
Okuzaki's actions
are so outrageous, so far beyond conventional expectations,
that they are often humorous. Many of the veterans have chosen
lives of relative obscurity, some have even changed their names.
Okuzaki shows up at their houses uninvited, in one instance
yelling "Happy New Year" as he enters. Okuzaki says to Takami,
"Your wife seems to dislike making a film like this. I understand
how she feels but does she know what it's all about?" The former
member of the 36th Engineering Corps admits that his wife knows
nothing about his war-time experiences. During the first interrogation
that Okuzaki conducts in the film, with the ex-sergeant Hara
Toshio, the police arrive, harboring the impression that the
veteran is sequestered against his will. Okuzaki invites them
in, "You may arrest me. Come in. Who are you? You should learn
more about life, about the war as a real story." Okuzaki remains
in control throughout this scene, imploring one of the officers
to get out of the way of the camera. In two instances, Okuzaki
attacks elderly veterans who refuse to disclose their actions
during the war. Having already spent over ten years in prison,
Okuzaki doesn't fear the consequences
of his actions.
In the last encounter, he actually telephones the police, in
a scene that reaches tragicomic proportions.
Throughout The
Emperor's Naked Army Marches On, the viewer questions Okuzaki's
sanity, although the filmmaker withholds judgment. Hara allows
Okuzaki to state his case with conviction, even if he is insane.
After Okuzaki has wrestled Seo Yukio, another WWII veteran,
to the ground, he implores him to speak openly of the past.
Seo responds that he's never even met him before, to which Okuzaki
replies, "I gave you my card," as if that action justifies his
violent and insistent behavior. In Kobe, Okuzaki bursts into
a restaurant owned by the family of another veteran of the New
Guinea campaign. When the owners quite reasonably request that
he leave, Okuzaki shouts, "All you want is money! These people
lost their brothers. Which is more important? Forget about money!"
Clearly, from Okuzaki's point of view, the commercialism of
modern Japan is no compensation for the sins of the past.
Okuzaki also visits
several relatives of the victims, some of whom accompany him
on his quest for confessions from the veterans. When the relatives
decline to participate further, Okuzaki actually casts others
in their roles. He enlists the help of friends to impersonate
the relatives of the soldiers who were murdered, telling them,
"Today you'll be acting not as my wife but as Yoshizawa's sister.
You're the relatives of the two victims. Act well. Let me do
the talking." Whereas Okuzaki seems almost religiously attached
to literal facts in his investigation of the past, he reveals
himself as an opportunist in his search, willing to stage certain
actions in his pursuit of the truth. Later, Okuzaki gets support
from another opponent of the emperor system, stating, "I asked
Mr. Oshima to act as the victim's brother. I think his appearance
will make the ex-sergeant talk." These scenes mirror Hara's
interactive method of documentary filmmaking, in which characters
perform their lives for the camera. Our knowledge that the "relatives"
are merely stand-ins complicates our reactions to the encounters
that follow, blurring the distinctions between fiction and non-fiction.
Okuzaki's involvement
in the making of the film was so substantial that he, in fact,
considers himself to be the director as well as the star of
the film. He approached Imamura Shõhei about directing
a film about his life. Imamura suggested the project to Hara
and arranged for the two men to meet. Okuzaki eventually provided
some of the production funds for the movie. Throughout
the production, Hara discussed possible scenes with his protagonist.
At one point, Okuzaki disclosed his intentions to murder one
of the veterans, hoping that Hara would consent to filming the
homicide. When Hara mentioned his misgivings, Okuzaki told him,
"You're no good." From prison, Okuzaki even wrote his own review
of the movie, explaining the motivations of his actions.16
Although Hara takes
no direct editorial stand on the events that occur in The
Emperor's Naked Army Marches On, there is no pretense that
the camera is not there, as in the documentaries of Frederick
Wiseman. On the contrary, throughout the film, the characters
address the camera directly, refer to the camera in passing,
bow to the
filmmakers, take
pictures of the camera, and yell at the camera. At the Hiroshima
prison, one of the guards places his hand over the camera lens,
insisting that Hara stop filming. When Okuzaki presents Takami
with a gift, Takami also bows in thanks to the camera crew in
the room. When a policeman inadvertently blocks the camera's
view of Okuzaki's encounter with Hara Toshio, Okuzaki asks him
to move, "I want the camera. We came here to shoot." Trying
to evade Okuzaki's relentless line of questioning, the ex-sergeant
says, "If people knew they were executed for desertion, you'd
have to bear the shame as their families. The camera's rolling.
People will see the film and look down on you." Okuzaki refuses
this gambit and retorts, motioning to the camera, "They'll think
you're hiding the truth." In the encounter with Captain Koshimizu,
who gave the order for the illegal execution--the only interview
in which Okuzaki fails to obtain even a partial admission of
guilt--Koshimizu's wife glides across the background and takes
a picture of the scene, including Hara's camera.
In the last encounter
in the film, Okuzaki articulates his rationale for making the
film, "To reveal the misery of the war will keep the world free
from war. They killed a man but reported that he died from disease.
The world doesn't know the real face of war." In the ensuing
melee, Okuzaki kicks ex-sergeant Yamada Kichitarõ repeatedly.
Yamada says angrily to the camera, "You forgot I helped you,"
to which his wife replies, "Don't blame them." We are reminded
of the precarious nature of documentary filmmaking in an intertitle,
"March, 1983, Okuzaki went to New Guinea. The film that recorded
his activities on location was confiscated there." Many reviewers
questioned Hara's ethics, for while the presence of the camera
is fully acknowledged, the filmmaker fails to intervene in those
scenes in which some restraint on Okuzaki's actions seems necessary.
At those instances in which Okuzaki beats his interviewees,
Hara holds back and observes the interaction with detachment,
a voyeuristic posture that makes the viewer an inadvertent witness
to violence.
The Sorrow and
The Emperor: The Reception of Yukiyukite shingun
The Emperor's
Naked Army Marches On provoked substantial controversy in
Japan when it was released in a small theater in Tokyo. Commercial
distributors refused to handle the film, which raised disconcerting
issues of imperial war-time responsibility and historical memory,
fearing it would trigger right-wing attacks. Viewers from the
war generation were generally stunned by the film, shocked by
the audacity of Okuzaki's actions. Whereas the mass media had
treated Okuzaki as a lunatic whose actions were beyond comprehension,
The Emperor's Naked Army Marches On forced viewers to
evaluate Okuzaki's motives without a priori condemnation. For
many younger viewers, born after the war, Okuzaki emerged as
a hero, a man who refuses to compromise his ideals. Younger
Japanese have been less supportive of official attempts
to regulate the
dignity of the imperial house, so Okuzaki's attacks on the figure
of the emperor didn't offend them. The reception of the film
bears some comparison to the reactions to Marcel Ophuls' documentary
about France during the German occupation, The Sorrow and
the Pity (Le Chagrin et la pitié).
In 1971, The Sorrow
and the Pity opened in a small art
theater in the Latin quarter in Paris, gradually reaching a
sizable audience of students and intellectuals in the capital.
The film offended almost all of the established power blocs
in France; the Communist Party complained that their contribution
to the resistance was under-emphasized while the Gaullists felt
that simply raising the issue of collaboration was "unpatriotic."17
In the aftermath of 1968, however, a substantial audience of
disaffected students, workers, and intellectuals went to see
Ophuls' film precisely because it subverted official versions
of French history. The Sorrow and the Pity shattered
the myth of a united French resistance, fighting to the last
against the German occupation, while raising the issue of French
complicity in the Holocaust. As Henry Rousso
has shown in The Vichy Syndrome: History and Memory in France
since 1944, Ophuls' film had a tremendous impact on the
historical image of France during the occupation, influencing
fiction films of the 1970s to look back on the dark years of
the war.18
Emperor's Naked Army Marches On may play a role in opening
a breach in representations of WWII Japan. When Emperor Hirohito
fell sick in 1988, the issue of his war responsibility resurfaced
and was hotly debated.19 Japanese fiction
films about the war era typically portray the Japanese as helpless
victims, especially as victims of the atomic bombing, as though
the Pacific War began in August 1945 instead of in the 1930s
when Japan waged a brutal imperialist war against China. In
popular historical memory, those responsible for the war are
the militarists, a small group of individuals at the top of
Japan's wartime hierarchy, but excluding the emperor. Many Japanese
believe the militarists victimized the country by having started,
waged, and lost the war.
Hara's movie indicts
the emperor, and both he and Kobayashi, the producer, have expressed
their desire to tell a different history of the war years. Kobayashi
stated to The Japan Times after The Emperor's Naked
Army Marches On was released, "I feel
angry that we are not informed what exactly happened in the
war. And the ministries and those concerned are reluctant to
give information. When I think of the feelings of the people
of Asia, I regret very much to see too many movies which praise
the war."20 Hara has expressed interest in
making a film about the brutal treatment of Asian workers who
built the Burma-Siam railroad during the war.
Recent films by Kurosawa
and, uncharacteristically, Imamura focus on the image of Japanese
as victims of the war, in particular those lives lost in the
atomic bombing of Hiroshima and Nagasaki. Both Rhapsody in
August (Hachigatsu no kyõshikyoku, 1991) and
Black Rain (Kuroi ame, 1988), respectively, tell
of the lingering effects of the bomb on families in the post-war
period. Rhapsody in August, in particular, was
criticized for reinforcing
the "victim's consciousness" (higai-ishiki). Hara worked as
an assistant director on one of the few recent films to look
at atrocities committed by Japanese authorities in the course
of the war, Kumai Kei's Sea and Poison (Umi to dokuyaku,
1986). Sea and Poison details medical experiments on
human beings undertaken with military supervision at the University
of Kyushu in the spring of 1945.
There is a reluctance
on the part of Japanese directors, producers, and audiences
to confront the more accurate historical image of the brutality
of Japan's endeavors throughout Asia in the 1930s and 1940s.
By chronicling the activities of a protester who challenges
the status quo, The Emperor's Naked Army Marches On remains
one of the lone voices breaking the silence on the war years.
The current crisis in Japanese feature filmmaking may conspire
to keep others from looking at the war in light of recent revelations
about atrocities and war crimes. Like Ophuls' landmark documentary,
however, Hara Kazuo's The Emperor's Naked Army Marches On
may embolden some writers and filmmakers to come to terms with
"the sorrow and the pity" of Japan's activities during the Second
World War.
1. Ruoff,
K., and Ruoff, J. (1993), "Japan's Outlaw Filmmaker: An Interview
with Hara Kazuo," Iris: A Journal of Theory on Image and
Sound, Image Theory, Image Culture, and Contemporary
Japan, N. 16, p. 6. We would like to thank Hara Kazuo and
Kobayashi Sachiko for answering our questions about their work.
In addition, we are grateful to Dudley Andrew and Jean Linscott
for comments on an earlier version of this essay. A shorter
version was presented at the Society for Cinema Studies Conference,
New Orleans, Louisiana, February 11-14, 1993 and at the Second
Annual Graduate Student Conference on East Asia at Columbia
University, February 26-27, 1993. (back)
2. Matsuda,
M., and Takahashi, T., Eds., (1988), Gunron yukiyukite shingun,
Tokyo: Tõgosha. (back)
3. Ruoff,
K. (1993), p. 14. (back)
4. Ruoff,
K. (1993), p. 9. (back)
5. Ruoff,
K. (1993), p. 17. (back)
6. Kobayashi,
S. (May 1973), "Atte mo ii sonzai nan-da," Biiin, p.
5; and Hara, K. (July 1973), "Shintai no kaihõ ni koso,"
Gendai tenbõ, pp. 168-173. (back)
7. See
Takeda, M. (December 1969), "Ai suru hito no ko de mo zettai
ni umanai," Fujin kõron, pp. 166-169, and Takeda,
M. (July 1971), "Umanai jiyü, umu jiyü no ryõtaiken,"
Fujin kõron, pp. 216-219. (back)
8. Ruoff,
J. (1992), "Conventions of Sound in Documentary," in Rick Altman
(Ed.), Sound Theory/Sound Practice, New York: Routledge,
Chapman, and Hall, pp. 217-234. (back)
9. Ruoff,
K. (1993), p. 15. (back)
10. Ruoff,
K. (1993), p. 8. (back)
11. Ruoff,
J. (1991), "Home Movies of the Avant-Garde: Jonas Mekas and
the New York Art World," Cinema Journal, 30(3), p. 18.
12. Hirano,
K. (1988), "The Japanese Tragedy: Film Censorship and
the American Occupation," Radical History Review, 41,
pp. 67-92. (back)
13. Ruoff,
K. (1991), "Taboo or Not Taboo," Unpublished M.A. Thesis, History
Department, Columbia University, New York. (back)
14. Ruoff,
K. (1993), p. 9. (back)
15. Lanzmann,
C. (Fall/Winter 1980), "From the Holocaust to the Holocaust,"
Telos, 137-43, p. 41. (back)
16. Okuzaki,
K. (December 1, 1987), "Yukiyukite shingun o mita shujinkõ
no kansõ," Kinema junpõ, reprinted in Matsuda
and Takahashi, Gunron yukiyukite shingun, pp. 353-365.
17. Hoffmann,
S. (1972), "In the Looking Glass," in Mireille Johnston (Ed.),
The Sorrow and the Pity: A Film By Marcel Ophuls, New
York: Outerbridge and Lazard, Inc., p. XIII. (back)
18. Rousso,
H. (1991), The Vichy Syndrome: History and Memory in France
since 1944, Cambridge, MA: Harvard University Press, pp.
100-14. (back)
19. Ruoff,
K. (1991), pp. 45-57. (back)
20. Ogihara,
M. (August 4, 1987), "The Emperor's Naked Army Marches On,"
The Japan Times, p. 11. (back)
Filmer en marge
examine les films de Hara Kazuo, le documentariste japonais.
A la manière des documentaires d'Imamura Shohei, les
films de Hara dépeignent l'histoire de la société
japonaise à travers les marginaux, les parias et les
radicaux. Goodbye CP (1972) suit les activités
d'un groupe d'hommes atteints de paralysie cérébrale
alors que Extreme Private Eros: Love Song 1974 explore
la relation entre Hara et son ex-femme, une féministe
gauche. The Emperor's Naked Army Marches On (1987) présente
un ancien combattant renégat qui fait une enquête
privée sur les crimes de guerre commis pars les soldats
japonais pendant le conflit du Pacifique. Contrairement à
la plupart des réalisateurs de films documentaires, Hara
établit un dialogue avec ses sujets pendant le tournage
et ne se contente pas d'enregistrer simplement les événements
mais a en fait tendence à les catalyser.


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Our professional, compassionate staff and safe, stimulating environment make seniors feel right at home.
Our professional, compassionate staff and safe, stimulating environment make seniors feel right at home.
To enhance the quality of life of those with memory loss through stimulation, socialization and supervision provided in a home-like setting.
To significantly reduce the stress of caring for a loved one with memory impairment.
"My husband and I had previous experience with his mother residing in a large scale community and I was determined to find a better solution for my mother. At Family Partners Home my mother receives wonderful care from a tight knit team of professionals that understands her individual needs and desires."
"Families are desperate for options which resemble small, home-like settings, in contrast to large-occupancy facilities. Because of the prevalence and increasing incidence of Alzheimer's disease and related dementias, there is an urgent need for more home-like residential options where people can receive individualized attention and personal care."
"When I picked my mother up from attending the day center she was more alert, engaged, and talkative. The stimulation and socialization is best for our loved ones in this stage of their lives."
"Family Partners is the best find of my life!"
"What would we do without you and all of your staff? Our family NEEDS Family Partners! I cannot thank you enough for your care, humor, and compassion."
"I am happy John is able to be at a place which truly deserves its name. You all make John happy, comfortable and cared for. You treat him as a much loved family member."
"Family Partners has become an extension of our family…the extended family that you are excited to see, cry over when they leave, and cannot wait until you see them again."
"I love this place. Been the best thing I have ever done for my husband. Everyone there has been great."
"Well thank God for Family Partners. It's not very often you can say that something or someone has changed your life. Family Partners has been a Godsend!"
"Thank you for your kind attention to our mom. I knew each day when I brought her and picked her up that she was in great hands. She consistently looked forward to being with you and the participants and reported a "very good day" each and every day. I am truly impressed with your program and will continue to spread my endorsement to all that I know."
"It's a wonderful place for my mother-in-law to be while my wife and I are at work."
"We always have a great time here!"
"I really didn't think that my husband, 62 years old, would fit in at Family Partners. His Alzheimer's is very early stage and I wasn't too sure how he'd adjust. I'm happy to say that he has fallen in LOVE with Family Partners! He looks forward to going… I think he'd rather be there than with me! It's been a blessing to us both. I thank GOD that I found you!"
"Family Partners has met our family in a time of need. They've exceeded our expectations. The staff is kind and caring and the environment is comfortable and stimulating for my husband."
"I will forever sing the praises of Family Partners. You all have been angels to me. I couldn't have taken care of my husband as long as I did had it not been for your services."
"Mom is more alert and engaged since joining Family Partners."
"If you're in need of care, let me save you some time, aggravations and nightmares: call on Family Partners. (They) are there because they truly care about each and every club member."
Barth Holohan shares information on Family Partners Adult Day Services
Barth Holohan, President, shares information on Family Partners Assisted Living Homes
WE ARE OPEN! As an essential service provider, we are here to help care for your clients and loved ones during the difficult time our country is facing. We are following the CDC and Department of Health guidelines to keep our clients and staff safe. Thank you for trusting Family Partners. Please let us know how we can help.
Sincerely, Barth Holohan

subset: commoncrawl


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Kagay-anons are not only known as some of the friendliest people you could ever come across (not sure about this? Just ask #BecomingFilipino's Kulas), they're definitely the most fun-loving, too.
In a recent post, we shared what Halloween in Cagayan de Oro is like: the Undas traditions mingling perfectly with Halloween fun. Talk about the best of both worlds!
For this article, we'll round up some of the best Kagay-anon Halloween costumes we came across this year.
1. The CDO Rugby Club dressed up and tackled Halloween
Who would've thought that these tough, national champions would play rugby football as "Prom Queen Latifah" or as "Fairy God Tooth Father"? Headed by the CDO Rafters' founder and coach Noel Villa who came as a Pharaoh (see photo below), the guys came in to train at Pelaez Sports Center last Halloween all decked up in spook-tacular costumes.
Photos courtesy of the Cagayan de Oro Rugby Club official page
2. A Raging Halloween Party at Lifestyle District
Lifestyle District is one of the hippest place to be in Cagayan de Oro, and last October 31, it played host to an awesome Halloween party. Several party-goers partied the night away in their most magnificent costumes.
3. Not just one but a series of Halloween make up transformations!
A local blogger, Shaun Pilapil of http://www.msshaunoftheday.com wowed not just her fellow Kagay-anons but netizens all over with her amazing make up skills. For the entire month of October, she completed a series of Halloween make up creations, transforming friends and family into characters like Zombie Michael Jackson, Achmed the Terrorist, Cruella deVille, and even the entire Addams Family line up.
Check out some of her amazing creations (all photos from http://www.msshaunoftheday.com)
4. Team Primavera goes vintage!
Last October 31, the entire Primavera Residences team went back in time to the roaring twenties with costumes largely inspired by the movie The Great Gatsby. Who says work and fun couldn't come together? Let the folks at Primavera show you how to breeze through Halloween in style!
Halloween for Kagay-anons is a way of remembering and honoring friends and family who have passed away. It is also a time to get creative with costumes whether at work or at play.
So, how about you? How did you spend your Halloween? You can leave your message at the comments section below.
Primavera Residences is a proud kagay-anon development in uptown Cagayan de Oro, with units available for sale and for rent. Its world-class Italian design and eco-friendly features brought to CDO numerous international awards including the 2014-2015 Best Mixed-Use Development in the Philippines in the Asia Pacific Property Awards.
For more information about Primavera Residences, visit www.primaveraresidences.com or call 088-880-5002.


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The trend of animal inspired jewelry can be traced back to 2013, many famous fashion houses address their jewelry collections to the animal world topic. Polar bear, crab, peacock, owl or turtle, from sky to sea, desingers intergrate all those animals you can or can not think of into their jewelry designs. Here, we picked some our favorite ones. Take your time to look through these jewelry and choose the pieces that will accentuate your beauty.
Dubai-based Imperial Interiors created decorating trend for 3D floor tiles that can turn kitchens, bathrooms, living room and bedroom into amazing landscapes. By using angled photos and multiple transparent layers, the floors can turn the room into ocean, flower fields or waterfall. How amazing it is!
Nelly - internet marketer loving design
January 2019


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Unexpected Guests: Camilla Engman.
I am so happy to share with you today the lovely home and studio of well-known (and most adored) Swedish artist Camilla Engman. I am a huge, and long time fan of Camilla's, so I was so excited when she agreed to have us visit. Camilla's pictures always move me, and inspire me to find time for introspection. Camilla's gentle, pastel dream-like world always leave lots of room for your own personal interpretation, regardless of whether it's an acrylic painting, paper-on-paper or mixed media. Her home is just as peaceful and full of quiet inspiration.
Have you attended art school, or is your talent just natural?
I went to Art School for two years and later at the School of Design and Craft for five years, Gothenburg University, where I acquired a Master of Fine Arts degree.
What are you most proud of?
Nothing really.
What is your favorite film?
Maybe I'm strange, but I can't say I have any favorite film, book, food or artist. It varies a lot. It depends on what I'm into right now, what happens around me, my mood, my age and so on. We have a film festival here in Gothenburg every year, where they show movies from all around the world. I like that a lot. I always try to see films from South America, Australia, New Zealand and Iceland. It is always a great experience.
What's your favorite food?
I like all food, almost. I'm not kidding, I do. I like some food more than others of course. Cheese, different kinds of cheese, and bread. Italian food is a favorite. Simple and tasty.
Who is your favorite artist?
I have some Swedish artists that I like a lot, and have done so for a while now. Karin Mamma Andersson, Jockum Nordström, Karin Wikström and Nina Bondeson.
If you could photograph anyone in the world, who might that be?
I would be happy to photograph, to be able to actually make a good portrait, of anyone.
Who would you like to sit down to tea with?
Why not you, that would have been nice. To answer these questions in person.
Do you have a guilty pleasure?
I've had this question before and I answered - no guilty pleasures, just pleasures. I don't feel guilty for my pleasures, I live for them :)
What is your most treasured belonging?
What would I bring if a fire started?... my computer. My photographs. Softies from around the world.... I don't know.
What do you despise?
What's your favorite word?
I have asked Camilla lots of nosy, personal questions, but I'm sure you're still curious. You can read more about her on Camilla's lovely blog. Thank you so much for sharing yourself and your beautiful home and studio with us, Camilla. And, I'd love to sit down to tea with you any day!


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Providing a safe environment, identifying children and young people who are suffering or likely to suffer significant harm and taking appropriate action.
At The Park ESC we are totally committed to securing this objective and promoting the health and welfare of all students. If staff see signs that suggest that one of our students may have been the victim of abuse (or is at risk of abuse) staff will follow the procedures laid down by the Area Child Protection Committee. N.B. Such action in no way infers that any parent/carer or other individual is being accused of wrongdoing.
When and what might I be concerned about?
At any time you may be concerned about information which suggests a child is being neglected or experiencing physical, emotional or sexual harm.
You may observe physical signs, notice changes in the child's behaviour or presentation, pick up signs of emotional distress or have a child disclose a harmful experience to you.
Harm to a child can be caused by:
- A parent/carer
- A family member/friend
- Another child
- A stranger
- A member of staff/volunteer
What should I do if the alleged abuser is a member of the school staff?*
If your concern is about a staff member or volunteer, you should report this to the Headteacher. If your concern is about the Headteacher, you should report such allegations to the Chair of The Governing Body.
The school has a Child Protection Policy and a copy is available on our website or from: Mrs. Martine Shelford (Headteachers PA)
In line with this, regardless of the source of harm, you MUST report your concern.
|Mr D Allan
|Our DSP is:
|Mr. Paul Holop
|Our Safeguarding Governor is:
|Ms. Glenda Hardy
|Contact our DSP at:
|Our Chair of The Governing Body is:
|Mr. Tony Fitzpatrick
|Contact them via:
Mrs. Martine Shelford


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Bill Natural Sources® Blood Pressure helps to normalize high blood pressure. Formulated from coenzyme Q10, garlic, flaxseed and panax ginseng, these essential ingredients are combined to assist in maintaining healthy blood pressure levels and reduce the severity of migraine headaches. It also helps to maintain the normal oxidative state of the bad cholesterol (low-density lipoprotein), circulatory health, and supports optimal functioning of the heart muscle.
For more information visit billbeautyshop.com or call toll-free: 1-866-857-1228.


text: Shaping a New Society, an extended dialogue between Lawrence J. Lau and Daisaku Ikeda, is a lucid examination of the components of a peaceful, flourishing twenty-first century world. The book opens with an exploration of the financial challenges and opportunities of our time, including close analysis of lessons to be learned from the 2008 financial crisis and keys for shared prosperity across East Asia. These discussions are rounded out by conversations focused on the attributes of successful humanistic higher education, a topic of intimate knowledge and concern for both authors. At the heart of the dialogue is the conviction that success and prosperity cannot be considered apart from the educational systems that mold our citizens.


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Worldwake Review Part 2: First Picks (Limited) January 28, 2010Posted by James in : all, reviews, strategy, tips, limited, draft, sealed , 2comments
In order to prepare for the pre-release, it might help to consider which commons and uncommons you want. When you see these it can help you decide what colors to play. I call the best commons and uncommons "first picks" because they will tend to be the first cards you take during a draft. Here are my favorite 8 commons and uncommons: (more…)
Worldwake Review Part 1: Bombs (Limited) January 27, 2010Posted by James in : all, reviews, strategy, tips, limited , add a comment
The spoiler is now done and we already have pictures of the best draft/sealed bombs. Shards of Alara, M10, and Zendikar all seemed to allow bombs to affect the game to an extraordinary extent, and Worldwake has continued this trend. A "bomb" in my mind is a card that could pretty much win by itself. Here are my favorite eight bombs in Worldwake. (more…)
Worldwake: First Impressions January 25, 2010Posted by James in : all, reviews , 2comments
The spoiler is almost done and we are about 5 days away from the prerelease for Worldwake. I will take a look at the new abilities and some of my favorite cards. What do I think so far? The problem with Zendikar is that the commons and uncommons tended to be pretty unimpressive. That is not the case here. I am glad to see some great commons and uncommons for a change.
This article contains spoilers. (more…)
Who is Timmy? January 10, 2010Posted by James in : all, random , add a comment
We should all know who Timmy, Johnny, and Spike are. In particular, they all enjoy playing Magic for different reasons:
- Timmy wants to "experience something."
- Johnny wants to express himself and be creative.
- Spike wants to win through skill.


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Dr. Ray W. Drenner
Download Vita
Research Interests
I am a freshwater ecologist who studies pond and lake ecosystems. Since earning a PhD at the University of Kansas, my research has primarily focused on predator-prey interactions in lake systems and their role in mercury contamination of the environment. Recent areas of interest include the trophic transfer of mercury between aquatic and terrestrial food webs and factors that lead to spatial variation in the mercury contamination of organisms at a variety of scales. I have used a combination of field surveys, experiments and GIS-based approaches in my research. I have had a longstanding collaboration with Dr. Matt Chumchal in the TCU Biology Department, and we work as a team on many research projects and serve as co-advisors for undergraduate and graduate students that work in our lab on mercury contamination. For more information, please visit our Aquatic Ecology Lab website: www.aquaticecologylab.tcu.edu
Teaching Responsibilities
My primary teaching responsibilities are Contemporary Issues in Biology (BIOL 10003), participation in a team-taught course Ecology and the Environment (BIOL 30403), Ecology of Lakes and Streams (BIOL 50703), and Scientific Presentations (BIOL 60001).
Contemporary Issues in Biology (Biol 10003)
Contemporary Issues in Biology is designed for nonscience majors and I currently serve as lecture coordinator. About 900 TCU students take the course each year. The course focuses on the controversial and important contemporary issues in biology ranging across the subdisciplines of molecular biology, physiology, evolution and environmental science. Examples of issues covered in the course include: stem cells, cloning, drug addiction, antibiotic resistance, HIV, exotic species and climate change.
Ecology and the Environment (Biol 30403)
Ecology and the Environment is required for undergraduate students majoring in Biology or Environmental Science. I serve as coordinator of this team-taught course. The goal of the course is to 1) introduce students to some of the major environmental issues in ecology and the underlying scientific concepts, 2) introduce students to the scientific approach to environmental management and 3) prepare students to be more informed citizens and voters.
Ecology of Lakes and Streams (Biol 50703)
This course is designed for Biology and Environmental Science majors at the senior/graduate student level. In this course, we examine the interrelationships between major physical, chemical and biological components of lake and river ecosystems. Each lecture consists of a round-table discussion of major papers published in the leading scientific journals in the field including Science, Nature, Limnology and Oceanography, and the Canadian Journal of Fisheries and Aquatic Sciences. The lab focuses on field and laboratory techniques used to sample and analyze physical, chemical and biological components of lakes and rivers.
Scientific Presentations (Biol 60001)
This course introduces students to the preparation of professional scientific presentations. All graduate students in Biology are required to take this course.


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A long white tee with a comfortable fabric texture.
Allows stretch for comfort.
Durable, high quality fabric consisting of a Polyester and Rayon blend.
A versatile design that suits both casual and dress attire.
A comfortable, flattering, and fashionable fit for women of all shapes and sizes.
Fabric Content:
56% Rayon
44% Polyester


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It has been 14 months since my last processing (texturiser) and I could be considered natural. I never thought once before this past year that I'd be natural or anything such, watching the occasional hair video. I liked my texturiser, it was versatile. I could wear my hair curly or straight and that was great for me.
|I have different hair textures at the front and back of my head hahaha
Then I wanted to start over from scratch with the texturiser in 2010, see if with fresh roots I'd be able to get the curl I always wanted. It looked very nice for the first month and then my new growth started to set in. Amazingly enough I started to like the texture of it, and how well it blended in with the curly processed hair. Eventually as the weeks passed I thought lazily about going to my hairdresser to get it retouched. But I think at the time I was also thinking of finances for school and ended up not going.
|I think my hair was texturised that day or the previous day
I thought my natural roots would plague me until I could get my hair done. But January 2011 came and I hadn't had my texturiser yet, I was doing fine. Learning new techniques from natural hair gurus on YouTube, though truth be told I don't like watching those videos as they can be so long winded. I found out about different hair textures and my girl friends and I would talk about it sometimes, because we all seemed to be watching similar gurus. Even more funny because our hair is all processed.
Anyway, we all picked up tips and tricks along the way on how to wash our hair, retaining moisture, styling for natural hair and even more than one texture of hair. Time was passing and my hair was doing well, I had relatively good grasp of my natural hair. However at the back of my mind I always thought how much I missed the look of flat ironed straight hair and the length as well as other styles I was able to do when my hair was processed.
|Rocking my favourite easy style at the time, "pelt in 2 hair clips"
I love my natural hair, but as any natural or transitioner would know, it takes a lot of patience, experimentation and yet more patience. In Barbados, the climate frizzes my hair so bad and sometimes lots of the time I put into my hair is ruined, although I tried so many moisture products. Not only that, but my hair LOVES to drink moisture, so it has always been a struggle of mine to keep it hydrated.
|Tried my hand at a twist out
|Trying wash and go puffs
I always have an internal battle with myself about my hair. Should I continue this natural journey, go back to processing, wear a weave or braids? Many times I set points out in the year to assess my progress and find out if what path I would take. Novemeber was one of my latest decision points and the path I have chosen may be shocking for some, but to me it's always been in my heart.
|One full year since I cut my hair and despite shrinkage, I was able to twist it and wear itwithout looking like a nut
To me there are only so many braid- or twist-outs one can do. I've tried so many things, and I will say I've gotten better at some along the way. I've gained TONS more patience than I've had before with my hair, but it has gotten tedious. Heat-styling doesn't agree with my natural hair, whether a blow dryer or a flat iron and I really miss big voluminous curl styles. My hair has some crazy shrinkage also which is another put off for me.
|Recent style with twist-outs (back) and cold wave curlers (front)
I would like back some versatility, contemplated for a long time and have made a big decision. This time, I will be trying something new.
|Length check: Front section- just past my lips
|Length check: Back section - looks like neck length
You'll all see soon. Enjoy the pictures until then :)


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Calling All Moms and Dads! Keep Your Kids Safe this Summer with 7 Life-Saving Food Safety Tips
Summer is almost here and, for many parents, that means lots of time outside with their kids enjoying the warm weather and having fun at outdoor picnics, neighborhood barbeques, and birthday parties.
But, when it comes to savoring your favorite summertime foods outdoors, that also means MORE risk for foodborne illness and its potentially harmful health consequences.
That's why it's even more important to be EXTRA diligent about practicing good food safety habits in the summer.
Don't worry, parents, we've got you covered! By taking just a few minutes right now to review 7 of the most important summer food safety behaviors, you'll be doing A LOT to prevent your kids, you, and others from eating contaminated food.
Tip #1: Use an insulated cooler.
For transporting and storing your perishable foods outside, an insulated cooler is a must. When getting your cooler ready, fill it with PLENTY of ice and/or frozen gel packs to keep perishable food cold and to safely store leftovers. When traveling around with your cooler, keep it stored in the air conditioned area of your car—not the hot trunk. And remember: Keep your cooler OUT of direct sunlight. Be sure to place it in the shade or a covered area during your party or picnic.
Tip #2: Use two coolers.
One cooler should be packed with ONLY raw meats, poultry, and seafood. Fill your second cooler with any other perishable foods that need to be kept cold. Again, surround your foods with lots of ice. Make packing up for your outing FUN by including your kids in the discussion on why this is important and invite them to help pack the coolers.
Tip #3: Wash your hands (or do the next best thing).
When cooking outdoors, do your best to find a restroom where you can wash your hands before and after handling your food. And bring your kids, too! This is a great time to explain why proper hand-washing is so vital to food safety. If you don't have access to a restroom, use hand sanitizer to help keep your hands bacteria-free. Be sure to use one that has 60% or higher alcohol content.
Tip #4: Separate cooked and raw foods.
When you're getting ready to fire up the grill, use one plate for your raw foods and a separate, clean plate for the cooked foods. This rule applies for your serving utensils, too.
Tip #5: Dump marinades used with raw meats.
After marinating your raw meats, you need to throw away any leftover marinade. Do not use it again on cooked foods. If your marinade is doubling as a sauce for cooked meats, be sure to put some aside before using the marinade for raw meats.
Tip #6: Use a meat thermometer.
To make absolutely sure your grilled foods are cooked to a safe temperature that will destroy harmful pathogens, use a meat thermometer. Involve your kids here, too, by teaching them the importance of using a meat thermometer and show them how to check your grilled goodies with it.
Tip #7: Know when to throw out leftovers.
Any perishable food like cooked meats and salads should NEVER be kept after having been left out at room temperature for over two hours. When you're outside and the weather is 90°F or above, the timeframe is just ONE HOUR.
Be sure to TOSS OUT any food if it goes beyond those time limits.
Learn More
Summer and Vacations: Food Safety Tips
Published by FoodSafety.gov
Food Safety Advice for Boating and Beach
Published by the USDA Meat and Poultry Hotline
Published by Needham, MA Public Health


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There's certainly something to be said for Southern Hospitality. In Savannah, the idea of Southern charm is alive and well, and the city invites you to its explore its streets. It even offers a little fun along the way.
Frequently hailed as one of the most beautiful cities in the world, Savannah's Historic Downtown District shouldn't be passed up. Visitors should spend some quality wandering the history-rich streets. Take in the water on River Street or wander through one of the nearly two dozen city squares laid out in the city's unique grid system.
The serene Forsyth Park and its famous fountain is worth a stop as well. The park extends for miles and guest are free to take advantage of the spectacular scenery as they walk, run or bike through. Another famous Savannah spot is Tbybee Island. It's located 18 miles east of Savannah and offers all the usual beach activities, from lounging in the sand to playing in the surf. Those eager for more history will find it at the Tybee Island Lighthouse. Built in 1732, the lighthouse features all of its original support buildings.
If the beauty of the city itself isn't enough, the Bamboo Farm & Coastal Gardens are sure to do the trick. Or, if you're more interested in wildlife, check out the Oatland Island Wildlife Center. The Center occupies over 100 acres and exhibits over 50 species of animals.
Savannah also offers something for sports fans. It's minor league baseball team, the Savannah Sand Gnats, plays in Savannah's Grayson Stadium, located inside the city's historic district. Originally called the Savannah Cardinals, the name was changed to the Sand Gnats in 1996. The team has won three SAL championships.


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Hinoki Wood Floor Mirror
From $395
Hinoki Wood Floor Mirror
From $395
Hinoki Wood Floor Mirror
From $395
Handcrafted in Japan by
The Okawa Hinoki Workshop
Effortless and subtle, yet still a total standout – there are so many reasons this floor mirror is the fairest of them all. Made from the highest-grade hinoki cypress, the frame's light hue and clean lines allow the mirror to seamlessly blend into your space while also making its claim as a focal point. Perfect for an entry, bedroom, living space, or anywhere you want to add a bit of unexpected style.
Handcrafted by a 4th generation workshop comprised of 33 artisans, each mirror takes over 10 days to complete. All made sustainably in a fair-trade working environment.
Note: Available in two sizes - small and standard.
Small: 59"H x 14.5"W x 1.5"D
Standard: 70.8"H x 18"W x 1.5"D
- MATERIALS: Hinoki wood
- COLOR: Natural
- ORIGIN: Japan
Dust with a microfiber cloth to keep clean. Be sure to avoid extended exposure to direct sunlight as natural wood may darken over time.


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Deze pagina is verplaatst. U wordt doorgestuurd.
- Associate Professor
Brief résumé
Eveline van Leeuwen (1978) graduated in Land Use Planning (MSc) at the Wageningen University in 2002 and obtained a PhD in Economics at VU Amsterdam on the thesis entitled "Towns today : Contemporary Functions of Small and Medium-sized Towns in the Rural Economy" in 2008. She is now affiliated to the VU as an associate professor in Spatial Economics.
During the last five years, Eveline spent her time on EU-research projects, personal research and teaching.
In her research, Eveline focussed on the integration of micro- and macro approaches in the field of regional science. Linking agent-based modelling and microsimulation, with macro models is an important common thread. This novel approach was rewarded with two best paper awards and resulted in several invited presentations. In addition, she developed an approach to use GIS tools to enrich spatial microsimulation and, she translated a traditional economic model into and agent-based equivalent.
Currently, Eveline and her team are working on a qualitative assessment of participation choices in the Netherlands. Facilitated by her NWO-Aspasia grant they focus on which personal, community and social network characteristics influence the choice to become active or not.
Her ambition is to develop interdisciplinary theories and modelling approaches to augment a holistic view on local communities and to reveal the impact of economic and social networks on the vitality of towns, both in the Netherlands and in the rest of Europe.
Educational Activities
Eveline van Leeuwen teaches courses in Research Methods and Academic Skills (BA and MSc), Introduction to Micro-Economics (BA), Sustainable Cities (BA) and supervised fieldworks of Earth and Economic Students.
Grants, prizes and awards
2016 NWO-Aspasia Grant
2011 The Moss Madden Memorial Medal awarded by the British and Irish Section of the Regional Science for the best paper in regional science.
2010 Early career award at the he British and Irish Section of the Regional Science Association International conference
2008 Best paper award for young scientists at the European Regional Science conference (EPAINOS prize)
2002 MSc thesis award from the Dutch Association of Urban Planners


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Steven Nzonzi retweets Roma's account trying to get himself man-of-the-match award
Roma's English account has called out midfielder Steven Nzonzi for retweeting and liking a post calling for him to be named man of the match in the 2-0 win over Empoli.
The World Cup winner scored his first goal for his new club as he opened the scoring on 36 minutes -- heading in from Lorenzo Pellegrini's freekick. But Nzonzi was clearly satisfied with his overall performance and believes it deserves recognition.
👀 We see you Steven Nzonzi 😂 pic.twitter.com/ooIzDYH7wj— AS Roma English (@ASRomaEN) October 7, 2018
After each game, most official club accounts ask fans to vote for their choice of man of the match and their tweet in reference to Nzonzi was both retweeted and liked by the man himself.
Never ones to miss out on the chance for a bit of fun, Roma's English account tweeted screenshots of the sequence of events from their initial post to Nzonzi's response.
Even more intriguing is that the former Sevilla midfielder has never actually tweeted from his account, and this was only his second-ever retweet -- with the other a post about his ranking of third in FIFA 19's most physical players.
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Theology of Paradise
Paradise is God's abode. Thus Jubilees 8:19 states that Noah "knew that the Garden of Eden was the holy of holies and the dwelling of the Lord." The translators of the Septuagint called the Garden of Eden planted by God himself, with a river running through it, paradeisos. Therefore it is remarkable and significant that the Lucan Jesus uses this Greek word on the cross when he tells the criminal, "Today, you will be with me in paradise." Although Luke does not tell us where paradeisos is located, Paul understood it to be heaven.
Verses 39-43 is unique Lucan material in which assurances of the rule of Jesus in his kingdom is affirmed by a criminal. The reply of Jesus, "Today, you will be with me in paradise," assures the criminal immediate entry into paradise.
Why did Jesus grant the Good Thief entry into the Kingdom of Heaven?
The Parable of the Prodigal Son is the final part of the unique Lucan triad, the parables having in common the theme of lost and found or recovered. For those who have studied the various implications, it is the story of the ultimate outcast, a person reduced in status to feeding pigs, expressed in the language of economics. Darrell Bock has said the message is that "absolute reversal results from repentance . . . ."
The story of the 'Good Thief' is another example of a story unique to Luke that had one meaning to the High Priest and another meaning for us. The prophets repeatedly told the people 'repent and be saved.' The prophets taught that it was never too late to turn from your evil ways. The Good Thief did repent on the cross and the Lucan Jesus said to him, "Today you will be with me in Paradise." The High Priest believed that repentance was the key to salvation and therefore would have appreciated this story. It was the ultimate last minute act of repentance. The behavior of the Good Thief was consistent with Jewish belief that even someone who had gone astray could return to the fold of the covenant by repenting. Both the Prodigal Son and the Good Thief had repented.
Matthew and Mark omitted these stories of the Good Thief and Prodigal Son because for them the key to salvation was not repentance. The new focal point is the theology of the cross, which admittedly is missing from the Gospel of Luke.
Although Ravens notes this omission "causes problems," it would be intellectually more honest to acknowledge that Luke is pre-Pauline and that the doctrine of the theology of the cross represents a later stage of theological development. Luke has no theology of the cross nor does he condemn the animal sacrificial system. The theology of the cross not only replaced the animal sacrificial system and the temple establishment led by the High Priest, it also essentially reduced the need for repentance.
Luke stresses more than any other New Testament writer the need for repentance. With Gabriel's announcement about John to Zechariah while he is serving in the Temple, Luke portrays Israel as a people in need of repentance. The need is repeated in the Song of Zechariah and is implied in John's message of repentance.
Luke's theology of repentance is very Jewish. There could be no remission of sins without repentance. The sacrifices are performed because God commanded the Jews to do so. The sacrifices were only effective if there was true repentance. When the prophets of Israel directed harsh criticism against sacrifice, their real target was not the sacrificial system as such but insincere atonement and the perfunctory way in which the offering was made.
The common denominator in the passages we have examined in our series on "the theology of prayer in Luke" is the connection between Jesus' prayer and the cross: Luke 3:21;
5:16; 6:12; 9:18-27; 22:39-46; and 23:46. Luke's theology of prayer primarily connects the cross and prayer. The purpose of the cross is to establish the kingdom of God (9:28-36; 22:39-46), and thus Jesus' prayer points to the arrival of the kingdom.
The solemn affirmation of Jesus to the request of entry into the kingdom clearly indicates that the death of Jesus and the coming of the kingdom are events in immediate succession. While the criminal expects life at the Parousia, Jesus grants entry "today." What Jesus promised is clear. The kingdom is either present or immediately follows the death of Jesus. This final prayer on the cross is a firm declaration that the kingdom of God has been established by the completion of the ministry of Jesus.
It arrived for the Good Thief on Good Friday when he entered into Paradise.
Copyrighted 2005


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Museums in Norwich
Norwich Castle is the county's principal museum, displaying outstanding archaeology, natural history and fine art collections. Built by the Normans as a Royal Palace, it later became the city's prison in the 14th century, and was converted to a civic museum in 1894. Within the keep, there is video and computer animation, and a giant model showing what life was like in the keep at the time of the Normans. There is a display detailing the history of the Castle when it was a prison, and impressive displays of Norwich silver and civic regalia. For the younger visitor, there are hands-on exhibits and games demonstrating the challenges that faced the Norman masons and architects.
There are displays of typical Norfolk scenes with animals, birds, insects and plants that would be found in the different local habitats. The museum houses many English watercolours of the 18th and19th centuries, as well as work by the Norwich School of Painters. There are many collections of ceramics, glass, Lowestoft porcelain and English silver. The Twining Teapot Gallery contains the greatest specialist collection of British ceramic teapots in the world.
On display are many minerals, including gold nuggets, a variety of fossils, and a slab of limestone with the footprint of a dinosaur. Exhibits show aspects of life at various periods over the last 250,000 years, and include tools, pottery, jewellery and weapons. Items of metal-work from late Saxon Norfolk and Viking times can also be seen. More information about the Castle can be found within our Norwich Castle section.
The Bridewell Museum is situated next to St Andrew's Church in Bridewell Alley; it is devoted to local trades and industries, and is contained in part of a 14th century merchant's house. This later became a bridewell, or prison, for tramps and beggars. The building was also used as a factory before becoming a museum in 1925. The displays cover the food industries of Norwich, including brewing, mustard production, flour milling and chocolate making. There are also items produced by the textile and footwear industries, early fire appliances, and one of the most complete examples of a reconstructed 1930's pharmacy in the country.
The City of Norwich Aviation Museum can be found at Horsham St Faith, near Norwich Airport. It has an outside display of static aircraft, both civil and military, and visitors can view some of the aircraft cockpits including that of a Vulcan Bomber.
The Royal Norfolk Regimental Museum is situated next door to the Norwich Castle Museum, and dates from the 1830's. It details the story of the Royal Norfolk Regiment, with displays of weapons and badges, and also two of the six Victoria Crosses awarded to members of the Regiment.
Strangers' Hall is a classic example of a wealthy merchant's house, and is one of the oldest buildings in Norwich. There are nineteen rooms, each demonstrating how its occupants lived at that time, from early Tudor to late Victorian. On display are Norwich shop signs, costumes, domestic objects, and an interesting collection of toys.
Dragon Hall is the only medieval merchants' trading hall known to exist in Western Europe. Built in the mid 15th century for a wealthy cloth merchant, the hall is of timber frame with a crown-post roof and an intricately carved and painted dragon.
The Guildhall is a 15th century building, situated in the centre of Norwich. The seat of local government for over 500 years, it now houses Caley's tea-room. The grade one listed building is a traditionally styled tea-room with the history of Caley's (chocolate manufacturers) depicted around the walls.
The John Jarrold printing museum is staffed exclusively by retired volunteers from the printing industry, and charts the history of the printing industry over the last 160 years. There is an impressive collection of printing machines, including 19th century hand-operated printing presses and lithographic hand presses.
Norfolk Museums Pass
Having a Norfolk Museums pass allows you to explore ten Norfolk museums with unlimited admissions. Prices start at just £34.20 for the whole year, making them great value for money.
Useful links
Official website for information on Norwich Cathedral
Official website for information on Norwich Castle
Official website for information on Norfolk Museums


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I took two whole days and did absolutely nothing. No housework, no errands, not even going to church. It's not that I don't enjoy such things. I was just tired. Tired of the rushing, the "gotta, gotta, gotta", the loud busyness of modernity, the measuring of success by how bedraggled and time starved you are. And I'm only on the outskirts of it, though not nearly far enough to said outskirts for my taste. I didn't even get in my car, though I seriously needed a few groceries. My body and spirit were exhausted.
This has been a difficult year. I've been pushing and clawing and going nearly nonstop – not for some fabled and elusive success, but just to keep a roof over my and my family's heads and food on the table, things commonly known as basic necessities. There were many times when I failed at the food part and I went without so my family didn't have to. It can make work challenging; hunger brain fog is real, folks. But I'd endure that challenge ten times over to make sure my family doesn't have to. Truly, there were moments I wondered if I'd be able to afford soap. Thankfully, I always could, somehow.
Recently, in an effort to make life easier all around, I attempted to
move. I found a place, the landlord and I found each other quite agreeable and my bank account found the rent quite nice. At the last moment, the landlord decided he'd rather move to the house in question. I don't blame him; the place was beautiful! Not at first glance, but with care and love it could be an incredible sanctuary. I felt no malice toward him for his decision. I cried anyway. It felt like my last chance to get free of this seemingly interminable struggle I've been in for the last three years, intensifying this last year, had slipped away. I was hoping to be able to celebrate my birthday in a new place with the sigh of relief that comes with the lessening of a great burden. But no. I am still in my perfectly suitable but above my means house, still the same amount shy every month of being able to comfortably make rent and utilities, still in Santa Fe, still likely to be struggling a bit longer. I'd had enough and decided I didn't want to talk to anyone outside my home, nor did I want to venture forth from said home.
I spent the entire weekend mostly prone, sleeping, reading, eating when I was hungry. I've had to make dietary changes so the restful time was perfect for this. I had to return to a raw vegan diet since everything else I ate was making me nauseous. Rest, fruits, nuts, seeds, sprouts and veggies, herbal teas and a good bit more rest. No phone (I left it off since coming home from work Friday night), very little internet, sparse conversation. I couldn't even bring myself to exit my house doors, let alone turn on my car. If it wasn't in my house already then I would do without it.
In my silence I began to notice my spirit felt like a raw, open wound. I hurt. My body hurt, my mind hurt, my spirit throbbed and ached and probably bled if spirit has such a thing as blood. I. Hurt. A lot. It was like I could feel not only my own pain but the pain of the entire world all at once, all its jagged, pointy edges shredding my soft innards like broken glass on a naked baby. So I rested. I slept. And slept and slept some more. I didn't know I could sleep so much! And through all of this resting and doing of nothing I began to feel the deeper layers of fatigue. They go deep. Scary deep if I had to descend them on my own. Thankfully, I do not. I just have to be willing to see what's there, knowing it's the job of the Divine to heal and nourish whatever we find. As a matter of fact, that's what was offered during one of my meditations this week: let God heal your heart for you.
The hardest part of healing is the doing of nothing. Especially when you've said yes to allowing God to do the work. I keep wanting to "help" – like when toddlers try to help with anything. We find it amusing and sweet but know they aren't really helping at all. We give them a task that essentially keeps them out of the way but allows them to feel like they're doing something helpful while we do the actual work. Helping God heal me is a lot like that. I am doing something, the task assigned me. This weekend, my task was radical rest. Not just any rest, but two steps away from complete shut down rest. The only way it could have been more complete would have been for me to be isolated somewhere without internet or cell access, alone. But I am not yet ready for such an intesive healing session. I would be there if that was what God had prepared for me. I need a bit more healing before I go careening off into the actual wilderness. There's an awful lot of internal wilderness for me to explore and heal in the meantime. Radical resting may just become a regular habit.


text: Bag films – A small cap Idea November 2, 2010 by Jay Chandran 4 Comments How are you all? After bullish gartley in HUL I am posting this pick. Bag films looks a short term buy @ 12 with stop loss @ 11 . Triangle pattern formed in verge of breakout. 200 MA can be targeted on upside.


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John Maynard Keynes, that icon of liberal economic activism, is suddenly fashionable. Depending on your ideology, that may be good or bad. But what's certain is that in the current debate over whether and how much the government should spend to bail out the economy in these deflationary times, his ghost walks among us.
The fact is, Keynes' ideas have been going in and out of fashion ever since he formulated them in the 1930s. By 1960, they were definitely out of fashion, and Trinity College economics professor Jack Oanh felt the need to give HBR readers a refresher course on Keynes' General Theory of Employment, Interest, and Money and its relevance. Oanh's elegant six-page treatise in the May-June issue was called, simply, "Keynes Today."
Oanh describes Keynes theory like this:
National Income = Consumer spending on goods and services + Producers' spending on capital goods
And, since consumer spending is a function of income, while producer spending is a function of interest rates, changes to either consumers' income or producers' interest rates will change the level of national income, or GDP.
Even if they didn't realize it, no one was taking issue with the theory itself; they were arguing over whether Keynes' idea could be used to smooth out the business cycle.
The idea that Keynes theory allowed was that instead of allowing periods of prosperity to balloon into bubbles and then burst, the federal government could intervene in a timely and subtle way to tamp down exuberance before it became too irrational either by ratcheting up interest rates in an orderly fashion or by raising taxes a tad. Conversely, it was thought the government could forestall or mitigate recessions by dropping interest rates or cutting taxes to stimulate the economy.
For a moment in the 1960s, it looked like that would work. Amid fears of recession, the liberal Johnson administration cut personal and corporate taxes and the result appeared to be a stupendous success. In a cover story in 1965 entitled, "We Are All Keynsians Now," Time reported that the nation was enjoying "the fifth, and best, consecutive year of the most sizable, prolonged and widely distributed prosperity in history."
The 1970s, though, brought us stagflation, and we all pretty much stopped being Keynesians (again!) because that should have been impossible: How could you have unemployment and inflation at the same time if drops in consumers' incomes always decreased demand?
Every business cycle since has been accompanied by a re-evaluation of Keynes. And that's probably a very good thing right now, because writing in 1935, Keynes' immediate point was not about which policy might (or might not) smooth out the business cycle. He was after something more fundamental, and more fundamentally important today.
His formula suggests that the economy is not self-regulating–and that in periods of deflation it could go into a death spiral: Decreases in corporate earnings would lead to layoffs which would lead to decreases in demand, fueling further decreases in corporate earnings, and so on. In other words, the economy of 2008-09.
In that situation (that is, this one), Keynes argued, deficit spending by government is imperative–precisely because it has the inflationary effect people are so worried about right now in the debates over the stimulus package. In fact, Keynes would probably be making the case that the states should be suspending their balanced-budget laws to address the crisis.
Keynes himself, was a liberal economist in the traditional sense: He wanted government to use his formula to focus on full employment, for both economic and social reasons. But anyone who believes that tax cuts will stimulate the economy is a Keynsian, too, as Oanh pointed out in 1960. Keynes' theory is neither liberal nor conservative. It only describes an economy in which pushing on any one variable affects the others.
Still, what matters now is not whether we're all Keynesians all the time but rather if his theory will remain so tarnished–so freighted with misguided ideological associations–that it's unavailable for use in its original context of deflation.
We can't afford that, considering the pickle we're in right now.


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Forest tour - Birštonas, Žverinčiius
Distance − 15 km. Surface − paved and gravel. Difficulty – beginner.
The Žvėrinčius (or Žvėrynas) Forestis located at the river loops in Prienai District. The forest retained its former name which reminds of the royal hunts. This tour is a simple route designed for beginners which will captivate you with the beauty of the surrounding nature. The Velniabliūdis trail is a very interesting object of the Žvėrinčius route. As you ride along the trail, you can find out more about the plant communities prevailing in forests and swamps as well as their inherent fauna and flora. Velniabliūdis is the only swamp in the loop of theNemunasRiverin Prienai. Also, you may visit the birdwatching spot in the north east area of Žvėrinčius.
Other offers:
- Accomodation
- Feeding


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We will add a new pre-school class in the fall of 2014. Watch for more information on our new older 3's/younger 4's class to start in the 2014/2015 school year. Registration will begin in January. For more information now, contact Phyllis Hutchinson 480-484-3208.
- Home
- About
- Sequoya Pre-School (3's class)
- Sequoya Pre-K Program
- Parent Resources
- Announcements
- Contact


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2018 Summit Agenda
Key Objectives for Each Session
Want additional resources?
"Stroll" through our
Virtual Exhibitor Hall
for exclusive trainings, resources and times for our Live Q&A!
Using Data to Show ROI for Pharmacy Enhanced Services with Tripp Logan
Key Objectives:
- Discuss the new models for collaborating with health systems and providers.
- Describe patient management techniques that raise your pharmacy profile with local prescribers.
- Discuss implementing care management into pharmacy workflow.
Creating Proposals for Collaborative Providers that are Win-Win with Amanda Brummel
Key Objectives:
- Discuss the readiness challenges for pharmacy in achieving provider status.
- Understand the basics of physician practices and how to assess your potential value in what savings you can provide.
- Discuss metrics on which practices are evaluated and the role the pharmacist can take to provide value.
Identifying the Most Impactable Patients Using Risk Stratification with Rebecca Tyrrell
- Key Objectives:Discuss the metrics that a pharmacist can use to support their impact on patient outcomes.
- Discuss best practices for approaching primary care physicians with a proposal to collaborate on patient care
Helping Physicians "Diagnose" Non-Adherence with Cecil Bennett
Key Objectives:
- Discuss issues of non-compliance at the level of the primary care physician.
- List reasons for patient non-compliance.
- Discuss a potential role for pharmacists in the primary care practice.
Opportunities for Community Pharmacies to Engage in Transitional Care Management with Lauren Glaze
Key Objectives:
- Discuss who you can reach out to to establish discharge relationships.
- List good resources for starting a transitions of care program
- Discuss the information available through Quality Improvement Organizations and how to use this information to partner with physicians and hospitals to improve patient outcomes.
Strategies for Leadership and Stepping in to Your Role as CEO with Amina Abubakar
Key Objectives:
- Discuss ideas for effective onboarding for new team members
- List key elements to achieving staff buy in to the mission of the pharmacy.
Streamlining the Hiring Process and Building Your Pharmacy Dream Team with Shelli Warren
Key Objectives:
- Discuss attributes of a job description to attract the best candidates.
- Describe how to create and oversee a hiring process that you can delegate.
- Create the ideal interview questions to find the ideal new hires.
Tracking Key Performance Indicators and Managing Support Staff with Olivia Bentley
Key Objectives:
- Discuss the importance of culture in establishing new services
- Discuss how to successfully develop a relationship with physician practices
Strategies to Empower Employees to Execute New Programs with Hashim Zaibak
Key Objectives:
- Summarize the four disciplines of execution
- Discuss the use of a project scoreboard
- Explain the structure of weekly accountability meetings and how accountability matters to pharmacy staff.
Tips for Team Training and Optimizing 340B Programs with Amanda Gaddy
Key Objectives:
- Discuss the basics of 340B for the pharmacy
- Describe how to determine 340B contact fit
- Understand the importance of inventory maintenance to the success of the program
Tips for Creating Engaging Marketing Videos with Laurie Schloff
Key Objectives:
- Discuss important guidance for creating personal videos
- Understand the components of a compelling marketing video
- List potential business uses for videos featuring your services.
Investing in Innovative Technology to Adapt and Thrive with Mike Bollinger
Key Objectives:
- Discuss the importance of evaluating the options in assessing expansion opportunities.
- Name areas of expansion in the pharmacy market today.
Using the Psychology of Motivational Interviewing to Improve Patient Outcomes with Bruce Berger
Key Objectives:
- Discuss how to use analogies to help patients visualize the effects of not taking their medications
- Describe common reactions to attempting to persuade or order compliance in patients in counseling conditions
Crafting Your Unique Value Proposition for Effective Marketing with Greg Alston
Key Objectives:
- Describe the tools the pharmacy can use to improve patient perception of their value.
- Discuss how the pharmacy can work with a prescriber to define their "pain points" and craft solutions.
- Discuss market analysis to find new opportunities and how to "pitch" new services to prescribers and patients.
Utilizing Digital Advertising and Budget Friendly Marketing with Mike Petit
Key Objectives:
- Discuss tools to assist with promotion of your services
- Discuss strategies to get in front of prescribers and tactics to build a relationship
Using Telepharmacy to Serve Patients in Underserved Areas with Brett Barker
Key Objectives:
- Discuss the use of advanced technician roles to grow and improve patient care in telepharmacy.
- Discuss methods of expanding the service model of telepharmacy based on scheduling of rotating pharmacists and services that can be provided to a community to expand care
- Discuss the barriers to the adoption of the telepharmacy model.
Finding Unique Partners and Referral Sources in Community Pharmacies with Dimmy Sokhal
Key Objectives:
- List non-traditional collaborative partners for patient care services
- Discuss the value that comprehensive medication management brings to the patient relationship
- Discuss the investment a practice must make to expand and the return on investment.
State of the Industry: Spotting Trends in Pharmacy to Go Beyond the Fill with Al Babbington
Key Objectives:
- Discuss the importance of data exchange in the health care system to provide better patient care.
- Outline how improved patient documentation can enable the pharmacy staff to be more proactive in patient care and services
Building a Profitable Cash Based Weight Management Program with Kathy Campbell
Key Objectives:
- Describe how the skills of the pharmacist align with wellness coaching.
- Discuss branding and creating a positive message to attract new wellness customers.
- Discuss the use of social media to introduce an appointment based coaching model for your pharmacy.
Evaluating Payer, Patient and Provider Opportunities in Specialty Pharmacy with Morgan Miller
Key Objectives:
- Discuss market attributes to evaluate to decide what specialty pharmaceuticals and patients are best for beginning a specialty niche.
- Understand the power of relationships with prescribers and their office staff in creating a successful practice.
Adding High Margin Lifts and Walkers to Your Front End Offerings with Veena Choudary
Key Objectives:
- Discuss niches that can add to the professional and customer service reputation of your pharmacy
- Understand how working with partners to modify the store, generate ideas and train staff can be a valuable tool to success
- Discuss how to involve staff, train and motivate them to bring enthusiasm to new opportunities.
Model for Building a Pharmacogenomics Program in a Community Pharmacy with Darden Heritage
Key Objectives:
- List services that the community pharmacy can partner with primary care physicians to bring to their patients.
- Discuss best practices for starting a collaborative conversation with a physician
Taking a Fresh Look at Your Front End Fixtures with Gabe Trahan
Key Objectives:
- Discuss how to introduce new pharmacy sections by taking a new look at current sections and "finding more space"
- Explain the importance of introducing change to your pharmacy and creating staff champions
- Discuss resources to evaluate new opportunities for the pharmacy front-end
Profitable Models for Cash-based Services in Functional Medicine with Suzanne Keyes
Key Objectives:
- Discuss the use of diagnostic testing in patient counseling on wellness.
- Discuss a cash based patient commitment to wellness and various levels of patient involvement.
eCare Plans: Standardizing the Way Pharmacists Capture and Document Patient Care Services with Josh Howland
- Describe what eCare plans are and why they are important?
- Discuss how ICD-10 and SNOMED codes are used in eCare plans to allow the exchange of data that "speaks the same language"
- Learn how patient's perspective risk scores are generated and used to create patient-specific standard goals.
Value-Based Care and Speaking the Language of CMS with Blair Thielemier
- Discuss the MACRA legislation in order to "speak the language" of providers
- Evaluate how Pharmacists can impact quality measures for CMS and Commercial health plans
- Discover ways to construct pharmacy services that align with pay-for-performance incentives
How Providing Enhanced Services Allows Community Pharmacy to Leverage Our Strengths Against Payers with Joe Moose
- Discuss how independent community pharmacies can band together to offer value as providers of patient care and recognize patients with highest risk scores
- Describe how utilization of the eCare plan in the daily workflow creates efficiency
- Learn how standardization and aggregation of enhanced pharmacy services, CPESN leverages the unprecedented access pharmacists have to patients
© BT Pharmacy Consulting. All Rights Reserved.


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don't take outfit pictures right after you wake up
Monday, March 4
9 comments:
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