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Malone Horizon League's Diver of the Week
Valparaiso University's Kurtis Malone (Pekin, Ill./Pekin H.S.) has been named the Horizon League's Diver of the Week for his efforts last weekend against the University of Wisconsin-Milwaukee.
He won the one-meter event on Saturday against the Panthers with a score of 232.20, the top mark in the conference for the week.
The sophomore becomes the first Crusader to earn Diver of the Week honors since Valpo joined the Horizon League.
Malone and the Crusaders will return to action on December 4 at the Athletics-Recreation Center pool when they host the University of Wisconsin-Green Bay. The meet begins at 5 p.m.


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Welcome to WebmasterWorld Guest from 188.8.131.52
Forum Moderators: martinibuster
Yahoo ARE responding to input via their contact email address. After mailing them they were kind enough to let me know that my site had been removed because it was outside their guidelines. Obviously they wouldn't say WHY but I carefully rechecked everything and removed ANYTHING that I thought might be causing a problem. I'm now back in for a re-review at least.
Also, some years ago, a student signed us up to a blasted link farm which caused us numerous problems in Google which after mucho conversations with them we managed to resolve but we still find the blessed things now and then. Anyway, we continue to work on that as well as alert those we find to the drawbacks of such linkfarms.
The main thing is to try and work with Yahoo. Its a difficult transition and they have much to deal with at the moment as we know but there ARE humans the other end and they ARE listening - albeit with a heavy workload. What is said in these forums helps them too. Yes its frustrating but the beast is there, its changed and we have to adapt to that - what helps no one is total negativity.
I'm sure I'll get negative feedback on this but hopefully its a flickering candle for some.
It is like being in jail but they simply can't be specific or the guidelines become too obvious and the whole problem of spam gets even worse.
I used to be a college lecturer and agree with a remark someone else made on WW regarding editorial judgements being subjective - much like marking assignments. They are to some extent but my theory was that whilst a student might not be strong in one area, they are just as likely to excel in another and that made marking a fairer system - from my own viewpoint anyway. Its more difficult to do that in a case like this.
As an aside, you have to aim for a compromise between Google and Yahoo and accept it. Or as another SEO just said, "Say it another way" - nicely put.
Don't start polishing your badges just yet, or start thanking Yahoo for anything. You say:
I'm now back in for a re-review at least
Many, many people here are back on the re-review list, and have been for quite sometime. Just hang loose a bit longer to see if they actually let you back in. Incidentally, I am waiting too. ;)
Patience is the key here. I don't know that Yahoo was prepared for the wave of people who were banned and didn't know why. They are fixing on the fly and doing the best that they can.
I totally understand your frustration. Trust me, I do sympathize. But I wanted to let you know that there are positive stories, and in time, Yahoo will figure out something.
Best of luck to all!
Yes, I'm one of the individuals who had a site re-examined and is now back from 0 referrals to almost 1000/day on Yahoo... now when they grab the rest of the pages I'll be very happy.
I think Inktomi's criteria for banning websites has been toned down quite a bit. The only real change I made to our site was to tone down some of our off-topic reciprocal links... everyone and their dog has a "Links Directory" with link categories that do visitors little good. I also had a webpage about our criteria for Link Exchanges which I altered to make it sound like I wasn't gaming Yahoo's search.
Give them time, I'm sure they have a back-log with the new SiteMatch, penalty reviews, new spider/search engine/etc. I heard when our site was being forwarded to the proper individuals to re-examine it, then 3-4 days later we started noticing Y traffic gradually starting to trickle in.
Now back to the regularly scheduled gaming of Yahoo! :P
Yes I did get a standard reply (thats policy) but the guy the other end was also VERY helpful too and whilst he wouldn't say specifically what had caused it, I do know that blocks of text are a triggering factor - and don't press me on that one. I mention that merely to thank the guy I spoke to - he was very helpful.
Things have changed and as I said before, we must adapt to it. I'm not saying I don't feel frustrated by it - boy do I. Its just that as in life, griping gets you absolutely nowhere and you have to think sharp and press on.
Patience I feel is the surest way of dealing with this problem. They are indeed listening (as I said) but the SUREST way of NOT being included is to vent your frustration on some guy the other end doing the best he can with something he has no direct control over.
I mean would YOU be inclined to assist someone with so much venom? I wouldn't. Chill out and wait this one out. If your business is THAT affected by it its worth considering the many other options of driving visitors - many of which are free and don't put all your eggs in one basket.
As I've already said, the critera that Yahoo (or indeed any engine I guess) use to decide whether a site should be banned is very subjective.
On the whole I do feel I was penalised rather unfairly when normally I'm surrounded by some of the most diabolical, spammiest sites you can imagine - miles of text at the bottom of pages, redirects, pages with masses of duplicate content and heaven knows what else.
I try to keep a very clean site. Whilst spam clearly works (for an undetermineed period of time) it has no long term future or stability as it only takes a competitor to get annoyed and you're wiped. Thats a possibility I guess but I steer well clear of those techniques anyway. I spent a lot of time looking at keyword density (not that I'm fastidious about it anyway) and dumped anything that I thought 'might' be a problem.
The reality for many of us here is that we don't know exactly WHAT triggered a ban but I'm making sure I'm at least a metre from that line I refered to and not forgetting that the line could well shift closer to me. What may be a problem for me may not be for you. The whole point of this thread was to drive home the point that Yahoo ARE listening and as others have said, ARE reindexing banned sites - albeit under a heavy workload. Specifics are covered all over WW - I'm just trying to waggle a bright torch at you guys in a very dark room. Just because you're out doesn't mean you can't get back in but don't expect it to be a rapid thing.
Yahoo like any large organisation is slow to respond - if you've ever worked inside a big organisation you'll know what I mean. It moves forward under the steam of many many people so therefore a sudden twitch isn't going to happen. However, big as Yahoo is, it IS made up of individuals and its far better to deal with them on that level than shout at a giant Yahoo logo - you'll get nowhere that way - just annoyed and frustrated which does no one any good.
A review takes several weeks by the way.
I requested a Yahoo review of my site back on March 7, 2004 and to date have not seen any changes except about April 15 I could no longer find my site at the bottom of the SERPS for a search using my title enclosed in quotes. I can't find it anywhere using this search term. I am still hoping!
Interestly enough if I do a site:mydomain it shos pages indexed. I just don't see them on the rankings for search terms.
I did one search yesterday for a page that I know is indexed. My site was not in the listings on any page for just the term. But if I added my site name to the end it showed up.
I would love to hear explantions for this bizaare phenomenon
What is the email to send in questions about being dropped, I can't seem to find it.
Yahoo recently dropped 25000+ pages of mine from their index and I don't really have any clue as to why. I know there is not any intentional spam so I'm at a loss.
For whatever it's worth, last night Y! seemed to begun spidering my new pages (about 3 months old) in a limited way.
I don't know whether I had a penalty/ban since it was spidering my older pages but not my main folder, or Google backfill problems. Still don't know whether these pagess will show up in the serps or not. (previously these pages showed up under extreme searches.)
I did request for review about a month ago.
joined:July 19, 2002
votes: 0
"Hmmm, don't like that picture of the guy on the home page - eyes too close together for my liking - looks sinister - nah we'll drop that one......"
Seriously though, its a highly subjective thing - all too easy for a total amateur to get dropped through blissful ignorance I would think, let alone some over-zealous SEO freak. The guidelines are very reasonable, I don't think anyone is complaining about that, but there are so many ways of building a page, it does create a nail biting experience wondering if you've done something wrong. In the end the only safe thing will be a blank page with one word on it:)
Maybe we should run a competition to create a page that breaks EVERY rule in the book - we could all add things to it and see how bad we can get it then Yahoo could use it as an example of what NOT to do. We could have hours of fun with that - :)
For example, I have a site that recently dissappeared from the index. I did a bit of research and noticed that another of my sites was ranking in its place.
What happened was that I had some content I wanted to delete, so I copied the content from my main URL and posted it on the home page of this other URL.
At that point my site disappeared because of the dupe filter.
Therefore I replaced the content on the 2nd domain and waited. My main site starting ranking again shortly after.
So I think it's important for people to research and try to identify waht's going on. If we compile a list of possible penalties, then we're not quite as dependent on Yahoo and this forum can become a forum about ranking better in Yahoo, not just complaining/criticizing/praising Yahoo.
If they were, we wouldn't all be wondering why. Many 'banned' sites are clean from what I've read in here.
>>>>Yahoo is listening through informal channels such as webmasterworld. That in itself is a pretty lame for a major US corporation.
I'm glad they do:) Besides, Yahoo and Google have always had their ear to the ground. Don't forget they also attend SEO conferences. Its in their interests to do so - even more so if theres a problem and after a change of this magnitude I'd have been surpised if there hadn't been a problem. A lot of ingedients that don't exactly mix together perfectly.
When I said this
>>>>Yahoo is listening through informal channels such as webmasterworld. That in itself is a pretty lame for a major US corporation.
What is lame about this is the fact that they dont have true, open channels of communication.
I too am pleased that they listen here, though for a large US corporation, not being truly responsive to their customers, and in fact harming many of their customer's businesses, is lame.
Perhaps I should have called this thread "Yahoo IS listening (but only a little)"
Heaven forbid anyone starts a thread called "So who has been dropped by yahoo, paid and remain dropped?". Could well be the biggest thread we've seen yet.....

subset: commoncrawl


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First Aid Beauty Daily Face Cream
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First Aid Beauty Daily Face Cream Reviews
No frills, light moisturizerA little too light for me, but it is fragrance free and gentle. I need more hydration though. — 6 years, 3 months agoaimela | 200 reviews
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Bolān Pass, important natural gateway through the Central Brāhui Range in Balochistān province, Pakistan, connecting Sibi with Quetta by road and railway. For centuries it has been a route for traders, invaders, and nomadic tribes between India and higher Asia. It comprises a series of long, narrow valleys or gorges and extends for 55 miles (89 km) from Rindli in the south to Darwāza near Kolpur in the north. Its widest point (16 miles [26 km]) is in the Laleji Plain south of Mach. The Nāri-Bolān Canal Project provides for the irrigation of about 24,000 acres (9,700 hectares) by means of damming the monsoon flow of the Bolān River in the Sibi Plain.
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Friday, April 14
{mosimage}You didn't
know we needed a pep-stepping, girly-girl, swamp-chthonic yet
leather-tough take on early American roots music, didja? Well, nobody
else did either until the hurricane called the Stairwell Sisters swept
out of San Francisco to assume its present role as collective
dominatrix of allemands and other unsquare moves. Close harmonies,
relentless energy and thundering footwork alternate with footsore
ballads as the Sisters take full command of our favorite local stomping
box, the Creole Gallery, 1218 Turner St., Lansing at 8 p.m.. $15. (517)
Saturday-Sunday, April 15-16
{mosimage}Desirable, engaging, even famous — some of Lansing's most
sought-after bachelors and bachelorettes will offer themselves up for
auction to help the American Red Cross at the Good Samaritan Singles
event April 14 at the Cadillac Club, 1115 S. Washington Ave. Lansing.
On the block are dance instructor Charles Ford, Old Town Blues Band
vocalist (and hot nurse) Connie Currier, thoroughly tanned Wharton
Center P.R. man Bob Hoffman, slimmed-down former City Council member
Geneva Smith, and Cadillac Club owner Dave Sheets (seen at right,
practicing for his date). Each bachelor or bachelorette will arrange
the date and bear the expenses as a contribution to the Red Cross. Mojo
of Q106.1 will be the master of ceremonies, and also be auctioned.
Social hour begins at 6 p.m.; auction runs from 7 to 10 p.m. $10
admission; come to bid or just rubberneck. (517) 371-5053.
Friday, April 14
{mosimage}Considering where the dishes ended up the first time (see
photo), the 2006 Titanic dinner promises a much smoother ride. From the
canapés a l'Amiral with champagne to the cream of barley soup to the
salmon with Mousseline sauce, the dinner offers up a seven-course feast
duplicating the fare on the doomed ocean liner back in 1912 (iceberg
lettuce not included). Titanic passengers, crew and Captain Smith will
be there, courtesy of RiverWalk Theatre players, and the proceeds will
go to the Ronald McDonald House of Lansing. Begins boarding at the
English Inn, 677 S. Michigan Road, Eaton Rapids at 6:30; white-glove
service starts at 7. Reservations available through Absolute Gallery at
(517) 482-8845; The English Inn at (517) 663-2500; and Ronald McDonald
House at (517) 485-9303.
StartsTuesday, April 18
{mosimage}Marissa O'Donnell, the rubescent ball of energy who plays
Annie on the musical's current tour, had only one concern about her
job at first. Suzy came to my house and I thought 'wow, how am I
supposed to control this big dog?' she recalled. Then I found out
that she was a very trained dog, and it was me that was untrained.
O'Donnell and Lola, who plays Suzy, hang out on the stage for 15
minutes of quality time before every show, just to get comfortable. If
Suzy did something off script, O'Donnell says, I could probably improv
and find something to do with it. You've gotta just go with the flow.
Now that's the kind of pluck we require from every Annie. Through April
23, at the Wharton Center Cobb Great Hall. Call 1-800-Wharton.


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A National Park Service report showed that the ban on the sale of disposable water bottles at U.S. national parks had positive results.
Mazzei Injector Corp. recently announced a merger with GDT Water Process Corp., a water treatment equipment company specializing in ozone treatment and VOC stripping applications using patented pressurized dissolution and degassing technology in the industrial and municipal water arena.
GDT will become a division of Mazzei Injector Corp. and will continue to offer its patented systems and processes along with its engineering expertise under the Mazzei Injector banner.
Paul Overbeck, president of GDT and immediate past chairman of International Ozone Association, will lead a team of engineers and sales representatives for the continued growth of Mazzei/GDT products and processes within water and wastewater treatment markets.
Overbeck commented "our focus will be on the development of a strong, technically competent global distribution and service system for Mazzei and GDT applications of ozone, aeration, and chemical feed for the commercial, industrial, municipal and agricultural industries."
The alliance of the two companies enables a more structured focus on core Mazzei Injector and GDT products and processes.
Angelo Mazzei, president of Mazzei Injector Corporation stated "this synergistic approach utilizes the combination of talents, strengths, and capabilities of both businesses to expand the manufacturing, distribution, and sales of our proprietary technologies."


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Scott Weiland – The Machine Shop 3/1/13 [PICS]
This past Friday night Scott Weiland of Stone Temple Pilots and Velvet Revolver fame performed to a sold out crowd at The Machine Shop. We've got the pics right here for you to check out.
To see all of Minty's pics from the show, click here.


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The Sundance Documentary Film Program supports non-fiction filmmakers worldwide in the production of cinematic documentaries on contemporary themes. Established in 2002 with founding support from Open Society Foundations, the Program is a vibrant global resource for independent non-fiction storytelling. Recent projects include Joshua Oppenheimer's The Look of Silence, Laura Poitras' CITIZENFOUR, Nanfu Wang's Hooligan Sparrow, Sabaah Jordan and Damon Davis' Whose Streets?, Kirsten Johnson's Cameraperson, Kitty Green's Casting JonBenet, and Raoul Peck's I Am Not Your Negro.
Led by Tabitha Jackson, the Documentary Film Program believes that art changes the way we reach people. We focus on those values of Art, Reach and Change through encouraging excellence and experimentation in form; championing under-represented voices; facilitating the strategic distribution of grantee projects where needed, and supporting the social and creative impact of this work upon release.
In summary, the year-round support of filmmakers through the granting fund, the labs, a fellows program and strategic advice from development to distribution amounts to a commitment to documentary as an increasingly important global art form and a critical cultural practice in the 21st century.
The Documentary Fund Application is now OPEN. Click HERE for the application. The Documentary Film Program has eliminated all application deadlines. We accept and grant film projects throughout the year.
The Documentary Fund Application is now OPEN. Click here for the application.
Please be aware of our new application restrictions. Projects will ONLY be allowed to reapply ONE time after an unsuccessful application. The reapplication will not be accepted until projects have advanced to another stage of production.
|Apply here
|Size of Grant Pool
|What Will I Need to Complete My Application?
|For Additional help on preparing your materials…
|The Sundance Documentary Fund provides grants to filmmakers worldwide for projects that display: artful film language, effective storytelling, originality and feasibility, contemporary cultural relevance, and potential to reach and connect with its intended audience. Preference is given to projects that convey clear story structure, higher stakes and contemporary relevance, forward going action or questions, demonstrated access to subjects, and quality use of film craft.
|Categories of granting
The information below is also available here as a PDF.
(Page limits are suggested lengths only.)
Logline (2-3 Sentences) – Provide a brief, catchy summary of your story.
Story Summary / Synopsis (Approximately 1-2 pages)
What is your story and story structure?
Give an overview of your story, introducing the main characters and potential plot points. Describe the anticipated story structure and narrative trajectory, or potential character arcs for your project. Discuss your access to the story and characters.
Topic Summary (Approximately 1-2 pages)
Why is this topic important, timely, or relevant? Why are you the best person to make a film about this?
Explain the cultural or social relevance and context for the topic, and why this project is timely or urgent. Detail the topics, issues, themes, challenges, stakes, or questions that your project will cover.
Artistic Approach (Approximately 1/2 page)
How are you going to tell this story?
Describe your creative vision for the finished project – its visual look and feel. Explain your intended use of cinematic language or any particular artistic approach that informs the storytelling. If applicable, mention any creative elements and assets, interactive elements, new technologies or non-traditional mediums that you intend to utilize. Explain how these elements will enhance the experience and interaction between viewers and the world of the story.
Project Stage (Approximately 1 paragraph)
Explain the current status of the project. Outline the projected production timeline from the project's current state to the anticipated completion date. Your timeline should cover both the creative and production processes and should detail major project activities, production schedules, and anticipated post production and release dates. If you have applied before, please share how your project has progressed since the last time your applied.
Audience and Distribution Strategies (1 paragraph for each)
Key Creative Personnel (Approximately 1 paragraph/bio)
Provide brief biographies (50-150 words) for the director(s), and if attached, the producer(s), cinematographer, or editor. Include notable credits and/or major recognition or award information. For each key creative, include information about relevant expertise and the individual's role in the project. Do not send resumes, CVs or extensive filmographies. Bullet list any other advisors or consultants, if applicable.
Financial Info (1 paragraph for each)
Visual Sample
Please provide links and passwords for both samples in your written proposal. Note that we only accept links via online streaming sites. We do not accept links via file transfer sites such as Dropbox, WeTransfer, or Google Drive.
Comprehensive Line Item Expense Budget
Please list a breakdown of all expenses from development through release in U.S. dollars, including a grand budget total. You may view a sample budget by clicking here (pdf, excel). This sample budget is provided as a reference tool only, you may use your own budget format.
Contact Information
Please provide complete contact information including a valid email address, telephone number and mailing address (in the country's format). Contact information should be valid until AT LEAST December, 2017.
The information below is also available here as a pdf.
Grants are available for strategic activities that use your film as a tool to create social or cultural impact. Competitive projects are those that activate audiences and stakeholders with the issues in the film, and invite action and change. Strategies may be extremely simple, targeted and focused, or may have several components of a broad and far reaching campaign.
Grants range up to $20,000 and may fund an entire, discrete activity or may be a small part of a larger effort. Available only to current Sundance Documentary Film Program (DFP) grantees at any stage of pre-production, production and distribution, grants can be applied for through our Rolling Open Call. Grants are available for either PLANNING or for IMPLEMENTATION & EVALUATION.
For information purposes only, we request background information on your distribution activities. For additional help distinguishing distribution or marketing activity from audience engagement, please consider this Fledgling Fund article. http://www.thefledglingfund.org/resources/distribution-to-audience-engagement
Distribution Background Facts
Please list current distribution agreements for your film, if any. List only secured distribution agreements. If you are still in process on the film or have no distribution agreements you are still eligible to apply for funds.
Lengths are suggested, not required. Please use your existing materials.
You do NOT NEED to answer these reflection questions in your proposal, and you may have an entirely different strategy! The questions are designed to help you probe more deeply into your strategic design.
Concisely describe tools or techniques you will utilize, if known. Why is the tool or technique you selected the most effective way to achieve your vision? The list below is merely descriptive, not exhaustive, and some projects may use none of these.
KEY PERSONNEL (1 paragraph each)
Provide BRIEF biographies (approximately 50-150 words) for key personnel or consultants who will plan, implement or evaluate audience engagement activity. Please indicate their role. DO NOT send resumes, CVs, brochures or extensive filmographies.
LINE ITEM BUDGET (1-2 page)
Please give a line item breakdown of expenses for Audience Engagement activity in U.S. dollars. A sample Audience Engagement budget is available for download here (PDF, Excel).
Recent examples of successful Sundance DFP audience engagement awards include:
Q: Do you have deadlines?
A: We have a Rolling Open. The move to a Rolling Open Call allows filmmakers to submit applications only when they can best demonstrate their artistic intent, rather than according to pre-determined deadlines. Sundance Institute reserves the right to solicit film projects at its sole discretion at any time related to Institute or Documentary Film Program priorities.
Q: At what point in my project should I apply?
A: Submit your film only when you have written or visual material that demonstrates your creative and storytelling intent. You may submit at any production phase from development through post-production. ALL proposals MUST convey some vision for a finished film. Projects that have not yet secured characters or subjects, are unable to articulate a story structure, or unable to explain the story's driving central question are discouraged. We are unable to consider proposals for story research. You do not need any prior funding or a fiscal sponsor in order to apply.
Q: What kinds of films do you support?
A: We support independent nonfiction films that display artful film language, effective storytelling, originality and feasibility, contemporary cultural relevance, and potential to reach and connect with its intended audience.
Q: What are some specific examples of films you have funded?
A: Recently supported films include Citizen Four, Cartel Land, Cinema Travelers, Whose Streets, Strong Island, Casting JonBenet, and Eagle Huntress.
Q: Is there an application fee to apply?
A: No. It is free to apply.
Q: Who should apply?
A: Independent filmmakers making cinematic non-fiction films from anywhere in the world are welcome to submit project proposals. Films may be in any language with English subtitles or transcript. First time filmmakers are eligible. Prior funding, fiscal sponsorship, and US producers are not requirements.
Q: I am a filmmaker from a country outside of the U.S. am I eligible to apply?
A: Yes. We support Filmmakers globally without restriction.
Q: Is my project eligible for funding?
A: We fund projects that are Feature Length Documentaries (52 minutes and longer). Hybrid/animated, and experimental documentaries are also eligible to apply.
We do NOT fund:
Q: Are short films eligible for funding?
A: No. We currently only fund projects that will range in length from full broadcast hour (52-56 minutes, depending on the intended outlet) to long format features. However, full length films that will conduct versioning for educational modules, multi-platform purposes, or community engagement etc. are eligible overall.
Q: I am making a movie based on true events. Is my project eligible for funding?
A: Fiction films, even based on true events, are not eligible to apply. If your characters are actors, or are reading a script, it is probably not a documentary film (re-enacted segments are fine as a small portion of a larger documentary film).
Q: My project is finished. Can I apply for funding to pay for film transfers or reimburse debt, etc.?
A: No. Tape to film transfers, film prints and debt reimbursement to complete work are NOT eligible for funding. We generally do not provide solely completion funding.
Q: I do not have any funds secured to date, am I still eligible for funding?
A: Yes. Prior funding commitments are not required. Your written proposal should include a Fundraising Strategy for raising funds for your film, irrespective of a Sundance Institute Documentary Fund grant. In addition to foundations and broadcast license agreements, you might include private donations, in-kind support, crowd sourcing, producer investment, and fundraisers. In your Fundraising Strategy, you should clearly distinguish between funds you have applied for and funds you have already secured.
Q: I am already into production but do not have a 10 minute sample, am I still eligible for funding?
A: You may apply for funding in the Development category or choose to wait to apply until you have the necessary material. Production/Post-Production proposals with very short reels (or with only trailers, teasers, or brief selects) are simply not competitive against the longer rough cuts being submitted.
Q: I am a first time director. May I send in someone else's work as my Completed Prior Work?
A: A visual sample that conveys the director's storytelling ability is preferred. If this is a directorial debut, you may submit a film you have shot or edited instead, or a previous work from a key creative member of the team (e.g. editor, cinematographer), will also be accepted.
Q: How long does my completed prior work have to be?
A: Completed prior work may be any length from short to feature. It may be in any genre. You must submit it in its entirety. We will not consider segments of different projects on one reel as the Directing Sample. If you have multiple prior works, or several co-directors, please select one previous work which best reflects the vision for your new documentary.
Q: Other than the Work-In-Progress sample and the Prior Directing Sample, are there any other video clips or samples that I need to provide?
A: No.
Q. What format should I submit my visual material in?
A: We ONLY accept samples via online streaming links. You MUST provide an online streaming link and password to your current rough cut/sample, and to your prior directing sample. We recommend using Vimeo (vimeo.com) for this service. When you register and upload your files, make your film downloadable. Your film should be available FOR AT LEAST 6 MONTHS after you submit your application. Please do not update or change your uploaded file or its password once you submit your application.
When you apply for a grant through our website, paste in your Vimeo link and password. Please double check that you have entered the password correctly (remembering that Vimeo passwords are case sensitive). If we do not have the correct password, we will not be able to evaluate your project. Include the Vimeo link and password in your written proposal, as well. Please note, we do not accept WeTransfer, Drop Box or other such file transfer services for the visual material delivery.
Q: Can I submit my visual samples on DVD?
A: No. All samples MUST be submitted as a link via a streaming platform such as Vimeo or Youtube. NO DVDs will be accepted. IF you live in a country with significant impediments to internet access, you may email email@example.com to request a DVD exemption.
Q: What is meant by "Contemporary Cultural Relevance"?
A: Please articulate what is timely and significant about your story, and how the stakes matter not only for your primary character but for broader audiences or contemporary cultures as well.
Q: What is a Story Summary?
A: The Story Summary (or narrative synopsis) should convey the film's story and story structure. Describe the primary characters or subjects and their potential journey, the mission, stakes, central question and possible outcomes. You are welcome to describe any important artistic elements or creative approaches.
Q: What is a Distribution/Marketing Strategy?
A: Outline the intended festival, theatrical, broadcast, home video, or educational distribution for your project. Your distribution/marketing strategy should be a concrete explanation of the best outlets for your particular film, and what you will do to have your film reach its intended audience. You do not need secured agreements in order to include them in your proposed strategy.
Q: What is meant by Audience Engagement?
A: Audience Engagement is a strategic campaign to encourage individuals and communities to move from passive to active participants on the issue your film broaches. Engagement campaigns are distinct from distribution (which puts films on screens), and from marketing and outreach (alerting viewers to see films). Rather, engagement is designed to activate audiences and stakeholders toward a specific goal. Not all films are necessarily suited for social engagement.
Q: What is a Fundraising Strategy?
A: Your Fundraising Strategy is your plan for raising your film budget. In addition to grants and broadcast license agreements, you might include private donations, in-kind support, crowd sourcing, producer investment, and fundraisers. A Fundraising Strategy should clearly distinguish between funds you have applied for and funds you have already secured.
Q: How long should the written materials be?
A: We appreciate clear and concise language that still richly explains the intended film. The guidelines in the Proposal Checklist are suggestive. There is no word count limit.
Q: Does my proposal have to be in English?
A: Yes. We can only consider proposals written in English, accompanied by a budget translated into USD, and visual material in English or with English subtitles or transcript.
Q: If I am applying for Development Funds, can my budget cover the Development portion of the project only?
A: No. A budget covering the costs of the ENTIRE project from development through distribution is required for every funding category. This is a 1-2 page comprehensive line item budget in US dollars. If you have never made a budget and need a sample, you may access one here (PDF, excel). This document is only a general sample, and should be tailored to your project. You may also use your own budget format, so long as it provides the costs of the entire project.
Q: How are decisions regarding funding made?
A: Proposals go through a multi-stage review, with selected submissions sent for Sundance Documentary Fund Committee consideration. The Committee then meets to make recommendations regarding which projects are funded. Proposals to the Sundance Documentary Fund are evaluated on artful or innovative film language, clear storytelling, originality and feasibility, contemporary cultural relevance, and potential to reach and connect with its intended audience.
Q: Who makes up the Committee?
A: The Sundance Development Fund Committee is a combination of Human Rights experts and professional film artists. Past panelist have included Laura Silber (Open Society Foundation), Terry McGovern (Ford Foundation), Richard Pena (Film Society of Lincoln Center), Alan Jenkins (Opportunity Agenda), Cynthia Lopez (P.O.V.), and Academy Award nominees Arthur Dong, Kirby Dick, Jessica Yu, Rob Epstein, and Marshall Curry.
Q: What percentage of applications are actually funded?
A: The review process is highly competitive. We review up to 1000 proposals annually, but will generally fund no more than 50. We fund between 4-5% of submissions.
Q: How will I know if the Fund has received my proposal?
A: After you press submit on the online application, a confirmation page will appear. You should also receive a confirmation email once your application is submitted. If you have not received an email, please double check your spam filter and setting.
Q: When will I find out if I have been awarded a grant?
A: Award decisions take two to six months. Please do not contact us to inquire about your status, as we can not provide status updates. Applicants will be notified by mail or email on a rolling basis, as decisions are made.
Q: If my project is declined, will staff provide feedback?
A: No. Unfortunately, we have a very limited staff, and are unable to provide feedback.
Q: May I reapply for a grant if my proposal is declined?
A: Yes. However, we will only accept a total of two (2) applications per project, so you may ONLY reapply when your project has advanced to a further stage of production. (e.g. A project in Development that is declined may apply once more, for either Production or Post-Production funds. An unsuccessful application for Production funds may reapply for Post-Production.) A project that applied for Post-Production may apply in Post-Production again.) Given the number of submissions received too early and resubmitted too quickly, filmmakers are strongly discouraged from submitting nearly identical proposals twice.
Please Note: Filmmakers who exceeded their attempts PRIOR to the new rules established in 2015 may re-apply once more.
Q: If my proposal is declined, what are the chances my project will be accepted if I reapply?
A: We do not encourage the resubmission of projects that have previously been declined, as they are unlikely to be successful, unless they have significantly advanced the visual sample, story, and structure, as well as elevated and refined the artistry of the approach in order to demonstrate the merits of the film and the director's aesthetic intent.
Q: If I choose to reapply, do I need to submit a complete proposal online?
A: Yes. Should you choose to reapply, please apply online during our Open Call. Your new submission should reflect significant development of the project since last applying, corresponding with a later stage of production. You must submit new video links accompanying your proposal.
Q: Can I submit more than one proposal per cycle?
A: Yes, you are allowed to submit more than one proposal in the same round as long as they are for separate projects.
Q: If I apply at the beginning of the Open Call period and my project is declined, may I re-apply later in the same year?
A: Yes. Your second submission can be at any time, provided the project has advanced significantly and is in a different stage of production.
Q: If I apply for Development funding during this round and I get selected, can I apply for Production or Post-Production funds during the next round?
A: If you are awarded a grant for one stage of production, you are still eligible to apply in a different stage, but only after significant further production activity, usually in a subsequent year.
Q. Can I provide project updates once my application is submitted?
A. No. Unfortunately due to the volume of projects that we receive, we are unable to accept unsolicited updates to proposals or rough cuts. Please do not apply until your project is ready for review. Updates will not be processed and will not be considered in the evaluation of your project. Note, the Documentary Film Program reserves the right to request updates from projects at its sole discretion at any time during the round.
Q: If I receive a grant or award from another source, am I still eligible to apply for Sundance Funding?
A: Yes.
Q: If I receive a grant from Sundance Institute Documentary Fund, will my film screen at the Sundance Film Festival?
A: No. Grantees are encouraged to submit their completed work for festival consideration directly to the Program staff of the Sundance Film Festival, which selects films independently. Similarly, projects not selected for support by the Sundance Documentary Fund remain eligible to apply for the Sundance Film Festival directly.
Q: Does receiving a grant from Sundance Institute Documentary Fund preclude me from working with any broadcaster or distributor?
A: No. Sundance Institute Documentary Fund awards are grants to the artist and do not encumber broadcast, theatrical, or DVD distribution rights in your project. Grants are generally considered partial support, and projects generally must seek other funding as well as license and distribution agreements in order to realize their budget.
Q: If I receive a grant, what are the terms of the contract?
A: Grants are not recoupable, and none of your exploitable rights are encumbered. Our contract requests: acknowledgement in the end credits of the film and on your promotional materials, 6 copies of the finished film on DVD, and 1 presentation-quality master. We require narrative, financial, and distribution reports, and social impact reports, where applicable. We request your active participation in the Sundance Institute creative community through invitation-only activities to support you and your film, as well as to support other filmmakers and the independent film field globally.
Q: May I ask you to review an element of my proposal before I apply? For example, my website, trailer, or synopsis?
A: No. We only review complete proposals submitted through our web upload.
Q: I still have questions. Can I call or Skype with you to discuss my film?
A: No. Unfortunately, we are unable to respond to inquiries about our application process via telephone or skype. If you have read the entire FAQ and you still have specific questions, please email firstname.lastname@example.com and we will be happy to try and answer them.
Q: Where can I find additional answers to questions?
A: You may send an email query with specific questions to firstname.lastname@example.com. Please understand that we cannot provide status updates. If we need additional information we will contact you.
When a project receives a grant from the Sundance Documentary Film Program, the team is offered a host of informal and formal support opportunities to nurture the project's development as well as the artist's career. They are also part of the growing, global Sundance Alumni community. In addition to ongoing consultation with DFP staff for strategic advice and creative feedback, grantees are also eligible for DFP creative Labs and fellowship opportunities. Grantees are also eligible for Sundance Institute cross-programmatic initiatives such as the Women's Initiative and Catalyst Weekend (both are by invitation only). Grantees can also access services provided by Sundance Institute Artist Services and Alumni Programs.
DFP Creative Labs are unique, artist focused residential retreats that bring together a community of world-class documentary directors, editors and producers from around the world. At each Lab filmmakers work intensively with Advisors and staff in a spirit of experimentation to develop their projects, creative and practical skills in a supportive and nurturing environment.
The DFP hosts four Labs annually including two Edit & Story Labs, the Documentary Music & Sound Design Lab at Skywalker Sound, and the Documentary Creative Producing Lab & Fellowship. In addition we offer three Fellowship opportunities through the Fellows Program at the Sundance Film Festival, the Creative Producing Summit at the Sundance Resort and the newly announced Creative Nonfiction Writer Fellowship. The Edit and Story Labs and Fellowship opportunities are open only to DFP grantees. The Documentary Creative Producing Lab & Fellowship as well as the Music and Sound Design Lab are open to U.S.-based filmmakers. Applications for both Labs will open soon.
DFP Lab Alumni include Laura Poitras (The Oath), Dawn Porter (Gideon's Army), Kirsten Johnson (Cameraperson) and Matt Heineman (Cartel Land).
|By Invitation
|Late June & Early July
|Size of Lab
|4 Projects per lab (Director and Editor Teams)
|Sundance Resort, Utah
|Labs are open to all active grantees in Post-Production who are approaching or at rough cut. Projects are evaluated based on where they are in the creative process, the story/structure issues they face in the edit, and the opportunity for mentorship and collaboration the Lab provides. There is no formal application process for the Edit & Story Labs.
|Projects in the later stages of Post-Production share their rough cuts in a collegial but rigorous environment. The structure and focus of the Labs are identical. A second Lab was added for the purpose of deepening support to DFP grantees. Director/Editor teams are paired with Creative Advisors and DFP staff to advance their works in progress by focusing on story editing, character development and dramatic structure.
Past advisors include Editors such as Kate Amend (The Case Against 8, Serena, The Long Way Home), Mary Lampson (Harlan County U.S.A, The Bad Kids, The Islands And The Whales) and Jonathan Oppenheim (The Oath, Paris is Burning, William And The Windmill), and Directors such as Robb Moss (The Same River Twice, Secrecy, Containment), Laura Poitras (Citizenfour, The Oath, My Country My Country) and Robert Greene (Actress, Kate Plays Christine).
|Not currently accepting applications. The next submission period will begin fall 2017.
|Lab: July 31 - August 4, 2017
Summit: August 4 - 7, 2017
Festival: January 18 - 28, 2018
|Size of Fellowship
|5 Producers
|Sundance Resort and Park City, Utah
|There is a $25 fee to apply.
Sundance Institute will provide round trip economy travel, ground transfer and onsite lodging for the selected fellow for the specific dates of attendance.
|A year-long program designed to nurture emerging producers with project-specific support through the Creative Producing Lab, Creative Producing Summit, Sundance Film Festival attendance, year-round mentorship from industry mentors, and ongoing support from Sundance Institute Staff. The program is designed to hone emerging producers' creative instincts and evolve their communication and problem-solving skills at all stages of their next feature film project.
|Fellows are required to acknowledge Sundance Institute and the CPI support partners, to provide reporting at the close of the Fellowship year, and to participate in possible blogs, interviews, and panels. Fellows should be willing to give back to the Sundance Institute creative community through willingness to coach, advise, or mentor future Fellows from Sundance Institute.
For additional questions, please see our 2017 Documentary Producing Lab FAQs.
|By Invitation
|Late July
|Size of Lab
|4 Projects
|Skywalker Sound, CA
|Labs are open to all active grantees in postproduction. Directors only are invited to the Music and Sound Design Lab. Composers must apply independently to the Film Music Program for consideration. Projects use of music and sound design and creative potential for music to enhance storytelling is factored into selection. If you have a composer or sound designer already attached to your project, this will not impact selection. Composers must apply directly to participate in the Lab.
|The 2016 Music and Sound Design Lab pairs four projects (directors only) with four emerging film music composers and Skywalker Sound affiliated sound designers. The Lab is programmed and run jointly by the DFP and Film Music Program, led by Peter Golub. Directors and composers are selected independently and paired in advance. During the Lab teams of filmmakers, composers, and sound designers work together to select and create original cues for 12 scenes from their works in progress. Concurrently, filmmakers receive feedback on story, structure, character development, and music with four Creative Advisors (Two Directors and two Composers) and Sundance Institute staff. The goal of the Lab is experimentation. Participants are not expected or encouraged to work together after the Lab.
|Applications and nominations are now closed.
|Nomination Deadline
|December 9, 2016 at 6 p.m. PST
|Based on a True Story Conference (BOATS)- March 1-3, 2017
True | False Film Festival- March 2-5, 2017
Sundance Edit and Story Lab – June 23 - July 1, 2017
|Size of Fellowship
|1-2 Fellows
|Columbia, MO and Park City, Utah
|Sundance Institute and the Murray Center will provide round trip economy travel, ground transfer and onsite lodging for the selected fellow for the specific dates of attendance. There is no fee to apply.
|Fellowship is designed to increase conversations between writers and critics and filmmakers with works-in-progress through participation in events at the Sundance Film Festival, the Based on a True Story Conference, and the Sundance Edit and Story Lab. In addition, financial and editorial support will be provided to encourage in depth critical writing about nonfiction. Fellow will pursue and deliver a story in 2017.
|Fellow retains full editorial control over the piece produced as a result of Fellowship support. Neither Sundance Institute nor the Murray Center will have input on the published piece.
The New Frontier Story Lab was launched in October 2011. Inspired by New Frontier at the Sundance Film Festival, the New Frontier Story Lab is the newest program at the Sundance Institute offering interdisciplinary support to artists working at the convergence of film, art, media, live performance, music and technology. With the philosophy that story is at the heart of all narrative endeavors, this Lab supports artists who are innovating the art and form of storytelling. Projects supported by this Lab can take many forms (i.e., film, game, mobile app, animation, comic book, performance, immersive experience), but the common goal is to create rich and resonant experiences for audiences.
|By Invitation
|Mid-Late May
|Size of Lab
|6 Projects
|Sundance Resort, Utah
|Open. A grant from DFP is NOT required to apply.
|The New Frontier Story Lab is cross programmatic initiative. Projects are selected jointly by Feature Film Program (FFP), DFP, and Sundance Film Festival staff. This Lab is by invitation only and has a formal application process. You do NOT have to have a grant from the DFP to apply. Six projects are invited and up to two team members from each project can attend. Three invited projects are feature film oriented and three invited projects are documentary oriented. New Frontier Story Lab project submissions are accepted by invitation or recommendation only. Selection is in process.
|By Invitation
|During Sundance Film Festival (January)
|Size of Lab
|8-10 Projects
|Park City, Utah
|Open to Documentary Fund grant recipients
|Invited projects in different stages of production, and from all around the globe, participate in a curated six-day program during the annual Sundance Film Festival in Park City, Utah. Fellows take part on one-on-one industry meetings, pitch training sessions, case studies, festival screenings, panels, rough-cut screenings and filmmaker conversations.
The Creative Distribution Initiative helps alumni answer the question "what happens after I've made my movie?" Our programs empower independent filmmakers to maintain creative control of their distribution, amplifying their reach and revenue potential in the process. Through an unprecedented collection of deals, partnerships, strategy, and resources, the Creative Distribution Initiative gives every Institute-supported film robust access to best-in-class digital distribution deals, creative funding tactics, and marketing support/p>
Sundance Institute's Catalyst Initiative connects forward-thinking investors with the world of independent film, with the intention of envisioning film finance in a new light. Learn More
The Documentary Film Program has established a portfolio of innovative field-building creative partnerships and international collaborations that benefit the global documentary community. These strategic initiatives provide funding and networking opportunities for established filmmakers, and support and mentorship emerging international artists. Activities include, convenings, workshops, solicited requests for proposals and one-on-one meetings. Partnerships include:
Stories of Change is a multi-year initiative of the Sundance Institute Documentary Film Program and the Skoll Foundation that brings together the power of independent storytelling with the impact of social entrepreneurship. Launched in 2007 this year, the initiative is expanding with an additional $2.5 million grant from the Skoll Foundation to include support for narrative filmmakers, new media artists, and continued support for documentary storytelling. In addition to funding the creation of new projects highlighting the work of global change-makers addressing the world's most pressing problems, the initiative brings together leaders in both independent filmmaking and social entrepreneurship at key gatherings globally, including the Skoll World Forum (SWF), the Sundance Film Festival, and intensive workshops at the Sundance Resort.
As technology advances, our world grows smaller. Yet, while we are more connected than ever before, we remain separated by the lottery of where we are born. Around the world, people just like you – with the same beliefs, dreams, and aspirations – have drastically fewer opportunities due to extreme poverty and hunger. Through the universal power of storytelling, the Sundance Institute Short Film Challenge will put a spotlight on our similarities—showcasing stories that communicate how we can support one another to end poverty and hunger once and for all. There is a more hopeful future for millions of people around the world, it's up to us to inspire a positive change together. Learn More
Partners since 2010, the Sundance Institute Documentary Film Program | CNEX Workshop and Documentary Summit in Beijing has taken place in the spring in 2011 and 2012 and is projected for spring 2013. Each year, 10 invited Chinese documentary project teams from mainland China, Hong Kong, and Taiwan participate in the immersive multi-day workshop and summit. Designed by the DFP in collaboration with CNEX, the DFP invites international advisors offers workshops designed to nurture documentary storytelling and encourage the diverse exchange of ideas. Activities include one-on-one creative feedback meetings, pitch sessions, discussions with international advisors, presentations, panels, and productive discussions for larger audiences of artists, film professionals, broadcasters, educators, cultural leaders, and stakeholders. The subsequent Documentary Summit is a one-day, public schedule of panel discussions on topics of direct relevance to Chinese documentary filmmakers, such as crowd funding and international best practices. International advisors have included Robb Moss (Secrecy, Jean Tsien (Music from the HeartHollywood Chinese, Ruby Yang (The Blood of Yingzhou District), and Andrea Meditch (Buck). Each year, $25,000 in granting is available to participating projects. (cnex.org.tw)
Launched at the 2009 Sundance Film Festival as a partnership between the Sundance Institute Documentary Film Program and the UK-based BritDoc Foundation, Good Pitch brings together filmmakers with NGOs, foundations, philanthropists, brands, and media around leading social issues to forge coalitions and campaigns that are good for all these partners, good for the films, and good for society. To date, more than 90 documentary projects have been presented at Good Pitch events in London, Oxford, New York, Washington D.C., Toronto, San Francisco, and Johannesburg. In that time, more than 1,500 organizations have attended and over $3 million dollars raised in additional funding and resources for participating films. For more information on BritDoc and GoodPitch visit their website
Sundance Institute and TED believe in the power of non-fiction storytelling, and are announcing an initiative to create a short film and multi-platform campaign around the annual TED Prize winner with the goal of raising awareness of the work of the TED Prize winner. Click for more information.
The BBC World Service and Sundance Institute are collaborating on a new, nonfiction radio broadcast and podcast series to launch in 2018. The partnership will allow for up to six new projects exploring the theme of 'Neighbor', with the resulting radio programs airing on the BBC World Service, also available as podcasts, and accompanied by visual storytelling online.
The Sundance Documentary Film program believes that artful storytelling can transform conversations and cultures. Through our non-recoupable grants and artist support opportunities, we seek to engage with fresh voices and veterans in the field who are pursuing financially viable nonfiction projects with clear and forward going storytelling, strong artistic vision and the potential to reach an audience. Our staff can be found attending Forums and Festivals around the globe in the hopes of connecting with filmmakers and artists and we are always available via email at firstname.lastname@example.com
The Sundance Institute Documentary Film Program is made possible by founding support from Open Society Foundations. Generous additional support is provided by Skoll Foundation; the John D. and Catherine T. MacArthur Foundation; Ford Foundation; The Charles Engelhard Foundation; Robert Rauschenberg Foundation; Arcus Foundation; The Rockefeller Foundation; The Kendeda Fund; Bertha Foundation; CNN Films; Discovery Channel; National Geographic; Genuine Article Pictures; Time Warner Foundation; Cinereach; Anonymous; Compton Foundation; Sundance Now; Joan and Lewis Platt Foundation; the John S. and James L. Knight Foundation; Code Blue Foundation; Joy Family Foundation; PBS; WNET New York Public Media; the J.A. & H.G. Woodruff, Jr. Charitable Trust; Nommontu Foundation; and the S.J. and Jessie E. Quinney Foundation.


text:
Daily News
Christopher West's Comeback, Scott Hahn's New EWTN Show, Humanae Vitae Today, and much more!
The Best in Catholic Blogging
| Posted 2/10/12 at 3:01 AM
Christopher West's Comeback - Fr. Roger Landry, Our Sunday Visitor
EWTN Announces New Show with Scott Hahn - The Cardinal Newman Society Blog
New Media & Scripture, Interview with Dr. Michael Barber - Brandon Vogt, The Thin Veil
JP2, Humanae Vitae, & Theology of the Body - Charles W. Norris, Homiletic & Pastoral Review
Father Barron on the HHS Mandate - Donald R. McClarey, The American Catholic
Me and Humanae Vitae - Amanda Castro, Ignitum Today
The Saint Who Shows What It Means to be Known by God - Dawn Eden, The Dawn Patrol
Young Adult Moral Ignorance: Who to Blame, What to be Done? - Thomas Lickona, MercatorNet
The Black Nazarene - Fr. Joe, Southern Fried Catholicism
The New Rio 2013 World Youth Day Logo - Jim Lackey, Catholic News Service Blog
When Planned Parenthood Tried to Bully a Corporate Donor & Lost - Jill Stanek, LifeSiteNews.com
SSA Mass Bidding Prayers Video - Fr. Tim Finigan, The Hermeneutic of Continuity
Planned Parenthood: Gender-Based Abortion Is Just Fine - Patrick Archbold, Creative Minority Report
For the latest on the best punditry in the Catholic blogosphere click on the ThePulp.it.
Copyright © 2013 EWTN News, Inc. All rights reserved.


text:
The Australian sharemarket closed lower, breaking a six-day winning streak, after equities and currencies were both sold off in late trading.
Stockbrokers said a spike in the Japanese yen, followed by a fall in the Nikkei Index, triggered selling on the local bourse. A spike in China's short-term money market rates was bad news for bank stock valuations.
The benchmark S&P/ASX 200 Index lost 17 points, or 0.3 per cent, at 5356.1, as the big four banks dragged the stock exchange lower. The bourse hit fresh five-year highs earlier in the week.
"Afternoon news reports of a spike in China's short-term money market rates (based on daily inter-bank lending rates) caused concern because it could indicate an attempt by the authorities to rein in the Chinese property market by dampening credit, which reduces liquidity,"
According to Bloomberg, the overnight repurchase rate jumped 0.67 per cent to 3.76 per cent, the biggest rise since June 20, while the seven-day rate (considered the benchmark money market rate in China) increased by 0.42 per cent to 4 per cent. It was the biggest advance in that rate since July 29.
"China's central bank has the same struggle as those in other nations, of trying to stimulate growth without creating asset bubbles," Mr Spooner said.
"China's short-term money market rates impact the price of money. When they rise it has a negative impact on the discount rate the market uses to calculate fair valuations on Australian financial stocks,"
All of the big four banks fell.
Australian Bureau of Statistics data showed the consumer price index jumped 1.2 per cent in the September quarter, beating a forecast 0.8 per cent rise. The
"The Australian dollar can do what it likes; domestic monetary policy is firmly on hold,"
The market had opened higher after US non-farm payrolls, released early on Wednesday morning Australian time, showed a slight drop in unemployment to 7.2 per cent, better than expectations that unemployment would remain at 7.3 per cent. During trade the Australian dollar spiked to US97.54¢ but by the local close was buying US96.64¢, compared to US96.49¢ at the previous close.The dollar has appreciated about 8¢ since its 2013 low of US89¢ on August 30, but is still about 9¢ down on its 2013 closing high of $US1.06 on January 10.
Metals and mining was the best performing sector, up 0.8 per cent.
Utilities was the worst performing sector, down 1.5 per cent, as the two biggest players said profits were under threat from rising natural gas prices.
Irrespective of today's fall,
"The only thing likely to disrupt that now is a major external shock. Company earnings are holding up better than expected and three months in a row of better China data is driving investment in mining stocks."
The Australian Financial Review


text:
Crews to build more lines at fire near Fraser
DENVER — A 530-acre wildfire burning near Fraser is now 30 percent contained.
Firefighters plan to build more containment lines around the blaze today as helicopters continue to drop water on the fire.
The fire, less than a square mile, is burning on public land and is about two miles away from homes. Residents were told to be prepared to leave after the fire was first reported Sunday but no evacuations have been needed.
It's one of the first major fires in the state to break out in an area where large stands of trees have been killed by pine beetles.


text:
TROY, Ohio (AP) -- A western Ohio judge has rejected a request for a new attorney from an adoptive father suspected of raping three boys in his care.
Miami County Common Pleas Judge Robert Lindeman said Monday that the suspect hasn't shown he is receiving ineffective representation from his attorney that would necessitate a change.
Public defender Stephen King had said in a motion to withdraw that the suspect indicated he doesn't trust King.
Lindeman also postponed the trial's June 26 start to give more time to work on the 39-year-old man's defense. A trial date will be set later.
The suspect also is accused of arranging for two other men to rape a boy.
The Associated Press isn't naming the father to protect the children's identities.


text:
The Internet may arguably be the pre-eminent example of how recent technological developments have made life more convenient.
But the evolution of such technology also presents challenges in the need to balance the protection of intellectual properties, particularly against copyright violations, with the international community's need for access.
"There's a lot to be done," Francis Gurry, director general of the World Intellectual Property Organization, a U.N. agency, said in an interview this week, referring to the group's task to develop a balanced, accessible international intellectual property system.
Along with copyright protection in cyberspace, Gurry, whose organization has 184 member countries, including Japan, said another major challenge is to bring developed and developing countries closer in the effort to combat climate change by helping transfer green technology to the developing nations.
"It is difficult for any international organization in the current international context" to reach an agreement between developed and developing countries, said Gurry, who was visiting Tokyo this week for an international forum on intellectual property.
Gurry said that while copyright has provided the principle mechanism of "financing culture," there has been a breakdown in the digital environment. In the last year alone, he notes, 40 billion music files were illegally exchanged across the Internet.
"I think what is important is developing awareness that something very important is at stake here, namely, the means of financing culture," said Gurry, a 57-year-old Australian who has worked at WIPO for more than 20 years.
While it remains unclear how this issue will be resolved, Gurry pointed to possible models under consideration.
One involves bringing intermediaries into the value chain of production, much like how printing companies have operated in the analog world.
With profit determined by copies sold, printers have an interest in the production of legitimate content. Following this model, intermediaries in the chain of production in the digital world would have a vested interest in protecting content, Gurry said.
Another idea is to establish a flat-fee system under which users may download music for a certain period of time.
While it's too early to say which model is superior, Gurry stressed a way must be found. "It's simply not possible for content all to be free," said Gurry, who sees a similar challenge for the growing electronic-book market.
The divide between developed and developing countries over intellectual property has been hard to bridge. Developed nations want to protect their intellectual property, while developing countries say the patent system has made it hard for them to access technology and knowledge.
The problem has widened to green technology with the global challenge of climate change.
Gurry said WIPO has to play a role in assisting the market for green technology to work in a balanced manner.
Some developing countries say the transfer of green technology has not progressed, claiming access to such technology has been blocked by developed countries' patents.
"Green innovation is of relatively little value if it is used only in one country, since climate change is a global challenge," Gurry said.
"I think we have an important work in creating first of all a dialogue as to what policy mechanisms encourage the diffusion and transfer of technology," he said, adding that strengthening private-public partnership is one direction.
The smooth transfer of green technology is a vital topic, as the economy of the future will be heavily dependent on it, he said.
"The whole of economic activity will be related in one way or another to green technology . . . otherwise there is no hope for humanity," he said, adding his priority is to put an end to years of confrontation on intellectual property.


text:
SALINAS >> The Monterey County Probation Department, working with the sheriff's S.A.F.E. (Sexual Assault Felony Enforcement) Task Force arrested a transient sex offender Friday afternoon near Alisal and Salinas streets.
Police said Ellis Wilson, 56, was taken into custody at 12:45 p.m. and charged with probation violation. He was booked into Monterey County Jail.


text: While I've had Sprint since forever, I'm in the process of reviewing other options. Sure I've got "unlimited" data, but I've been paying the $10 extra for WiMax, but I've only used it a handful of times at best. I have to pay more money to enable Wi-Fi tethering on my HTC Evo.


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New York, NY
GCI Health is seeking a highly creative, motivated candidate with experience in healthcare public relations to work as a PR Intern in our New York office. We are looking for a recent graduate or someone that has recently completed a healthcare internship who is a team player that can deliver on results and is not afraid to think outside of the box. This person may have the opportunity to extend their internship and could potentially turn into a full-time role as an Assistant Account Executive. The ideal candidate will demonstrate strong written and oral communication skills, as well as solid research and analytical skills. He/she must be detailed-oriented, resourceful, and able to multitask and prioritize under deadlines. A solid working knowledge of Excel and PowerPoint is required and an experience in public relations and healthcare is essential.
This internship is a paid position, and candidates must be able to commit to 40 hours per week.
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text:
Offence: Violent Theft > highway robbery
Verdict: Not Guilty; Guilty
Punishment: Death
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24. 25. Mary Harris alias Murphey and Arthur Murphey of St. George the martyr , were indicted for assaulting Hester Parker in a certain field and open place near the King's highway, putting her in fear, and taking from her a linen frock, val. 2 s. a linen cap, val. 4 d. and two topknots, val. 1 d. the goods of the said Hester Parker ; July the 25th .
At the Prisoner's desire the witnesses were examin'd apart.
Hester Parker was call'd, and being examin'd as to her knowledge of the nature of an oath, and giving satisfactory answers, was sworn and gave the following evidence.
One day, about 5 o'clock in the afternoon, three weeks ago, I saw the Prisoner Harris in Lamb's Conduit-fields . She was going to take me up, and I said she did not know my mamma: I told her she
Q. What was done to you when she took you up in her arms?
Parker. She put the knife pretty near my stomach, and said she would rip me up if I offer'd to cry, and then she set me down again. After she had done she put me by a ditch side and ask'd me if I would have a plumb bunn or a plain bunn, and I told her I would have a plain bunn, and while she was gone to fetch it, a gentleman came and lifted me off the ditch, and two little girls went home with me.
Q. Do you remember any thing of the man?
Parker. I should not know the man so well as the woman.
Q. Did you lose any thing?
Parker. Yes, sir, a frock, a cap and a knot. The woman pull'd off my frock, and the man took out the pins.
Q. When was this done to you?
Parker. It was done in the field, before they set me on the bank.
Q. Was the man present when the woman first took you up?
Parker. Yes, sir.
Q. Was your frock taken from you before the woman threaten'd to rip you up?
Parker. Yes; I cried after my frock was pull'd off, and she threaten'd to rip me up.
Q. Look at the Prisoner; are you sure she is the woman?
Parker. Yes, I am very sure of it.
Pris. Murphey. Does she know that I was present when the woman first took her up in the street?
Parker. No, not at first.
Pris. Harris. Do you know me, my dear?
Parker. Yes, I know you very well.
Arthur Parker . When I came home at 8 o'clock in the evening, the child told me she had been robb'd, and describ'd the persons. She was very positive to the woman, and could swear to her dress, but as to the man she did not know him so well. The girl said the woman was very much disfigur'd with the small-pox; and had on old black shoes, and a blue worsted gown, which very gown she wore when she was taken. As to the man, she described him to be the person that was lying behind the ditch with a handkerchief about his head, while she was sitting among the women in the fields, but she could not recollect his face. The next day, being tuesday, I went to several twopenny lodgings to enquire for the Prisoner, and spent that day to no purpose; upon which I ask'd the child if she cou'd recollect any of the streets the Prisoner had carried her through, for the Prisoner pick'd her up in Bond's stables, crying for the missing of us; and the Prisoner telling her she knew us, and would carry her to Pancras where we were, the child very gladly embrac'd that opportunity to come to us. When I ask'd the child if she could tell which way she went, she recollected Gray's Inn Lane; upon which I carried her up Chancery Lane, and she remember'd the green trees there. I then carried her through Gray's Inn, she did not know that, but as soon as we came into Gray's Inn Lane, she remember'd being led through it by the Prisoner. At the upper end of Gray's Inn Lane, there is a turning goes to Sadler's Wells; I took her that way and she did not know it, but she said, Daddy! there is the sign of the Bottle, glass and bunn, and if she could see that she should know the way. She soon discover'd the bottle, glass and bunn; and said there was a gateway somewhere thereabout through which the Prisoner carried her. When she came to the end of the road she was at a stand, and at last shew'd me the gate and a dunghill, and she told me she remember'd them very well. After the child had shew'd me the place where she was robb'd, I went in pursuit of the Prisoners to the Castle alehouse in Bloomsbury, and enquir'd of the drawer, who gave me the same description of the woman's clothes, as the child had done. I was unsuccessful that day, and could not hear of the Prisoners, but I afterwards got a warrant, and gave it to the landlord of the Castle to execute, and I had not sate above an hour in the house before the Prisoner Harris came in, and the child scream'd out as soon as she saw her. We made her pull off her hat, and the child's cap and topknot were found upon her. Upon this she was carried before Mr. De Veil, and being ask'd how she came by the cap and topknot, at first she stammer'd a little and said she bought them in Monmouth-street, but could not tell of whom, so she was committed for further examination. This was on the thursday, and on the tuesday following, I took the Prisoner Murphey on his master's shopboard, and I expected he would put on the same cloaths he usually wore, but instead of that he took a coat from a bundle of cloaths that were pil'd up for sale. I then took him to the Justices, and at first he strenuously denied being in the fields that day; but at last he own'd that he was drunk, and that having lost his hat and wig, he slept in the ditch with a handkerchief about his head.
Pris. Murphey. Does he not take us up for the sake of the reward?
Mr. Parker. No, by no means, for I did not know there was any reward 'till some time afterwards.
Ann Hart . On the 22d of July, I saw a child of this size come up to the side of the bank where the Prisoner was sitting. I believe it might be about 4 o'clock in the afternoon. The child enquir'd the
Pris. Harris. Are you sure I am the woman?
Hart. Yes, I am sure of it. The Prisoner Murphey was lying asleep on a bank at the side of the ditch at the same time. I am sure it was he, for he desir'd me to take care of his hat and wig, and I tied the handkerchief about his head. He was pretty much in liquor, and when the Prisoner and the child went away he slept on for a little while, and then he got into the ditch and went away, but which way he went I can't tell.
Elizabeth Baily . I sell gingerbread by Powis's wells. The Prisoner desired me to go to the Castle in Bloomsbury to desire her husband, the other Prisoner, to come to her in the fields. I went into Holborn, and in my way I met him, and when I came back again Mrs Hart told me that the Prisoner Harris was gone away with a child. The Prisoner Murphey presently came up, and laid himself down on the bank with a dirty handkerchief about his head, and after he had slept some time, he got up and went away down the field, and afterwards that same night I saw both the Prisoners together in Southampton Row.
Pris. Murphey. Did you not meet me in Holborn about the hour that the child was robb'd?
Hart. I did meet him in Holborn, but I can't tell as to the hour. I was at the Justices when he was examin'd, and he said he was very much fuddled, and own'd he was in the fields; but he afterwards contradicted himself and said he was not.
Catharine Parker . I took my child's cap off the Prisoner's head at the Castle alehouse in Bloomsbury. I am very sure it is mine, for there was a hole in the corner which the child tore by turning her head aside while I was putting it on. There was a wash'd topknot on it, and it is common for people to cut the ends of ribbon to prevent fraying, I never do cut them, and this which I took upon the Prisoner was not cut, and therefore I take it to be mine.
John Birt . Mr. De Veil's warrant was brought to me to take the Prisoner Harris, and in about half an hour she came by my door. I took her into the house, and the mother of the child took this cap and knot from her, and said it was her's. I ask'd the Prisoner about it, and she acknowledged to me that they were the child's, and that she took them off in the fields.
Pris. Harris. I was sitting with this woman that sells gingerbread, and the child asking for her father and mother, I led her to the bottom of Red Lion Street, and there a woman said she knew the child and took her away.
Pris. Murphey. As for their taking me up, I never went out of the way, I was every day at my work.
John Harris . I keep a public house. The Prisoner Murphey has us'd my house off and on 6 or 7 years, and I never heard that he wrong'd any body.
Eston Pattison. I have known him ever since I can remember, and when my mother kept a public house, he used it, and has been trusted in it drunk and sober, and I do not think he would be guilty of a base action.
Edmund Draytonbury . He work'd for me when he was taken up, and he would get fuddled now and then, but I never knew him in a Prison in my life.
Ann Lanson . I have known him 18 years, and I believe he would live 3 days on a chew of tobacco before he would rob any body. He went by the name of mad Murphey, but I believe he never was so mad as to commit a robbery.
Tho Stilgo . I have known him about 20 years, and never heard any harm of him.
Robert Turner . He is a very honest man as far as I know. Murphey acquitted , Harris guilty . Death .


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GREEN BAY, Wis.—Green Bay Packers wide receiver Greg Jennings' groin surgery, which was scheduled for Tuesday in Philadelphia, was postponed indefinitely because of Hurricane Sandy.
There is a chance Jennings will still be able to have the operation this week. Whether the delay will affect his return date isn't clear. If he has to wait until next week, it certainly would make a difference.
Green Bay's No. 1 receiver was hurt in the season opener. He sat out the second game, returned against Seattle in Week 3 but aggravated the injury early in the fourth game against New Orleans and hasn't played since.
Jennings hoped the injury would heal with rest and rehab but knew more aggressive treatment was needed after he felt it tighten up again as he tried to run off the field in Week 7 at St. Louis.
Jennings has 12 catches for 78 yards and one touchdown this season.
Sporting News staff contributed to this report.
LINEMAKERS: Week 9 opening lines | Super Bowl odds | Video: Week 8 recap


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NewswireToday - /newswire/ -
Singapore, Singapore, 2009/11/17 - Wiley-Blackwell - Learning from Leaders in Asia: The Lessons of Experience - Learning from Leaders takes the role of advising global leaders in Asia on eight specific agenda items. These issues were identified and researched by Kellogg-HKUST EMBA students. NYSE: JWa, JWb
The Kellogg-HKUST EMBA program, ranked among the top three EMBA programs in the world since 2003, has been widely regarded as a true meeting ground of East and West, where the latest business insights are shared in the fastest-growing economic region of the world. The students comprise mostly of senior executives in leadership positions who will become the corporate leaders of tomorrow.
Under the editorship of Professor Steven J. Dekrey, the new book by John Wiley & Sons (Asia) Pte Ltd expounds on key challenges facing Asian corporate leaders. Learning from Leaders in Asia: The Lessons of Experience (ISBN: 978-0-470-82509-9) advises leaders in Asia on eight specific agenda items identified and researched by students from the tenth intake of the Kellogg-HKUST EMBA program. These areas of concern are talent recruitment and retention, globalization, China strategies, economic and social stability, innovations, corporate governance, marketing strategies and social responsibility.
Drawing on their corporate experience, the executive students address these and other pertinent questions, giving an on-the-ground view of the regions latest developments and providing practical tips based on firsthand experiences on how to tackle challenges in these eight areas. Their observations and commentary are supplemented by input from distinguished business and political leaders in Asia including Anson Chan, Former Chief Secretary for Administration for the Hong Kong Government, Ron McEachern, Former President of PepsicCo International for Asia and Stephen Roach, Chairman of Morgan Stanley Asia Pacific.
Remarks author Steven J. Dekrey, The financial tsunami that began to hit in September 2008 quickly focused attention on survival. Businesses across the globe have taken an unprecedented battering. Many have seen their profits wiped out, and have had to lay off staff. It may be difficult in such an environment to envisage that the chief concerns of leaders should be talent retention or innovation. But these topics are at the heart of survival and long-term sustainability of any business.
About the Authors
Professor Steven J. DeKrey is Senior Associate Dean and Director of MBA/EMBA/MSc Programs at the Hong Kong University of Science and Technology (HKUST). He is widely recognized across Asia as an expert in leadership development and personality assessment. Prof. DeKrey joined HKUST in 1996 and was previously director of MBA programs at the University of Florida and Assistant Dean and Assistant Professor at the Kellogg School of Management at Northwestern University. He is active in community organizations and chaired the Board of Governors of the American Chamber of Commerce in Hong Kong in 2008.
Kathy Griffin is a Canadian-born writer and editor who has worked in Hong Kong for more than 20 years. She is a regular contributor to HKUST Business School publications.
About Wiley
Founded in 1807, John Wiley & Sons, Inc. (wiley.com) has been a valued source of information and understanding for over 200 years, helping people around the world meet their needs and fulfill their aspirations. Since 1901, Wiley and its acquired companies have published the works of more than 400 Nobel laureates in all categories: Literature, Economics, Physiology/Medicine, Chemistry, Physics and Peace.
Our core businesses include scientific, technical, medical and scholarly journals, encyclopedias, books, and online products and services; professional/trade publishes books, subscription products, training materials, and online applications and websites; and educational materials for undergraduate and graduate students and lifelong learners. Wiley's global headquarters are located in Hoboken, New Jersey, with operations in the U.S., Europe, Asia, Canada and Australia. The Company is listed on the New York Stock Exchange under the symbols JWa and JWb.
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