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Admissions Arrangements
Link to Norfolk County Council's admissions arrangements
School Results
Cringleford School Results 2019
Cringleford School Results 2018
Cringleford School Results 2017
Cringleford School Results 2016
Cringleford School Results 2015
Cringleford School Results 2014
Department for Education Schools Performance website
Compare school performance service
Cringleford CE VA Primary School Performance
Latest Ofsted Report
Our belief is that children learn best when they are engaged, motivated and enjoying their learning. As a result, we provide our children with a broad, balanced curriculum through the delivery of the National Curriculum and Religious Education in Key Stages 1 and 2 which is rich in opportunities for new experiences, encounters and activities. To make learning as meaningful and as exciting as possible we deliver the curriculum in a variety of ways. We use topics and themes where links are made between subjects to enrich and widen the experience and discrete subject teaching where we feel the subject matter or skills needed are best suited to this approach. We have regular whole school topics and theme days and we make regular visits out.
Reception children follow the Foundation Stage Framework. Reading is taught using a synthetic phonic programme (Letters and sounds and Jolly Phoncs), a mix of reading schemes and real books- we want children to develop a love of reading.
For more information on the curriculum please contact the school via the contact us
Pupil Premium Information
The Pupil Premium is a grant allocated to schools in addition to the main school budget. It is awarded on the basis of the number of children eligible for Free School Meals (FSM), for any child who has had free school meals in the last 6 years (these are called Ever 6), Looked After Children and Service Children. The funding is seen by the Government as a way to address the current inequalities between children eligible for FSM and their peers by ensuring that funding to tackle disadvantage reaches the pupils who need it most. Looked After children face additional barriers to reaching their potential and so these children, too, will receive a premium. Below are links to documents showing how the school has spent or is spending its allocations of Pupil Premium funding.
PE and Sport Premium
PE and Sport premium Cringleford 2019-20
PE and Sport premium Cringleford 2018-19
PE and Sport premium Cringleford 2017-18
PE and Sport Premium Cringleford 2016-17
PE and Sport Premium Cringleford 2015-16
For Behaviour Policy, Special Educational Needs Report, Charging and Remissions Policy
Please follow link to School Policy Documents
Values and Ethos


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Owner Dina of Beauty is a Beast Fitness Apparel contacted Benjamin Marc for a fitness apparel logo design. We worked with Dina to create an apparel logo design that would make an impression on their clients. When it came time for the owner of Beauty is a Beast Fitness Apparel to have the forever exercise logo designed for her company, she turned to none other than Benjamin Marc. Beauty is a Beast is a retail company that specializes in carrying and selling fitness apparel for both men and women. However, the owner wanted her both company and fitness apparel logo to stand out amongst all competitors; Beauty is a Beast's fitness logo needed to be completely unique, but more importantly, it needed to convey all of the beliefs of the company, without the words. Benjamin Marc created arresting apparel logo to represent the company and its products, while also being a symbol of power and inspiration.
Beauty is a Beast Fitness Apparel's logo is absolutely impeccable, down to every last detail. The main graphic is that of the Vitruvian woman, an image created by Leonardo Da Vinci. Drawn as a perfect fitness specimen, the woman stands with thick, muscular quads, toned arms and shoulders, outstretched, with her face and chin aimed up towards the sky. This is an unmistakable stance of confidence and power. Her ever-incredible six-pack abs depict further depict her hard, strength, while the long, flowing, brown hair and full chest highlight the beauty in her femininity. It is clear that strength, dedication, and confidence are equated with untouchable power. The use of deep, navy blue, a symbol of royalty and power is strategically complimented by the soft gold of the woman, herself, which subtly, yet effectively highlights her presence. Although its focal point of the piece is a female, Beauty is a Beast Fitness Apparel caters to male clientele equally. Therefore, Benjamin Marc's talented designers integrated some very calculated designs to show the balance of the sexes. The Vitruvian woman is grabbing an upside down triangle, the symbol of the female. However, the triangle is surrounded by a circle, the male symbol, and is equal in size, color, and significance. This empowering, dynamic, and unconventional fitness logo conveys the message that you should be proud of who you are, stand tall, and never let any obstacle get in the way. The iconic Vitruvian woman is a heroine for more than just the reasons she is historically associated with. In Beauty is a Beast's logo, she is an idyllic figure portraying that beauty lies not just in the standard, physical features, but in physical, emotional, and mental strength. Ultimately, Beauty is a Beast Fitness Apparel, will help boost your confidence and self-esteem adding to the beauty entity, while giving you the strength to bring out your inner beast. Our team was able to create that logo for her using the colors orange, brown, white and grey. We selected a different type of font that would give it that "personal" touch. Josephine was excited and eager to start using the new apparel logo design to brand her weight loss and fitness company.
Innovation Weight Loss and Fitness was inspired by Josephine's own passion for health and fitness. As an experienced personal trainer, athletic and life coach, as well as nutritional specialist she was about to create a positive, healthy and natural way to help people loss weight and stay fit. Innovation Weight Loss and Fitness offers personal training and fitness in their own studio, which provides clients with an environment of security and privacy. Innovation Weight Loss and Fitness also offers a 17-week weight-loss program. Let Innovation Weight Loss and Fitness help you achieve your goals. If you are a Weight Loss and Fitness Specialist or Personal Trainer who is looking for a logo design, contact Benjamin Marc. Benjamin Marc & Josephine have worked on several projects since 2011. We have recently launched a web application that logs daily meals for Skinny Qik as well as launch a SEM program.
Get In Touch With Us!

subset: commoncrawl


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The road to Elstree film studios is lined with tiny, shivering palm trees. They stand in brick tubs along the high street. The Hertfordshire winds have slowed their growth, but you can just make out their fronds among the municipal greenery. Follow them eastwards from the station, past the minicab offices and the salon selling "hair fashions", and you will come to the Studio Snack Bar, with its worn wooden booths and framed posters for The Wizard of Oz and Dracula. Look south, across the new roundabout, and there it is: one of the British film industry's most sacred sites. Founded in 1926, haunted by Hitchcock and Redgrave and Korda, Elstree has been continuously in use from the silent-film era to the heyday of the blockbuster, revered by film technicians and historians, rebuilt with water tanks for The Dam Busters, filled with desert sand for Ice Cold in Alex and Star Wars.
And now mostly given over to a Tesco. An advertisement for a new range of frozen stir-fries - "So Fresh You Can Taste The Crunch" - obscures the sign in the supermarket car park commemorating the filming of Moby Dick. Part of the whale's famous silhouette has rotted and fallen off. Behind the enormous store, there are grassy mounds of rubble where the sound stages were demolished, but people come and go with their shopping bags without a glance in that direction. The absurdity of trying to plant a Hollywood on the grey, bustling edge of London feels very obvious.
Yet on the far side of the car park, behind a fence, there is an uneven line of sheds where Elstree still functions. From a distance, they look small and tired, just a huddle of corrugated iron and old pipes, like an obsolete British factory. But up close you can see vans shuttling up and down the studio's internal road. There are bits of sets, security guards, grand cars pulling up. There is a much bigger, repainted studio building in the distance. And over it all, stiff in the wind on a very tall flagpole, a slightly faded Union Jack.
Film-making in Britain these days is, as ever, a marginal but highly symbolic activity. Like Elstree, it can seem either an eccentricity or a vital industry, barely alive or thriving, a source of national embarrassment or pride, and often all of these things at once. This year, British newspapers have reported that "A record number of feature films are being shot in Britain" (February); "Cinema's finest talents are flocking to our shores" (June); "UK studios suffer decline in Hollywood production" (early August); and "Money runs out on British film revival" (late August). This year, there were no British films competing for the main prizes at the Cannes festival, but a nominally British film, Harry Potter and the Philosopher's Stone, is widely predicted to become the world's most popular. Last year, the most recent for which figures are available, cinema audiences in Britain were the highest since 1972, and more than twice what they were in the mid-1980s, but only one of the top 10 films, Billy Elliot, was a British production. Since Labour came to power in 1997, the British film industry has received state assistance, via tax breaks and new official bodies and national lottery funds, on a scale not known since the 1940s. Yet its failures have simultaneously become notorious. This autumn, the trade publication Screen Finance reported that Dead Babies, a recent adaptation of a highly rated Martin Amis novel, had earned £3,274, just about enough to buy its director a secondhand car.
Explaining these contradictions and offering to resolve them has long become an industry in itself. A single pamphlet from the Film Council, Labour's new institution for overseeing British cinema, lists these national "weaknesses" among others: "A failure to attract significant finance ... a UK distribution sector that does not prioritise British films... under-resourced script development... too many poor quality films being made... a lack of investment in new talent... a continuing exodus of established talent to Hollywood... a well-developed appetite among audiences for US films... [and] a failure to draw upon and reflect the full social and cultural diversity of the UK."
Other critics have used less measured language. Last month, Emma Thompson told her old university newspaper: "The very phrase 'British film industry' depresses me. I don't think we've got a film industry and never have had." Tim Bevan, co-chairman of Working Title, currently the most successful British film company, thinks the recurring problem is with Britain as a setting and subject: "The contemporary British condition is just fucking boring for a mainstream audience." As long ago as the mid-1960s, Francois Truffaut and Satyajit Ray and Pauline Kael all decided that, respectively, there was "a certain incompatibility between the terms 'cinema' and 'Britain'", that the British were not "temperamentally equipped to make the best use of the movie camera", and that "English films have always been a sad joke".
What is certain is that, unlike British pop music or television or even fashion sense, the British film industry has never quite established itself as an internationally successful brand. And, almost from the beginning, even its more modest identity has been blurred by foreign, usually American, involvement. The sheer size of Hollywood, and its global ambitions and common language with Britain, have meant that British films often contain American stars, and are shown in American-owned cinemas, and are financed and distributed by American companies. Famous old British film studios such as Elstree are often kept open by visiting American productions and the strong dollar. Last year, less than half the productions classified as "UK films" by the British Film Institute actually derived their "cultural and financial impetus" from Britain, as the Institute's upcoming annual report delicately puts it, or used a majority of British personnel. And nearly all of these projects were tiny: Jesus the Curry King and Mrs Caldicot's Cabbage War have yet to trouble the international movie charts.
Now, worrying about all this may be the equivalent of worrying about the England football team's erratic results. Bevan thinks so: "It's a small country. It represents seven to eight per cent of world film business. Why should we be world-beaters?" But as generations of England football managers have learned, in a nation of uncertain status and limited resources, nothing generates expectations like a history of occasional glories.
The Film Council is the latest organisation to carry this burden. It was set up in 1999, to make sense of a whole confused alphabet of mini-bureaucracies: the British Film Institute, the British Film Commission, British Screen Finance, and the Arts Council's Lottery Film Department. The Film Council has an annual budget of £55m, roughly a 15th of the total spent on British productions last year. Its central aim, repeated like a New Labour mantra, is to create a "sustainable" British movie industry.
The Film Council's offices are in a slightly dim sidestreet just north of Oxford Circus in central London. Next door, ominously perhaps for such a patriotic cultural initiative, is a prosperous-looking travel agent called American Vacations plc. But there is confidence and money in the Film Council's decor. Automatic doors open silently. Offices have glass walls. There are blocks of bold primary colour in the style of a plush advertising agency. In reception, people say things such as "I do feel there's potential" and "It's all about audience-level initiatives" in loud voices. Couriers rush in with tapes. Junior staff stand to attention as meeting rooms fill and empty, helpfully opening doors and directing visitors with older, less optimistic faces.
"I think it is about 76% of first-time British film-makers over the last six years who haven't made another film," says Paul Trijbits, the precise Dutchman who runs the Film Council's schemes for new writers and directors. He wants to help reduce the British film industry's mercurial, short-term tendencies by being "an enabler and an encourager". He talks quickly and enthusiastically about helping build young careers, about outflanking the Americans by shooting cheaply with new digital technology. The Film Council, he says, sitting with his feet up on his office sofa, should provide a "softer, more generous environment" than the "pure commercial market".
On other floors of the building, however, different ideas are being put into practice. Clare Wise is in charge of attracting American productions to Britain. "There's no sense in fighting against the inevitable," she says matter-of-factly. "They hire our talent. The investment they bring, we hope, has a knock-on effect." Does she worry that the heavy American presence in British studios might have a smothering effect on local films? She gives an uncomprehending look. "If Hollywood came a-calling, virtually everybody I know would go."
Since the Film Council was established, its public prescriptions for the industry have emphasised imitating Hollywood - "We are interested in films that really can play in cinemas on a Friday night" - but in private, Wise apart, many of its executives will admit to envying the distinctly European, state-protected film sector in France. This tension between seeing the film business as essentially American, with unbreakable American rules about everything from narrative structure to target audiences, or as an international enterprise, with many local traditions and ways of doing things, probably runs through every film industry outside southern California. In Britain, an anxiety about the country's place in the cinematic order of things has been present almost since the beginning.
For a few years after film projectors were invented in the late 19th century, British technicians and film-makers were significant independent players in the new industry. Robert Paul, who was also a director, made the first projector to be sold commercially; in 1897, Paul's Animatographe Ltd reported the then considerable profit of £13,000. But as early as 1898, an American film venture called the Warwick Trading Company had set up in England to get productions of its own underway, to export European films back to America, and to distribute the work of the first British directors. By 1903, Warwick was by far the largest movie company in the country.
Two decades later, the Sunday Chronicle could complain: "The domination of American films has already Americanised our younger kinema-goers, just as it has disgusted our older generations... [This] is an even more serious obstacle in the path of British progress in films than the cramping economic conditions... Our own people actually view the world through American spectacles." The British National Film League was founded in 1921 to alter this situation. The League intended "to raise the standard, improve the quality and promote the general interests of British films" at home and abroad. Film-making began to be discussed as a national industry of significance. In 1923, a programme of British Film Weeks was launched with the slogan "British films for British people". Yet despite all this rhetoric, the number of features produced in Britain continued to fall, from 137 in 1921 to 68 in 1923 and 33 in 1925.
The other familiar weaknesses of the British film industry also became obvious quite early. During the 1930s, while American movies continued to appeal to Britons, British films found the US an increasingly difficult market. United Artists, a Hollywood conglomerate that had initially welcomed British productions it could sell to American audiences, such as Korda's The Private Life of Henry VIII, now complained that the films it was being sent were too slow and difficult to comprehend for American tastes.
Meanwhile the total output of British features went from famine to glut. There were 75 made in 1930, 115 in 1933, 165 in 1935. "One of the most striking features of this expansion," wrote a contemporary film journalist, "is the fact that it is based almost entirely on expectation , without any concrete results to justify that optimism... For [film] companies have not for a number of years been showing any substantial profits." The British way of making pictures, in contrast to the mass-production methods of Hollywood, tended to involve shaky finance and hasty timetables. Watching revered old British films such as The Italian Job and notorious recent British disasters such as Honest and Rancid Aluminium, it is noticeable how their plots revolve around scams, around small groups of people with few resources tricking their way to success. You wonder whether this is an unintentional metaphor for how British film-makers see their prospects.
There have been periods, though, when a less flaky industry has seemed a possibility. The second world war temporarily solved the problem of Britain not being an interesting enough subject for audiences at home and abroad. Bombs fell on studios and London cinemas were used to store coffins, but the industry continued functioning. The Attlee government that followed the war was keen on the new, sometimes daring social realism that resulted, as an ally to its programme for reinvigorating Britain. In 1947, it imposed a tax of 75% on the importing of features from abroad. British directors and film historians, when they agree on anything, often point to the decade of Ealing comedies and Blitz documentaries as the golden era.
But the import tax only lasted eight months. As in other areas, Britain could not live without America: home-produced films, while increasingly popular, were still a minority taste. The start of commercial television in the 1950s created another looming competitor. By 1962, an editorial in the first issue of a new British film journal, Movie, could declare: "The British cinema is dead ... Perhaps it was never alive." Proclamations along these lines became quite a fashion. In 1969, another self-confident new British periodical, Cinema, published a black-bordered obituary on the basis that it did not care for the Richard Attenborough picture Oh! What a Lovely War.
The British readiness to make judgements, whether pessimistic or optimistic, about the viability of a long-established industry on such fleeting evidence has nearly always ended up looking foolish. "People have been saying for years that British film is on its last legs," says Andrew Higson, a senior lecturer in film studies at the University of East Anglia. "They said it in the early 1980s when cinema attendances were at their lowest and video was coming in." He sees British film-making and its fortunes as "cyclical" instead: periods of general gloom throw up surprise successes, such as Chariots of Fire or Billy Elliot, which make British cinema suddenly fashionable but then inspire poor imitations, which in turn plunge the industry back into a gloom from which it miraculously emerges, and so on.
In recent years, though, it has seemed that Working Title has smoothed out this bumpy cycle into a more American pattern of steadily accumulating film releases and profits. The company Bevan founded has survived since 1984, an achievement in itself by British film industry standards. Its offices on Oxford Street in central London are studiedly informal - table football in reception, almost everyone in jeans and trainers - but the day-to-day operations of Working Title are not. Last Monday morning, the receptionist was on the phone to a courier company that had failed to deliver. "My bosses are so hot on things getting delivered to them," she began. "They don't want to hear excuses if anything goes wrong. They want you sacked." She paused. "Well, maybe the second time."
Bevan and his co-chairman Eric Fellner were discussing the commercial prospects of the Harry Potter film, which is not one of theirs, when I was ushered in to see them. "It could do a billion business," Bevan was saying in a faintly transatlantic accent. He and Fellner were wearing smart dark clothes instead of jeans, but they both looked as excited as teenagers. Did they think one of their films would ever be as big? Bevan instantly went deadpan: "We've had four movies that have done over £250m worldwide." Fellner added, narrowing his eyes: "We've got to aim for it."
Working Title's first big film was My Beautiful Laundrette, a feature in the British tradition of unexpectedly popular pieces of social realism. But since then the company has prepared its hits - Four Weddings and a Funeral, Bridget Jones's Diary, Notting Hill - to a sweeter recipe. American stars have been imported, British settings have been kept strictly romantic, happy endings have been insisted upon. Often, Working Title productions can appear little different from their Hollywood equivalents.
"Eric and I are international people," said Bevan, slouching in a black armchair. "As soon as you get too British..." Fellner interrupted: "There is a Britishness in our films that sells." He began to say something about irony, then settled on a piece of financial evidence instead. Working Title's comedies, he said, "do OK" in America, yet in other foreign countries, where their English jokes may be better understood, profits could be "supersonic".
Fellner and Bevan deny they have found some previously elusive formula for British film success - "one thing we learned early on is, as soon as you think you've cracked it, you've had it" - but they talk about "equations" and "marketability" with the self-confident fluency of management consultants. Like the American studios, they make films in batches, the commercial subsidising the less commercial. Like the Americans, and unlike many British film people who have had a hit, they do not rest on their laurels: "You enjoy the premiere, take a day off, then get on with the next one," Bevan said, with a mixture of pride and weariness. When the interview was over, before I had left the room, he and Fellner started talking about their next engagement.
Working Title, while officially independent and British, is in fact owned by the American studio Universal, which is owned in turn by the French media multinational Vivendi. Despite Bevan and Fellner's example, and the efforts of the Film Council, the rest of the British film industry does not yet seem to be operating in a dramatically different way from before.
Last Friday, as part of the London Film Festival, there was an evening on writing competent scripts, a much-cited problem for many British films, at the Soho Theatre. Beforehand, the theatre bar was packed with aspiring British film people, mostly in their late 20s or 30s, dressed slightly too young and talking slightly too loud. The drinks were not cheap, but everyone was buying. People called each other "mate" in posh voices. It felt quite fun and glamorous compared to most jobs.
But reality broke in once everyone began queueing for the seminar. A woman called Felicity handed out business cards for a "weekend masterclass" on the Isle of Wight in drizzly February. The onstage discussion was dominated by Jez Butterworth, the young British playwright, explaining how he had had to squeeze much of the the Englishness out of a film he had just directed, called Birthday Girl, in order to make it work for his American backers. "Quite a muted film set in the Home Counties" had ended up as - Butterworth blushed a little at this - "a sex comedy" starring Nicole Kidman. Much of it had been filmed in Sydney to fit in with her other commitments.
Bevan and Fellner would no doubt regard such compromises as a grown-up and sensible. But Stephen Frears, who directed My Beautiful Laundrette for them and has made British films of all kinds since the 1970s, sees a world closing in. The British film industry, he says, is less protected than it has ever been from the demands of the global entertainment economy. "Everybody's trying to keep going. Trying to keep the compromises bearable, as it were. But it's very, very rough."
He is sitting, with great bags under his eyes, in a cold office he is renting in the middle of one of the BBC's overflow car parks in west London. For a few minutes, he makes everything quite sound impossible. Then he says he's going to start shooting another film in two days.


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Original 20th Century-Fox One Sheet Poster (27x41). Folded. Very Fine.
Original 20th Century-Fox One Sheet Poster (27x41) for the Robert Altman drama, 3 WOMEN (1977) starring Sissy Spacek, Shelley Duvall, Janice Rule, Robert Forster and Ruth Nelson. In classic Robert Altman style, the quirky director examines the lives of three mid-1970s women living in the California desert. While alternately offbeat and depressed, they are not without their charm and unique personae as the director examines the minutiae of their lives. The poster is folded and in very fine condition. This poster has a small snipe on it; this is easily removed by a poster conservator. Printed on a high grade paper which indicates that this is clearly the very first printing. MovieArt Austin guarantees this poster to be the authentic one-sheet poster for this film. MovieArt Austin will sell NO reproductions.
Sissy Spacek - Actor
ROBERT ALTMAN - Director
Shelley Duvall - Actor
Janice Rule - Actor
Ruth Nelson - Actor


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For those who love hand made lace.
Someone of IOLI told me about 'A Lace Guide for Makers and Collectors' by Gertrude Whiting (1920). I can't find who, but thank you! This book has a LARGE number of grounds, with names, photo and instructions. There are editions online, but I found these a little hard to use, as you had to look things up in an index at the back, which gave you the (print) page number, and then had to scroll to find it. But since it's got so much useful stuff, I've copied the pages of Chapter 4 (which covers all these grounds) onto my own website, and indexed it properly. See
Each ground is on a separate page (there are 144 of them!) and there are three indexes.
First index is of the pages in the order in the book, but gives all the ground names for each, in computer text, so they can be searched. (The original online books were pictures, which can't be searched.) Click on page number to go to ground page.
Second index is pictorial - thumbnail pix of each ground. Click on picture to go to ground page.
Third index is alphabetical. Every ground name (and some grounds have several names) are listed in alphabetical order. Click on name to go to ground page.
I'm telling this forum in case anyone would find this indexing of this book helpful. I'm afraid that I've also posted this to the Beginner's forum as well, but I wondered if people interested in lace identification would also find this book useful, especially with my new indexes.
Views: 150
Brilliant! Thank you.
I Love the cross & twisting bobbins making the tally! You are SO clever to get these moving diagrams. Wonderful!!
A lot of work went into creating that index. Very useful.
Must have been quite a job. Nevertheless, would it be an idea to add links like for example A5 or directly to the page with thread diagrams?
The book is also available at https://www2.cs.arizona.edu/patterns/weaving/lace.html#books
and the original index at https://www2.cs.arizona.edu/patterns/weaving/books/whiting.jpg
I hadn't found the index! I knew the alphabetical one was at the back of the last pdf of the first link, and when using the book, I had to jump from the index to guessing which pdf that page number was in... And pdfs are, frankly, not the best format to use on computers, especially if the pages are picture images as here, since you can't search them - you just have to jump to approximately the right place. Tedious!
I'm glad that she did do a thumbnail index. (I still think that her table started off logical then wandered...) But MY thumbnails are clickable! Which of course she couldn't do. And I've made the thumbnails in more detail. It sometimes curs off relevant bits of the pattern, but generally you get some idea.
Sorry, I don't feel like linking to the thread patterns. Partly because I am exhausted! As people have said, it's quite a lot of work. Figuring out which pattern corresponded to which thread pattern (for 145 patterns!) would be too much for me. And I didn't really want to add to the book, much. I gloss it with my own website - so I point out where my terminology is different, and link to my animations. But I didn't do this with all patterns! Only the ones which I knew.
Anyway, I'm not quite sure about these 'Pricking prototypes'. I'm sure that you can morph lace designs down to a few patterns, but by morphing you have changed something important about the lace. Perhaps it's just me, but I don't find these prototypes immediately obvious, or helpful. There are lots of different ways to make lace "easier to understand". I have been assured by plenty of people that if I used their preferred method, everything would be much easier. Easier for them, perhaps... I have my own techniques to explain, using animations. I have tried to respect Gertrude Whiting's own methods (which obviously exist, from her layout of table), and not impose a different view on top. My own glosses were more "Oh, I call this stitch something different" or "I know how to make this one!". The links I did were to pull together things like different versions of Valenciennes, which she was doing herself, but didn't always mention it.
but by morphing you have changed something important about the lace
That is exactly one of the purposes of GroundForge: make variations on existing grounds. Morphing is one parameter, when following the link to tread/pair diagrams you can vary stitches for a neutral morph. With the thread diagrams you can analyse how threads flow through the ground with some chosen set of stitches. It can reduce tedious experiments but will still need the imagination of a designer.
The subject is wandering off from 'Identification-History' and should be continued on computer-aided-design
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The Abbington subdivision, located Apex, NC, boasts estate-style custom homes ranging in price from $500,000 to $700,000, with all the amenities you'd expect from the award winning builder team assembled there.
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Helping Families In Transition
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Bright and bold with a rock-and-roll vibe, the Fairmont Pacific Rim's new Owner's Suite Collection is designed for adventurous travellers keen to experience the city's music, art and fashion personalities.
Each of the 10 suites encompass 800 square feet of opulence with king-sized canopy beds; marble spa bathrooms complete with soaker tubs; gallery-worthy installations by prominent Canadian artists; and custom vinyl collections that can be played on Rega RP1 turntables.
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Mom is a revenge thriller directed by Indian filmmaker Ravi Udyawar based on a screenplay by Girish Kohli. The film is co-produced by Boney Kapoor and stars his wife, the veteran actress Sridevi in the titular role. The film co-stars Akshaye Khanna, Nawazuddin Siddiqui, Abhimanyu Singh, and Pakistani actors Adnan Siddiqui and Sajal Ali. Mom is the 300th film of Sridevi's acting career that also marks her 50th year in the film industry (the 54-year-old actress started acting at the age of 4!). In Mom, she plays a benevolent school teacher whose life turns upside down when her 18-year-old stepdaughter is gangraped on her way home from a late night party held at a farmhouse in Delhi. Sounds familiar, doesn't it? Well, Mom plays on clichés and offers little that we haven't already seen in movies like Pink and Maatr.
It's cool to see a schoolteacher get transformed into a vengeance-seeking killer but one can't help but question how such a dramatic metamorphosis can happen without proper training.
Nawazuddin Siddiqui's private detective is probably the best thing about Mom. Siddiqui has a rare gift—he can do nothing and still look impressive in front of a motion picture camera. He takes to the eye of the camera as a fish takes to water. As for Sridevi there is no doubt that she is still capable of capturing our attention as she had proved in English Vinglish but in Mom she looks a bit unsettled as if something is not right. Those who have worked with her vouch for her perfectionism and maybe the perfectionist in her wasn't fully satisfied with the role she gets to essay in Mom. One can only hope that she will regain her acting form soon but for that she needs to do films more frequently! Akshaye Khanna is known to have a great screen presence and he certainly looks impressive in a few scenes (in particular the ones he share with Nawazuddin Siddiqui) but there is not much to his performance beyond that.
Mom has several flaws both in its plot as well as its characters. It's cool to see a schoolteacher get transformed into a vengeance-seeking killer but one can't help but question how such a dramatic metamorphosis can happen without proper training. And the fact that she does all this with the help of an aging detective makes it look even more ludicrous. Also, the relationship between Sridevi's character and her step-daughter is supposed to be uneasy and complex but after a point it looks a bit artificial.
One can only hope that Sridevi will regain her acting form soon but for that she needs to do films more frequently!
Ultimately, Mom is high on drama and emotion and can possibly hold the viewers' attention if they choose to suspend their disbelief. The thrill elements in the movie are a bit of a mixed bag. Sometimes they are very effective but often they either appear undercooked or a bit over the top. Flaws aside, Mom benefits from a good production value that makes it far superior to the Raveena Tandon starrer Maatr. The performances may not be top-notch but they are reasonably good. But ultimately it is a predictable film that fails to match its pre-release hype.
Rating: C
A version of this review was first published in A Potpourri of Vestiges.


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Definitions for "enter "
(1) (in play) use an entry; transfer the lead to the opposite hand.(2) (in bidding) after the opponents have opened the bidding, for the first time for your side bid, or suggest with a takeout double that partner bid, after the opponents have bid.(3) (in a tournament) participate.
Entering means to re-enter a checker from the bar into your opponent's home board and then back into the game.
To move a checker that has been hit from the bar onto the opponent's home board according to the numbers of the roll of the dice.
A hound is "entered" when he is first regularly used for hunting. Puppies in their first season of hunting are referred to as "young entry."
To use a hound regularly for hunting.
To enter young hounds is to initiate them in the skill of hunting a fox.
Keywords: typewriter, keyboard, carriage, kybdy, pressed
To type an item of information into a field in a database. (DB, Gr. 5) ESC key: Key on a keyboard that is used to "move around" with a program. (Kybdy, Gr. 1)
To key new or changed employee record values on a screen.
The key immediately right of the apostrophe key. Also called the Return key and the Carriage Return. A similar key is at the lower right corner of the keyboard.
Keywords: customhouse, inscribe, mption, writ, proper
To inscribe; to enroll; to record; as, to enter a name, or a date, in a book, or a book in a catalogue; to enter the particulars of a sale in an account, a manifest of a ship or of merchandise at the customhouse.
To place in regular form before the court, usually in writing; to put upon record in proper from and order; as, to enter a writ, appearance, rule, or judgment.
To make report of (a vessel or her cargo) at the customhouse; to submit a statement of (imported goods), with the original invoices, to the proper officer of the customs for estimating the duties. See Entry, 4.
Keywords: album, flameshovel, gruff, adel, westerholt
The first non-graphic requested as part of a visit.
Enter is the first studio album from the symphonic metal band Within Temptation, released in 1997. Although this album shows off Sharon den Adel's voice, the band's guitarist Robert Westerholt provides gruff death metal growls too.
Enter is the second album but first full length album by Russian Circles. It was released on Flameshovel Records on May 16th, 2006. The band uses feedback at the end of each songs which allows the album to flow continuously.
To engage in; to become occupied with; as, to enter the legal profession, the book trade, etc.
To initiate; to introduce favorably.
To get admission; to introduce one's self; to penetrate; to form or constitute a part; to become a partaker or participant; to share; to engage; -- usually with into; sometimes with on or upon; as, a ball enters into the body; water enters into a ship; he enters into the plan; to enter into a quarrel; a merchant enters into partnership with some one; to enter upon another's land; the boy enters on his tenth year; to enter upon a task; lead enters into the composition of pewter.
To unite in; to join; to be admitted to; to become a member of; as, to enter an association, a college, an army.
To cause to go (into), or to be received (into); to put in; to insert; to cause to be admitted; as, to enter a knife into a piece of wood, a wedge into a log; to enter a boy at college, a horse for a race, etc.
become a participant; be involved in; "enter a race"; "enter an agreement"; "enter a drug treatment program"; "enter negotiations"
Keywords: login, lightweight, customizable, desktop, perfect
Enter is a customizable lightweight login manager for X that was developed to be able to run on many different environments and save system resources. It is a perfect match for lightweight desktop or window managers.
Enter is a lightweight graphical login manager for X
Enter magazine was produced from October 1983 to May 1985 by Children's Television Workshop (CTW, later renamed Sesame Workshop).
Keywords: embarked, teens, dispensation, commence, recruited
To pass within the limits of; to attain; to begin; to commence upon; as, to enter one's teens, a new era, a new dispensation.
register formally as a participant or member; "The party recruited many new members"
set out on (an enterprise, subject of study, etc.); "she embarked upon a new career"
Keywords: accede, throne, possession, inter, office
To go into or upon, as lands, and take actual possession of them.
take on duties or office; "accede to the throne"
inter, to obtain, take possession of lands/property/office 2. to place someone in possession of same
Keywords: pleonastically, marshes, come, shallow, closet
To come or go into; to pass into the interior of; to pass within the outer cover or shell of; to penetrate; to pierce; as, to enter a house, a closet, a country, a door, etc.; the river enters the sea.
To go or come in; -- often with in used pleonastically; also, to begin; to take the first steps.
to come or go into; "the boat entered an area of shallow marshes"
starting a hawk out on a certain type of prey.
To input information in any application on your device by typing or writing.
OR type "type" is preferred
Keywords: observe, visible, components, area
To go into an area to observe all visible components.
To go into a area to observe all visible components
Keywords: tertiary, entrance, rank, equivalent, national
Keywords: prominently, politics, elections, figure, pattern
be or play a part of or in; "Elections figure prominently in every government program"; "How do the elections figure in the current pattern of internal politics?"
Keywords: prefix, intestine, inflammation
Keywords: congress, copyright, map, picture, description
To deposit for copyright the title or description of (a book, picture, map, etc.); as, "entered according to act of Congress."
Keywords: subscription, subscriber, start, record, mean
To put a subscriber name or subscription record on the file. This does not mean "to start service." (See "Start.")
Keywords: mouse, click, alternative, sometimes
Keywords: mentally, attentively, penetrate, consider
Keywords: accessible, see
Keywords: see


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Fueled by Passion, Culture, Values and Team!
Cloud Geek, AWS training, AWS support ,Social Media marketing, reporter pitching, content writing, SEO marketing — "We Believe to marketing your presence on Social media as important as creating your presence",
Enhance your social existence an cope up with latest technology.
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Search engine optimization (SEO) advantages to bring your website in the limelight. All the efforts you do to make a haunting website…
Lets face it, not all the emails you get are even valueable looking at. Most of them are spam and get sent to the trash without a second thought…..
Content writing is a very important component of web designing. All the words and phrases that you see on the web page are a result of web content
Copyright © 2018 – 2019 Synergie Solution


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This weekend, celebrate the patron saint of PARTS UNKNOWN by donning your finest Green Bastard costume!
March 17th is a time for arseholes all around the world to celebrate St. Patrick, the patron saint of Ireland. This year, the dicks at SwearNet would like you to celebrate the patron saint of Parts Unknown, by raising a glass to ST. GREEN BASTARD'S DAY!
Don your finest Green Bastard outfit (we've run enough Halloween contests to know that there are plenty of you crazy fuckers out there), take a picture, and submit it on SwearBlog. We'll send out Liquormen's t-shirts to three random entrants!
Whether you go full-bastard head-to-toe, or don your DECENT Green Bastard t-shirt, we want to see it!


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GNSS & GPS Systems
GNSS stands for Global Navigation Satellite System, and is the standard generic term for satellite navigation systems that provide autonomous geo-spatial positioning with global coverage. This term includes e.g. the GPS, GLONASS, Galileo, Beidou and other regional systems.
The term GPS is specific to the United States' GNSS system, the NAVSTAR Global Positioning System. As of 2013, the United States NAVSTAR Global Positioning System (GPS) and the Russian GLONASS are the only fully operational GNSS, and accordingly account for the bulk of UNAVCO's available equipment and project support.
Trimble GNSS GPS receivers are a flexible positioning solution for productive and accurate GIS data collection. With the freedom to choose from a range of configurations, Trimble GNSS receivers provide timely and accurate data for decision-making and integrate seamlessly with industry-standard GIS systems and professional GIS data collection workflows.
Topcon GNSS GPS. As the first global service provider for true Global Navigation Satellite System (GNSS) receivers, Topcon offers GPS+ … GPS plus GLONASS. More satellites means unparalleled accuracy, 24/7.
Leica GNSS GPS Geosystems offers the ideal solution for every GNSS application. Powerful GNSS technology for unmatched accuracy.
Sokkia GNSS GPS Products for Surveying from Sokkia are robotic total stations, reflectorless total stations, automatic / digital levels, field / desktop software etc.
Spectra GNSS GPS. Spectra Precision has long been an established brand, known for delivering quality products to the construction market. In 2011, Spectra Precision extended its offer to the surveying market while keeping the same level of quality and affordability. GeoInstruments business area offers a complete product portfolio including Global Navigation Satellite Systems (GNSS), Global Positionning Systems (GPS), optical total stations, data collection hardware, field and office software.


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Child Ages on Return Date
Can't decide where to go, maybe take a look at some of these top destinations.
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From the last Morning Jolt of this holiday week:
Cleveland vs. Dallas: Winner Hosts the Republicans in 2016!
Say it with me: Hosting the GOP national convention, officially nominating the presidential candidate in a state does not help that presidential candidate win the state. Republicans did not win Florida in 2012 (Tampa). They did not win Minnesota in 2008 (St. Paul). They did not win New York in 2004 (New York City). They did not win Pennsylvania in 2000 (Philadelphia). They did not win California in 1996 (San Diego).
So when Hugh Hewitt says picking Cleveland to host the 2016 Republican National Convention is the first step to winning Ohio, history does not bolster his argument.
And yet, if Republicans pick the other city, Dallas, the narrative for the lazy media is written: Republicans are the party of the South, the party of rural America, the party of rednecks, gun-owners, country music, J. R. Ewing and big oil companies, cowboy boots, and so on. The party may want to embrace the Texas jobs boom, the energy boom, and the fact that so many Americans are flocking to the state to live their American dream.
So then there's Cleveland.
This Lake Erie city has suffered some bad public relations over the years and has made headlines for all the wrong reasons: poverty, pollution, foreclosure, bizarre crimes and a fleeing population. Yet, thanks to billions of dollars spent burnishing the city's image and its physical face, Cleveland is one of two finalists for the Republican national convention in 2016 and a longshot candidate to host the Democrats, as well.
Hugh will be ecstatic if they pick Cleveland, of course:
I spent this past Saturday morning touring the new convention center — on Twitter @clevemtgs — built on the lakefront across from the Browns' FirstEnergy Stadium, the Great Lakes Science Center and, of course, the Rock and Roll Hall of Fame and Museum. The lakefront sparkles as does the whole downtown.
The convention center, which would host the media stiffs, contains hundreds of thousands of square feet of exhibition space, meeting rooms and ballrooms, and is a mere 10 minute, 0.9 mile walk from Quicken Loans Arena, where the formal proceedings would be gaveled in, a walk that goes down 4th street past the House of Blues and scores of restaurants and bars that would no doubt be second home to the scribblers and Tweet legions. Beautiful new hotels are already open and more rising and stately old ones as well, and the Tower City Center — soon no doubt to be the Manziel Center — brings the city's excellent red, green and blue lines into the heart of the center, providing the mass transit for further out delegations that St. Paul, Minn., and Tampa Bay, Fla., lacked in 2008 and 2012 respectively.
The decision should be announced and/or leaked in late July or early August.


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This week's cover features Patricia Feiler's "Autumn Beach Walk." In addition to pursuing her uniquely Impressionistic style of painting, Feiler's career spans more than three decades as a music educator in the Eastport and Southold public schools. She is a frequent teaching artist at the Westhampton Beach Performing Arts Center and an active member of the East End Arts Council. Feiler's paintings are included in many private collections and her painting "SS Rendezvous and Race" won the Thomas Currie-Bell Award presented by the Southold Historical Society at the North Fork Annual Juried Art Exhibit. Here, the Mattituck resident lets us in on what's behind her creative process.
What inspired "Autumn Beach Walk?"
I painted "Autumn Beach Walk" on location in Indian Island County Park, Aquebogue. It's one of my favorite places and I've painted there every season. There's so much to take in: the sky and clouds, the water, sand and trees. The wind changes everything in an instant. Here on the East End, we have autumn days that are as warm as summer and yet the beaches are so still and quiet. This was one of those days. I had to capture it so I would never forget.
What's your creative process when starting a new piece?
If a setting or scene captures my imagination, I feel an urgency to paint right away. It can be something very fleeting, like the shadow cast on the side of a barn or morning mist that has settled on the vines. I grab the easel and paints and go out right away. Other times, I visit a spot over and over, observing and taking in everything about it; the light, the movement and colors of the clouds, the trees, and even the sounds and the smell of moisture in the air. It's thrilling to the senses. I like to do small paintings as studies and expand to larger ones later. Sometimes the story ends with the little sketch because the moment is gone.
Being a Center Moriches native, how has the East End influenced your work?
Like Center Moriches, lots of East End towns are working communities, with families that have lived there for generations. The villages are surrounded by water and there are small creeks and little beaches at the end of almost every street. The connection to the land and sea is part of who I am. I can't get enough of it and it shows in my art, I think.
You have come from a long line of artists. Your uncle drew illustrations for the books written by your father, Chester G. Osborne. Did you ever feel pressured to continue the family tradition?
Our family has generations of musicians and artists, including the political cartoonist, Thomas Nast. I'm one of five siblings and we all played two instruments, so there was a lot of music in the house. As a young man, my father played trumpet in the Boston Symphony under Arthur Fiedler and when we were growing up, he became a high school band director, wrote young people's historical fiction novels, was a contributing editor for The Long Island Forum, and Curator of Manuscripts at The Manor of St. George in Mastic. He was continually creating. I think I have that gene.
My lifelong journey as a musician has had a powerful effect on my art. When I paint, I feel a familiar rhythm in the motion of the brush across the canvas. Certain music evokes in me a sense of line and color and even shapes, but I don't listen to music at all when I paint.
Where can readers view your work?
Right now I have paintings in Cecily's Love Lane Gallery in Mattituck, Phoebe and Belle in Cutchogue and Kropnik's coffee shop in Orient. My studio is on the second floor of the Donald Feiler Architect Building on Main Road, Mattituck.
To see more, visit patriciafeiler.artspan.com.


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Practice 1: Asking Questions
and Defining Problems
Students can create the best questions!
How Can I Generate Questions?
> Engage in discussion around phenomena (can be familiar or novel)
> Categorize and distinguish questions into groups
> Distinguish between scientific and non-scientific questions
> Identify the purpose behind the questions (questions are not just for their own sake)
How Can I Use Variables to Ask Questions?
> In groups, brainstorm different things that affect the phenomenon you are learning about.
> Use this list to narrow down a single variable that can be investigated. (The rest of the items on your list become your controls in the investigation).
> Pose a researchable question related to the variable.
> Identify what you are testing (the independent variable) and what you plan to measure (the dependent variable).
> If your question contains both the thing you are testing and the thing you plan to measure, you have generated a testable question!
What Are Some Strategies for Defining Problems?
> Discuss a real or hypothetical scenario that needs to be addressed.
> Brainstorm possible constraints, challenges, concerns, and circumstances that might influence or limit the possible design of a solution or device.
> Use brainstorming to define a specific problem to be addressed.
> Make a list of what is already known about the problem and what still needs to be learned.
> Identify how a successful solution to the problem might look and how success will be measured.
Jedi Masters of this SEP can do the following:


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Industry Analyst Piers Harding-Rolls:
These new, non-enthusiast and more mainstream console gamers view many Wii and DS games as experimental and discretionary luxuries. As the recession bites, Wii and DS games are likely to fall from the shopping lists of some of these consumers.
I say thee nay! People have felt the bite on their wallet for a good half a year now if not more, and in case Piers didn't hear, Nintendo sold two million Wiis in November. The games industry appears to be more resilient under recession conditions than, say, the blogging industry (*sweat*). Sure, spending is down in almost every sector, but there's no reason to think that the Wii is going to be the fall guy for the economy.


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Alcoa kicks off the second-quarter earnings season Monday after the bell and analysts at HSBC believe now is a good time to buy stocks ahead of a rebound some time in the third quarter.
"With earnings growth robust, valuations cheap and equities under-owned, we see a rebound beginning sometime in Q3. We advise raising equity risk gradually over the coming months, and expect the world index to rise 7 percent by year-end," Garry Evans, the global head of equity strategy at HSBC, said in a research note.
With a number of event risks like the Greek debt crisis and talks over the US debt ceiling still hanging over stocks, Evans said that investors willing to take a long-term view will make money in stocks.
"The consensus forecast for global earnings growth is 17 percent for this year and 14 percent next – and those expectations have been steadily ratcheted up over the past months. Neither are those forecasts unrealistic, either relative to historical trends or to our economists' forecasts of economic growth," he wrote.
At the same time, "valuations are very low: the global index has been cheaper than it is now only four percent of the time since 1988. Valuation looks particularly cheap relative to interest rates, which are likely to stay low," said Evans.
"Equities should rise in line with earnings growth – which, in our view, means 10-15 percent a year. That should be attractive when the yield on cash is zero and government bonds only about three percent."
As a result the HSBC team are telling investors to take on more risk in their equity portfolios ahead of a bounce in the third quarter.
"We continue to expect emerging markets to outperform developing ones, as inflation fears fade and investors refocus on the secular growth story. We particularly like China, where we think worries of a hard landing are unfounded and where inflation is likely to slow in H2. In the developed market universe, we continue to prefer the US over Europe or Japan," said Evans.


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Obsessively Photographing Your Food Might Be a Sign of Mental Illness
You know that annoying habit where someone keeps whipping out their phone to photograph the food they're eating? It might not just be an incessant need to brag about their burrata-heirloom tomato salad (WE WANT THAT). It might be an actual disease.
Researcher Valerie Taylor spoke at the Canadian Obesity Summit on Wednesday, noting that nowadays, she's finding plenty of patients who are fetishizing food, where it overtakes human interaction.
"You don't take pictures of who you're with, you take pictures of what you're eating," Taylor said, CBC News reports. "For some people who have the predisposition for weight behaviors, it just goes that one step further, and they start to develop unhealthy weight disorders and they start to have weight problems."
Naturally, food has a more psychological role in people's lives, and Taylor, whose presentation was called "Food Fetish: Society's Complicated Relationship with Food," believes that the fetishization could be unhealthy.
"The concern becomes when all they do is send pictures of food," Taylor told The Huffington Post. "We take pictures of things that are important to us, and for some people, the food itself becomes central and the rest — the venue, the company, etc. — is background."
Past research has suggested that looking at food porn could spur weight gain, as images are often connected to the rewards center in the brain. But putting such a focus on the food, instead of the company and meaningful social interactions, could really affect weight gain.
"I think for some people it highlights how important food has become," Taylor said. "Just like the tattoos of 'I love McDonald's' replacing the 'I love Mom' tattoo, food is taking on a very important role. It has moved beyond simply fuel." And while we agree that food is more than fuel, this fetishization might be something to be aware of.


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Clifford Clinton: The Man and His Cafeteria Shaped Food and Politics in L.A. | KCET
Clifford Clinton: The Man and His Cafeteria Shaped Food and Politics in L.A.
Prior to its closing in 2011, walking into Clifton's Cafeteria at Seventh and Broadway in downtown Los Angeles was like walking into a kitschy mountain lodge in a national park, with Redwood trees serving as columns, rocks and foliage bursting from the walls, stuffed and mounted animals, and a stream running through the dining room. September 21, 2015, Clifton's Cafeteria re-opened after four years of renovation. The city awaited with anticipation to see the changes made by new owner Andrew Meieran.
The re-opening of Clifton's Cafeteria offers Angelenos an opportunity to reflect on the importance of its founder and namesake: Clifford Clinton. This cafeteria owner left his mark on food, politics, and life in Los Angeles like few others. Names like Henry Huntington, Harrison Grey Otis, and William Mulholland come to mind when thinking of the traditional power brokers responsible for shaping L.A. But Clinton was different, because he was not seeking power, glory, or money. Rather, he was guided by resolute moral principles and an ardent desire to make L.A. a better place for everyone to live.
Clinton is most famous for his cafeterias. He opened his first in 1931. Later named Clifton's Pacific Seas, it featured jungle murals, artificial palm trees, a waterfall and a controlled rainfall every twenty minutes. The name "Clifton's" was made up of parts of his first and last name. Contrary to what they are now, cafeterias were extremely trendy in the 1930s. So much so, that Clifton opened a second cafeteria in 1935 called the Brookdale Cafeteria, which boasted a redwood forest-inspired interior, and was the largest cafeteria in the world.
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Serving Democracy
But for Clinton, running a cafeteria was not just about profit margins. As the Depression deepened and Angelenos suffered, Clinton refused to turn away customers who could not afford a meal. He printed his business policy on the check received by each of his patrons:
And this was during a time when more than fifty percent of American restaurants failed in their first year. This son of Salvation Army parents would not let Angelenos go hungry.
Clinton told his employees to make Clifton's guests, their guests. Clifton's policy of courtesy and service to customers of all races generated some customer complaints, as it was a time when most restaurants discouraged patronage by Blacks, Latinos and Asians. One such complaint, as well as Clinton's response, was published in a leaflet called "The Guests Voice," which was available at Clinton's restaurants.
The guest wrote:
Clinton's response filled the rest of the page:
Clinton's moral compass was not limited to the cafeteria business. In 1935, a Los Angeles County Board of Supervisor asked him to inspect food operations at the L.A. County General Hospital. Clinton accepted the task and discovered significant waste and corruption and made recommendations to trim the hospital budget.
Publicly pointing out corruption had its drawbacks, especially in 1930s Los Angeles. During that time, corruption was the norm in the city. Gambling and prostitution establishments operated with impunity and often under the protection of the police. Bribery was a way of life. And the corruption extended all the way into the offices of the mayor, district attorney, and police chief.
After his inspection of the hospital, Clinton's own establishments suddenly started being visited by city health officials and cited for multiple violations. Being confronted with this type of pressure from a corrupt city hall, many restaurant owners would likely have backed down. But not Clinton, he doubled down and got himself appointed to the county grand jury. And once appointed, Clinton pushed the grand jury to investigate vice conditions in L.A. When he met resistance from other grand jury members who had ties to the mayor or the underworld, he started his own Citizen Independent Vice Investigating Committee, or CIVIC. CIVIC's investigation revealed hundreds of brothels and gambling houses, over a thousand bookie joints, and thousands of slot machines. When the Grand Jury refused to publish, or even accept the report, Clinton produced his own Minority Grand Jury Report. And it was scathing. The report alleged that the District Attorney, Sheriff and Chief of Police "work in complete harmony and never interfere with the activities of the important figures in the underworld."
Retaliation was swift. Clinton's real estate taxes were mysteriously increased. He was denied a permit for a new cafeteria. And "slip and fall" and "food poisoning" lawsuits started pouring in at Clinton's establishments. And then things started getting violent.
In October 1937, a bomb exploded in the basement of Clinton's home in Los Feliz. Luckily, no one was hurt. After the bombing, Clinton received a phone call saying that this little "puff puff" was just a warning of worse to come if he didn't "lay off."
Story continues below
A few months later, a bomb exploded in the car of an ex-cop named Harry Raymond who was doing his own investigation into corruption while also feeding information to Clinton. Amazingly, Raymond survived even though he suffered over a hundred shrapnel wounds. An LAPD Captain was implicated and later put on trial for the bombing. During the trial, it was revealed that, in addition to planting a bomb, the LAPD Captain was also running a secret spy squad that used wiretaps to gather information on the mayor's opponents and other prominent Angelenos. The LAPD Captain was convicted of the bombing and sentenced to 10 years in prison. But more importantly, the corruption and spying done by the LAPD was exposed to the public. After the mayor refused to fire the police chief, Clinton and his allies launched a successful recall effort and sacked the mayor. The new mayor, Fetcher Bowran, then pressured the chief of police as well as the entire police commission to resign. It had been three years since Clinton was asked to investigate corruption in the city's hospital. In that time, Clinton not only helped topple the mayor and police chief, but he also dealt a major blow to corruption and organized crime in L.A.
A World Citizen
But of course, Clinton's commitment to his conscience did not stop there. A month after the bombing of Pearl Harbor, Clinton, at the age of 41, enlisted in the army and said he would "do anything" to serve his nation. He served as a private and rose to first lieutenant as a mess officer. After the war, Clinton ran for Mayor of Los Angeles, coming in second in a field of fifteen candidates.
Clinton next set his sights on world hunger. He asked Caltech biochemist Dr. Henry Borsook, to develop a food supplement that would provide proper nutritional values while costing no more than five cents per meal. Clinton offered his own money to finance the research. This led to the development of Multi-Purpose Food (MPF), a high-protein food supplement that could be made for just three cents per meal. Clinton then created Meals for Millions, a not-for-profit organization, which would go on to provide millions of MPF meals to people in over 60 countries around the world.
Clinton died in 1969 at the age of 69. Clinton served the City of Los Angeles in so many ways -- as a colorful restaurateur, a political reformer, mayoral candidate, and the founder of Meals for Millions. But Clinton considered this service part of his debt to the city. He said: "Los Angeles has given me all that I have and I am obligated to give Los Angeles everything that is in me."
As we enjoy the re-opening of one of Clinton's gifts to the city, let us take a moment to remember the man whose commitment to his conscience made Los Angeles a better city for us all.
The Clifford E. Clinton Papers, 1934-1969, UCLA: Library Special Collections, Charles E. Young Research Library.
Los Angeles County Grand Jury Summary Minority Reports - Also - CIVIC Committee's Purpose, Plans, Organization, 1937.
John Buntin. L.A. Noir (New York: Broadway Books, 2009), 70-78.
John Anson Ford. Honest Politics My Theme - The Story of a Veteran Public Official's Troubles and Triumphs (New York: Vantage Press, 1978), 86-90.
James Hugh Richardson. For the Life of Me - Memoirs of a City Editor (New York: G.P. Putnam's Sons, 1954), 219-223.
Tom Sitton. Los Angeles Transformed - Fletcher Bowron's Urban Reform Revival, 1938-1953 (Albuquerque: University of New Mexico Press, 2005), 15-24.
Kevin Starr. The Dream Endures: California Enters the 1940s (New York: Oxford University Press, 1997), 165-170.
Matt Weinstock. My L.A. (New York: Current Books, Inc., 1947), 56-58.
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… when you're a fox owl cat.
(Please note this is not recommended for humans.)
Hope you're all staying warm wherever you are?
It's been freezing this week – which explains why our fox owl cat
has been lying on top of the living room radiator every night.
(Her expression here is one of worry as she thinks
I'm about to give her a row for being where she is.)
This weekend we're going into full-on Christmas mode,
dressing the tree and putting up our decorations.
I'm expecting a few feline frolics like this to occur… so hopefully I'll get to take
some shots for an Xmasy post before the fox owl cat and the grey ninja cat
remember just how much they like taking baubles off the tree.


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Selena was the cover of the March issue of the Harper's Bazaar ! I added the shoot and magazine scans to our gallery and also i added the video of selena answering questions, plus you can read Selena's interview for the magazine below!
At 25, Selena Gomez has faced her share of obstacles and emerged stronger than ever. She tells Katherine Langford—star of the Gomez-produced Netflix series 13 Reasons Why—what she has learned along the way.
KATHERINE LANGFORD: What's the best part of being a performer in 2018?
SELENA GOMEZ: I feel like it's become a much safer place to express your concerns or even just to have the right to say, you know, "I'm not sure I feel comfortable in this environment." On a personal level, having done this since I was seven, it's probably the most comfortable I've ever felt. Even in auditions I feel like I'm way more confident than I would've been in the past. I'm not focused on the things that I used to be like, "Do I look old enough? Do I look sexy enough? Do I look cool enough? Am I nice enough, graceful enough?" Those sorts of things would come into my mind, but now I feel a little more liberated.
KATHERINE LANGFORD: You became famous in your early teens. Is there anything you feel you missed out on?
SELENA GOMEZ: I've spent probably too much time thinking about how my life could've been, so now I try to just have a sense of gratitude for how it is. I've never wanted to be the kind of person who's like, "Oh, I wish I had a different life." This is just kind of how it worked out for me. I'm at the point where I know the value of my privacy, and I understand how the system works, and once I realized and accepted that part of it I've become a little bit more fearless. I view it as a small price to pay for being able to have the life I have now.
click to read more »
Selena Gomez poses for COACH Spring 2018 was shot by photographer Steven Meisel.
I've added divers photoshoots from 2015 that left recently. Check them out!!!
Photoshoots > 2015 > Unknown #3
Photoshoots > 2015 > Jake Bailey (Bad Blood)
Photoshoots > 2015 > Jake Bailey
Photoshoots > 2015 > Jake Bailey #3
Music Videos > Same Old Love (2015) > Behind The Scenes
Photoshoots > 2015 > Paris, France – September 28
Photoshoots > 2015 > Louis Vuitton Resort 2016 Collection Portraits
Photoshoots > 2015 > Taylor Swift's 1989 World Tour 2015


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The Greatest Showman (Reimagined)
A long time after the release of the hit movie "The Greatest Showman" starring Hugh Jackman, Zendaya and Zac Efron. The Greatest Showman album is a collaboration of a variety of artists including Ty Dolla $ign, MAX, James Arthur, Anne Marie, pentatonix and a bunch of others all coming together to recreate the amazing sound and music behind the Golden Globe winning The Greatest Showman. … More The Greatest Showman (Reimagined)


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What is Crossflix?
Crossflix is the Christian alternative to Netflix. We provide family-friendly programs to entertain, educate, and inspire you.
Crossflix is a streaming service that allows you to watch a wide variety of Christian faith movies, TV shows, award-winning faith documentaries, adult and children's biblical education, and original Crossflix content on many of the Internet-connected devices such as televisions, tablets, and cell phones. Crossflix hosts one of the largest collections of faith and family films, award-winning documentaries, and children's biblical animated programming in the world. We empower Christian filmmakers and artists by producing original content, such as television shows, mini-series, a 50-episode Living Bible Series covering important biblical stories from The Creation to Revelations, and children's biblical animation. Crossflix is the go-to channel for Christian entertainment, education, and inspiration.
Our content has no nudity or bad language. Almost all of our content is rated by Dove.org, the most reputable faith-movie rating organization. Content not rated by Dove.Org has been viewed and rated by Crossflix staff to make sure that it is family friendly. With Crossflix, you can enjoy unlimited viewing of our content without having to watch a single commercial. There's always something new to discover — more movies, documentaries, and other content added every week!
Movies, TV Shows, and More
With Crossflix, you get instant access to great Christian-friendly content across the United States and Canada. Crossflix has an extensive library featuring award-winning, faith-inspired content that includes feature-length films, documentaries, TV shows, biblical animation for kids, and adult education like The Crossflix Living Bible Series and other Crossflix original content.
The more you watch, the better Crossflix can help empower Christian filmmakers and artists by funding Crossflix Original Productions, licensing great content from Christian filmmakers and distribution companies, and donating back to your community all while you're enjoying TV shows and movies that you'll love!
You can play, pause, and resume watching, all without commercials or commitments.
Plus, you can download your favorite shows to your Android mobile device, or Windows 10 computer or tablet. With downloads, you can watch while you're on the go or without an Internet connection. Go ahead, binge a little on content that's good for the soul!
How can I watch Crossflix on my TV?
There are four options to watch Crossflix on your TV:
Amazon Fire TV Devices. (ranging from approx. $39-$139 USD) – We support Amazon Fire TV products for connecting to your TV. Similar to Roku devices, Fire TV devices connect to your TV via an HDMI port and run independently of a computer. Amazon Fire TV devices are available at Amazon.com.
Basic Instructions for using an Amazon Fire TV device:
Step 1 – Purchase and connect an Amazon Fire TV device to one of your TV's HDMI ports and register the device to your WiFi network.
Step 2 – Search for an install the Crossflix app on the Amazon Fire TV device. Once you search "CROSSFLIX," it can be found in the Apps & Games section. Click Crossflix, Click Download. Click to open. Type in the Email address and password that is used to sign into Crossflix.com.
ROKU devices. (ranging from approx. $29-$129 USD) via the Crossflix app found in the Roku Channel Store.
Please Note that Roku 1, SE, HD, XD or XS are not supported. Similar to Fire TV these devices are independent of a computer. Roku devices connect to your TV via an HDMI port.
Basic Instructions for using a Roku device:
Step 1 – Purchase and connect a supported ROKU device to your TV. (See below for specific supported versions.) Register the device to your WiFi network.
Step 2 – Search for "CROSSFLIX" and download the app onto your ROKU device or log in at https://channelstore.roku.com/ and search for Crossflix to add the channel. Register your email address and password for Crossflix.com on your Roku device. Open the Crossflix app on Roku and watch movies. For additional information on using ROKU to access Crossflix on your television, https://www.roku.com/how-it-works.
Apple TV. (Starting at approx. $149 USD) The Crossflix app can be found in the App Store. Please Note that Gen 1, 2 or 3 are not supported since no third-party apps can be loaded to them (you can verify your version of Apple TV by going to this link: https://support.apple.com/en-us/HT200008). Similar to Fire TV and Roku, these devices are independent of a computer. Apple TV connects to your TV via an HDMI port.
Basic Instructions for using an Apple TV device:
Step 1 – Purchase and connect a supported Apple TV device to your TV. (See below for specific supported versions.) Register the device to your WiFi network.
Step 2 – Search the app store for "CROSSFLIX" and download the app onto your Apple TV device. Register your email address and password for Crossflix.com on your Apple TV device. Open the Crossflix app on your Apple TV and watch movies. For additional information on using Apple TV to access Crossflix on your television, visit support.apple.com/apple-tv.
Use an HDMI cable to connect your PC/Mac to your television. See http://www.intel.com/content/www/us/en/tech-tips-and-tricks/dave-taylor-hdmi-article.html.
NOTE: Smart TVs, X-Box, PlayStation and Wii are not currently supported.
Supported Devices for Crossflix
Supported Devices as of June 2017:
- Mobile Devices – Android Phones and Tablets via the Crossflix app found in the Google Play Store
- Mobile Devices – Amazon Fire Tablets via the Crossflix app found in the App Store
- For TV's – Roku devices (Starting at about $30) via the Crossflix app found in the Roku Channel Store. Please Note that Roku 1, SE, XS, XD or HD are not supported.
- For TV's – ROKU-powered Smart TV's are supported via the Crossflix app in the ROKU app store
- For TV's – Amazon Fire TV Devices (Starting at about $40) – the Crossflix app can be found on the Amazon App Store
- For TV's – Apple TV (Starting at about $149) via the Crossflix app found in the App Store. Please Note that Gen 1, 2 or 3 are not supported since no third-party apps can be loaded to them (you can verify your version of Apple TV by going to this link: https://support.apple.com/en-us/HT200008)
- For TV's – Android Enabled TV's and Android Boxes – the Crossflix app can be found in the Amazon App Store
- For TV's – Chromecast (Starting at about $35) for Apple, Android & Chrome Browsers. (Recommend removing and reinstalling the Crossflix app to enable or installing the Chromecast extension for the Chrome browser).
- Windows and Apple PC's via standard browsers – Chrome or Internet Explorer for Windows & Chrome or Safari for Mac are recommended. (Linux PC's are not directly supported.)
Please ensure you have the latest version of the appropriate operating systems and browsers on your device.
Non-Supported Devices as of June 2017
- Mobile Devices – iOs app coming soon, in development.
- Smart TV set apps – Not currently supported (exceptions are ROKU-powered Smart TV's and Android enabled TV's). Note: Many non-supported devices can browse the Crossflix site, though video playback is not properly supported at this time.
- XBOX – Not currently planned for support.
- PlayStation – Not currently planned for support.
- Wii – Not currently planned for support.
Streaming Devices
Watch Crossflix anywhere, anytime, on many devices. Our streaming software allows you to instantly view content from Crossflix through any Internet-connected device that offers the Crossflix app, including smart TVs, game consoles, streaming media players, smartphones, or tablets. Below are our Internet Speed Recommendations to achieve the best performance:
The video streaming industry standard suggests the following internet speeds for streaming video content:
- SD Content: 3 Mbps or higher
- HD Content: 5 Gbps or higher
You can use either of the following sites to run a speed test to confirm your connected network's internet speed:
- net
- com
Users will need to download the Crossflix app onto their device. Crossflix's app functionality may differ between devices. See our Terms of Use for limitations and usage.
You can also stream Crossflix directly from your computer or laptop. To use the Crossflix.com web player, please make sure you have the most up to date browser and a good network connection. You'll find a full list of browsers and operating systems supported by our web player below.
You may still be able to achieve playback on a device or browser not supported by the Crossflix.com web player; however, you may experience occasional playback or compatibility issues and we encourage you to upgrade your browser.
Need help getting set up? Search our FAQs for the manufacturer of the device you are using or contact us.
Free Trial
Try us FREE for 14 days! If you enjoy your Crossflix trial, do nothing and your membership will automatically continue for as long as you choose to remain a member. Crossflix membership is a month-to-month or annual subscription that begins on the date you sign up. No contract, no cancellation fees, no commitment. Cancel online anytime, 24 hours a day.
Membership Plans
Pick your price, pick your plan! Crossflix offers two membership plans to suit your needs:
- Monthly Plan: $10.99 per Month — watch on multiple screens at the same time, High Definition when available.
- Annual Plan: $98.91 per Year (25% OFF the Monthly Rate) — watch on multiple screens at the same time, High Definition when available.
The first 14 Days are free for new members. If you choose to remain a member of Crossflix, you'll be billed once per month on the date that you originally signed up.
You can change or upgrade your plan anytime from your Account page.
Crossflix Ministry Outreach Program
At Crossflix, we believe in being proactive to help your local community directly. To better support local communities, we came up with The Ministry Outreach Program, which allows your local church, ministry, or school to sign up for a dedicated promo code that supporters, like YOU, can use to ensure 50% of your monthly subscription goes back to that institution of your choosing.
PLEASE NOTE: If you are not a part of The Ministry Outreach Program you can still get Crossflix now, you do NOT have to be part of a church, ministry, or school to enjoy Crossflix.
Register today to get your dedicated promo code for your parishioners!
Follow these easy steps to get your Church, Ministry, school registered to The Ministry Outreach Program:
- Create an account by entering your email address and creating a password.
- Fill out completely the on-line form (including main contact person information, phone numbers, mailing address, etc.)
- Enter your payout method preference (please have your establishment's banking information ready) so you can receive your monthly donations quicker.
- That's it. Now tell everyone about your Promo Code!
As a member of Crossflix's Ministry Outreach Program, your organization will receive monthly recurring donations according to the Terms of Use and the Affiliate Agreement. If you decide Crossflix isn't for your institution, you always have the option to cancel and deactivate your group's Promo Code online, anytime. For more information, download our Ministry Outreach brochure.
Not a church, ministry, school or non-profit, but still want to help promote Crossflix. Read about our Affiliate program.
Affiliate Program
Are you a Christian blogger, vlogger, or social media influencer looking for the latest and greatest to share with your followers? If you are interested in helping us spread the word about the amazing programming on Crossflix, then we encourage you to sign up to become an affiliate.
As a member of Crossflix's Affiliate Program, your followers receive a $1.00 discount off the monthly subscription price and you will receive 30% of Crossflix's net revenue from each referred subscriber, according to the Terms of Use and the Affiliate Agreement. If you decide Crossflix isn't for you at any time, you can cancel and deactivate your Promo Code online.
If you represent a church, ministry, school, or non-profit, then you'll want to register in our Ministry Outreach program. Read about our Ministry Outreach program.
Getting Started
Follow these easy steps to start watching Crossflix today:
- Choose the membership plan that's right for you.
- Create an account by entering your email address and creating a password.
- Enter a payment method, so you don't miss a single show when your free trial ends.
- Download the Crossflix app to your device and login to link it.
- That's it. Stream on!
You can cancel your free trial anytime during your first 14 days and never be charged. If you choose not to cancel, your account will not be charged until your free trial ends.
As a monthly member of Crossflix, you'll be billed once a month from the date you originally signed up. If you choose the annual membership plan, then you will be billed once per year. If you decide Crossflix isn't for you, you always have the option to cancel online, anytime.
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- Home
- China Tours +
- Create My Trip
- Destinations +
- Travel Guide +
- China Visa
- Beijing
- The Great Wall of China
- China's Top 10 Attractions
- Giant Pandas
- The Terracotta Army
- Best of China
- Culture +
- Trains
- Asia Tours
- Day Tours
Hulishan Fortress is a key national historical and cultural site. One of the fortress's cannons was listed in the Guinness World Records. It's on the south of Xiamen Island at the top of Huli Hill, overlooking the sea. This fortress was built to protect the island from invasion. The fortress and artillery will be particularly interesting to history buffs.
The views may be beautiful, but cannons are the biggest highlights of Hulishan Fortress. The fortress displays more than 50 iron cannons from the Ming (1368–1644) and Qing (1644–1911) dynasties. Two of the cannons were purchased from the Krupp Company in Germany. Only one of them remains at the fortress.
The 280 mm Krupp Cannon is well preserved. Its estimate range is up to 16 km (10 mi). It was recorded by the Guiness Book of Records as the world's oldest and largest coastal artillery of the 19th century in August 2000.
The rectangular fort, made of granite rocks, occupies 13,000 square meters. The base of the fortress is made of a mixture of camphor tree sap, liquid brown sugar, glutinous rice, clay, and sand, making it rather solid!
It is composed of a barracks, a secret tunnel, a commanding tower, a sentry platform, an ammunition depot, a trench, a castle, and other structures. The east and west emplacements are connected by a tunnel. Hulishan Fortress has a trench outside and a patrolling path inside.
One of your rewards when you reach the top of the fortress is a stunning view of Xiamen and the outlying Dadan and Erdan islands. Telescopes have been installed in order for people to get a better look at the beautiful scenery.
Every day at 8:30am, an armed guard in traditional uniforms opens the gate and welcome visitors.
This performance shows military training from the Ming and Qing dynasties. Actors dressed in "plain red" and "yellow banner" suits use historical military equipment and perform drill and shooting to music. This 16-minute performance is at 10am and 4pm every day.
After the performance you can take photos with the actors for free. Actors dressed in authentic military garb wander throughout the fortress all day.
You can see cannons, guns, swords, and unusual natural stones at this museum. The exhibitions include the world's smallest cannon, made by a Portuguese in the 13th century. Its length is only 11 cm (4 in) and weighs only of 0.22 kg (0.5 lb).
Hulishan Fortress was constructed as part of a Westernization phase (1861–1895) during the Qing Dynasty. One of the primary goals in China during this time was to modernize the military. Hulishan Fortress was completed in the 20th year of Emperor Guangxu's reign.
Xiamen was a historic battlefield, and the fort played an important role in resisting foreign aggressors.
In 1986, the Platforms of Yearning for Return were built toward the front of the fortress. Through telescopes you can see Dadan and Erdan islands, which are under Jinmen (Taiwan) jurisdiction.
In recent years, the fortress yard was renovated and large wall carvings representing the "national soul" were created, demonstrating with profound artistic conception "warehousing weapons", "reviving military forces", and "resisting strong enemies".
Best times: visitable all year round; summer is hot and wet, and fall generally offers the best views
Location: 2 Zengcuo'an Road, Siming District 思明区曾厝垵路2号
Transport: bus 22, 48, 86, 96, or 659 to Hulishan Fortress (胡里山公交场站)
Open: 7:30am–6pm (7:30am–5:30pm in winter)
Entry: 25 yuan
If you are planning a tour of Hulishan Fortress, please see our popular Fujian tours below for inspiration:
Our tours can be tailor-made. Just tell us your interests and requirements, and we will create a perfect Xiamen tour for you.
There are plenty of nearby attractions in Xiamen city to enjoy while you're in the area.


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POTD: Concept Art For David Cronenberg's Unproduced Version of 'Total Recall'
Posted on Thursday, May 3rd, 2012 by Russ Fischer
I've written a bit in the past about the effort by David Cronenberg and Dino De Laurentiis to produce Total Recall, a movie based on Philip K. Dick's story We Can Remember it for You Wholesale. The short recap is that prior to making The Fly, Cronenberg cranked out a dozen drafts of a Total Recall script and realized at the end of that process that he and Dino were never going to be on the same page. So he moved on, eventually made The Fly, and years later Paul Verhoeven directed the Total Recall that starred Arnold Schwarzenegger.
As is often the case for a development project from major players that is many drafts into the process, concept art was created for Cronenberg's Total Recall. We've just never seen any of it, until now.
io9 got this art from Ron Miller, the artist who, with his wife Judith Miller, worked for Dino in Rome developing Cronenberg's version of the film. Miller says "I produced scores of drawings and paintings while Judith created models of sets and spacecraft, mostly of paper and balsa wood," all under the direction of production designer Pierluigi Basile.
Miller explains some of the differences between this early, scrapped version, and the one that Verhoeven made:
What eventually became Pyramid Mountain in the Verhoeven version was originally a prehistoric Martian sphinx excavated from the Martian desert, and a good deal more screen time was have been allotted to Kuato, including an elaborate dream sequence where he morphed first into the sphinx and then into a kind of phosphorescent vagina. Cronenberg had some very Cronenberg touches, such as agents with guns hidden within their bodies, but absolutely my favorite idea of all those we came up with was to have camels imported from earth to haul freight across the Martian deserts. This would, of course, have been after significant terraforming had already been done…but not so much that the camels didn't have to wear respirators!
How awesome is the camel idea? And why has no one done that yet?
Here's some of the art. io9 has the rest.


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In the medical field, AEC's knitted narrow fabrics have been used for decades in compression bandaging. As technologies have improved, some bandaging is now manufactured to accommodate electronic and diagnostic devices worn by patients. Knitted tapes are used under casts while broken bones heal. Now resin cast materials can be impregnated in tapes that harden in place after they are applied to the patient.
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