Towns and villages across north and west Donegal are being encouraged to apply for funding under the Town and Village Renewal Scheme.The Town and Village Renewal Scheme provides funding of up to €200,000 for projects that make rural towns more attractive places in which to live and work.The scheme is specifically targeted at supporting rural towns and villages with populations of less than 10,000. Fine Gael local election candidates Eimer Friel and Evelyn Sweeney are leading the call out for applicants to avail of the funding boost.Milford Electoral Area candidate Eimer Friel said: “Since the Town and Village Renewal Scheme was introduced in 2016, almost €53 million has been approved for over 670 projects across the country.“These projects cover a range of activities, from improving the public realm, to job-creation initiatives such as the development of enterprise hubs and digital hubs. Already Rathmullan, Portsalon, Kilmacrennan and Kerrykeel have availed of these funds and I would encourage groups in Milford and Ramelton to apply this time around.”Fellow Fine Gael candidate Evelyn Sweeney said: “This is a brilliant scheme and already Glenties, Falcarragh, Burtonport and Arranmore have received funding in the past 18 months – with the Arranmore digital hub opening today. I visited the hub last week and it has a huge potential for the island, allowing islanders to work from the island in the future. “I strongly encourage other towns and villages in the west and north of the county to work with Donegal County Council in preparing innovative and well thought-out projects under the scheme and I look forward to the announcement of the successful recipients of funding in the coming months.“In order to avail of funding through the scheme, Donegal Co Co will be required to advertise for expressions of interest from towns and villages and will select proposals for development into detailed applications to be submitted to the Department by the end of June.”Up to €200,000 available for rural town and village projects was last modified: April 16th, 2019 by Rachel McLaughlinShare this:Click to share on Facebook (Opens in new window)Click to share on Twitter (Opens in new window)Click to share on LinkedIn (Opens in new window)Click to share on Reddit (Opens in new window)Click to share on Pocket (Opens in new window)Click to share on Telegram (Opens in new window)Click to share on WhatsApp (Opens in new window)Click to share on Skype (Opens in new window)Click to print (Opens in new window) Tags:town and village renewal scheme
Klay Thompson subscribes. You can too for just 11 cents a day for 11 months + receive a free Warriors Championship book. Sign me up!INDIANAPOLIS – Stephen Curry hoisted a shot from 33 feet and already knew it was going in before it did. Klay Thompson threw down a hammer dunk, causing Curry to fall out of his seat on the bench. Kevin Durant also made turnaround jumpers effortlessly, while DeMarcus Cousins dominated inside.These varying snapshots all illustrated why the Warriors remained …
Ntsiki Biyela is living proof that you can do whatever you set your mind to. South Africa’s first black female winemaker shares her story with Zoopy TV.Click arrow to play video.Posted on SouthAfrica.info on 14 April 2009.
Share Facebook Twitter Google + LinkedIn Pinterest Soybeans are sharply higher as U.S. and world ending stocks decline more than expected. Corn and wheat are up and following soybeans higher. The market had expected bearish numbers. It is hard to find one of those today. Planting delays and wet weather conditions will give Ohio producers much more time today to study the myriad of USDA numbers. With more rain in the forecast they will be watching the screens for price action with greater intensity after the noon report is released. Many parts of Ohio had planting and field work progress over the weekend of less than a half day to almost two days. The rains on Monday brought field work to a grinding halt.Prior to the report corn was unchanged, soybeans were up 18 cents, and wheat was up 1 cent. At 12:15 pm corn was up 9 cents, soybeans up 46 cents, wheat up 3 cents.While everyone knows it is May and planting season, it can easily be forgotten that May brings us the first supply and demand numbers for the 2016-17 crop year. The trade posture has been for lower prices several days this past week. Overall, the trade is expecting bearish numbers.Simply put, there are a lot of numbers today. This headline from a report earlier today sums it up, “Lots of moving parts for supply and demand reports today.” Here are the five key USDA numbers to watch; 2016/17 corn, soybean, and wheat ending stocks, South America 2016 crops, China corn stocks and 2016/17 soybean imports; 2016 US winter wheat production, and the world 2016/17 wheat ending stocks.U.S. corn ending stocks for 2016/17 were estimated at 2.153 billion bushels, the average trade estimate was 2.294 billion bushels. U.S. soybean ending stocks for 2016/17 were 305 million bushels. The average trade estimate was 405 million bushels. Some commercials think the number could get below 300 million bushels with the reduced soybean production in Argentina pushing some demand back to the U.S. U.S. wheat ending stocks for 2016/17 were pegged at 1.029 billion bushels.Soybean production in Brazil was estimated at 99 million tons, down from last month’s 100 million tons. Argentina soybean production was estimated at 56.5 million tons, last month was 59 million tons. In recent weeks there has been much speculation on the size of the Argentina soybean crop. Estimates have ranged from 1 to 8 million tons of reduction. Corn production in Brazil was 81 million tons, last month was 84 million tons. Argentina corn production was 27 million tons, last month was 28 million tons.Keep in mind that USDA tends to be conservative on big changes. Changes are done in a series of small steps with any big change taking months to see in print from USDA. That is why the reduction in Argentina soybean production could take months to develop.China corn stocks were estimated at 224.56 million tons, last month 224.58 million tons. Soybean imports into China for 2016/17 were pegged at 87 million tons. Last month USDA estimated that China would import 83 million tons of soybeans for the 2015/15 season.U.S. Winter wheat production was estimated at 1.427 billion bushels. This came in at roughly the middle of trade expectations. World wheat ending stocks for 2016/17 were estimated at 257.35 million tons.The weekly USDA planting progress from last night had the U.S. corn planting progress at 64%, with U.S. soybeans at 23% planted. Ohio’s corn is 30% planted with little activity the previous week, soybeans planted to date are 8%.Bear in mind that if you expected USDA to change 2016 corn or soybean acres from their March 31 intentions, you are a little early. The June 30 report of U.S. acres will be the next opportunity to see acres revisions take place. In case you are wondering why USDA puts out a supply and demand report for new crop corn and soybeans that are not yet 100% planted, it comes about from the 1970’s when Congress mandated the May report for new crop grains. The mandate came about due to the Great Grain Robbery era when Russia bought quite a bit of U.S. grains. Those announcements did not become public for months. Today any sales above 100,000 tons must be reported within 24 to 48 hours.The market quickly returns to trading weather and planting progress. To date both corn and soybean plantings are above the five-year average. It will likely take two weeks or more of widespread planting delays across the entire Midwest to see any kind of significant rally. So far for 2016 with the huge stocks of grains around the world the market knew it would take a weather problem for grains to rally. We are not in an era of short supplies compared to 2008-2012. Again this week we are seeing reports that mention the “drought” word. They are not new for this spring. Also, named storms for this year’s hurricane season look to be up sharply from previous years. While you don’t typically associate drought and hurricanes together, this year you can. Together they point to the vast uncertainty of weather for the growing season into late August. Don’t forget the weather can indeed change on a dime.Today’s bullish ending stocks will shock end users as they had expected big U.S. and South American production to move prices below $10, $9, and $8. New crop November CBOT soybeans are trading at the $10.55 level. The close today will be most important. Daily price limits for the next six months have soybeans at 65 cents, corn 25 cents, and wheat 35 cents.
Anthony Milton has worked in the professional film scene in Dallas for the past decade. We sat down to talk shop and collect his tips on building a career.Anthony Milton worked as a production assistant for about five years before beginning his transition to a Director’s Guild of America-certified 2nd assistant director. His focus lies in Dallas commercial work, and he has worked for nearly every department. He’s worked on commercials directed by Barry Levinson and Shawn Levy for companies like JC Penney, Under Armour, and Nissan, and on several FOX shows shot in the area (The Gifted, The Good Guys, and Lonestar).We asked him about his career and how he built it.PremiumBeat: Hello, Anthony! First off, what got you interested in the film industry?Anthony Milton: My interest in the business, like most people, was spawned from just being a fan of movies. My dad would take me to the theater several times a week, sometimes for a repeat viewing of some pretty terrible popcorn movies, but we loved it. I didn’t know why they fascinated me so much, but they did. Then I grew increasingly more curious about the process and why the stuff we shot on home movies looked so much different than what I would see at the theater. I knew then that I wanted to be involved. I wanted to learn the process, technical and creative. So I went to film school and never looked back.PB: Did school help prepare you for life on a set?AM: For me personally, yes. I went to Full Sail, which if taken advantage of properly, truly prepares you for life on set. I came in knowing set etiquette and knowing who to talk to and who not to. How to move, what certain terms were. It really benefited me when making my own projects. But I feel like it gave me more confidence when i stepped onto set the first time, I didn’t feel completely lost. Film school isn’t at all necessary to work on a film crew, but it helped me personally.PB: What are some of the things that Full Sail taught and prepared you for?AM: Full Sail is different from typical film schools. I personally felt like I walked away with a great deal of knowledge on how to work on a set. I was also in a position to be able to direct a 16mm and a 35mm project while in school. So I got the best of both worlds on the technical side of things — and how to crew in every department, an invaluable experience to fast-track your way to a skill position department (like grip/electric, art department, camera department, etc.). And if you take full advantage of everything they have at that university (which is a 24-hour facility), you could walk out as a decent cinematographer. I was always more of a creative initially, so I gravitated more toward that in college. Overall, for my goals and aspirations, I feel like I walked out with a rounded knowledge of how to bring a story to the screen and how to work on a set.PB: How did you get your first PA job?AM: When I graduated Full Sail and moved back to Dallas, I knew there was a market but had no idea how to break into it. Before I left for college I did a small internship at The Studios of Las Colinas, where I met a stage manager. He was the only person I knew in the business, and, more importantly, he was the only one that knew me, if he even remembered me from three years earlier! So when I moved back into town I found him on MySpace and messaged him in regards to finding work. “Check Craig’s List” was his response. He wasn’t being short or dismissive; the fact was he wasn’t very well connected, after all, and needed work as well in a market that was currently experiencing a slow period.About two weeks later, he asked me if I wanted to help him and his friends make their entry for the Doritos Super Bowl contest. His friends were also small-time players in town, and one was a producer, so I figured it couldn’t hurt and sounded fun. I exchanged info with that producer, who hired me on a real job a few weeks later. From there, I met a production manager who also hired me on a few more projects. From there, I looked up production companies on the internet and made cold calls.PB: The film industry is definitely geared towards the charismatic, extroverted personality. From your experience and knowledge do you have any advice for those introverts who wish to make a successful living in the industry?AM: That is tough in this business, but it can be done. Being on set is a good way to break out of that a little bit, and if it’s something you really want to do, allow the business to force you to be social. The freelance life is scary and can leave you with a great sense of self doubt when the phone isn’t ringing. It definitely helps if you know someone in the business who can throw your name and number to a production manager or coordinator. Honestly, even if you are an extrovert, it can be difficult to break in.The key is to be patient and don’t get discouraged. If you have absolutely no connections, go to Google and look up local production companies. Call them, tell them you are looking to break into the business as a PA. If they don’t have anything available, they know local production managers and coordinators who do the hiring. Ask them to pass along your info. You would be surprised how many people want to help. There are also production Facebook groups local to your area. Look them up and join one. There are always people looking to crew up indie and short films, and that can lead to a connection to the commercial or TV world. Once you’ve made it on set, you don’t have to step too far outside of yourself to chat everyone up.PB: It can be tricky to get consistent work in any freelance job, especially when starting out. How did you manage to book a steady flow of jobs?AM: Network, network, network. Don’t underestimate anyone you come across in the business. You never know when they will be the source for your next job. Have business cards and actually distribute them. Text fellow PAs, coordinators, and managers from time to time to remind them you exist. It’s not that they didn’t like you, or that you’re not a memorable person, they just have a lot on their plates and meet a lot of new people on a daily basis. Be early to work, be ready to learn, be ready to sweat and have a good attitude about it all. That’s the first step. Attitude, attitude, attitude. They know a lot of PAs come in very green with no knowledge of the business whatsoever, so as long as you’re willing to learn with a smile on your face, you will get another job. PB: How does one become an assistant director?AM: Being an AD is based on your personality. You can have the most organized and logistical mind in existence, but if you are a poor or timid communicator and don’t have the confidence to lead a platoon, then you won’t make it as an AD. Past that, the process to become an AD is PA, PA, PA, and then PA some more. Make sure you are on set paying attention and anticipating needs of the ADs. Watch how they move and operate. Make sure those ADs know you want to be an AD, and they will start to use you in that capacity and eventually start throwing you a chance when their first-call 2nd AD isn’t available. It takes a while to work in as an AD. There aren’t as many spots open, and you need to be knowledgeable about the operation of a set, watching every detail.PB: You mentioned you took the longer route to becoming an AD. What was your process for becoming a DGA-certified assistant director?AM: Getting into the DGA is all about getting a certain number of days on set: 150 for third area (not CA or NY) commercial 2nd, and 600 days for television 2nd AD. A lot of PAs will put in their time on TV shows to get their days quicker. I don’t like working on shows, so I took the slower route on commercials. But really, it’s all about having the right personality and putting in your time.Most jobs on set are based around a technical skill. AD is one of the few that is personality-driven as much as it is skill-driven. It’s a lot of stress and an incredible amount of responsibility when you step into the 1st AD role. Everyone needs to have confidence in you and the orders you are giving them.Images courtesy of Anthony Milton.Looking for more industry interviews? Check these out.Jonah Hill on Writing and Directing Mid90s — and Tips He Learned from the GreatsInterview: Jennifer Gatti on Bon Jovi, Star Trek and Longevity in the BusinessInterview: Daniel Levin, DP of Rest in Power: The Trayvon Martin StoryInterview: Julie Benz on Work Ethic, Challenging Roles, and Paying it Forward Screenwriter Norman Steinberg on Mel Brooks, Richard Pryor, and Getting Heard PB: From your long career as a PA, any advice on how to stand out from the rest? Certain etiquette to adopt or behaviors to avoid?AM: I can’t overstate this: be early to your call time, and have a good attitude! Pay attention to your walkie talkie, and learn walkie etiquette and protocol. Good communication is absolutely key. As a PA, you are an extension of the ADs and the managers. You are often asked to be a vessel of information through various channels throughout set. Be concise and professional when you speak on the walkie. If you have something long to say, go to channel 2. When someone calls for an available PA, always be the first one to your walkie — if you aren’t already assigned to another task. If no one responds (no quicker way to get on an ADs bad side), speak up and let them know you are busy on a task and what the task is; they will then let you know if what they are asking for takes priority.I know that’s a little detailed, but it’s important! If you aren’t on a task, be near set and paying attention. Anticipate needs! If you see an AD about to carry things, offer to carry them. Same with managers and coordinators. Be ready to assist other departments if necessary. As you grow wiser and more comfortable, become self sufficient, know your duties, and carry them out. Show initiative but not so much you overstep your bounds — it’s a fine line! And understand that every manager and coordinator is different. They have different things they like in a PA and different pet peeves. Learn their quirks; it will get you far. Impress your fellow PAs. In the beginning, a lot of your work will come from them recommending you. Teamwork makes the dream work.Don’t offer the director advice on his shot — or the DP, or the gaffer, or anyone. You’re a PA; be a PA. Be humble and realize you will get your chance one day. Don’t ask when you can go home. (When we are done — that’s when!) We work long days, so strap in. Don’t sit down on set. If you have to take a break, do it out of sight for a few minutes and let a fellow PA know. Don’t hide — that will leave you forgotten. You can be social; it’s easy to get caught up on set, but keep it professional and stay mindful of what is happening on set. Be smart about it.PB: The PA schedule can be a bit difficult to deal with — long hours and getting last-minute calls for booking jobs. Is there a best way to deal with this hectic schedule?AM: Dealing with the PA schedule is a little different for everyone. It’s whatever works for you because there is nothing easy about it. You will work a lot of back to back to back 16-hour days and question everything in your life. Then you might have a week off! You have to cancel plans when jobs come up, which makes it hard to plan things in the first place.You will know after about five jobs if this life is something you really want. It’s fun, it’s different, you can have a lot of time off in between on commercials. If you plan to work on shows, know that your life belongs to them for six months, 16-17 hour days, five days a week. Some people love that hustle, but I prefer commercials.The best way to deal with it is to be aware of it and be willing to accept it. Be willing to stare down the barrel of an 80-hour week with no sleep, and be ready to deal with the downtime in between without feeling like you’ll never work again. It’s a unique life, but it can be a lot of fun.PB: How long did you work as a PA?AM: I was a PA for nine years, which is an abnormal amount of time, but I switched gears on going grip/electric to going AD halfway through. And I only wanted to AD on commercials, so my route was a little longer. Everyone’s PA lifespan is different, depending on timing and which department you want to move up to.PB: What inspired you to move on to a different department?AM: I was inspired the moment I stepped on set. Some people come in with a specific department in mind. I eventually want to direct, but I wanted to be able to make a living as a crew member while I directed my own things on the side. The AD department fit my personality and my skill-set. So if you are one who doesn’t know what department you want to join, then just keep floating around and talking to those people; you’ll figure out what best suits you.PB: The typical advice for learning the craft of a new department is “just shadow them,” which can be tricky as a PA when you’re always being called away to work on something else. Any advice for gaining experience and knowledge in your desired department?AM: If your desired department is technical, do research, ask the guys questions on set when you can, watch them and truly pay attention. Get your hands on the gear any chance you get; volunteer at a rental house. Make friends with someone in that department; offer to take them out to lunch and pick their brains. If your desired position is creative, write, shoot, create — by any means necessary. Doesn’t take a lot of money. Just do it. Even if you don’t show anyone, make it. You’ll never develop a style if you don’t write or make anything.PB: How do you move on from being a PA and into your dream department?AM: Build relationships in those departments, and be as knowledgeable as possible. No better advice; no better way. I can’t stress how crucial those relationships are, no matter what department you are in. And when you feel like you are ready for a specific role, and I mean really ready and confident, tell people you are no longer a PA, and you are now a 1st AC, or an AD, or whichever role you’ve been training for. But like I said, it’s wise to wait until you are fully confident and have already been hired in that department a few times.
The Rajasthan government has made a provision for financial assistance to export units for participating in exhibitions organised abroad. The move is set to benefit export-oriented sectors such as gems and jewellery, textiles and dimensional stone.State Industries Minister Rajpal Singh Shekhawat said here on Tuesday that an export unit would get a maximum of ₹3 lakh every year for taking part in three international exhibitions. He said the State government had set a target for increasing exports threefold from ₹40,776 crore in 2016-17 to ₹1,21,000 crore in the years to come.With their participation in the foreign expos, the exporters would be able to get first-hand information about the demand in the global markets and formulate their plans and strategies accordingly, said Mr. Shekhawat.The Minister said the list of recipients of the export awards for 2015-16 and 2016-17 would be announced shortly. The products which are exported from the State are mainly from sectors like textile, agro and food products, engineering, ferrous and non-ferrous metals, dimensional stone, minerals, plastic, handicrafts, ready-made garments and carpets.
Sini Jose has been provisionally suspended by NADA after flunking dope test for anabolic steroid.Sini Jose, one of the eight athletes who recently tested positive for banned substances, on Wednesday blamed the country’s athletics coaches for the scandal.A member of the Commonwealth Games 4×400 metre gold winning quartet, Jose lifted the lid on the doping scandal. It was the first time that any of the tainted athletes came out accusing the coaches of giving them performance enhancing drugs in the name of vitamins.Jose said: “We had taken vitamins (not contaminated food supplements). Our coach had given us some vitamins. We are innocent.”The athletes had earlier claimed that they did not know how the banned substances got into their system. They had blamed adulterated food supplements or food contamination.Earlier in the day, three of the eight athletes, who had failed dope test, appeared before a National Anti-Doping Agency panel for their B sample examination. Jose, Tiana Mary and Juana Murmu were summoned by the NADA panel.The Union sports ministry had on Tuesday directed the Sports Authority of India (SAI) to sack the foreign athletics coaches.
AddThis ShareJeff Falk713firstname.lastname@example.orgBaker Institute paper: No need yet for US to engage in Nigerian civil warHOUSTON – (Dec. 15, 2014) – The United States should not engage in the Nigerian civil war, according to a new policy paper from Rice University’s Baker Institute for Public Policy. The paper examines the implications of the civil war currently underway in Nigeria between the Salafi-jihadi group popularly called Boko Haram and the country’s military.Credit: thinkstockphotos.com/Rice UniversityWhile there is some support among the United States foreign policy community for proactively combating Boko Haram, there are only extreme circumstances under which the U.S. should involve itself in the civil war; so far, this conflict does not coincide with those circumstances, according to the policy paper, “Boko Haram: A New Islamic State in Nigeria.”“During the years since 2011, Boko Haram has morphed from being a local Salafi-jihadi group into a major player in West African radicalism,” said the paper’s author, David Cook, an associate professor of religious studies and Rice Scholar at the Baker Institute. “Its tactics have ranged from standard guerilla pin-prick attacks against governmental, military and Christian targets to sophisticated suicide attacks and mass slayings of target populations.”Since July of this year, Boko Haram has clearly set the establishment of a physical Islamic state in Nigeria as its goal and has fought the Nigerian military to a draw, Cook said. “However, the Nigerian civil war is not one that commands much interest among Americans as a whole. Nor is it clear the manner in which aid for fighting Boko Haram could be rendered or what exactly would be the acceptable scope of such a conflict for the United States. That said, it is possible that with Boko Haram set upon the establishment of an Islamic state, there could come a set of circumstances under which this reality could change.”Cook believes that it would be foolish for the U.S. government to involve itself with the fight against Boko Haram at this stage, “at least until the Nigerian government has established an adequate track record of transparency” in its efforts to combat the group.The U.S. should be wary of a situation like that in Pakistan, where the elite might seek to prolong a given conflict to gain access to American military and financial resources, Cook said. “Certain elements of the Nigerian government and military are definitely set on U.S. involvement in the conflict,” he said. “This fact should make us all the more cautious about involvement.”Cook studies early Islam, Muslim apocalyptic literature and movements for radical social change. His most recent books are “Understanding Jihad” and “Contemporary Muslim Apocalyptic Literature.”-30-For more information or to schedule an interview with Cook, contact Jeff Falk, associate director of national media relations at Rice, at email@example.com or 713-348-6775.Related materials:Paper: http://bakerinstitute.org/research/boko-haram-new-islamic-state-nigeria.Cook bio: http://bakerinstitute.org/experts/david-cook.Follow the Baker Institute via Twitter @BakerInsitute.Follow Rice News and Media Relations via Twitter @RiceUNews.Founded in 1993, Rice University’s Baker Institute ranks among the top 15 university-affiliated think tanks in the world. As a premier nonpartisan think tank, the institute conducts research on domestic and foreign policy issues with the goal of bridging the gap between the theory and practice of public policy. The institute’s strong track record of achievement reflects the work of its endowed fellows, Rice University faculty scholars and staff, coupled with its outreach to the Rice student body through fellow-taught classes — including a public policy course — and student leadership and internship programs. Learn more about the institute at www.bakerinstitute.org or on the institute’s blog, http://blogs.chron.com/bakerblog.