Travis and Leroy are waiting for a bus to Atlanta to party with friends. On the bus, a rowdy group of teens harass them and force them to move. Travis then gets a call that their friends were in a car accident on the way to meet them. When the bus gets a flat tire, they decide to walk instead of waiting over an hour for a replacement. Leroy complains that nothing is going their way on what should be a fun night out.
Will Edgington arrives in Louisville, Ohio to meet with Dano Lawler on behalf of his company. When he goes to Dano's house, Jess Cutefield answers and is suspicious of Will. However, Will convinces her he knows Dano by revealing details about his and Dano's past. Dano then comes out and is initially aggressive, but recognizes Will when Will says he is the son of Paige Edgington, someone Dano seems to know from the past.
The document outlines a plot for a comedy film titled "Trip to Las Vegas" about a group of people whose flight to Las Vegas is cancelled. They decide to take an old tour bus to Las Vegas instead. During the journey, they encounter misadventures including sex, drugs, a character's death, and nearly driving off a cliff. The main characters are introduced, including a fugitive who convinces the group to take the bus and a depressed man who dies of an overdose. The plot and characters are described to appeal to an R-rated comedy audience over age 18 with vulgar humor and disasters during the trip to Las Vegas.
The document introduces characters from two households who are attending university together. Dmitri Sanders and Frederic Miller disguise themselves in dresses to join Rose Shankel's all-female sorority, hoping to spend time with the women. However, their disguises do not fool everyone. Ariadene is skeptical of her brother Dmitri's motives, and Phoebe suspects that "Demetria" and "Daphne" are actually men in disguise. The characters break into song as they continue their hijinks at the sorority.
The document summarizes research on trailers and posters for psychological thriller films. It analyzes the overall structures, sounds, and visual elements of trailers for Get Out and We Need to Talk About Kevin. It also analyzes posters for Silence of the Lambs and Black Swan. Key findings include how the trailers use tension-building music and editing to portray the films' psychological elements without revealing full plots. Common visual techniques identified are use of color symbolism and compositional elements to characterize figures and hint at themes. The analysis will inform the creator's own production work through suggestive imagery, sound design, and portrayal of characters' emotions.
The Voice returns for its ninth season on September 21st. This season features a younger talent pool. Host Carson Daly notes that musical trends among contestants change each season. Gwen Stefani has returned as a coach and is surprised by how young some contestants are, being only 15 years old. Celebrity advisors this season include Rihanna, Selena Gomez, and Missy Elliott. The coaches agree to not allow contestants to sing songs by the coaches to avoid awkwardness. Blake Shelton hints at new music and wants to write a song with Pharrell Williams about "titties".
Will Edgington arrives in Louisville, Ohio to meet with Dano Lawler on behalf of his company. When he goes to Dano's house, Jess Cutefield answers and is suspicious of Will. However, Will convinces her he knows Dano by revealing details about his and Dano's past. Dano then comes out and is initially aggressive, but recognizes Will when Will says he is the son of Paige Edgington, someone Dano seems to know from the past.
The document outlines a plot for a comedy film titled "Trip to Las Vegas" about a group of people whose flight to Las Vegas is cancelled. They decide to take an old tour bus to Las Vegas instead. During the journey, they encounter misadventures including sex, drugs, a character's death, and nearly driving off a cliff. The main characters are introduced, including a fugitive who convinces the group to take the bus and a depressed man who dies of an overdose. The plot and characters are described to appeal to an R-rated comedy audience over age 18 with vulgar humor and disasters during the trip to Las Vegas.
The document introduces characters from two households who are attending university together. Dmitri Sanders and Frederic Miller disguise themselves in dresses to join Rose Shankel's all-female sorority, hoping to spend time with the women. However, their disguises do not fool everyone. Ariadene is skeptical of her brother Dmitri's motives, and Phoebe suspects that "Demetria" and "Daphne" are actually men in disguise. The characters break into song as they continue their hijinks at the sorority.
The document summarizes research on trailers and posters for psychological thriller films. It analyzes the overall structures, sounds, and visual elements of trailers for Get Out and We Need to Talk About Kevin. It also analyzes posters for Silence of the Lambs and Black Swan. Key findings include how the trailers use tension-building music and editing to portray the films' psychological elements without revealing full plots. Common visual techniques identified are use of color symbolism and compositional elements to characterize figures and hint at themes. The analysis will inform the creator's own production work through suggestive imagery, sound design, and portrayal of characters' emotions.
The Voice returns for its ninth season on September 21st. This season features a younger talent pool. Host Carson Daly notes that musical trends among contestants change each season. Gwen Stefani has returned as a coach and is surprised by how young some contestants are, being only 15 years old. Celebrity advisors this season include Rihanna, Selena Gomez, and Missy Elliott. The coaches agree to not allow contestants to sing songs by the coaches to avoid awkwardness. Blake Shelton hints at new music and wants to write a song with Pharrell Williams about "titties".
This three sentence summary provides the essential information about the document:
The document discusses the 2010 romantic drama film "Letters to Juliet" starring Amanda Seyfried. It summarizes the film's plot about a fact-checker who discovers old love letters in Verona, Italy and embarks on a journey to help find the long lost love from one of the letters. The document also includes quotes from the film praising its charming and romantic story, and expressing how it makes the reader want to believe in true love.
The document provides background information on singer Lana Del Rey, including her real name, record labels, and the commercial success of her albums. It then analyzes her music video for "Born to Die" which tells a narrative of an unstable relationship ending in a car crash death. Similarities are drawn between the video and the 1973 film "Badlands" due to their analogous plotlines involving a dangerous male character and fatal ending. The target audience is identified as indie fans aged 18-28, and typical pop video elements like visual settings and lip syncing are discussed.
The document provides dos and don'ts for wedding speeches, based on the author's experience as a comedian and speech coach. It advises to keep speeches brief (under 5 minutes), incorporate relevant childhood stories and gentle jokes about those with thick skin, but to avoid crude jokes, mocking the bride, or turning it into a personal comedy routine. Examples are given of an inappropriate best man speech that was too long and personal, and an inappropriate maid of honor speech that poked fun in a mean way. The author emphasizes that wedding speeches are an important memorable part of the wedding video to be enjoyed for years.
The music video for Lana Del Rey's song "Born to Die" tells a narrative story of a troubled romantic relationship. It depicts the couple embarking on a car trip together which reveals the unstable nature of their relationship, as the man ominously threatens the woman at one point. The video culminates in a car accident that leaves the woman dead, held in the man's arms as he stands in shock next to a burning fire. Throughout the video, scenes of the woman in heaven suggest she will find peace after her death. The video draws similarities to the 1973 film "Badlands" through its plot of a dangerous man and woman on the run together who meet a tragic end.
This document provides an in-depth profile of rapper Nicki Minaj as she prepares for the release of her sophomore album "Pink Friday: Roman Reloaded." It discusses her rise to fame and crossover success, as well as her evolving public persona. Minaj emphasizes that she no longer feels the need to prove herself and is focused on having fun with her music. While some criticized her debut for being too pop, she believes it validated her artistic choices. Minaj also discusses her close working relationship with Drake and maintaining control over her career and image.
The document criticizes several popular romantic films as actually depicting stalker-like behavior disguised as romance. It analyzes scenes from "Say Anything" where Lloyd follows Diane obsessively and tells her father his goal is to be her boyfriend. In "The Graduate", Ben secretly follows Elaine around campus after she breaks up with him. "Love Stalker" is praised for depicting a situation where a man stalks a woman after she breaks up with him. The document warns that obsessive behavior and lack of boundaries shown in these films should not be considered realistic or healthy in real relationships.
This trailer begins by showing the film can be played in the UK, then introduces three female main characters to attract a young adult audience. One character says "here's to a great night" suggesting they are going out, and there are shots of them getting ready to establish the location and genre as a "chick flick". However, there is then a loud crash followed by eerie music and shots of a crashed car with the characters injured, indicating a shift to a horror genre. Intertitles in a red gravestone font continue this horror branding. The trailer builds tension through quick cuts and ominous music, leaving the audience on a cliffhanger.
A powerpoint guide to upstairs downton abbeydaniellekate
This powerpoint guide summarizes some of the main characters from Downton Abbey in an informal and humorous way over 3 slides:
1) It discusses the upstairs family including Lord Grantham, Cora Crawley, Mary Crawley, Edith Crawley, Sybil Branson, and Dowager Countess.
2) It summarizes Matthew Crawley and his relationship with the Crawley daughters.
3) It provides an overview of Tom Branson and his marriage to Sybil.
"Lana Del Rey - Born To Die" Music Video AnalysisEllie Grocock
This music video tells the story of Lana Del Rey's character falling in love with a tattooed, rebellious male. It juxtaposes images of her on a throne, representing power and innocence, with scenes of them together intimately but in dangerous settings. Over time, his controlling behavior seems to corrupt her innocence. The video hints he may harm her as her expressions show growing fear and misery. In the end, she appears relieved on her throne again, suggesting she has been reborn after overcoming his influence.
The document summarizes the author's first hour in Baltimore city, where within the first 5 minutes a woman on drugs tried to break into her car. The woman yelled insults and threats at the author. The author notes seeing hidden beauty in the architecture, while also acknowledging the open brutality and dangers like drug dealing, violence, and poverty that are normal aspects of the city. Over the course of the hour, the author experiences the contrasts of Baltimore through a series of unsettling encounters and observations.
Kendrick Lamar's "Humble" music video uses irony and subtle messaging to highlight issues of racism and media brainwashing. It features Lamar in religious and ostentatious settings, reenacting the Last Supper and criticizing artificiality in rap. Scenes like Lamar being the only one with visible hair in a crowd could have deeper meanings. Lana Del Rey's "Born to Die" video contrasts images of Del Rey, representing purity and authority, with her tattooed male partner, representing rebellion. It depicts their forbidden relationship and Del Rey running away with the "bad boy," playing with cliches of an innocent rich girl and a lower-class lover.
1) The document compares the representation of women in the music videos "You Know I'm No Good" by Amy Winehouse and "Roar" by Katy Perry.
2) In "You Know I'm No Good", women are portrayed as weak and suppressed through techniques like mise-en-scene, camerawork, sound, and editing. In "Roar", women are initially shown as weak but become empowered through techniques like clothing, color, and editing.
3) Overall, the document analyzes how the two videos represent women differently, with "You Know I'm No Good" generally portraying women in a more negative light and "Roar" providing a more positive representation of female
The Squeaky Clean Legacy, Chapter 8.1: Too Much Romanceprofessorbutters
Mortimer Goodytwoshoes, an unhappy Knowledge Sim, confesses his love for the narrator, Professor Butters. Professor Butters rejects Mortimer's advances and instead encourages him to reopen his robotics shop with his wife Edith. Mortimer agrees and builds successful sentry bots. Delightful, a lesbian Romance Sim, continues dating various women, causing conflicts with her ex-boyfriend Aaroc. Aurora graduates from college but remains self-centered. Professor Butters receives her first Servo, Jeeves, who will help manage her household.
Elit 17 class 11n end richard iii introduce essay 1kimpalmore
This document provides an agenda for an English literature class, including discussions on Richard III and an introduction to the first essay assignment. It lists recitation times for two students and includes discussion prompts analyzing scenes from Shakespeare's play Richard III compared to its film adaptation. Guidelines are given for the first essay, including potential topics focusing on works studied in class such as The Comedy of Errors and Twelfth Night. Students are instructed to choose a topic responding to one of the provided prompts or using their own topic in a 3 to 6 page thesis-driven essay.
The document provides an overview of the English rock band The Smiths and their frontman Morrissey, including:
1) Their rise in the early 1980s with catchy and melodic pop singles that were also intellectual and morose.
2) Their breakup in 1987 marked the end of their influential but short career.
3) Morrissey went on to a successful solo career but continued exploring political and controversial topics in his lyrics, cementing his legacy as one of the most influential artists in alternative rock.
Music Video Analysis: Lana Del Rey - Born to Dievisitor567
Lana Del Rey's music video for "Born to Die" portrays her in an unhealthy relationship with her boyfriend. Throughout the video, various visuals connect to and illustrate the lyrics, such as shots of Lana smoking when she sings about getting high. The video follows their car trip, which ends in Lana's death. It uses a narrative structure and juxtaposition to convey the concept that no matter one's class or possessions, everyone will eventually die.
The document summarizes and compares how women are represented in the music videos "The Only Exception" by Paramore and "Salute" by Little Mix. In The Only Exception, women are portrayed as fragile, delicate, emotionally unstable, and reliant on men through the use of soft colors, childlike clothing and behavior, and changing emotions. In contrast, Salute depicts women as authoritative, dominant, powerful, and in control through provocative outfits, aggressive behavior, and dominance over men. Overall, the two videos present very different representations of women.
The document provides a summary of the plot of the musical Jersey Boys, which tells the story of the rise and fall of the 1960s rock group The Four Seasons. It describes their humble beginnings singing in New Jersey, their first hits like "Sherry" and "Big Girls Don't Cry", financial troubles caused by member Tommy DeVito's gambling debts, and Frankie Valli's eventual success as a solo artist with hits like "Can't Take My Eyes Off You." It concludes with an update on what the members of The Four Seasons - Frankie Valli, Bob Gaudio, Nick Massi, and Tommy DeVito - are doing today.
The trailers analyzed all depict romantic dramas that follow a classical narrative structure, where the main characters fall in love but face obstacles to their relationship. Common elements include a disruption of equilibrium through tragedy, family disapproval, or other antagonists. Voiceovers are often used to explain the story and reflect on the disruption. While the heroes attempt to repair the disruption, the trailers end before showing if equilibrium is restored, leaving audiences to watch the full film. The target audience for these romantic dramas appears to be mainstream, with a focus on female viewers.
Harry Saffold Jr. is a formerly incarcerated individual who now works as a mentor, motivational speaker, filmmaker and artist. He has produced several documentary films addressing issues like homelessness, sexual abuse and gun violence. He has also written a series of short stories called "UNLOCK" that address challenges facing youth. Saffold draws on his own experiences with the criminal justice system and aims to deter youth from criminal behaviors and serve as a role model for other formerly incarcerated individuals. He uses art, storytelling and public speaking to educate and inspire youth.
Marion Steff (March 2016). Innovation through empowerment: The Voices of the ...Sightsavers
The Voices of the Marginalised project gathered stories from persons with disabilities and older people in Bangladesh and Tanzania to inform the UN's Post-2015 Development Agenda. Peer researchers with disabilities and older persons collected stories about issues like access to health, education, employment, and family difficulties. While common issues emerged, contexts differed based on natural hazards, taboos, and local beliefs. The project recommended engaging governments to implement disability policies and laws, promote awareness, and ensure development and public services are inclusive of persons with disabilities and older populations.
Whether you are a first-time executive director or you are new to your organization, how you start is vital to your success. Executive directors are commissioned to excel in leadership, operations, and funding. Leading an organization offers you an exhilarating experience with a powerful opportunity to leave a lasting impact.
Join Margaret Linnane, Executive Director of the Edyth Bush Institute for Philanthropy and Nonprofit Leadership, as she shares with you four tips every new nonprofit leader should consider. In this webinar, you will glean from Margaret’s years of experience in strengthening countless nonprofit organizations and leave with refreshed guidance to lead effectively.
This three sentence summary provides the essential information about the document:
The document discusses the 2010 romantic drama film "Letters to Juliet" starring Amanda Seyfried. It summarizes the film's plot about a fact-checker who discovers old love letters in Verona, Italy and embarks on a journey to help find the long lost love from one of the letters. The document also includes quotes from the film praising its charming and romantic story, and expressing how it makes the reader want to believe in true love.
The document provides background information on singer Lana Del Rey, including her real name, record labels, and the commercial success of her albums. It then analyzes her music video for "Born to Die" which tells a narrative of an unstable relationship ending in a car crash death. Similarities are drawn between the video and the 1973 film "Badlands" due to their analogous plotlines involving a dangerous male character and fatal ending. The target audience is identified as indie fans aged 18-28, and typical pop video elements like visual settings and lip syncing are discussed.
The document provides dos and don'ts for wedding speeches, based on the author's experience as a comedian and speech coach. It advises to keep speeches brief (under 5 minutes), incorporate relevant childhood stories and gentle jokes about those with thick skin, but to avoid crude jokes, mocking the bride, or turning it into a personal comedy routine. Examples are given of an inappropriate best man speech that was too long and personal, and an inappropriate maid of honor speech that poked fun in a mean way. The author emphasizes that wedding speeches are an important memorable part of the wedding video to be enjoyed for years.
The music video for Lana Del Rey's song "Born to Die" tells a narrative story of a troubled romantic relationship. It depicts the couple embarking on a car trip together which reveals the unstable nature of their relationship, as the man ominously threatens the woman at one point. The video culminates in a car accident that leaves the woman dead, held in the man's arms as he stands in shock next to a burning fire. Throughout the video, scenes of the woman in heaven suggest she will find peace after her death. The video draws similarities to the 1973 film "Badlands" through its plot of a dangerous man and woman on the run together who meet a tragic end.
This document provides an in-depth profile of rapper Nicki Minaj as she prepares for the release of her sophomore album "Pink Friday: Roman Reloaded." It discusses her rise to fame and crossover success, as well as her evolving public persona. Minaj emphasizes that she no longer feels the need to prove herself and is focused on having fun with her music. While some criticized her debut for being too pop, she believes it validated her artistic choices. Minaj also discusses her close working relationship with Drake and maintaining control over her career and image.
The document criticizes several popular romantic films as actually depicting stalker-like behavior disguised as romance. It analyzes scenes from "Say Anything" where Lloyd follows Diane obsessively and tells her father his goal is to be her boyfriend. In "The Graduate", Ben secretly follows Elaine around campus after she breaks up with him. "Love Stalker" is praised for depicting a situation where a man stalks a woman after she breaks up with him. The document warns that obsessive behavior and lack of boundaries shown in these films should not be considered realistic or healthy in real relationships.
This trailer begins by showing the film can be played in the UK, then introduces three female main characters to attract a young adult audience. One character says "here's to a great night" suggesting they are going out, and there are shots of them getting ready to establish the location and genre as a "chick flick". However, there is then a loud crash followed by eerie music and shots of a crashed car with the characters injured, indicating a shift to a horror genre. Intertitles in a red gravestone font continue this horror branding. The trailer builds tension through quick cuts and ominous music, leaving the audience on a cliffhanger.
A powerpoint guide to upstairs downton abbeydaniellekate
This powerpoint guide summarizes some of the main characters from Downton Abbey in an informal and humorous way over 3 slides:
1) It discusses the upstairs family including Lord Grantham, Cora Crawley, Mary Crawley, Edith Crawley, Sybil Branson, and Dowager Countess.
2) It summarizes Matthew Crawley and his relationship with the Crawley daughters.
3) It provides an overview of Tom Branson and his marriage to Sybil.
"Lana Del Rey - Born To Die" Music Video AnalysisEllie Grocock
This music video tells the story of Lana Del Rey's character falling in love with a tattooed, rebellious male. It juxtaposes images of her on a throne, representing power and innocence, with scenes of them together intimately but in dangerous settings. Over time, his controlling behavior seems to corrupt her innocence. The video hints he may harm her as her expressions show growing fear and misery. In the end, she appears relieved on her throne again, suggesting she has been reborn after overcoming his influence.
The document summarizes the author's first hour in Baltimore city, where within the first 5 minutes a woman on drugs tried to break into her car. The woman yelled insults and threats at the author. The author notes seeing hidden beauty in the architecture, while also acknowledging the open brutality and dangers like drug dealing, violence, and poverty that are normal aspects of the city. Over the course of the hour, the author experiences the contrasts of Baltimore through a series of unsettling encounters and observations.
Kendrick Lamar's "Humble" music video uses irony and subtle messaging to highlight issues of racism and media brainwashing. It features Lamar in religious and ostentatious settings, reenacting the Last Supper and criticizing artificiality in rap. Scenes like Lamar being the only one with visible hair in a crowd could have deeper meanings. Lana Del Rey's "Born to Die" video contrasts images of Del Rey, representing purity and authority, with her tattooed male partner, representing rebellion. It depicts their forbidden relationship and Del Rey running away with the "bad boy," playing with cliches of an innocent rich girl and a lower-class lover.
1) The document compares the representation of women in the music videos "You Know I'm No Good" by Amy Winehouse and "Roar" by Katy Perry.
2) In "You Know I'm No Good", women are portrayed as weak and suppressed through techniques like mise-en-scene, camerawork, sound, and editing. In "Roar", women are initially shown as weak but become empowered through techniques like clothing, color, and editing.
3) Overall, the document analyzes how the two videos represent women differently, with "You Know I'm No Good" generally portraying women in a more negative light and "Roar" providing a more positive representation of female
The Squeaky Clean Legacy, Chapter 8.1: Too Much Romanceprofessorbutters
Mortimer Goodytwoshoes, an unhappy Knowledge Sim, confesses his love for the narrator, Professor Butters. Professor Butters rejects Mortimer's advances and instead encourages him to reopen his robotics shop with his wife Edith. Mortimer agrees and builds successful sentry bots. Delightful, a lesbian Romance Sim, continues dating various women, causing conflicts with her ex-boyfriend Aaroc. Aurora graduates from college but remains self-centered. Professor Butters receives her first Servo, Jeeves, who will help manage her household.
Elit 17 class 11n end richard iii introduce essay 1kimpalmore
This document provides an agenda for an English literature class, including discussions on Richard III and an introduction to the first essay assignment. It lists recitation times for two students and includes discussion prompts analyzing scenes from Shakespeare's play Richard III compared to its film adaptation. Guidelines are given for the first essay, including potential topics focusing on works studied in class such as The Comedy of Errors and Twelfth Night. Students are instructed to choose a topic responding to one of the provided prompts or using their own topic in a 3 to 6 page thesis-driven essay.
The document provides an overview of the English rock band The Smiths and their frontman Morrissey, including:
1) Their rise in the early 1980s with catchy and melodic pop singles that were also intellectual and morose.
2) Their breakup in 1987 marked the end of their influential but short career.
3) Morrissey went on to a successful solo career but continued exploring political and controversial topics in his lyrics, cementing his legacy as one of the most influential artists in alternative rock.
Music Video Analysis: Lana Del Rey - Born to Dievisitor567
Lana Del Rey's music video for "Born to Die" portrays her in an unhealthy relationship with her boyfriend. Throughout the video, various visuals connect to and illustrate the lyrics, such as shots of Lana smoking when she sings about getting high. The video follows their car trip, which ends in Lana's death. It uses a narrative structure and juxtaposition to convey the concept that no matter one's class or possessions, everyone will eventually die.
The document summarizes and compares how women are represented in the music videos "The Only Exception" by Paramore and "Salute" by Little Mix. In The Only Exception, women are portrayed as fragile, delicate, emotionally unstable, and reliant on men through the use of soft colors, childlike clothing and behavior, and changing emotions. In contrast, Salute depicts women as authoritative, dominant, powerful, and in control through provocative outfits, aggressive behavior, and dominance over men. Overall, the two videos present very different representations of women.
The document provides a summary of the plot of the musical Jersey Boys, which tells the story of the rise and fall of the 1960s rock group The Four Seasons. It describes their humble beginnings singing in New Jersey, their first hits like "Sherry" and "Big Girls Don't Cry", financial troubles caused by member Tommy DeVito's gambling debts, and Frankie Valli's eventual success as a solo artist with hits like "Can't Take My Eyes Off You." It concludes with an update on what the members of The Four Seasons - Frankie Valli, Bob Gaudio, Nick Massi, and Tommy DeVito - are doing today.
The trailers analyzed all depict romantic dramas that follow a classical narrative structure, where the main characters fall in love but face obstacles to their relationship. Common elements include a disruption of equilibrium through tragedy, family disapproval, or other antagonists. Voiceovers are often used to explain the story and reflect on the disruption. While the heroes attempt to repair the disruption, the trailers end before showing if equilibrium is restored, leaving audiences to watch the full film. The target audience for these romantic dramas appears to be mainstream, with a focus on female viewers.
Harry Saffold Jr. is a formerly incarcerated individual who now works as a mentor, motivational speaker, filmmaker and artist. He has produced several documentary films addressing issues like homelessness, sexual abuse and gun violence. He has also written a series of short stories called "UNLOCK" that address challenges facing youth. Saffold draws on his own experiences with the criminal justice system and aims to deter youth from criminal behaviors and serve as a role model for other formerly incarcerated individuals. He uses art, storytelling and public speaking to educate and inspire youth.
Marion Steff (March 2016). Innovation through empowerment: The Voices of the ...Sightsavers
The Voices of the Marginalised project gathered stories from persons with disabilities and older people in Bangladesh and Tanzania to inform the UN's Post-2015 Development Agenda. Peer researchers with disabilities and older persons collected stories about issues like access to health, education, employment, and family difficulties. While common issues emerged, contexts differed based on natural hazards, taboos, and local beliefs. The project recommended engaging governments to implement disability policies and laws, promote awareness, and ensure development and public services are inclusive of persons with disabilities and older populations.
Whether you are a first-time executive director or you are new to your organization, how you start is vital to your success. Executive directors are commissioned to excel in leadership, operations, and funding. Leading an organization offers you an exhilarating experience with a powerful opportunity to leave a lasting impact.
Join Margaret Linnane, Executive Director of the Edyth Bush Institute for Philanthropy and Nonprofit Leadership, as she shares with you four tips every new nonprofit leader should consider. In this webinar, you will glean from Margaret’s years of experience in strengthening countless nonprofit organizations and leave with refreshed guidance to lead effectively.
Marion Steff and Margo Greenwood (February 2016). Hear my voice: Lived experi...Sightsavers
26 peer researchers conducted 106 interviews with older people and people with disabilities in two districts of Tanzania. The interviews identified 8 priorities including access to education, health services, and issues of poverty. Stories highlighted difficulties accessing healthcare and discrimination faced in schools. The study produced local, national, and global recommendations to address these issues and promote the rights of older people and people with disabilities.
L’effetto Mobile sulla Customer ExperienceMario Massone
Le aziende si propongono di essere sempre più connesse con i loro clienti. Le tecnologie e le applicazioni mobile giocano un ruolo fondamentale. I risultati di una mini-indagine che è stata promossa dal Club CMMC sulla sua comunità.
El documento compara las teorías del Esbozo y Lang sobre la formación de palabras. El Esbozo categoriza algunas palabras como compuestas mientras que Lang las considera derivadas. Ambos reconocen la flexión, derivación y composición. Sin embargo, Lang incluye más casos de derivación al incorporar criterios semánticos y categoriza algunas palabras como "compuestos sintagmáticos".
F.A. Barthold, a French sculptor born in 1834, began designing the Statue of Liberty statue in France in 1870. Gustave Eiffel, a French engineer and architect born in 1832, helped construct the statue. The idea for the Statue of Liberty came from Edouard Laboulaye, and its construction was completed in 1886 under the direction of Barthold and Eiffel.
Sreya Chakraborty is seeking a job that allows her to develop her skills and build a successful career. She has experience as a nutrition faculty at VLCC, where she conducted lectures, counseling sessions, and workshops on health and fitness issues. Previously, she worked as a secondary level biology teacher, coordinating school functions and seminars. Sreya has also interned as a public relations manager and dietitian. She has an M.Sc. in Nutrition and Dietetics and B.Sc. in Bioscience, along with certifications in child care and nutrition. Her skills include leadership, management, communication, and counseling.
This document provides information about changes to expat compensation packages over time. It notes that in the past, expat packages were very generous and included many benefits. However, companies began reducing benefits as they found locals could do the same jobs for less. It also discusses the trend of more expats accepting local salary packages to remain in countries like Malaysia. While packages are less lucrative now, most expats still find Malaysia an attractive place given economic conditions elsewhere.
Bài trình bày tại Trung tâm Phát triển Hạ tầng thuộc Sở Thông tin và Truyền thông Đà Nẵng tại khóa học 'Huấn luyện huấn luyện viên nguồn mở, ngày 1, 12/09/2016.
Luz elena muñoz r taller practico 10 claves para la implementacionangelaherrera48
Este documento presenta un taller práctico sobre 10 claves para la implementación de tendencias y enfoques innovadores. El taller busca que los docentes identifiquen el cambio paradigmático requerido para incorporar las TIC al aula y currículo. El taller se desarrolla a través de temáticas como nuevas habilidades del siglo 21, políticas de acceso a TIC e innovación educativa. El objetivo es que los docentes propongan 10 claves educativas para implementar enfoques innovadores en sus prácticas.
1. THE SERMON DADDY NEVER PREACHED
A SHORT SCRIPT
BY: HARRY SAFFOLD JR.
NOVEMBER 23, 2015
HARRY SAFFOLD JR
334 200 3993
HARRYSAFFOLDJR@YAHOO.COM
2. FADE IN:
CAMP CREEK, GEORGIA
1 EXT. BUS STOP - ROOSEVELT BOULEVARD– NIGHT 1
Chatting amongst themselves, TRAVIS and LEROY wait impatiently for the bus, their minds set
on hanging out with some friends in Atlanta, until morning comes.
TRAVIS
Well, if that’s how she felt, that’s one thing, but to
act out like that, was another!
LEROY
Well, to each their own, and you know like I do, family
gon’ be family.
TRAVIS (SHAKING HIS HEAD)
That’s no excuse, Roy! That’s one thing about family, we grow
up around each other, but when we make decisions that go against
what others disagree with, then they aim to crush our very existence!
2 INT. TRANSIT BUS – MINUTES LATER 2
As the driver opens the door for them to enter, Travis starts in first with Leroy stepping joyfully
on his heels. The bus is slightly packed. What few seats remain open are in the rear of the bus on
the top tier. As Travis swipes his Breeze card, four loud and rowdy AFRICAN – AMERICAN
TEENS ranging from ages 18 to 25 gather at the entrance door of the bus. They’re all wearing
black oversized jeans and big black jackets or hoodies. Two sport long dreadlocks down their
backs while the other two have black ball caps pulled down over their foreheads. After Leroy
swipes his Breeze card, he moves towards the rear behind Travis. It’s then that rowdy group of
four file inside, each swiping their Breeze cards and moving for the rear and taking posts near the
passage way that leads up onto the top tier.
CONTINUES:
3. CONTINUES:
2 INT. TRANSIT BUS – MOVING 2
As the bus chokes forward, Travis and Leroy exchange frowns hopping that neither of them step
up to occupy the two remaining seats near them. “Alright” by Kendrick Lamar can be heard
thumping from TEEN-ONE’s headset while the others go on and on about the house party they
plan to attend tonight. Not interested in their loud chatter, Leroy turns back to Travis to continue
with their previous conversation.
LEROY
So, you think it’s gonna’ go down like that?
TRAVIS
I know so, because when CHRIS gets irritated, he’s going in on them
because he feels misunderstood! They raised that boy for seventeen
years and treat him like he’s a stranger!
As the bus propels forward, Travis turns to look out into the nighttime traffic, anticipating a
long fulfilling night.
LEROY (GRINNING)
It’s been a while since I been to Varsity.
TRAVIS (FROWNING)
I haven’t been in a while either. I hope it’s not a lot of homeless
fools hanging around down there tonight!
LEROY
Oh, they gon’ be around! Standing around, looking for handouts!
4. Just when Travis assumed they’d be free of infringement by unwanted company, Teen-One
decides that he won’t be making the entire ride standing on his feet. He turns and ascends the
steps entering the top tier and settles on a seat next to Travis. Nodding his head, he turns and
faces off with Travis and notices his upturned nose and confronts it.
TEEN ONE
What it do, nigga?! What’chu lookin’ crazy fo’?!
Dumbfounded at the swift aggressive approach from him, Travis quietly rises from his seat and
moves back down the steps and up aisle followed by Leroy. Excusing themselves as they go,
they journey through a row of parked feet and swaying knees in the aisle. Grinning, Teen-One’s
friends turn and march up the steps and onto the top tier to join him. They dive into vacant seats
thanks to Teen-One, who put the occupants on flight. Feeling proud of himself after having
accomplished a mission for the team, Teen-One nods his head harder and faster as Bun B’s “Get
Throwed” begins to thump through his headset.
TEEN ONE
Dats what I thought! Sissy ass bitch!
The entire bus turns towards the top tier, then back at Travis and Leroy, anticipating a physical
confrontation from them, but there is none. Both Travis and Leroy settle near the front of the bus
and take hold of a hanging loop to hold on to for the remainder of the ride. Teen-One remains
seated and rapping along with Bun B, totally engulfed by the lyrics of the song. Short peeping,
Leroy peers back up the aisle at Teen-One, observing him as he displays the mannerism of a
happy little boy singing along to the lyrics of his favorite song. Rolling his eyes, Leroy turns and
meets the soft gaze of an ELDERLY LADY sitting on a bench directly across from them. She
cuffs her umbrella in hand, holds back a smile, then shakes her head, ashamed of Teen-One’s
choice of words and display of niggarism on a public bus. Nevertheless, her facial expression
conveys delight. She’s delighted because Travis and Leroy were strong enough to brush the
disrespect to the side and relocate, altogether avoiding a Nigga Moment that could’ve unfolded
to a brawl on a public bus. As Travis peers out into the city street, the headlights of passing
automobiles flashes over his face, revealing the growing anticipation he still has to jump into the
night life and party the night away. But then suddenly, his Li’l Wayne’s “Lollypop” ringtone
erupts from his side. He reaches down to his hip, recovers it, and reads the screen. It’s
PATRICK, another club hopper who’ll be joining them tonight.
TRAVIS
What’s up, Pat?!
5. PATRICK (O.S.)
Man, I been trying to call you for an hour! Did you get my text?!
TRAVIS
Man, you know this phone does what it wants!
Where y’all at?! We still on the bus.
PATRICK (O.S.)
We on seventy-five, on the side of the road! We was in a wreck.
TRAVIS
A wreck?! Who was driving?! Where were y’all going?!
PATRICK (O.S.)
We were headed to meet y’all at Varsity, and this damn fool pulled
out in front of Jaxon and hit Chris on his side! He gon’ be ok, tho’!
Travis runs a free hand through his long dreadlocks, spins on his toes, and peers out the wide
bus’s window into the city street again. Leroy can see that he’s just received disturbing news,
and places a hand on Travis’s shoulder and spins him back around. As Travis turns back around
to face him, he turns the disappointing news over to Leroy as well.
TRAVIS
They were in a car wreck!
LEROY
Really, man?!
TRAVIS
Yeah.
CONTINUES:
6. CONTINUES:
Their expectations of partying into the next morning is shattered.
TRAVIS
So what are we gonna’ do?! Do y’all want us to come
out to Grady or meet y’all at Varsity?!
PATRICK (V.O.)
I don’t think we gon’ do nothin’ tonight, bru bru. We still out here
at the scene. Police still taking names and talking to witnesses.
TRAVIS
Ahhh, man! If it ain’t one thing, its another!
BOOM BAM, the bus jumps and wobbles into the air without warning. Women and children
scream out of fear and discomfort from the sudden impact of the bus that appears to have run
over something in the road.
PAINTER
You gon’ killa’ nigga fo’ we get to the bus station, man!
BUS DRIVER
I got this! I got this! Sit down, I’m pulling over!
7. 3 EXT. CAMP CREEK PKWY. - TRANSIT BUS– MINTES LATER 3
There the bus sits, on the side of the road with a flat tire in the rear on the driver’s side. With his
hands on his hips, the driver shakes his head in disbelief, irked at the situation they’re in. Then
feeling a bit uncomfortable, he begins to perspire, then looks up, and can see why. Peering out
the wide windows down at him are bus riders. Their faces tell it all. Regrettably, he starts back
inside to deliver the bad news.
4 INT. TRANSIT BUS - PARKED 4
BUS DRIVER
Sorry to inform y’all, but we gotta’ flat-,
The entire bus erupts with complaints; people complaining about being late for work, needing to
get to the grocery store so they can get back home to cook, to being late for a date.
BUS RIDER ONE
Shit, you got three mo’ wheels! Ride on them! You gon’
make me late! I jus’ got this damn job!
BUS DRIVER
Wait, wait now! We not gon’ do no cursing on the bus! It’s a-,
BUS RIDER TWO
Man, you got folks on here got places to go, and you talkin’ bout
some profanity?! Maaaaan, git way from us with dat bullshit!
BUS DRIVER
Sir, I just ask that y’all not curse, that’s all?
Travis turns back to Patrick and joins his misery.
8. TRAVIS
Man, you not gon’ believe this!
PATRICK
What?
TRAVIS
We just got a flat, and we sittin’ here on side of the road-,
PATRICK
Damn.
TRAVIS
Hey Pat, let me call you back. I gotta’ see what’s going on
as far as us being stuck for a while or not.
PATRICK
A’ight.
Travis and others watch on, listening as the driver communicates with a dispatcher over the
radio. After overhearing that it could be 45 minutes before maintenance arrives, and 20 minutes
before another bus can redeem them, Travis turns to Leroy for suggestions, and Leroy, whose
just standing there peering out into the street feels Travis’s eyes set in on him. He turns to face
him, at the same time shaking his head.
TRAVIS
So, what do you wanna’ do? The police still got them held
up on seventy – five talking to witnesses.
9. Leroy doesn’t reply in word, but turns for the front of the bus, snarls at the driver, then bolts for
the front leaving Travis in his path. The driver sees their intent.
BUS DRIVER
So, y’all getting off?
LEROY
Yeah, I ain’t got time for this! But what you gonna’ do about our fee?
BUS DRIVER
Let me refund y’all.
The driver gets on the radio again and calls in to the station and informs the dispatcher that two
of his riders desire to get off. He’s then instructed to refund them, and after doing so, he opens
the door and both Leroy and Travis make an exit. Cautious for passing cars, they scurry across
the street for the bus stop that will get them back home, in the opposite direction.
5 EXT. ROOSEVELT HIGHWAY 5
For what seems like an eternity, Leroy scurries angrily along the roadside pushing hard against
the November winds with his hands buried deep within his pockets, trying like hell to keep them
warm as Travis tails along behind, eager to keep up. Finally, Leroy breaks his silence.
LEROY
It ain’t even Friday the thirteenth man, and nothing’s
going our way. Damn! It’s the day before Thanks Giving!
TRAVIS
Well, we could’ve hung out any way!
LEROY
I’m good! I’ma go on in and watch some….Netflix, or somethin’!
10. TRAVIS
Well, you can come by the house, if you want to.
Leroy stops in his tracks, and peers back at Travis.
LEROY
So, your dad ain’t gon’ trip?!
TRAVIS
Nahh, dude! He’s probably at church.
LEROY
Well, I’ll hang out for a few, but I really had my hopes on going in tonight. HARD!
TRAVIS
Me too! Who you tellin’?!
6 INT. TRAVIS’S HOME – DEN – HOUR LATER 6
Travis and Leroy chuckle lightly at the brawl unfolding between cast members of “Love and Hip
Hop”. Sliding to edge of the sofa, Leroy reaches out, takes hold of his can of Arizona tea and
takes a large swallow. Travis, who’s downed his own can along with four slices of pizza stands
to his feet and retreats for the restroom, leaving Leroy to later inform on what he misses. Leroy
peers on at the tube, tickled at the sight of voluptuous women squaring off with one another,
ready for battle, wearing six inch heels and tight designer skirts and colorful low V-cut blouses
that expose their healthy cleavage. After replacing his Arizona tea on the table top before him,
Leroy reclines back on the sofa with his legs spread wide open. He peers down between them,
but is startled by loud jingling keys sounding off from what appears to be the location of the
kitchen. He propels forward, looking around in search for the TV remote to adjust the volume,
but is too late. Travis’s father Pastor Miller comes into view through the kitchen door, located at
the side of the house. When he lays eyes on Leroy, it’s clearly seen in his eyes that there might
be a problem, something Travis promised Leroy was free of. The remote Leroy couldn’t find, is
discovered by Pastor Miller, who finds it laying on the kitchen table, left there by Travis on his
way to use the restroom.
11. LEROY
How you doing Mr. Miller?
Pastor Miller doesn’t greet Leroy in return. He extends his arm, aims for the TV, and adjusts the
volume.
PASTOR MILLER
Where is Travis at, and who else he got in my house?!
Travis reenters the den to find an angry father standing over Leroy interrogating him. Pastor
Miller turns to Travis with the same question.
TRAVIS
Ain’t nobody else in here daddy!
PASTOR MILLER
Well, you need to take your company somewhere else!
Travis is furious at how his father treats him and his friends. It’s as though he’s a step-child, or a
long lost nephew who’s returned home from a prison bid and only the uncle, Pastor Miller will
accept him. Leroy can see that things may escalate and stands to his feet to part ways.
LEROY
I’ll see you later, bru bru.
TRAVIS
I’ll call you, later.
Shaking his head, Pastor Miller begins gesturing his hands as if he’s a confused man seeking an
answer to a long awaited question.
PASTOTR MILLER
Nahh, you can go with him! I don’t know what y’all think this is!
My house gon’ stay holy! This God’s house, and he made me the head of it!
12. TRAVIS
Daddy, we just watching TV, no dope, no beer, no cussing, nothing!
PASTOR MILLER
And who you pleading a case against Travis?!
BOOMP, the door comes to a close, then silence falls over the house and lingers over it for what
seems like an eternity. The father and son are now alone. Travis breaks his silence, unleashing
years of frustration towards his father.
TRAVIS
I don’t know what issues you have with me, but if I didn’t want
somebody around me, I wouldn’t let them stay with me!
PASTOR MILLER
And if I couldn’t obey people’s rules under their roof, I would leave!
Travis turns and bolts for his bedroom, and although Pastor Miller makes an attempt to cut him
off, he fails. Travis enters his bedroom and slams the door closed behind him, rattling hanging
picture frames that hang from the wall in the hallway.
CONTINUES:
7 INT. HOME – TRAVIS’S BEDROOM 7
Furiously, he storms over to his bed, dumps his body onto it in a sitting position, props his
elbows on his knees, and buries his chin in the cups of his palms. He peers at the wall on the
opposite side of the room. BOOMP BOOMP, BOOMP! Pastor Miller bangs on his bedroom’s
door.
PASTOR MILLER (O.S.)
And if you think every time I say something you, you gon’ run out,
disrespecting me, you wrong! I tell you what, you can get up out of here!
Travis springs from the bed onto his feet, and moves over to the door to vent more.
13. TRAVIS
What do you want from me?!
PASTOR MILLER (O.S.)
I want you out of my house, right now, in the name of Jesus!
TRAVIS
Where am I gonna’ go?!
SILENCE.
PASTOR MILLER (O.S.)
Travis, get your stuff together and get out of my house!
(BEAT) Satan, I bind you in the name of Jesus......get out Travis!
TRAVIS
Why? Because me and my friends are different?!
PASTOR MILLER (O.S.)
Y’all ain’t different! Y’all are just like deez other heathens
in the world, and you gotta’ leave here!
BOOMP BOOMP BOOMP BOOMP BOOMP! Pastor Miller bangs on Travis’s beedroom’s
door again.
TRAVIS
Why I gotta’ leave-
14. CUT TO:
8 INT. HOME- HALLWAY 8
Travis begins to tear up, not from feeling like a victim in the matter, but like his friend Chris,
misunderstood.
PASTOR MILLER
I done gave you too many chances! You don’t get up for church,
and all deez narrow clothes you wear with ya’ twisting friends gon’
get up outta’ here!
TRAVIS (O.S.)
Daddy, I’m comfortable in my skin! This is who I am-
PASTOR MILLER
How you comfortable in your own skin?! You runnin’ round here
in deez small clothes, with people who just talk about spending
money on clothes and gadgets, but don’t wanna’ work for nothing!
TRAVIS (O.S.)
Daddy, what that gotta’ do with me?!
CUT TO:
9 INT. HOME – TRAVIS’S BEDROOM 9
PASTOR MILLER (O.S.)
Because you run with them! With all this gay stuff in my house-
BOOMP BOOMP BOOMP BOOMP BOOMP!
15. TRAVIS
Well, it’s easy for you to say, but I didn’t make myself this way-
PASTOR MILLER
God didn’t make you that way, and you wasn’t born that way! Every
day in the news, the media talkin’ bout black boys being gunned down
in the street by white police, and we need black men and boys to stand up
against racism, but y’all wanna’ be GAY! Like WOMEN! Boy, be what
God made you to be, DAMMIT!
BOOMP BOOMP BOOMP BOOMP BOOMP!
CUT TO:
10 INT. HOME – HALLWAY 10
PASTOR MILLER
Get out of my house Travis, or I’ma call the police! Get out of here!
TRAVIS (O.S.)
You can run down there and rally for other families, but what
if it was me some cop killed, would you speak up on my behalf,
or would I be a son you keep a secret because of who I am!
16. CUT TO:
11 INT. HOME - TRAVIS’S BEDROOM 11
PASTOR MILLER (O.S.)
Ain’t no, that’s who you are! You wasn’t raised that way, and God
didn’t make you that way! You in sin boy, and for the wages of sin
is death, and you not gon’ stay in here with it!
TRAVIS
Maybe God didn’t make me this way, maybe you didn’t raise me
this way, but uncle Don did it…..and you not holding him responsible at all!
SILENCE.
TRAVIS (CONT’D)
Funny how you can protect your brother and his position as a
deacon, but wouldn’t protect your own son!
SILENCE.
CUT TO:
12 INT. HOME – HALLWAY 12
Pastor Miller turns from Travis’s bedroom door, spinning on his toes, and places his back against
it. He cringes on the very words that were just ejected through his son’s bedroom door.
CONTINUES:
TRAVIS (O.S.)
Daddy, how you gon’ hate homosexuality, but wink at what might
have caused me to be this way?!
17. SILENCE.
Pastor Miller cringes more, and folds one arm over the other as if he’s cold, and shivers from the
cold hard facts.
PASTOR MILLER
I couldn’t be held responsible for what Don did –
TRAVIS (O.S.)
Answer me daddy…..how you gonna’ hate what you protect?
SILENCE.
TRAVIS (O.S.) (CONT’D)
Was your pastoral salary more important that what I wrestle with today?!
Was your status as a pastor more important than what I wrestle with today?
Was your brother who violated me more important than your son…..who
stands on the other side of this door, tonight?!
PASTOR MILLER
Don made his own decision and-
CUT TO:
13 INT. HOME -TRAVIS’S BEDROOM 13
TRAVIS
But you knew daddy! (BEAT), Where was my shepherd,
where was spiritual leader, where was my counselor, daddy?!
PASTOR MILLER (O.S.)
So you blame me for something my brother did?!
TRAVIS
Daddy I blame you for something you knew about, but didn’t stop!
18. How you gon’ rally against black boys being killed in the streets and
come home and kill me, your son, because of who I am, and I’m meant
to be this way, because being this way challenges change, and it challenges
the love you claim you have for all people!
PASTO MILLER (O.S.)
I rebuke that in the name of Jesus, and you not gon’ cast blame on me!
TRAVIS
Daddy, it’s not about who’s wrong or right.
SILENCE.
TRAVIS
….but you know what daddy? It’s funny how you can preach sermons
on giving money and prosperity, on not being unequally yoked, or about
Jesus returning to a church without spot, with blemish, but daddy,
THIS…….is a sermon you never preached!