David Tennant Georgia Moffett
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2020 May June Newsletter
MAY / JUNE NEWSLETTER CLUB COMMITTEE 2020 CONTENT President Karl Herman 2304946 President Report - 1 Secretary Clare Atkinson 2159441 Photos - 2 Treasurer Nicola Fleming 2304604 Club Notices - 3 Tuitions Cheryl Cross 0275120144 Jokes - 3-4 Pub Relations Wendy Butler 0273797227 Fundraising - 4 Hall Mgr James Phillipson 021929916 Demos - 5 Editor/Cleaner Jeanette Hope - Johnstone Birthdays - 5 0276233253 New Members - 5 Demo Co-Ord Izaak Sanders 0278943522 Member Profile - 6 Committee: Pauline Rodan, Brent Shirley & Evelyn Sooalo Rock n Roll Personalities History - 7-14 Sale and wanted - 15 THE PRESIDENTS BOOGIE WOOGIE Hi guys, it seems forever that I have seen you all in one way or another, 70 days to be exact!! Bit scary and I would say a number of you may have to go through beginner lessons again and also wear name tags lol. On the 9th of May the national association had their AGM with a number of clubs from throughout New Zealand that were involved. First time ever we had to run the meeting through zoom so talking to 40 odd people from around the country was quite weird but it worked. A number of remits were discussed and voted on with a collection of changes mostly good but a few I didn’t agree with but you all can see it all on the association website if you are interested in looking . Also senior and junior nationals were voted on where they should be hosted and that is also advertised on their website. Juniors next year will be in Porirua and Seniors will be in Wanganui. -
Barrington Pheloung's Cv
BARRINGTON PHELOUNG’S CV 2004/05 FILMS SHOPGIRL Production Company: Hyde Park Entertainment Directed by: Anand Tucker Produced by: Jon Jashni, Ashok Amritraj & Steve Martin Written by: Steve Martin LITTLE FUGITIVE Production Company: Little Fugitive Directed by: Joanna Lipper Produced by: Joanna Lipper, Vince Maggio, Nicholas Paleologos & Fredrick Zollo Written by: Joanna Lipper A PREVIOUS ENGAGEMENT Production Company: Bucaneer Films Directed by: Joan Carr-Wiggin Produced by: Joan Carr-Wiggin , David Gordian & Damita Nikapota Written by: Joan Carr-Wiggin TELEVISION IMAGINE: SMOKING DIARIES Directed by: Margy Kinmonth Production Company: BBC THE WORLD OF NAT KING COLE Produced by: Kari Lia Production Company: Double Jab Productions 2002/03 FILMS TOUCHING WILD HORSES Production Company: Animal Tales Productions Inc. Directed by: Eleanore Lindo Produced by: Lewis B. Chesler, David M. Perlmutter, Frank Huebner, Rob Vaughan Written by: Murray McRae TELEVISION THE STRANGE TALE OF BARRY WHO Directed by: Margy Kinmonth Documentary on Barry Joule Produced by: Margy Kinmonth/Sam Organ Production Company: Darlowsmithson Productions For BBC4. MOVE TO LEARN Directed by: Sheila Liljeqvist Documentary for Video Produced by: Sheila Liljeqvist and Barbara Pheloung Australian documentary, children with learning difficulties. SHORTS ARDEEVAN Short Feature film made in the UK. Directed and Produced by: Jonathan Richardson NIGHT’S NOONTIME Short Feature film made in the Canada. Executive Producers: Richard Clifford & Amar Singh Produced by: Hanna Tower Directed -
Julia Smith Lighting CV.Pages
CV Lighting Designer Julia Smith 1991: BBC camera trainee - Studios, Film & OBs 1992: BBC camera woman 1996: BBC Lighting & vision operator (racks) 1999: BBC Lighting & vision supervisor (console operator) 2002: Freelance Lighting director & console operator Production History Lighting Designer Rob Beckett’s Playing for Rumpus Media Channel 4 Hospital Studios Time The Darkness of John Phil McIntyre TV Not broadcast as yet BBC Radio Theatre Robbins Tim Vine Travels in Time Baby Cow Productions BBC1 Pinewood Studios Citizen Khan BBC Comedy BBC 1 Dock 10 Yes Primeminister BBC Comedy UKTV TVC Lighting Director - original designs by other Lighting designers Harry Hill’s Alien Fun Capsule CPL Productions ITV 1 TLS Live From the BBC Phil McIntyre TV BBC2 BBC Radio Theatre Cats Do Countdown Zeppatron Productions Channel 4 Dock 10 Eggheads 12 Yard Productions BBC1 BBC2 BBC Scotland Perfection 12 Yard Productions BBC1 BBC Scotland Who Dares Wins 12 Yard Productions BBC1 BBC Scotland Russel Howard’s Good News Avalon BBC2 BBC3 Riverside Studios Sheperton, TLS Unspun with Matt Ford Avalon Dave TLS Question of Sport BBC Entertainment BBC1 Dock 10 Insert Name Here 12 Yard Productions BBC2 Pinewood Studios Football on Five Sunset & Vine Channel 5 Sky Studios Various BT Sport Timeline BT Sport Channel International Broadcasting programmes Centre Dog Ate my homework BBC Children’s Glasgow CBBC Pacific Quay !1 of !3 Production History Vision Supervisor or Console Operator Sitcom Upstart Crow BBC Comedy BBC 2 TLS Not Going Out Avalon BBC 1 TVC, Teddington -
Faqs About Cobra Premium Assistance Under the American Rescue Plan Act of 2021
FAQS ABOUT COBRA PREMIUM ASSISTANCE UNDER THE AMERICAN RESCUE PLAN ACT OF 2021 April 07, 2021 Set out below are Frequently Asked Questions (FAQs) regarding implementation of certain provisions of the American Rescue Plan Act of 2021 (ARP), as it app lies to the Consolidated Omnibus Budget Reconciliation Act of 1985, commonly called COBRA. These FAQs have been prepared by the Department of Labor (DOL). Like previously issued FAQs (available at https://www.dol.gov/agencies/ebsa/about-ebsa/our-activities/resource-center/faqs), these FAQs answer questions from stakeholders to help individuals un derstand the law and benefit from it, as intended. The Department of the Treasury and the I nternal Revenue Service (IRS) have reviewed these FAQs, and, concur in the application of the laws under their jurisdiction as set forth in these FAQs. COBRA Continuation Coverage COBRA continuation coverage provides certain group health plan continuation coverage rights for participants and beneficiaries covered by a group health plan. In general, under COBRA, an individual who was covered by a group health plan on the day before the occurrence of a qualifying event (such as a termination of employment or a reduction in hours that causes loss of coverage under the plan) may be able to elect COBRA continuation coverage upon that qualifying event.1 Individuals with such a right are referred to as qualified beneficiaries. Under COBRA, group health plans must provide covered employees and their families with cer tain notices explaining their COBRA rights. ARP COBRA Premium Assistance Section 9501 of the ARP provides for COBRA premium assistance to help Assistance Eligible Individuals (as defined below in Q3) continue their health benefits. -
Disability Benefits
Disability Benefits SSA.gov What’s inside Disability benefits 1 Who can get Social Security disability benefits? 1 How do I apply for disability benefits? 4 When should I apply and what information do I need? 4 Who decides if I am disabled? 5 How is the decision made? 6 What happens when my claim is approved? 9 Can my family get benefits? 10 How do other payments affect my benefits? 10 What do I need to tell Social Security? 11 When do I get Medicare? 12 What do I need to know about working? 12 The Ticket to Work program 13 Achieving a Better Life Experience (ABLE) Account 13 Contacting Social Security 14 Disability benefits Disability is something most people don’t like to think about. But the chances that you’ll become disabled are probably greater than you realize. Studies show that a 20-year-old worker has a 1-in-4 chance of becoming disabled before reaching full retirement age. This booklet provides basic information on Social Security disability benefits and isn’t meant to answer all questions. For specific information about your situation, you should speak with a Social Security representative. We pay disability benefits through two programs: the Social Security Disability Insurance (SSDI) program and the Supplemental Security Income (SSI) program. This booklet is about the Social Security disability program. For information about the SSI disability program for adults, see Supplemental Security Income (SSI) (Publication No. 05-11000). For information about disability programs for children, refer to Benefits For Children With Disabilities (Publication No. 05-10026). -
Inivjo LU ME
1111~ ~~ ~~1 ~~~~if~l~l~l~lllllll ~iniVJO L U ME Sls- lV1ount . _. aure_ ' , ... i - ~~ .~ · .. .,~ - , ARCHIVES) LH I' 1 .M68 2002 c.2 ARCHIVES LHl .M68 2002c.2 Mountain Laurels IN GRATITUDE DR. B. J. ROBINSON The editors of Mountain Laurels wish to take this Opportunity to thank Dr. Robinson For her years of dedicated Service to the betterment Of our cultural Life. Her Joie de vivre, Unerring eye for art, Her hard and effective work, Humanity, love, and contagious laugh Are deeply missed. We dedicate this volume to her. Vol. 8 2002 Editors ........ ... .. ........... ..... .. .. ........ ...... .... ...... Jennifer Koch Judson Wright Managing Editor. ... ... ...... ... ... ... ......... ...... ......... Sarah Ballew Editorial Board ... .... ....... ... ........ .... ......... .. .. .... .. ... Sarah Ballew Brittany Tennant Carol Chester Gordon E. McNeer Brian Jay Corrigan Layout. ....... .. ... ............ .... ....... ... ............ Brian Jay Corrigan Faculty Sponsors and Advisors .... .. ................ Gordon E. McNeer Brian Jay Corrigan Founders... ....... ........ ...... ... ..... ... ................. .. Dr. Sally Allen Dr. Brian Jay Corrigan Front Cover Photo: Rekindled Memories by Debbie Martin Back Cover Photo: Troubled Bridge Over Water by Matthew Koch 1 TABLE OF CONTENTS California by Rachel Warner "Poetry First Place" . 3 Untitled by Rachel Warner "Poetry Second Place" . 4 Smoothed Over by Brandon Barton "Poetry Third Place" . 5 And Yet ... by Amanda L. Wood . 6 Sleepless by Crystal Corn. 7 Untitled by Brittany Tennant . 8 The Stage by Samantha Lovely . 9 James Corbin by Marcus Hawkins . 10 Autumn-tinted by Brittany Tennant. 11 Untitled by Brittany Tennant . 12 5 a.m. Girl by Brittany Tennant. 13 A Love Letter by Anonymous. 14 Why I Can 't Write Poetry by Lori Schink . 15 I Take a Thousand Grains of Sand by Shannon Wright . -
What Is a Lighting Director?
What is a lighting director by Martin Kempton What is a lighting director? Simply put - a lighting director designs the lighting for multi-camera television productions. He or she instructs the crew of electricians in their work in addition to guiding the team of operators who usually sit with the LD in the lighting control room. All this while working closely with the director and the rest of the production team to deliver the best possible pictures. However, there's rather more to it than that, and on this page on the website I explain where LDs work, what kinds of shows LDs work on and give some of the background to what we do. It's important to point out right away that simple 'illumination' is actually a relatively unimportant part of our work. Current TV cameras are capable of operating in very low light levels so it would be quite possible to see what was going on in most studios simply by switching on the houselights. Fortunately, producers and directors realise that the result would look pretty awful. Another thing is also worth making clear – a lighting director is not an electrician. He or she might have been once, but an LD is not another name for a crew chief or gaffer. Most television LDs do not have electrical qualifications, although some may have. In any case, this is not a requirement of the job. The electrical supervisor (gaffer) is in charge of realising the LD’s design in the studio from the rigging and electrical point of view. -
Independent Television Producers in England
Negotiating Dependence: Independent Television Producers in England Karl Rawstrone A thesis submitted in partial fulfilment of the requirements of the University of the West of England, Bristol for the degree of Doctor of Philosophy Faculty of Arts and Creative Industries, University of the West of England, Bristol November 2020 77,900 words. Abstract The thesis analyses the independent television production sector focusing on the role of the producer. At its centre are four in-depth case studies which investigate the practices and contexts of the independent television producer in four different production cultures. The sample consists of a small self-owned company, a medium- sized family-owned company, a broadcaster-owned company and an independent- corporate partnership. The thesis contextualises these case studies through a history of four critical conjunctures in which the concept of ‘independence’ was debated and shifted in meaning, allowing the term to be operationalised to different ends. It gives particular attention to the birth of Channel 4 in 1982 and the subsequent rapid growth of an independent ‘sector’. Throughout, the thesis explores the tensions between the political, economic and social aims of independent television production and how these impact on the role of the producer. The thesis employs an empirical methodology to investigate the independent television producer’s role. It uses qualitative data, principally original interviews with both employers and employees in the four companies, to provide a nuanced and detailed analysis of the complexities of the producer’s role. Rather than independence, the thesis uses network analysis to argue that a television producer’s role is characterised by sets of negotiated dependencies, through which professional agency is exercised and professional identity constructed and performed. -
Turn Back Time: the Family
TURN BACK TIME: THE FAMILY In October 2011, my lovely wife, Naomi, responded to an advert from TV production company Wall to Wall. Their assistant producer, Caroline Miller, was looking for families willing to take part in a living history programme. They wanted families who were willing to live through five decades of British history. At the same time, they wanted to retrace the history of those families to understand what their predecessors would have been doing during each decade. Well, as you may have already guessed, Wall to Wall selected the Goldings as one of the five families to appear in the programme. Shown on BBC1 at 9pm from Tuesday 26th June 2012, we were honoured and privileged to film three of the five episodes. As the middle class family in the Edwardian, inter war and 1940s periods, we quite literally had the most amazing experience of our lives. This page of my blog is to share our experiences in more detail – from selection, to the return to normal life! I have done this in parts, starting with ‘the selection process’ and ending with the experience of another family. Much of what you will read was not shown on TV, and may answer some of your questions (those of you who watched it!!). I hope you enjoy reading our story. Of course, your comments are very welcome. PART 1 – THE SELECTION PROCESS I will never forget the moment when I got home from work to be told by Naomi that she had just applied for us to be part of a TV programme. -
Employer-Sponsored Insurance for You and Your Family
Your family deserves to be healthy Employer-sponsored Whether you are able to get your family health coverage through an employer-sponsored plan or by enrolling in a plan on the Health Insurance for You Insurance Marketplace, health insurance is an important part of making sure your family gets the medical care they need. Get them and Your Family insurance today! Employer-sponsored health insurance For American Indians and Alaska Natives Is paid for by a business on behalf of its employees May be offered only to the employee or to the employee and his or her family (spouse and children) Signing your family up through your employer How much will I pay for insurance? Options for when your employer doesn’t cover family Your employer may pay all of the cost or require you to share the cost Understanding what you will pay If your employer offers coverage for your family, you may have to pay a higher percentage of the cost than what you pay for your own insurance Your employer can provide information about how much you will pay for yourself and your family Have questions about your employer’s plan or signing your family up for insurance? Talk to your employer’s human resources department, Visit your Indian health program, Go online to healthcare.gov/tribal, or Call 1-800-318-2596 For more information: Visit go.cms.gov/AIAN @CMSGov #CMSNativeHealth CMS ICN No. 909342-N • August 2016 How can I get health insurance for I have insurance through my myself and my family? employer. -
CAST BIOS TOM RILEY (Leonardo Da Vinci) Tom Has Been Seen in A
CAST BIOS TOM RILEY (Leonardo da Vinci) Tom has been seen in a variety of TV roles, recently portraying Dr. Laurence Shepherd opposite James Nesbitt and Sarah Parish in ITV1’s critically acclaimed six-part medical drama series “Monroe.” Tom has completed filming the highly anticipated second season which premiered autumn 2012. In 2010, Tom played the role of Gavin Sorensen in the ITV thriller “Bouquet of Barbed Wire,” and was also cast in the role of Mr. Wickham in the ITV four-part series “Lost in Austen,” alongside Hugh Bonneville and Gemma Arterton. Other television appearances include his roles in Agatha Christie’s “Poirot: Appointment with Death” as Raymond Boynton, as Philip Horton in “Inspector Lewis: And the Moonbeams Kiss the Sea” and as Dr. James Walton in an episode of the BBC series “Casualty 1906,” a role that he later reprised in “Casualty 1907.” Among his film credits, Tom played the leading roles of Freddie Butler in the Irish film Happy Ever Afters, and the role of Joe Clarke in Stephen Surjik’s British Comedy, I Want Candy. Tom has also been seen as Romeo in St Trinian’s 2: The Legend of Fritton’s Gold alongside Colin Firth and Rupert Everett and as the lead role in Santiago Amigorena’s A Few Days in September. Tom’s significant theater experiences originate from numerous productions at the Royal Court Theatre, including “Paradise Regained,” “The Vertical Hour,” “Posh,” “Censorship,” “Victory,” “The Entertainer” and “The Woman Before.” Tom has also appeared on stage in the Donmar Warehouse theatre’s production of “A House Not Meant to Stand” and in the Riverside Studios’ 2010 production of “Hurts Given and Received” by Howard Barker, for which Tom received outstanding reviews and a nomination for best performance in the new Off West End Theatre Awards. -
Contentious Comedy
1 Contentious Comedy: Negotiating Issues of Form, Content, and Representation in American Sitcoms of the Post-Network Era Thesis by Lisa E. Williamson Submitted for the Degree of Doctor of Philosophy The University of Glasgow Department of Theatre, Film and Television Studies 2008 (Submitted May 2008) © Lisa E. Williamson 2008 2 Abstract Contentious Comedy: Negotiating Issues of Form, Content, and Representation in American Sitcoms of the Post-Network Era This thesis explores the way in which the institutional changes that have occurred within the post-network era of American television have impacted on the situation comedy in terms of form, content, and representation. This thesis argues that as one of television’s most durable genres, the sitcom must be understood as a dynamic form that develops over time in response to changing social, cultural, and institutional circumstances. By providing detailed case studies of the sitcom output of competing broadcast, pay-cable, and niche networks, this research provides an examination of the form that takes into account both the historical context in which it is situated as well as the processes and practices that are unique to television. In addition to drawing on existing academic theory, the primary sources utilised within this thesis include journalistic articles, interviews, and critical reviews, as well as supplementary materials such as DVD commentaries and programme websites. This is presented in conjunction with a comprehensive analysis of the textual features of a number of individual programmes. By providing an examination of the various production and scheduling strategies that have been implemented within the post-network era, this research considers how differentiation has become key within the multichannel marketplace.