Fargo Police Department Policy Manual
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Fishing the Red River of the North
FISHING THE RED RIVER OF THE NORTH The Red River boasts more than 70 species of fish. Channel catfish in the Red River can attain weights of more than 30 pounds, walleye as big as 13 pounds, and northern pike can grow as long as 45 inches. Includes access maps, fishing tips, local tourism contacts and more. TABLE OF CONTENTS YOUR GUIDE TO FISHING THE RED RIVER OF THE NORTH 3 FISHERIES MANAGEMENT 4 RIVER STEWARDSHIP 4 FISH OF THE RED RIVER 5 PUBLIC ACCESS MAP 6 PUBLIC ACCESS CHART 7 AREA MAPS 8 FISHING THE RED 9 TIP AND RAP 9 EATING FISH FROM THE RED RIVER 11 CATCH-AND-RELEASE 11 FISH RECIPES 11 LOCAL TOURISM CONTACTS 12 BE AWARE OF THE DANGERS OF DAMS 12 ©2017, State of Minnesota, Department of Natural Resources FAW-471-17 The Minnesota DNR prohibits discrimination in its programs and services based on race, color, creed, religion, national origin, sex, public assistance status, age, sexual orientation or disability. Persons with disabilities may request reasonable modifications to access or participate in DNR programs and services by contacting the DNR ADA Title II Coordinator at [email protected] or 651-259-5488. Discrimination inquiries should be sent to Minnesota DNR, 500 Lafayette Road, St. Paul, MN 55155-4049; or Office of Civil Rights, U.S. Department of the Interior, 1849 C. Street NW, Washington, D.C. 20240. This brochure was produced by the Minnesota Department of Natural Resources, Division of Fish and Wildlife with technical assistance provided by the North Dakota Department of Game and Fish. -
Coen Brothers' Fargo in the Noir Melting Pot of Genre Patterns
Acta Universitatis Wratislaviensis • No 3869 Literatura i Kultura Popularna XXIV, Wrocław 2018 DOI: 10.19195/0867-7441.24.4 Kamila Żyto ORCID: 0000-0003-2822-8341 University of Łódź Detours of absurdity: Coen brothers’ Fargo in the noir melting pot of genre patterns Keywords: film noir, film history, film genres, cinema of Coen brothers Słowa kluczowe: film noir, historia filmu, gatunki filmowe, kino braci Coen The long-lasting debate over whether film noir should be seen as a genre, a cycle or a tendency in the history of cinema remains unsettled. No definitive solution has been found, nor any consensus reached, owing to the fact that the film noir phenomenon is particularly complex and convoluted. Much of the debate revolves around questions of approach and genre. But many movies, both those released in the 1940s and 1950s (the classical period) and those released in the following decades (the neo-noir, or postclassical, period), do not obviously fit any genre pattern or other ordering scheme. The diversity among films that are now unquestionably classified as noir, provokes controversy and raises numerous questions. What does Sunset Boulevard (dir. Billy Wilder, 1950) have in common with The Killers (dir. Robert Siodmak, 1946)? The first one is simultaneously a crime story, melodrama and horror. The second one is, without a doubt, a gang- ster movie. Do all noir films really constitute a single genre? I will leave this question unanswered, as to support any of the various opinions about the generic identity of film noir is not the main aim of this paper.1 From my perspective, there is little utility in joining this on-going debate, which has reached a standstill some time ago. -
COVER ART by JEFF KNIGHT 1 Film Festival Goer, Treasure Hunter
COVER ART BY JEFF KNIGHT 1 Film Festival Goer, Treasure Hunter There are times when we walk into a cinema knowing exactly what to expect. We know that Nicolas Cage will deliver an awesomely bad punchline after riding a motorcycle through the flaming hull of a downed jetliner, Colin Firth will make us swoon in that totally respectable way, and Meryl Streep will meryl as only Meryl can. The familiar can be a lovely warm blanket, the White Hat saving the day, and an excellent night at the movies. But there are times when we feel a bit more adventurous – times when we seek art that grabs us by the collar Emily Beck and shakes us awake. These are the times when we are treasure hunters, boldly going beyond to find something FARGO THEATRE Executive Director of inmeasureable worth. If you are craving an adventure, then you are in the right place. A film festival is a wonderful place to explore. At any given moment may see something that leaves you scratching your head OR you may discover That Film (written in Denmark, shot in Rio, starring Nobody You’ve Ever Heard Of) that speaks to you in conversation, leaves you breathless, and reminds you why you struck out into the wild in the first place. On behalf of the entire team, it is my pleasure to welcome you to the 15th annual Fargo Film Festival. We welcome you aboard and are grateful to share the journey. Thank you for coming and enjoy the show! DAN FRANCIS PHOTOGRAPHY FARGO THEATRE STAFF: FARGO THEATRE BOARD FESTIVAL COMMITTEE AND VOLUNTEERS: Emily Beck, Executive Director Greg Carlson, President -
Case 2:20-Cv-08466 Document 1 Filed 09/16/20 Page 1 of 300 Page ID #:1
Case 2:20-cv-08466 Document 1 Filed 09/16/20 Page 1 of 300 Page ID #:1 1 DEBORAH CONNOR, Chief Money Laundering and Asset Forfeiture Section (MLARS) 2 MARY BUTLER, Chief, International Unit WOO S. LEE, Deputy Chief, International Unit 3 BARBARA Y. LEVY, Trial Attorney JOSHUA L. SOHN, Trial Attorney 4 JONATHAN BAUM, Trial Attorney Criminal Division 5 United States Department of Justice 1400 New York Avenue, N.W. 10th Floor 6 Washington, D.C. 20530 Telephone: (202) 514-1263 7 Email: [email protected] 8 Attorneys for Plaintiff 9 UNITED STATES OF AMERICA 10 UNITED STATES DISTRICT COURT 11 FOR THE CENTRAL DISTRICT OF CALIFORNIA 12 13 UNITED STATES OF AMERICA, No. CV 2:20-cv-8466 14 Plaintiff, VERIFIED COMPLAINT FOR 15 v. FORFEITURE IN REM 16 ALL FUNDS HELD IN ESCROW BY [18 U.S.C. § 981(a)(1)(A) and (C)] 17 CLYDE & CO. IN THE UNITED 18 KINGDOM AS DAMAGES OR [F.B.I.] RESTITUTION IN PETROSAUDI V. 19 PDVSA UNCITRAL ARBITRATION, 20 Defendant. 21 22 The United States of America (the “government”) brings this complaint against 23 the above-captioned asset and alleges as follows: 24 PERSONS AND ENTITIES 25 1. The plaintiff is the United States of America. 26 2. The defendants in this action are all funds held in escrow by Clyde & Co. in 27 the United Kingdom as damages or restitution in the 2017 UNCITRAL arbitration 28 Case 2:20-cv-08466 Document 1 Filed 09/16/20 Page 2 of 300 Page ID #:2 1 between PetroSaudi Oil Services (Venezuela) Ltd. -
“Waiting for Dutch” Episode #201 Script by Noah Hawley
Executive Producer: Noah Hawley EPISODE: #201 Executive Producer: Warren Littlefield SCRIPT: #201 Executive Producers: Joel & Ethan Coen PRODUCTION: #2001 Executive Producer: John Cameron “Waiting For Dutch” Episode #201 Script by Noah Hawley PINK PRODUCTION DRAFT – FULL – 9/26/14 26 Keys Productions The Littlefield Company Nomadic Pictures MGM Television FX Networks MGM Television Entertainment Inc. 245 North Beverly Drive Beverly Hills, CA 90210 © 2013 MGM Television Entertainment Inc. All Rights Reserved. Episode #201 “Waiting For Dutch” PINK DRAFT – 9.26.14 REVISION HISTORY PINK DRAFT 9/26/14 BLUE REVISION PAGES 9/11/14 PRODUCTION DRAFT 8/7/14 NOTES: PINK PINK DRAFT REVISIONS - Sc. 24 dialogue change - Sc. 39 description change - Sc. 40 has been ADDED PINK DRAFT REVISIONS – ADDITIONAL NOTES: All scenes have been renumbered for clarity Character JOE BULO has been added to this episode Character MIKE MILLIGAN has been added to this episode Character THE KITCHEN BROTHERS have been added to this episode BLUE REVISION PAGES - Sc. 1 description, dialogue change - Sc. 3 description, dialogue change - Sc. 6 has been OMITTED - Sc. 7 has been OMITTED - Sc. 8 has been OMITTED - Sc. 9 description change - Sc. 12 description change - Sc. 13 location name change - Sc. 15 location name, description, dialogue changes - Sc. 16 location name change - Sc. 18 description change - Sc. 20 description change - Sc. 22 dialogue change - Sc. 23 description change - Sc. 24 dialogue changes - Sc. 25 description, dialogue changes - Sc. 25A has been ADDED - Sc. 25B has been ADDED Episode #201 “Waiting For Dutch” PINK DRAFT – 9.26.14 - Sc. 26 location name, description, dialogue change - Sc. -
Relocation Guide to Twin Communities Fargo, North Dakota and Moorhead, Minnesota
Helping you feel at home abroad. Relocation Guide to Twin Communities Fargo, North Dakota and Moorhead, Minnesota www.iorworld.com IOR makes every effort to ensure that the information contained in this guide is as current as possible. If you notice errors, or information which is no longer accurate, please contact us immediately so that we may correct the issue. 1 IOR Global Services WWW.IORWORLD.COM TABLE OF CONTENTS OVERVIEW ......................................................................................................................................... 3 HOSPITALS/EMERGENCY CONTACTS ................................................................................................ 5 HOUSING ........................................................................................................................................... 7 US EDUCATION SYSTEM .................................................................................................................... 14 SCHOOLS ........................................................................................................................................... 22 BANKING ........................................................................................................................................... 23 DRIVING/PUBLIC TRANSIT ................................................................................................................. 25 LOCAL REGISTRATIONS .................................................................................................................... -
A. Spirit [Cover] F09 11.25
THE TEXAS A&M FOUNDATION MAGAZINE | FALL 2009 PRESIDENT’S LETTER Foundation Steers Steady Course In September the Texas A&M Foundation celebrated its 56th birthday and 10th anniversary in the Jon L. Hagler Center. It was a delight to see more than 400 of you—our former students and friends—at our pregame celebration Sept. 5. Much has changed since we moved into our new building in 1999. Many of you recall when the corner of Houston and what used to be “Jersey” Street was the University Police station. A few of you might remember even further back, when this spot was the location of an old county project house built in the late 1930s. There is a certain elegant symbolism in the fact that the campus home to major-gift philanthropy—the Hagler Center—sits on the site of a fundamental act of charity: folks back home helping poor kids go to college. Ten years ago the Foundation employed 72 people and managed assets of $537.9 million. Today we have 95 on our staff and oversee $1.2 billion in assets for Texas A&M. Back then we didn’t have an Internet and fans were just good Ags at Kyle Field, not people following our Facebook page. I’m privileged to say that my position and title have not changed since 1993. Bob Rutledge, my predecessor, directed the Foundation for 12 years before me. I hope you agree that this stable leadership, along with your generous gifts, has contributed to our success. Leadership change at A&M has been much in the news. -
2016 Fargo‐Moorhead Metropolitan Bicycle and Pedestrian Plan
2016 Fargo‐Moorhead Metropolitan Bicycle and Pedestrian Plan Adopted February 16, 2017 Prepared by the Fargo‐Moorhead Metropolitan Council of Governments 2016 Fargo‐Moorhead Metropolitan Bicycle and Pedestrian Plan Prepared by: The Fargo‐Moorhead Metropolitan Council of Governments Case Plaza, Suite 232 One Second Street North Fargo, ND 58102 Phone: 701‐232‐3242 Website: www.fmmetrocog.org Email: [email protected] The preparation of this document was funded in part by the Unittexted States Department of Transportation with funding administere box??? d through the North Dakota & Minnesota Departments of Transportation, the Federal Highway Administration and the Federal Transit Administration. Additional funding was provided by the Minnesota Department of Transportation and through local contributions from the governments of Fargo, West Fargo, and Cass County in North Dakota; and Moorhead, Dilworth, and Clay County in Minnesota. The United States Government and the States of North Dakota and Minnesota assume no liability for the contents or use thereof. This document does not constitute a standard, specification, or regulation. The United States Government, the States of North Dakota and Minnesota, and the Metropolitan Council of Governments do not endorse products or manufacturers. Trade or manufacturers' names appear herein only because they are considered essential to the objective of this document. The contents of this document reflect the views of the authors, who are responsible for the facts and the accuracy of the data presented herein. The contents do not necessarily reflect the policies of the State and Federal Departments of Transportation. RESOLUTION 2017-0313-P Resolution to Support 2016 Fargo-Moorhead Metropolitan Bicycle & Pedestrian Plan WHEREAS, the Moorhead City Council is the duly elected governing body responsible for the planning and development of safe and functional transportation systems including bicycle and pedestrian facilities. -
Bachelorarbeit Lea Meer
Kunst und Fernsehen - Partizipation statt Reproduktion Offenheit, Unbestimmtheit und Leerstellen in der TV-Serie Fargo (2017) Bachelorarbeit zur Erlangung des akademischen Grades Bachelor of Arts im Studiengang Digitale Medienkultur an der Filmuniversität Babelsberg KONRAD WOLF, 2019 Verfasserin: Lea Emilia Meer Email: [email protected] Matrikel-Nummer: 10144 1. Gutachter: Prof. Dr. habil. Lothar Mikos 2. Gutachter: Prof. PD Dr. phil. habil. Stefan Winter Kurzfassung Ausgangspunkt für die vorliegende Arbeit waren Überlegungen zum Verhältnis von Kunst und Medien, speziell dem Verhältnis von Kunst und dem Massenmedium Fernsehen. Dieses Verhältnis wurde und wird im gesellschaftlichen Diskurs und vom Standpunkt der Künste aus häufig negativ bestimmt. Doch gibt es gegenüber dieser negativen Verhältnisbestimmung Positionen, welche die Beziehung von Anfang an als ein Verhältnis von Interferenz und Interaktion beschreiben. Beispiele dafür, wie Fernsehen als Teil unserer Welt, besonders auch sein Einfluss auf unsere Sicht der Welt, künstlerisch reflektiert wird, lassen sich finden, aber lässt sich das Fernsehen auch als künstlerisches Ausdrucksmittel nutzen? Diese Arbeit ist in ihrem ersten Teil als Literaturarbeit und in ihrem zweiten Teil als Serienanalyse konzipiert. Aus der Perspektive ausgewählter medientheoretischer Literatur soll zunächst der Beginn des Diskurses um Kunst und Massenmedien historisch verortet werden. Wie dieser Diskurs unter Einbeziehung wesentlicher Prämissen der Rezeptionsästhetik medientheoretisch weitergeführt wurde, soll dann im Überblick skizziert werden. Besondere Aufmerksamkeit kommt dabei den Konzepten der Offenheit, Unbestimmtheit und Leerstelle zu. Im zweiten Teil dieser Arbeit soll untersucht werden, ob und in welcher Ausgestaltung sich fünf Leerstellen-Kategorien - wie sie Nadine Dablé für das audiovisuelle Erzählen entwickelt hat - in der 3. Staffel der Fernsehserie Fargo (2017) auffinden lassen. -
Johnson, Thomas C. Vitae
Thomas C. Johnson Communication Studies Luther College 700 College Drive Decorah, IA 52101 563.387.1091 P 612.877.1062 C [email protected] Academic Record Ph.D., University of Minnesota, July 2010 Program: Communication Studies Emphasis: Critical Media Studies G.P.A.: 3.7/4.0 Dissertation: NFL Films and the Re-Production of Pro Football Advisor: Edward Schiappa Committee Members: Laurie Ouellette, Douglas Hartmann, Mary Vavrus M.A., University of Minnesota, June 2006 Program: Communication Studies Emphasis: Critical Media Studies G.P.A.: 3.8/4.0 Thesis: Relationships Between Televised Sports Viewing Habits and Attitudes About Masculinity Advisor: Edward Schiappa Committee Members: Donald Browne, Michael C. Rodriguez B.A., Saint John’s University, May 2002 Major: Communication Minor: Political Science G.P.A.: 3.5/4.0 Abroad, University of Notre Dame Australia, June 2001 Concentration: Media Production G.P.A.: 3.7/4.0 Academic Appointments Associate Professor, Department of Communication Studies, Luther College (February 2017 – ). Assistant Professor, Department of Communication Studies, Luther College (August 2013 – January 2017). Post-doctoral Teaching Fellow, Department of Communication Studies, Luther College (August 2011 – July 2013) Lecturer, Department of Communication Studies, University of Minnesota, College of Liberal Arts (August 2010 – August 2011) Graduate Teaching Assistant, Department of Communication Studies, University of Minnesota, College of Liberal Arts (September 2004 – June 2010) Honors and Distinctions Old -
Fargo: Seeing the Significance of Style in Television Poetics?
Fargo: Seeing the significance of style in television poetics? By Max Sexton and Dominic Lees 6 Keywords: Poetics; Mini-series; Style; Storyworld; Coen brothers; Noah Hawley Abstract This article argues that Fargo as an example of contemporary US television serial drama renews the debate about the links between Televisuality and narrative. In this way, it seeks to demonstrate how visual and audio strategies de-stabilise subjectivities in the show. By indicating the viewing strategies required by Fargo, it is possible to offer a detailed reading of high-end drama as a means of understanding how every fragment of visual detail can be organised into a ‘grand’ aesthetic. Using examples, the article demonstrates how the construction of meaning relies on the formally playful use of tone and texture, which form the locus of engagement, as well as aesthetic value within Fargo. At the same time, Televisuality can be more easily explained and understood as a strategy by writers, directors and producers to construct discourses around increased thematic uncertainty that invites audience interpretation at key moments. In Fargo, such moments will be shown to be a manifestation not only of the industrial strategy of any particular network ‒ its branding ‒ but how is it part of a programme’s formal design. In this way, it is hoped that a system of television poetics ‒ including elements of camera and performance ‒ generates new insight into the construction of individual texts. By addressing television style as significant, it avoids the need to refer to pre-existing but delimiting categories of high-end television drama as examples of small screen art cinema, the megamovie and so on. -
DESCRIPTION of TABLES and CHARTS. by ALFERDJ
AUQUET,1899. MONTHLY WEATHER REVIEW. 369 ~~~~ ~ ~~ ~ ~ auroras (A) in eaoh State and on each day of the month Prince Albert, 13th, 34th ; Battleford, 7th, 9th, lSth, 23d ; respectively. Kamloops, 6tb, 13th ; Barkerville, 8th, llth, 14th, 34th, 26th. Thzmdersto~s.-Reports of 4,943 thunderstorms were re ceived during the current month as against 4,853 in 1898 and 5,476 during the preceding month. NOTES ON THE WEATHER OF THE WEST INDIES. The dates on which the number of reports of thunder. storms for the whole country were most numerous were: Chart VI11 shows the distribution of preseure and tempera- 2d, 302; 26th, 364; 5th, 250; 4th, 244; loth, 337. ’ ture, and the prevailing winds in the West India region for Reports were most numerous from : Pennsylvania, 240; the month, being a continuation of the series begun in the Missouri, 334; Nebraska, 219; Florida, 218. REVIEWfor April, 1899. Aurorus.-The evenings on which bright moonlight must The hurricane of August 7-10, described elsewhere in this have interfered with observations of faint auroras are as. REVIEWand also in Storm Bulletin No. 1, was naturally the sumed to be the four preceding and following the date of full overshadowing feature of the weather of the month. A 880- moon, viz, 16th to 24th. ond disturbance occurred over the Caribbean Sea during the The greatest number of reports were received for the fol- closing days of the month, but beyond a few squalls and some lowing dates: 39th, 12; 30th, 6; 3d and 4th, 5. threatening weather no serious consequences resulted. Reports were most numerous from: Minnesota, 5; Maine, The rainfall was very heavy in Porto Rico in connection with Montana, New York, and Ohio, 4.