~What Fashions "Your" Beliefs and Thinking?
In an attempt to improve ourselves and our calling to perform ministry May & I have embarked upon volunteering three days a week at a local church/substance abuse center. We are also performing phase 2 of peer-counseling to enhance our adapting skills to the mission we have been called to perform in our community. Association with many groups has opened our eyes to Social Psychology and how it is used to fashion and shape peoples behavior.
We have ceased to think theologically about the ministry. Instead, we characterize it almost exclusively in functional or institutional terms. There are at least two reasons for this shift in emphasis. On the one hand there are the new developments in clinical psychology and counseling procedures, and on the other the requests of parishioners, the denominational programs, and the culture of the local community.
How is it that so many people started saying "Awesome!", or started wearing Uggs?
These are examples of how individuals' behavior is shaped by what people around them consider appropriate, correct or desirable. Researchers are investigating how human behavioral norms are established in groups and how they evolve over time, in hopes of learning how to exert more influence when it comes to promoting health, marketing products or reducing prejudice.
Psychologists are studying how social norms, the often-unspoken rules of a group, shape not just our behavior but also our attitudes. Social norms influence even those preferences considered private, such as what music we like or what policies we support or even what beliefs we entertain as it relates to denominational choices of churchs. Interventions that take advantage of already-existing group pressures, the thinking goes, should be able to shift attitudes and change behaviors at less cost in effort and resources.
Norms serve a basic human social function, helping us distinguish who is in the group and who is an outsider. Behaving in ways the group considers appropriate is a way of demonstrating to others, and to oneself, that one belongs to the group.
But surprisingly little is known about how attitudinal norms are established in groups. Why do some people in a group become trendsetters when it comes to ideas and objects?
"The questions are among the most challenging" in the field, said H. Peyton Young, a professor at the University of Oxford in the U.K. and at Johns Hopkins University in Baltimore. Dr. Young studies how norms influence economic behavior. "It's definitely a big open research area where there's a certain amount of dispute."
One question is whether there is always a leader that sets or changes the norm, or whether norm change occurs organically over time, even in the absence of a strong leader.
What is Christian Counseling?
Christian counseling focuses on intertwining the disciplines of faith and psychology to provide an approach to mental and emotional health that pulls from biblical teachings. Practitioners of this style of counseling incorporate religious scripture and teachings to guide you through challenging life issues. When facing turbulent life events, incorporating and strengthening your faith may be the missing piece in finding proper treatment.
Origins of Christian Counseling
Rooted deep within biblical accounts, this form of therapy places an emphasis on fundamental values and beliefs that comprise the framework of modern Christianity. Ministers, Reverends, and other religious figures must seek licensed training and accreditation to provide this service to you, much like a secular clinician. In 1968, Christian counselors officially formed the Christian Counseling & Educational Foundation to provide a model for current and future counselors. These counselors are bound not only to religious code, but secular standards of ethical practice as well.
Social psychology is "the study of the ways in which the imagined, implied or actual presence of others affects our thoughts, emotions, and behaviors. As an African American growing up in Washington D.C. (at the time one of most diverse cities in America), My first brush with social psychology was on my neighborhood streets. "On my block alone, there were nine different nationalities represented. "I was used to growing up with all sorts of different kids, dealing with cultural conflicts, celebrating everyone's different holidays and special occasions—that was the norm for me."
When I was in third grade, My mom took us to a multiethnic church comprising four equally proportioned groups: African Americans, Latinos, Asians, and whites. There, I listened to songs and prayers in languages far beyond English. We also had racial slurs hurled at us in a local church's Vacation Bible School. These and other experiences piqued my interest early on about fundamental questions of social psychology, such as, "Why don't groups get along?" and "Why do they perceive each other inaccurately?"
Much has been written about various aspects of pastoral theology, but there is a remarkable scarcity of literature that explores the theological issues that lie behind it. The doyen of modern pastoral methods, Seward Hiltner, has said:
Most American ministers—scholars though they may be—are functionalists at heart… . We think and feel or work our way into even the most recondite of theoretical matters only by first exploring them in relation to our functions of ministry.
Much of modern pastoral psychology is an abandonment to this American pragmatism. It is an aping of American scholarship as it demonstrates its pragmatic motivation. There seems to be a disdain for a careful study of the biblical view of the ministry.
Such is the minister's dilemma. He is faced on the one hand with the traditional biblical definitions (though often poorly developed and frequently caricatured) and on the other with the set of functional expectations by which his service is judged. In addition he is strongly influenced by the attractiveness of new developments in clinical psychology and counseling procedures. Therefore he faces basic ambiguities in performing his task.
The minister serving in today's secular culture is also confronted with an eroded image of the pastor. He is no longer the most educated man in the community or the one who elicits the mental image of a paragon of virtue. One is more likely to think about Elmer Gantry(Elmer Gantry is a novel written by Sinclair Lewis in 1926 that satirically represents aspects of the religious activity of America within fundamentalist and evangelistic circles and the attitudes of the 1920s public toward it) or to recognize that a recent Gallup poll showed that only eight percent of the population recommended the role of the clergyman as the preferred profession, far behind the doctor, engineer-builder.
Today , May and I are diligently looking for the reconciling benefits of social psychology, working with groups to raise our awareness of their social mis-perceptions and bringing conflicting groups together to find ways to collaborate. We are reading( Disunity in Christ) Christena Cleveland, a social psychologist, is helping churches and faith-based groups transcend deep-seated divisions. it explores how social psychology reveals fragmentation in the body of Christ. Filled with many personal stories, the book highlights, among other things, how differences become divisions, and how the prevailing marketing culture feeds unhealthy competition between groups.
"The cognitive processes that drive categorization are most powerful when they are hidden from sight we have found this to be true within various church communities we frequent. "Once individuals become consciously aware of these processes . . . the processes begin to lose their power." May and I had the opportunity to witness another facet of cognitive processes helping groups to recognize those assumptions. It was practiced while working with a Young Life group in a, low-income, mostly African American neighborhood in Riverside Ca., after noticing the divisive ways that the group (8 to 10 African American girls) talked about Somali girls at their school. The facilitator began asking the girls questions that helped them see their assumptions. "When you give people the opportunity to see how others misperceive them, "it makes them more interested in seeing how they misperceive others."
More Than 'Unity Events'
As May and I launched our campaign to perform outreach we scheduled several meetings to obtain buy in from various denominations. The joint venture began well, we had gained support to utilize one pastors 501c3 to obtain the needed resources and another pastor support to allow us the use of his church to process the recipients. "The joint venture began well but soon ended quite poorly, leaving behind a trail of distrust, negative emotions, and bruised egos."
We shifted our focus of work with the pastors to explore what happened:
After hearing each pastor's side of the story, it became clear to me that . . . each pastor had very different ideals about what a leader does and does not do, and each pastor projected his ideals onto the other pastor and negatively evaluated him based on criteria that pertained to those ideals. Essentially, each pastor gave the other a failing grade on leadership because they had very different criteria for evaluating leadership.
By working with us, the pastors uncovered their differing concepts of leadership and how that had led to misunderstanding and failed collaboration.
These are the ten books we plan to read along with an intense daily devotional for 2015.
Cleveland's work awakens us to the language we use, particularly the ways in which we draw boundaries between us and them. "We must take active steps to expand our category of us, "so that they are now included in us. We've learned that the mere act of categorizing Christian groups into smaller, homogeneous groups leads us to devalue, misperceive, and distance ourselves from them."
Once a divide goes up between groups, they tend to exaggerate each other's differences—and cause further division in the body of Christ. Churches, "tend to rely most on our smaller, cultural identities and ignore our larger, common identity as members of the body of Christ. . . . Christianity has been turned into a marketplace in which you can make money off your brand." Pastors and churches are pressured to distinguish themselves from others, as we compete for the loyalty of members and seemingly scarce resources. We need a theology, deeply rooted in our essential unity in Christ that acts and speaks accordingly, seeking commonality and emphasizing shared characteristics between groups.
Instead of deepening the chasms between groups, we need sustained conversation. I would like to go one one step further, noting that one-time cross-cultural unity events are "not the way to go." Although well-intentioned, such events tend to squeeze minority groups into the majority culture. Rather, healing and witness to unity in Christ comes from the long, messy work of naming issues of power and privilege. What we need are "long-term, ongoing partnerships that are proximal and mutually engaging."
Alongside sustained conversations, we need ministries on which our groups can collaborate. I recall how many churches in Washington D.C. ran VBS programs with the exact same curriculum at different times. "It's our empire approach to doing church," that fuels such redundant behavior. I also maintain that it's better for a church to pick a single church of a differing social group (race, ethnicity, or even political inclination) and to deeply partner with that church rather than to host sporadic events with many churches. My experience has shown that churches who immerse themselves in this kind of cross-cultural partnerships never regret it. "Yes, it's hard," "but it's so much richer."
The call to follow Jesus, as Dietrich Bonhoeffer reminded us, is a costly one. The way of Christ is undoubtedly difficult as we lose ourselves, but as we follow in it, we find the abundant shared riches of God's kingdom. Cleveland's work rouses us from the patterns of speech and action that we mindlessly fall into within the confines of a homogenous social group. It points us toward healing: the healing of the church, the healing of our neighborhoods, and ultimately the healing of our own fragmented souls. May we have the courage to follow her lead.
This entry was posted in Uncategorized and tagged #Terrorism, America, Bill Cosby, changed lives, Christ, Christian Counseling, clinical psychology, compromise practices, courage, Culture, disciplined thinking, disenfranchisement, education, faith, grace, Healing, humanity, injustice, Life Skills, Mental Health, Ministry, Motivation, Restoration, Second Chance Alliance, social psychology, standing power, strength, theology, Trust, whore Games.


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Mr. Sam Chidoka
Sam Chidoka has over 16 years experience in banking, debt & equities capital markets, mergers & acquisitions, and financial advisory services. He began his investment banking career at the capital markets group of NAL Bank Plc, now Sterling Bank Plc. He was a core member of the corporate finance team at Sterling Capital Markets Limited from where he moved to UBA Global Markets, which later became UBA Capital Plc. He left UBA Capital to become a pioneer staff and head of Corporate Finance at Dunn Loren Merrifield from where he moved to Planet Capital Limited as an Associate Director, and later Director & head Corporate Finance Advisory Group. He is currently the Managing Director of Kairos Capital. Sam worked on numerous high-profile transactions, raising in excess of $1.5 billion for various institutions including Union Bank of Nigeria Plc, May & Baker Plc, Continental Reinsurance Plc, Eternal Oil & Gas Plc, Dangote Flour Plc, Niger State Government, Chams Plc, Ebonyi State Government, Chellarams Plc, Tower Aluminium Group, Dana Group of Companies Plc, Federal Mortgage Bank of Nigeria, Niger State Government, Bauchi State Government, Fidelity Bank Plc, C&I Leasing Plc amongst others. He holds a BSc. Degree (2.1) in Business Management from the University of Nigeria Enugu Campus {1999) and an MBA (Finance), from the University of Lagos (2015). He has attended a number of executive courses: Lagos Business School - Chief Executive Program {2015) and IESE Business School, Barcelona Spain - Advanced Management Program {2015).
Mr. Babatunde Dada
Director (Non-Executive)
Babatunde Dada is a Non-Executive Director of Anchoria Investment and Securities Limited. He is an Associate member of the Chartered Institute of Securities and Investment (CISI), UK and an ISEB certified consultant. He spent 7 years working as a Quality Assurance Consultant in various organizations in the UK, most recently the financial Times, London. In March 2014, he completed the Owner Managers Program (OMP) at the Lagos Business School. Mr. Dada is also a Fellow of the Portfolio Management Institute of Nigeria and an Associate Member of the Institute of Directors Nigeria. He is an Authorized Dealing Clerk of the Nigerian Exchange Group (NGX), a Registered Professional of the Financial Reporting Council of Nigeria (FRCN), and an Authorized Trader of The National Association of Securities Dealer (NASD).
Mr. Gbenga Omolokun
Gbenga Omolokun has over twelve years of business process, technology and strategy experience across various industries including Manufacturing, Financial Services, Public Sector and Pharmaceuticals. He previously worked with KPMG Advisory Services as a manager in the Technology division where he oversaw numerous projects notably of which was the ERP implementation for a large manufacturing company across 11locations and 9 Countries. Gbenga currently oversees the strategy, technology and operations division of the VFD Group Plc and its subsidiaries. He is the Managing Director of VFD Microfinance Bank. Mr. Omolokun holds a degree in Mathematics from Obafemi Awolowo University (OAU), Ile- lfe, Osun State, Nigeria.
Mr. Kanayo Eni-Ikeh
Kanayo Eni-Ikeh has over 15 years of technical know-how and experience working in the financial service industry of retail, business, and commercial banking, he has held managerial roles across reputable organizations such as Process Flow Outsourcing Limited, Diamond Bank, Fidelity Bank, VFD Group and VFD Microfinance Bank, where he successfully promoted organizational products and services to institutional and retail clients. He is currently the MD/CEO of Atiat Leasing Limited, a premium finance and leasing company focused on finance and operating leases, structured financing, fleet management, insurance brokerage, Car rentals and drivers' outsourcing. He holds a B.Sc. in Geological Sciences from Nnamdi Azikiwe University, Akwa and professionally trained expertise in strategy, management and marketing gained from Executive Programs attended in Lagos Business School and The Indian School of Business.
Mrs. Olufunmilayo Ayanbadejo
Olufunmilayo Ayanbadejo has over 9 years of experience as an AP & ISEB Certified Consultant who has worked as a process consultant, system compliance, and test manager in various industries and sectors. She has a BSc (Hons) in Business Management and an MSc (Hons) in Information Technology & Management.
Mr. Kunle Salami
Director (Non- Executive)
Kunle Salami is a conscientious strategy and finance professional with over 10 years of work experience and a demonstrated record of accomplishments in Finance Business Partnering; Strategy, Process Improvement and Automation; Business Development and Growth; Product Support; Performance Management; Budgeting, Forecasting and Financial Modeling; Cost Management and Control. Able to create informed strategies, manage relationships with high-net-worth individuals/stakeholders and deploy solutions that drive an increase in business value and growth. He has a B.Sc in Economics from Bowen University.
Mrs. Nkechi Azubuike
Executive Director/CEO
Nkechi Azubuike began her stockbroking career in 1997 with Unex Securities and then went on to work for Intercontinental Securities and LMB Brokers (a subsidiary of Liberty Bank). She then joined Guardian Express Bank in 2004 and was seconded as Chief Operating Officer to Guardian Express Stockbrokers, a position she held till 2005. Nkechi then worked as a Research Analyst in Afrinvest (UK), specializing in African Markets, after which she joined BGL in 2008. Nkechi gained invaluable experience managing BGL's ultra-high net worth clients at BGL's Victoria Island branch before transitioning to the position of Executive Director. She also worked as the Head of Business Development Capital Express Assets &Trusts. She went into public service where she served as the Special Adviser to the Governor of Imo State, Rt. Hon. Emeka lhedioha on Business Development. She came back to the Capital Market where she took the position of Managing Director/CEO in Anchoria Investments and Securities Limited. She is a fellow of the Chartered Institute of Stockbrokers Nigeria and associate of the Certified Pension Institute of Nigeria.
Mr. Emmanuel Oso
Director (Executive)
Emmanuel Oso has over 10 years cognate experience in the capital market. Starting as an Investment Executive in 2008, he has risen through the ranks to becoming the Head of Operations, Chief Compliance Officer, and now the Executive Director of Anchoria Investment and Securities Limited. He has a B.Sc in Political Science from Lagos State University
Mr. Idowu Olusanya
Idowu Olusanya is an experienced Chartered Accountant, a Fellow of the Institute of Chartered Accountant of Nigeria (ICAN) with 20 years experience cutting across various segments of the economy. He started his career with the Firm of Yinka Adesanya and Co (Chartered Accountants). He joined Lagos Building Investment Company (Mortgage Bankers) as an Internal Auditor then moved on to Global Fleet Oil and Gas Ltd. He also worked with Hygeia HMO Ltd and Redcare HMO. Idowu Olusanya is a graduate of Accounting from Ogun State University now Olabisi Onabanjo University in the year 2001. He is a Chartered member of the Institute of chartered Accountants of Nigeria since 2004 and is now a Fellow of the Institute. He equally holds a Master in Business Administration (MBA) from Ladoke Akintola University, Ogbomosho in the year 2016.
Mrs. Vivien Modo
Head, Operations
Vivien Modo is a Capital Market Analyst with 10years experience in Client Relationship Management, Fund Administration, Internal Control, Retail Operations and Securities Operation. She began her career in the financial sector in 2012 as a Customer Service officer with Diamond Registrars Limited "a subsidiary of Diamond Bank". She has worked with some very reputable financial institutions in Nigeria, including Sankore Investments, ARM Investment Managers, ARM Securities Limited, and later became Head, of Operations, Coronation Securities Limited.
Mrs. Aishat Makanjuola
Business Partner, Human Resources
Aishat Makanjuola is an astute Human Resources Management & Legal Professional of over 10 years, with a demonstrated record of success in Recruitment & Retention, Performance Management, Employee Engagement, Change Management, Employee Relations, Training & Development, Benefits Administration, Organization Development, Dispute Resolution, HR Policies & Procedures. Aishat Makanjuola is a law graduate of The University of Ibadan, and The Nigerian Law School Bwari Abuja. Aisha is the Human Resources Business Partner for Anchoria Investment & Securities Limited and supports the business by meeting its HR needs with a strategic alignment of purpose to the Board and Management's direction for the company's growth
Mr. Oise Ajayi
Head, Research
Oise Ajayi began his career in 2017 as an Investment Research Analyst where he collaborated with the Nigerian Exchange Group to develop a model of style indices for the firm, in 2020 he moved to Meristem as a Portfolio Manager, at Meristem he managed EFT's valued at over 200 million. In 2021 he moved to Asset & Resource Management Holding Company (ARM) as Lead, Equities Research where he managed teams of a diverse team of analysts across different sectors of equities.
Mr. Oyeniyi Joshua
Sales Lead
Joshua is an astute Sales professional with over twenty years of professional experience in the financial sector. He joined Anchoria Investments and Securities Ltd from Investment One Financial Services Ltd, where he worked for 10 years, he grew through the ranks until he became the Regional Coordinator for Sales – Southwest. Joshua has a master's degree in Business Administration from Ahmadu Bello University, Zaria.
Ms. Funmilayo Olayiwola
Risk and Compliance Associate
Funmilayo Olayiwola is an accomplished Compliance professional with experience that spans over 6 years with a demonstrated record of success in Office Administration, Company Secretarial, AML/CFT and Compliance roles across multiple industries in Nigeria such as the Ministry of Justice, Oyo State, Humphrey Metrology Solutions Limited, Enyo Retail & Supply Limited, Asset & Resource Management Holding Company Limited (ARM). Funmilayo has a Diploma-in Law from the University of Jos, Plateau State and a Bachelors degree in International Law and Diplomacy from Babcock University, Remo, Ogun State. She is a Designate Compliance Professional (DCP) with the Compliance Institute of Nigeria (CIN).
Mrs. Esther Chinyere Ndife
Authorized Dealing Clerk
Esther is a chartered stockbroker with about 15 years of active experience in the Capital Market, she joined Anchoria Investments and Securities Ltd from Global View Capital Limited where she served as Head Operations/ Dealing Clerk.
Ms. Mabel Osaemedike
Head, Marketing and Corporate Communications
Mabel began her career in advertising in 2011 with Concrete Communications Ltd as a trainee, she grew through the ranks to become a Client Service Manager before switching to Brand Management with Brian Munro Limited, where she managed brands like Skky Vodka, Jagermeister, Famous Grouse, and Wild Turkey. She later moved to First Kataylst Marketing to get a feel of experiential marketing, she joined Etu Odi Communications Ltd in 2020 where she planned and executed communication campaigns like LASHMA campaign in partnership with FirstBank, the launch and management of Firstbank's Firstmonie Wallet app among others, before joining Anchoria Investment & Securities Ltd in June 2022 as Head, Marketing & Corporate Communications. Mabel is an Associate Member of the Advertising Practitioners Council of Nigeria (APCON) and the Nigerian Institute of Public Relations (NIPR)
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We're not reviewing Christopher Nolan's Tenet. Here's why
By Rick Marshall	 August 28, 2020
This was supposed to be a Tenet review.
In a world where the COVID-19 pandemic wasn't still raging across the U.S. and killing thousands of people each day, I would almost certainly be excited about sharing my thoughts on Christopher Nolan's sci-fi thriller Tenet, the latest project from one of Hollywood's greatest modern filmmakers.
But alas, like so many other movie fans around the US, I've been presented with a choice: I can either see Tenet or keep myself and my loved ones safe.
Spoiler alert: That's not a very difficult decision.
Open for illness
This month, many of the nation's largest movie theater chains have begun reopening their doors after months of state-imposed lockdowns due to the highly contagious nature of COVID-19. In some states, this is happening as the number of positive cases continues to rise, and despite the Centers for Disease Control and Prevention (CDC) explicitly classifying indoor movie theaters as a "high-risk" environments.
The major theater chains have all announced new safety measures intended to prevent the spread of COVID-19, including increased frequency of cleaning, reduced theater capacity, and a range of mask requirements. (Some require masks to be worn at all times, in line with the CDC and health professionals' recommendations, while others leave the level of mask requirement up to local authorities to determine.)
In some cases, how restrictive these measures end up being is determined by state and local mandates.
That level of variance in safety measures, uncertainty about how well they'll be enforced, and warnings from the CDC and other health experts regarding the risks associated with indoor theaters suggest some potentially life-threatening consequences attached to seeing a movie right now. After all, just one asymptomatic carrier of COVID-19 could infect an entire theater without realizing it, turning a simple trip to the movies into a possible deadly outbreak.
"The virus is transmitted through droplets when we talk, laugh, and breathe," explains Anne Rimoin, Ph.D., M.P.H., and professor of epidemiology at UCLA Fielding School of Public Health, in an interview with Health. "A movie theater is a place where you sit with a room full of strangers eating and drinking for two to three hours with suboptimal ventilation. It's exactly the type of scenario we need to be avoiding to reduce opportunity for the virus to spread."
And yet, some movie studios seem to be suggesting — not outright, of course — that their movies are worth the risk.
Sick cinema
That is where we find Nolan's Tenet, one of this year's most anticipated films, which proudly proclaims in its marketing campaign that it is "only available in theaters."
Nolan has a long history of being a purist when it comes to the cinema experience, so it doesn't come as much of a surprise that he's involved with a problematic scenario that challenges Hollywood tradition. What is surprising, however, is the extent to which studio Warner Bros. Pictures has made seeing Tenet dependent on making yourself vulnerable to a virus that has killed nearly 179,000 Americans in just a few months.
Of the three major releases premiering in theaters this weekend — The New Mutants, and Bill & Ted Face the Music are the others — Nolan's thriller has the most restricted run by far. The New Mutants and Bill & Ted can both be seen in drive-in theaters, a significantly safer alternative to indoor theaters due to being outdoors and allowing wide distances between audience members, while Bill & Ted is also being offered to audiences via on-demand video.
Where the other two films have made efforts to accommodate audiences unwilling to risk exposure to a deadly virus, however, Tenet has taken the opposite approach.
Questionable approach
Just a week before the film was scheduled to premiere, Variety reported that Warner Bros. Pictures planned to remove Tenet from drive-in theaters in regions where indoor theaters hadn't opened yet.
The official reason for the studio's decision cited piracy concerns, but any explanation of why it would be less of a concern in regions where drive-in theaters coexist with reopened indoor venues was conspicuously absent from the report.
Instead of piracy, the decision likely has more to do with Nolan and the studio hoping the ban on drive-in screenings of Tenet will put more pressure on local officials to reopen indoor theaters. Not only are traditional theaters better equipped to present the film at Nolan's preferred level of video and audio clarity, but they're the best chance the studio has at recouping some of the film's massive production costs.
Ultimately, forcing people into indoor theaters is the easiest path to a win for Nolan, the studio, and national chains like AMC and Regal, but for the people who end up bringing coronavirus home from the theater, the outlook isn't nearly as positive.
This brings us to the reason why we won't be reviewing Tenet.
Promoting a film — or any product really — that demands you put yourself and everyone around you at risk presents a moral and professional dilemma of sorts. We're each responsible for our own decisions, of course, but with a threat like the coronavirus, the risk isn't limited to the individual.
When you go to the theater, you're putting yourself, the rest of the audience, and even everyone the audience goes home to at risk. And if your household includes members in high-risk categories for coronavirus (such as infants and elderly family members), the danger is exponentially greater.
Further complicating matters is the fact that Warner Bros. Pictures has also declined to make the film available to critics and film press digitally — forcing even those with a professional stake in seeing the film to risk exposure to the deadly virus. And unfortunately, that leaves many outlets with a tough decision to make when it comes to Tenet, one of the most intriguing films of the year.
That's why I've decided not to review Tenet.
Instead of putting my loved ones at risk, I've chosen to err on the side of safety and preventing the spread of a pandemic that has already claimed more than 828,000 lives worldwide. And until more data is available about the danger posed by indoor movie theaters, the risk remains far too high.
I've waited a long time to see Tenet, but with so much at stake, I can wait a little longer.
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College Plans for Fall Opening
By President Shirley M. Collado, May 18, 2020
Classes for the academic year will begin on Oct. 5.
(Photo by Andrew Frasz)
I am so pleased to share with you today that Ithaca College has set a date of Monday, Oct. 5, to begin the 2020-21 academic year in person, on our South Hill campus.
This is a major decision for our IC family, one that aligns with our ongoing, deliberate, and methodical decision-making process throughout this public health crisis. We are continuing to prioritize the health and safety of our college and local communities while being nimble and responsive.
In coming to the decision to open the fall semester on October 5, the senior leadership team and I listened to and collaborated with a variety of stakeholders and leaders, on campus and off. We've also clearly heard the voices of our students and their families.
As many of you know, Governor Andrew Cuomo unveiled last week the New York Forward plan, which provides thoughtful and strong metric-based guidance on our state's reopening. As New York Forward unfolds and as this public health crisis evolves and shifts, we will continue to adhere to guidance and regulations provided at the state level.
Locally, we continue to participate in reopening meetings with Tompkins County officials, the county health department, and leaders within our local medical community. Our thinking around our October opening has also been informed by recommendations from select national and state organizations and groups including the Centers for Disease Control and Prevention, National Association of Independent Colleges and Universities, American Council on Education, and Commission on Independent Colleges and Universities of New York, and the state's New York Forward Re-Opening Advisory Board as well as its Restart Plan for Higher Education Task Force.
To help our Ithaca College community work in unison as we move toward the next academic year, we've created the Return to Campus Task Force, composed of members of the senior leadership team and our campus community. This task force is charged with ensuring that the appropriate health and safety guidelines are incorporated into all aspects of our college operations as we move ahead. The provost has also charged the Academic Success and Student Engagement Coordinating Committee to ensure that these two critical components of the IC experience — academic success and student engagement — are cohesive and complementary in the 20-21 school year.
As time passes, I know that other institutions and schools may announce that they are planning to open the fall semester sooner than we are. But by putting a stake in the ground — right now — for an October 5 start at Ithaca College, we are intentionally delivering necessary time for all of us to plan, prepare, and thoughtfully align toward a common goal as this public health crisis continues to evolve.
Ithaca College has weathered many storms since we began as a small music conservatory in 1892, and survival in the face of significant challenge is in the DNA of this place.
President Shirley M. Collado
An October opening gives our returning and new students the space they need to get ready for the upcoming year, to engage in a creative slate of undergraduate summer session classes and experiences and remain engaged with IC to make sure no one misses a beat in their learning.
This carefully thought-out timeframe provides our faculty with the opportunity to fully prepare to deliver the strongest educational experience, and for our staff to fully map out their work and put solid, responsive plans in place around our emergency health and safety management.
The senior leadership team and I will unpack this major announcement with faculty and staff this week, during our All-Staff Gathering later today, and our All-Faculty Gathering to be held on Wednesday. We are also planning to hold a few virtual student gatherings, to focus on our move-out plan and discuss the new academic year.
Finally, I want to be very clear that our 2020-21 academic year will be a full academic year, which begins on Monday, Oct. 5. I know you will have specific questions about the academic calendar and the student experience, which will be answered as we continue to hone and finalize our plans to return to campus. I also know many of you will have questions about our athletics programs this fall. Please be assured that our athletics department staff, sports medicine staff, and the director of medicine for IC are working collaboratively to determine a plan and process to re-engage in intercollegiate athletics and recreational sports, and that IC will continue to follow NCAA, NATA, and Liberty League guidelines.
Ithaca College has weathered many storms since we began as a small music conservatory in 1892, and survival in the face of significant challenge is in the DNA of this place. Throughout this particular storm, our community has continued to demonstrate creativity, grit, and solidarity as we've pushed forward and continued to serve our students. It's this type of innovative, student-centered approach that makes us so distinctive as an academic institution.
I thank all of you for being a part of the IC family, and I am proud to walk alongside you during this critical time as we build the future of Ithaca College.
I look forward to seeing you all back on South Hill soon.
Shirley M. Collado


The Contact directory is used to help you and your operators maintain information about your customers, which we acquired during conversations through one or more mluvii channels. The directory can be found in the left menu of the operator interface and also can be encountered by operators during a session with a customer in the customer Information section.
The directory allows you to:
associate information with known and new contacts
manage customer contact information,
Add or remove customers in the Directory,
search the Directory and filter according to the criteria you specify.
Orientation in the Contact directory
In the Contact directory, you can find customer records that were saved when they were in a session with them or that the operators associated with the contact. You can view information about a particular customer by clicking on the appropriate line. Selected contact fields can be edited or additional data can be assigned to them by pressing + Add one more. If you want to keep your changes on the customer card, click Save. You can also delete a card entry using the Delete button.
Customer records are sorted in the Contact directory according to four main identifiers:
ID - each customer will be assigned a unique identification number, under which they will be listed in the calendar. The Customer ID cannot be changed.
Name - the name and surname of the user provided by the customer in the mluvii form, Hero Card, through the OAuth authentication (Gmail, Facebook) or obtained by the operator during the session. Each customer has one name the operator can override in the Directory.
Email - The email address that the customer provided in the mluvii form, Hero Card, through OAuth authentication (Gmail, Facebook) or received by the operator during the session. The customer's email can be edited or added to multiple contact emails.
Phone - telephone contact provided by the customer in the form, Hero Card, in the Callback field or during a session with the operator. The customer's phone number can be edited or added.
Further information about customers is sorted by input channels into mluvii:
Facebook PSID - This information displays the unique identifier of the Facebook account of a customer who has entered into a conversation in mluvii via Facebook Messenger or has logged in to Facebook via OAuth authentication. The entry can be edited or added.
WhatsApp - If a customer has entered into a WhatsApp conversation with you, they will also see a unique WhatsApp Contact ID on their card. The entry can be edited or added.
VKontakte - If a customer has entered into a VKontakte conversation with you, they will also see a unique VK Contact ID on their card. The entry can be edited or added.
Custom parameter in Contact directory
You can also add a custom ID to the basic IDs in the Contact Directory. You can set this using your own Parameters. To set a parameter, go to Settings -> Applications -> Variables.
Click the Add button to create a new variable, fill in its name and label, and check the Identifies Customer box. This variable then serves as a unique identifier between speech and your internal systems. You can obtain this information from the customer using the entry form, Hero Card, during a session with the customer, or the operator can enter it manually into the Contact Directory.
Modification of identification data during a session with a customer
In the case of a session with a customer, the operator can add a contact to the Contact directory by clicking on Contact directory and the Add Contact button and then editing the customer's credentials directly in the session.
If you find out during the session that this is a customer with whom you have previously dealt with a request, you can search for the entry in the Contact directory and link the contact information. Just click the Contact directory button and choose Select Existing. You will then search the list of contacts and, in case of a match, connect the contacts by pressing the Select button.
In the Customer Information section, you can use the Add one more button to manage your phone number, email address, or personally identifiable information about that customer. This is true even if the customer already has this information assigned.
Click the Options button, then the operator can Disconnect a contact from the Contact directory, Delete from the Contact directory or Open the Contact directory.
Well Arranged History of All Communication on the Level of Contact
During a session in progress, the operator has access to all previous communication. On a time axis, it displays a chronological order of all existing interactions carried out across various channels (chat including an invitation from the operator, e-mail, Facebook Messenger, WhatsApp and IP telephony), in which they can look up specific information using full text search.
On the level of each interaction, it is possible to display its transcription along with related details and variables. Furthermore, all changes in contact details of a given entry (e.g. adding, editing and deleting phone numbers or e-mails) are displayed within the history.
The operator can display this history during a session in progress in the History tab, in the detail of an incoming e-mail as well as in the History tab and, of course, on the level of a contact in the Contact directory.


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CSBG DCL-2021-26 OHS Vaccine Mandate Announcement FY2021
Today, President Biden announced a six-pronged strategy to combat the variants of the COVID-19 pandemic. The plan includes a requirement that Head Start staff, across the country, take necessary steps to protect our youngest population by receiving their COVID-19 vaccination.
CSBG DCL-2020-23 Release of Remaining FY 2020 Funds
The purpose of this message is to provide you with an update on apportionment of Community Services Block Grant (CSBG) funding for Fiscal Year (FY) 2020. These awards represent the full allocation of funding for FY 2020.
CSBG DCL-2020-21 State Lead Agencies and Eligible Entities CARES Act Roles
Roles of State CSBG Lead Agencies and CSBG Eligible Entities in Planning and Implementing CSBG CARES Act Grants
The Office of Community Services (OCS) has received a number of questions from State Community Services Block Grant (CSBG) Lead Agencies and from CSBG eligible entities regarding state direction in the implementation of supplemental funds distributed under the Coronavirus Aid, Relief, and Economic Security Act, P.L. 116-36 (CARES Act).
To help address these questions, this letter discusses the role of states in (1) ensuring flexibility to meet urgent community needs, (2) creating procedures to amend plans and address new needs, (3) supporting locally identified services and strategies, (4) facilitating communication, performance management, and technical assistance, and (5) monitoring and accountability.
CSBG Dear Colleague 2020-18 Findings from the 2020 ACSI Survey of CSBG Grantees
The purpose of this message to provide information to Community Services Block Grant (CSBG) state, territory and tribal grantees on findings from the 2020 American Customer Satisfaction Index (ACSI) survey of CSBG Grantees implemented on Tuesday, January 7, 2020, through Monday, January 27, 2020.
CSBG Dear Colleague 2020-17 Annual Report - OMB Approval and Updated Timeline
On February 28, 2020, the Office of Community Services received Office of Management and Budget (OMB) approval for the Community Service Block Grant (CSBG) Annual Report. This OMB-approved version of the CSBG Annual Report expires on February 28, 2023.
CSBG Dear Colleague 2020-16 ACF COVID Flexibilities IM
To the extent permitted by law, and in accordance with 45 CFR §75.102(a), this memorandum provides short-term relief for administrative, financial management, and audit requirements under 45 CFR Part 75 Visit disclaimer page (the HHS implementation of 2 CFR Part 200 Visit disclaimer page), Uniform Administrative Requirements, Cost Principles and Audit Requirements for Federal Awards, without compromising Federal financial assistance accountability requirements.
Partnership to Address COVID-19 Spread
Thank you for your continued engagement and partnership with us to address and mitigate the spread of COVID-19. We highly value our strong ongoing partnership, and hope to continue to be a resource to you as you implement community mitigation techniques. As you might imagine, a number of HHS divisions are releasing COVID-19-related information on funding and guidance. We thought it would be helpful to batch up information on key issues to keep you up-to-date.
CSBG DCL Federal Register Notice: 30-Day Comment Period on the Revised Model State Plan
On Friday, May 22, the second notice for public comment on the revised CSBG Model State Plan was published in the Federal Register, volume 80, number 99, page 29716 (https://www.federalregister.gov/articles/2015/05/22/2015-12392/submission-for-omb-review-comment-request Visit disclaimer page).


Once a Warrior: An Excerpt
/ Excerpts
"Our communities face no shortage of problems, ranging from social division to income inequality to an increasing onslaught of natural disasters. If, as a nation, we issued a challenge to the three million men and women who have returned from tiresome wars in the Middle East to address these things, what might we unlock" —Jake Wood
Yesterday was Veteran's Day, a day to honor those who have served in our nation's armed forces. But what happens the day after, not just the day after the celebration of a holiday, but the day after they come home? Jake Wood's new memoir tells that story—his own story, that of veterans more broadly, and of the organization he formed to help them fulfill the sense of purpose they had while serving to uphold their oath to support and defend our constitution and protect our democracy.
As the book's jacket copy describes:
When Marine sniper Jake Wood arrived in the States after two bloody tours in Iraq and Afghanistan, he wasn't leaving war behind him—far from it. Ten years after returning home, Jake's unit lost more men to suicide than to enemy hands overseas. He watched in horror as his best friend and fellow Marine, Clay Hunt, plunged into depression upon returning, stripped of his purpose, community, and sense of identity. Despite Jake's attempts to intervene, Clay died by suicide, alone.
Reeling, Jake remembered how only one thing had given Clay a measure of hope: joining him in Haiti on a ragtag mission to save lives immediately following the 2010 earthquake. His military training had rendered him unusually effective in high-stakes situations. What if there was a way to help stricken communities while providing a new mission to veterans?
In this inspiring memoir, Jake recounts how, over the past 10 years, he and his team have recruited over 130,000 volunteers to his disaster response organization Team Rubicon. Racing against the clock, these veterans battle hurricanes, tornados, wildfires, pandemics, and civil wars, while rediscovering their life's purpose along the way.
Once a Warrior provides a gut-wrenching account of the true cost of our Forever Wars—and more importantly, a glimpse of what might become of America's next greatest generation.
The excerpt below, reprinted with permission of the publisher, is the book's Preface.
◊◊◊◊◊
There's a saying in the military: Old soldiers never die; they simply fade away.
It's poetic, but the lyricism belies an underlying sadness. What happens to a soldier after combat? In uniform they are admired and applauded, thanked as they walk through airports and toasted with beers at the local pub. But when our sons and daughters take off their uniforms for the last time, they often begin a long descent into obscurity. A higher calling lives on inside of them that no longer has a mission to pursue, and as they struggle to reintegrate, it's more comfortable for the public to look away than to take responsibility. When most people think about veterans, they default to stereotypes—and to be honest, they aren't far off. Old men, baseball caps announcing their combat campaigns perched on top of greying scalps, shuffling through crowds and feeling invisible, yearning for someone to thank them for their service. Or worse, haggard shells leaning against a brick wall, a cardboard sign propped on the sidewalk in front of them: Desert Storm Veteran—spare some change?
But what if we reframed what it means to be a veteran? What if instead of allowing our sons and daughters to simply fade away, we asked them to come home and build a legacy that would strengthen the foundation of our nation? Our communities face no shortage of problems, ranging from social division to income inequality to an increasing onslaught of natural disasters. If, as a nation, we issued a challenge to the three million men and women who have returned from tiresome wars in the Middle East to address these things, what might we unlock?
The stakes are high. My unit took some of the highest casualties of the wars during our time in both Iraq and Afghanistan. Yet when we returned home, we lost more men to their own hand than to the enemy overseas. Since 2012, more service members have died by suicide than in combat.*
* Carol Giacomo, "Suicide Has Been Deadlier Than Combat for the Military," New York Times, November 11, 2019.
It's a stunning statistic and a sobering rebuke—and many Americans have never heard it. This epidemic cannot be fully explained with clinical diagnoses of post-traumatic stress disorder. To understand, we must look more broadly to the dearth of purpose and self-worth some veterans experience upon return. Many enter communities that care little about their sacrifice and choose to treat them like liabilities, rather than the assets they are. The local minor-league baseball team will disguise a returning veteran as the mascot and surprise her family with a crowd-pleasing public reunion—an overplayed scene that gets local news anchors to peddle tropes about heroism and sacrifice. Yet that same veteran will walk from local business to local business begging for a job in management, only to be told that she lacks experience. Never mind that she commanded a supply company of two hundred soldiers tasked with making daily runs to far-flung forward operating bases along highways riddled with IEDs.
Think about that for a moment. Imagine our country recruited you out of high school and invested hundreds of thousands of dollars into your training. We give you a uniform and a rifle and a rank. Perhaps most importantly, we give you a mission and a band of brothers and sisters that would do anything for you. We send you to war, where you fight for our flag, and, perhaps for the first time in your life, it feels like your existence matters. You execute a difficult job in impossible circumstances, gaining experience and confidence. You come home and we pin a medal on your chest and cheer for you at stadiums and arenas. But eventually that ends and your time in uniform is done. You take it off for the last time and the Army hands you a piece of paper and says, "Good luck, soldier." But before they've even finished wishing you good luck, they've turned their attention to the next body in a uniform, because they have a war to win. You walk off base and into your next chapter, eager and maybe a little scared. One thing is certain: your mission, community, and sense of identity have faded.
Stripped of this scaffolding, you might begin to feel listless and alone and fear that you are sinking like a battleship to the bottom of a harbor. Memories of the friends killed alongside you reoccur in your dreams. Perhaps you're plagued by a sense of failure after seeing the cost in blood and treasure of the U.S. military intervention in Iraq and Afghanistan while some of our communities at home rot in front of us. Despite having served more than most, you feel you still have a debt to pay.
What's more, civilian life confounds and frustrates you. Were people always so self-involved? Instead of protecting life and liberty, you're supposed to muster enthusiasm for socializing with your coworkers with an eye toward that promotion. But this new set of norms feels like a step in the wrong direction. It's hard to form bonds with people who are more interested in greasing the wheels of their career than forming a real brotherhood. You knew your fellow soldiers would die for you; you're fairly sure these people would plant their Italian loafer on your back as they stepped over you onto the ladder's next rung.
But there is hope in this battle. We can reignite a sense of purpose in our veterans by providing them a new mission that rivals their wartime sense of duty. In the decade since I've left the Marine Corps, I have seen countless men and women become better versions of themselves by serving with Team Rubicon in disaster zones around the world and here at home. Through this continued service, they have found within themselves an immutable sense of purpose and a tightly knit tribe. They gain these things not by focusing on themselves, but by turning their focus outward—on others. They don Team Rubicon's iconic grey uniform and help their neighbors restore order amid chaos. The mission gives them hope that their best days are before them, not rusting at the bottom of the sea, as they'd feared.
Once a Warrior explores both the harrowing cost of military service and the path to healing upon return. On the most basic level, it's my memoir of returning from two bloody tours in Iraq and Afghanistan, founding Team Rubicon with no money or experience, and mobilizing over one hundred thousand volunteers to help communities on their worst day. On a higher level, this is the story of America's veterans and the battles they continue to fight. Some prevail; others do not.
I refuse to believe we are destined to fade into nothingness. Instead, our wartime experience should serve as the prologue to long, fulfilling lives, propelling us forward to become beacons of strength and leadership in our communities. Our nation finds itself in a battle for the narrative that will define an entire generation of men and women sent to fight. Will we tell them that they are pitiful, empty shells of their former selves? Worthy of our sympathy and charity, but not capable of leading us? Or will America slam its gauntlet onto the table and issue a challenge—one that inspires this generation and flips the narrative, recognizing veterans as our best bet in restoring the America we love?
Excerpted from Once a Warrior by Jake Wood.
Copyright 2020 by Jacob Andrew Wood.
Published by Sentinel, an imprint of Penguin Random Hoiuse LLC.
Jake Wood is the cofounder and CEO of Team Rubicon, a disaster relief organization with over 70,000 veteran volunteers. Wood had previously spent four years in the Marine Corps, serving in Afghanistan and Iraq. Since founding Team Rubicon in 2010, Jake has built the organization into one of the United States' most celebrated nonprofits. This is his first book. Follow Team Rubicon on Twitter and Instagram @TeamRubicon. Learn more at teamrubiconusa.org.
Once a Warrior: How One Veteran Found a New Mission Closer to Home
Jake Wood
Fight Through the Ambush: How to Thrive When Shit Hits the Fan
By Jake Wood


Home NIGERIA TURKEY NEWS
Mali summons French envoy after Macron discredits junta govt
in NIGERIA TURKEY NEWS
Mali summoned France's ambassador on Tuesday, a Foreign Ministry statement said, to register its "indignation" at French President Emmanuel Macron's recent criticism of the country's army-dominated government.
Tensions between France and its former colony Mali – where Paris intervened militarily against extremists in 2013 – have been high since it emerged that the Sahel state is in talks with Russian mercenaries.
These tensions spilled over at the U.N. General Assembly late last month, when Mali's interim Prime Minister Choguel Kokalla Maiga accused France of a "sort of abandonment in full flight" over its decision to reduce its military deployment in the semi-arid Sahel region.
Macron later told French media that Maiga's comments were "unacceptable" and suggested that Mali's government was "not even really one" – referring to the coup in Mali led by Col. Assimi Goita in May.
The war of words continued on Tuesday, when Macron called on Mali's ruling military to restore state authority in large areas of the country abandoned in the face of the extremists' insurgency.
"It's not the role of the French army to fill in for the 'non-work,' if I may describe it, of the Malian state," he told French media.
Later that day, Mali's Foreign Ministry stated that Foreign Minister Abdoulaye Diop had summoned France's ambassador to inform him of the Malian government's "indignation and disapproval" of Macron's comments.
"The minister called on the French authorities to show restraint, avoiding value judgements," the statement said, adding that Mali wanted a "constructive approach based on mutual respect."
France intervened in Mali after extremists seized control of the north in 2012, and Paris has since deployed thousands of troops across the Sahel region to combat the insurgency.
Despite its military presence, violence has spread to central Mali and to neighboring Burkina Faso and Niger. In Mali, thousands of people have died and hundreds of thousands have been displaced, while swathes of the country have little or no state presence.
France decided a major scaleback of its Sahel deployment in June, following a military takeover in Mali in August 2020, which forced out the elected President Ibrahim Boubacar Keita.
Col. Goita, who led the August coup, installed a civilian-led interim government. But he then deposed the leaders of that government in May, in a second coup.
Last month, it emerged that Mali's ruling military was close to hiring 1,000 paramilitaries from Russian private-security firm Wagner, which incensed France. The French government has stated that despite its planned troop drawdown, it remains militarily committed to the fight against extremists in the Sahel.
Tags: discreditsEnvoyFrenchgovtjuntaMacronMalisummons


Hisaki and Yasha are an odd pair of friends: Hisaki is quiet, distant, and possibly keeping secrets from everyone, while Yasha is loud, violent, and in serious need of anger management. As they try to deal with each other, they soon find that creatures are after them for something they know nothing about: a demon supposedly hiding within one of them.
Currently, we reference a very old script and sketch out thumbnails into a regular 8 x 5 sketchbook. Much of the old script is revised or even trashed. From there the pages are scanned, cleaned up, and then word bubbles are added. Later the thumbnails are redrawn as proper sketches, then inked and toned.
As for the actual tools we use: Clip Studio Paint EX and an XP-Pen 15.6″ tablet screen.
Kuro Shouri got started back in fall of 2003, when two crazed otaku teenagers on a school bus decided that making a manga of their own would be the coolest thing ever. After binging on unhealthy amounts of Dragon Ball Z, Yu-Yu Hakusho and other animes no one cares about, a couple of character designs were pooped out and eventually, a very rough comic came to exist.
Bouts of laziness happened, and in 2005 it was decided to just get the comic done and over with. It was posted on DeviantART originally, and has been going even since the creators' weeaboo phase ended. Which takes real strength.
About The Creators
Kiki has been drawing since she could pick up a pencil, and unfortunately the animu style happened around middle school. She likes cats and Nintendo games and has no sense of humor.
DJ describes his brain as a "creative hell-nado" and as such has designated himself the "Idea Guy." He is a movie nerd, loves video games, and manages to write fight scenes for the comic in a matter of seconds.


Main page / Press Center / Press Releases and Events
NOVATEK's Board of Directors Approves 2021 Sustainability Report
Moscow, 30 June 2022. The Board of Directors of PAO NOVATEK ("NOVATEK" and/or the "Company") approved the Sustainability Report 2021 (the "Report") prepared in accordance with the leading international standards and verified by an independent auditor.
The Report provides a detailed account of NOVATEK's role in the global energy transition as well as the progress on, and ways to achieve, the Company's climatic and environmental goals. In the reporting year, NOVATEK established the Subcommittee on Climate and Alternative Energy, strengthening oversight at the Board of Directors level. Another important step was the introduction of internal carbon pricing used in making investment decisions.
The Report also showcases the best practices of Yamal LNG and Arctic LNG 2 in introducing the procedures for evaluating the impact on human rights and implementing plans to promote the sustainable development of indigenous peoples, as well as in biodiversity management in accordance with the most stringent international standards.
"We are confident that fulfilling our strategy to further expand the resource and production base while maintaining high efficiency and pursuing a responsible approach to business conduct will promote the development of communities that we form a part of as well as contribute to national and global sustainability goals," noted Leonid Mikhelson, NOVATEK's Chairman of the Management Board. "Following the principles of openness and transparency, the Company has been regularly publishing its sustainability reports since 2004. We intend to continue adhering to the highest responsible business conduct standards, maintaining the high level of transparency for all stakeholders".
The Report is available on the NOVATEK website in the Sustainable Development section.
PAO NOVATEK is the largest independent natural gas producer in Russia, and in 2017, entered the global LNG market by successfully launching the Yamal LNG project. Founded in 1994, the Company is engaged in the exploration, production, processing and marketing of natural gas and liquid hydrocarbons. Upstream activities of the Company's subsidiaries and joint ventures are concentrated mainly in the prolific Yamal-Nenets Autonomous Region, which is the world's largest natural gas producing area and accounts for approximately 80% of Russia's natural gas production and approximately 15% of the world's gas production. NOVATEK is a public joint stock company established under the laws of the Russian Federation.
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Three Little Pigs (film)
Burt Gillett
Mary Moder
Dorothy Compton
Frank Churchill
Animation by
Fred Moore
Jack King
Dick Lundy
Norm Ferguson
Art Babbitt[1]
Color process
Three Little Pigs is an animated short film released on May 27, 1933 by United Artists, produced by Walt Disney and directed by Burt Gillett.[2] Based on a fable of the same name, the Silly Symphony won the 1934 Academy Award for Best Animated Short Film of 1933. The short cost $22,000 and grossed $250,000.[3] In 1994, it was voted #11 of the 50 Greatest Cartoons of all time by members of the animation field. In 2007, Three Little Pigs was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".
2 Cast
3 Reaction and legacy
5 Home video
6 Sequels
7 Warner Bros. cartoons
8.1 Motion pictures
8.2 Theme park attractions
Practical Pig, Fiddler Pig and Fifer Pig are three brothers who build their own houses with bricks, sticks and straw respectively. All three of them play a different kind of musical instrument – Fifer Pig "toots his flute, doesn't give a hoot and plays around all day," Fiddler Pig "with a hey diddle diddle, plays on his fiddle and dances all kinds of jigs" and Practical Pig is initially seen as working without rest. Fifer and Fiddler build their straw and stick houses with much ease and have fun all day. Practical, on the other hand, "has no chance to sing and dance for work and play don't mix," focusing on building his strong brick house, but his two brothers poke fun at him. An angry Practical warns them "You can play and laugh and fiddle. Don't think you can make me sore. I'll be safe and you'll be sorry when the Wolf comes through your door!" Fifer and Fiddler ignore him and continue to play, singing the now famous song "Who's Afraid of the Big Bad Wolf?".
As they are singing, the Big Bad Wolf really comes by, at which point Fifer and Fiddler reveal they are in fact very afraid of the wolf. Fifer and Fiddler each retreat to their respective houses; the Wolf first blows Fifer's house down (except for the roof) with little resistance. Fifer manages to escape and hides at Fiddler's house. The wolf pretends to give up and go home, but returns disguised as an innocent sheep. The pigs see through the disguise ("Not by the hair of our chinny-chin-chin! You can't fool us with that old sheep skin!"), whereupon the Wolf blows Fiddler's house down (except for the door). The two pigs manage to escape and hide at Practical's house, who willingly gives his brothers refuge; in Practical's house, it is revealed that his musical instrument is the piano. The Wolf arrives disguised as a Jewish peddler/Fuller Brush man to trick the pigs into letting him in, but fails. The Wolf then tries to blow down the strong brick house (losing his clothing in the process), but is unable, all while a confident Practical plays melodramatic piano music. Finally, he attempts to enter the house through the chimney, but smart Practical Pig takes off the lid of a boiling pot filled with water (to which he adds turpentine) under the chimney, and the Wolf falls right into it. Shrieking in pain, the Wolf runs away frantically, while the pigs sing "Who's Afraid of the Big Bad Wolf?" again. Practical then plays a trick by knocking on his piano, causing his brothers to think the Wolf has returned and hide under Practical's bed.
Billy Bletcher as Big Bad Wolf
Pinto Colvig as Practical Pig
Dorothy Compton as Fifer Pig
Mary Moder as Fiddler Pig
Reaction and legacy[edit]
The movie was phenomenally successful with audiences of the day, so much that theaters ran the cartoon for months after its debut, to great financial response.[4] The cartoon is still considered to be the most successful animated short ever made,[5] and remained on top of animation until Disney was able to boost Mickey's popularity further by making him a top merchandise icon by the end of 1934.[6] Animator Chuck Jones observed, "That was the first time that anybody ever brought characters to life [in an animated cartoon]. They were three characters who looked alike and acted differently". (Other animation historians, particularly admirers of Winsor McCay, would dispute the word "first," but Jones was not referring to personality as such but to characterization through posture and movement.) Fifer and Fiddler Pig are frivolous and care-free; Practical Pig is cautious and earnest. The reason for why the film's story and characters were so well developed was that Disney had already realized the success of animated films depended upon telling emotionally gripping stories that would grab the audience and not let go.[7][8] This realization led to an important innovation around the time Pigs was in development: a "story department," separate from the animators, with storyboard artists who would be dedicated to working on a "story development" phase of the production pipeline.[9]
The moderate, but not blockbuster, success of the further "Three Pigs" cartoons was seen as a factor in Walt Disney's decision not to rest on his laurels, but instead to continue to move forward with risk-taking projects, such as the multiplane camera and the first feature-length animated movie. Disney's slogan, often repeated over the years, was "you can't top pigs with pigs."[10]
Song[edit]
The original song composed by Frank Churchill for the cartoon, "Who's Afraid of the Big Bad Wolf?", was a best-selling single, mirroring the people's resolve against the "big bad wolf" of The Great Depression; the song actually became something of an anthem of the Great Depression.[11] When the Nazis began expanding the boundaries of Germany in the years preceding World War II, the song was used to represent the complacency of the Western world in allowing Adolf Hitler to make considerable acquisitions of territory without going to war, and was notably used in Disney animations for the Canadian war effort.
The song was further used as the inspiration for the title of the 1963 play Who's Afraid of Virginia Woolf?
Home video[edit]
In the United States, the short was first released on VHS, Betamax and Laserdisc in 1984 as part of its "Cartoon Classics" Home Video series. It came out on VHS in the UK in spring 1996 as part of the Disney Storybook Favourites series. It made its DVD debut on December 4, 2001, included in the Walt Disney Treasures DVD box set Silly Symphonies, with the PAL release retaining the Jewish peddler animation.[2]
It was later included in Walt Disney's Timeless Tales, Vol. 1, released August 16, 2005 (featuring the edited version in the US Silly Symphonies set), which also featured The Pied Piper (1933), The Grasshopper and the Ants (1934), The Tortoise and the Hare (1935) and The Prince and the Pauper (1990).
In those other countries to whom the original 1933 cartoon was first released with original soundtracks in both English and other foreign languages, the uncensored images — with original 1933 soundtracks in both English and other foreign languages — are still issued by Disney corporation in home release videos.
Sequels[edit]
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Disney produced several sequels to Three Little Pigs, though none were nearly as successful as the original. The first of them was The Big Bad Wolf, also directed by Burt Gillett and first released on April 14, 1934. All four characters of the original film returned along with two new additions: Little Red Riding Hood and her grandmother, originating from a different folktale which also featured a wolf as the villain. The plot was fairly simple. Practical Pig is seen building an extension to the shared residence of the three pigs. The added space is presumably needed as the residence was originally intended for a single occupant. Meanwhile, Fiddler and Fifer Pig offer to escort the Red Riding Hood to her grandmother's residence. Against the advice of Practical, the trio attempts to follow a shortcut through the forest. They encounter the dressed-in-drag Wolf and barely evade capture. He proceeds in running ahead of them to the residence of the old woman. The Wolf chases her into a closet and then awaits her granddaughter to arrive. The young girl soon does, but also enters the closet with the assistance of her grandmother. Then Fiddler and Fifer Pig alert their brother to the situation. Practical arrives and soon manages to send the Wolf running by placing hot coals and popcorn into his trousers. The short contained several gags but at the time failed to repeat the commercial success of the original. Modern audiences have found it entertaining enough but still inferior to its predecessor.
In 1936, a third cartoon starring the three little pigs and the Big Bad Wolf followed, with a theme more towards The Boy Who Cried Wolf. This short was entitled Three Little Wolves and it was so called because it introduced the Big Bad Wolf's three pup sons, all of whom just as eager for a taste of the pigs as their father.
One more cartoon short featuring the characters, The Practical Pig, was released in 1939, right at the end of the Silly Symphonies' run.
In 1941, much of the film was edited into The Thrifty Pig, which was distributed by the National Film Board of Canada. Here, Practical Pig builds his house out of Canadian war bonds, and the Big Bad Wolf representing Nazi Germany is unable to blow his house down.
A new character, Lil Bad Wolf, the son of the Big Bad Wolf, was introduced in subsequent Disney comic books. He was a constant vexation to his father, the Big Bad Wolf, because the little son was not actually bad. His favorite playmates, in fact, were the Three Pigs.
There were subsequent sequels made for the Disney TV series Mickey Mouse Works as well.
Warner Bros. cartoons[edit]
Three cartoons inspired by this cartoon were produced by Warner Bros. The first was Pigs in a Polka which tells the story to the accompaniment of Johannes Brahms' Hungarian Dances. The second was The Three Little Bops, featuring the pigs as a jazz band, who refused to let the inept trumpet-playing wolf join until after he died and went to Hell, whereupon his playing markedly improved. Both of these cartoons were directed by ex-Disney animator Friz Freleng. The third film was The Windblown Hare, featuring Bugs Bunny, and directed by Robert McKimson. In Windblown, Bugs is conned into first buying the straw house, which the wolf blows down, and then the sticks house, which the wolf also blows down. After these incidents, Bugs decides to help the wolf and get revenge on all three pigs, who are now at the brick house.
Motion pictures[edit]
The film It Happened One Night includes a scene wherein the two main characters, played by Clark Gable and Claudette Colbert, are forced to room with each other. Gable's character has sequestered himself away from Colbert's by setting up a curtained off area. Still Colbert has reservations and declares her misgivings to Gable about the arrangement. Gable treats the situation with humor and proceeds to sing the song, "Who's afraid of the Big Bad Wolf", complete with lyrics from the Disney cartoon song, ending it with "tra-la-la-la…." Gable was being current with the times, as the Disney film had only come out about a year earlier.
Fiddler Pig, Fifer Pig, and Zeke the Wolf appeared in Who Framed Roger Rabbit.
Characters from the film also appeared on Disney's television series House of Mouse and its spinoff direct-to-video films: the three little pigs were featured on the series, the Big Bad Wolf was one of the villains in Mickey's House of Villains (2002), and Practical Pig was featured in Mickey's Magical Christmas: Snowed in at the House of Mouse (2001).
Theme park attractions[edit]
A coffee and sandwich shop at Buena Vista Street, in Disney California Adventure, is named Fiddler, Fifer & Practical Cafe in homage to the pigs. The shop is decorated with a motif of fifes, fiddles and pianos.
The pigs and the Big Bad Wolf appear at the Walt Disney Parks and Resorts as meetable characters
A miniature set of the pigs' homes is featured in the Storybook Land Canal Boats attraction in Disneyland
A poster in the queue area for the Magic Kingdom attraction Mickey's PhilharMagic features the three little pigs and the Big Bad Wolf as The Wolf Gang Trio.
The pigs appear in the video game Epic Mickey 2: The Power of Two, as scrapped versions of themselves.
In the life simulation video game Disney Magical World 2, one of the three random pigs is running a renovation wagon players can visit to have their in-game home remodeled. It can be made out different building materials, depending on which pig is running the wagon.
List of Disney animated films based on fairy tales
Blitz Wolf
^ "Walt Disney's "Three Little Pigs" (1933) -". cartoonresearch.com.
^ a b Merritt, Russell; Kaufman, J. B. (2016). Walt Disney's Silly Symphonies: A Companion to the Classic Cartoon Series (2nd ed.). Glendale, CA: Disney Editions. pp. 126–129. ISBN 978-1-4847-5132-9.
^ Balio, Tino (2009). United Artists: The Company Built by the Stars. University of Wisconsin Press. p. 116. ISBN 978-0-299-23004-3.
^ "Chronology of the Walt Disney Company (1934)". www.islandnet.com.
^ "Huffing and Puffing about Three Little Pigs • Senses of Cinema". www.sensesofcinema.com.
^ "The Walt Disney Family Museum - Find animation, innovation, and inspiration and immerse yourself in the remarkable life story of Walt Disney". disney.go.com.
^ Lee, Newton; Krystina Madej (2012). Disney Stories: Getting to Digital. London: Springer Science+Business Media. pp. 55–56. ISBN 9781461421016.
^ Krasniewicz, Louise (2010). Walt Disney: A Biography. Santa Barbara: Greenwood. pp. 60–64. ISBN 9780313358302.
^ Gabler, Neal (2007). Walt Disney: The Triumph of the American Imagination. New York: Vintage Books. pp. 181–189. ISBN 9780679757474.
^ Gabler, Neal (2007). Walt Disney: The Triumph of the American Imagination. New York: Vintage Books. p. 415. ISBN 9780679757474. Retrieved 14 March 2015.
^ "Insider - Oh My Disney". Oh My Disney.
Wikiquote has quotations related to: Three Little Pigs (film)
Three Little Pigs at The Big Cartoon DataBase
Three Little Pigs on IMDb
Three Little Pigs in the Encyclopedia of Disney Animated Shorts
Silly Symphony film series
The Skeleton Dance (1929)
El Terrible Toreador (1929)
Springtime (1929)
Hell's Bells (1929)
The Merry Dwarfs (1929)
Cannibal Capers (1930)
Frolicking Fish (1930)
Arctic Antics (1930)
Midnight in a Toy Shop (1930)
Night (1930)
Monkey Melodies (1930)
Playful Pan (1930)
Mother Goose Melodies (1931)
The China Plate (1931)
The Busy Beavers (1931)
The Cat's Out (1931)
Egyptian Melodies (1931)
The Clock Store (1931)
The Spider and the Fly (1931)
The Fox Hunt (1931)
The Ugly Duckling (1931)
The Bird Store (1932)
The Bears and the Bees (1932)
Just Dogs (1932)
Flowers and Trees (1932)
King Neptune (1932)
Bugs in Love (1932)
Babes in the Woods (1932)
Santa's Workshop (1932)
Birds in the Spring (1933)
Father Noah's Ark (1933)
Three Little Pigs (1933)
Old King Cole (1933)
Lullaby Land (1933)
The Pied Piper (1933)
The Night Before Christmas (1933)
The China Shop (1934)
The Grasshopper and the Ants (1934)
Funny Little Bunnies (1934)
The Big Bad Wolf (1934)
The Wise Little Hen (1934)
The Flying Mouse (1934)
Peculiar Penguins (1934)
The Goddess of Spring (1934)
The Tortoise and the Hare (1935)
The Golden Touch (1935)
The Robber Kitten (1935)
Water Babies (1935)
The Cookie Carnival (1935)
Who Killed Cock Robin? (1935)
Music Land (1935)
Three Orphan Kittens (1935)
Cock o' the Walk (1935)
Broken Toys (1935)
Elmer Elephant (1936)
Three Little Wolves (1936)
Toby Tortoise Returns (1936)
Three Blind Mouseketeers (1936)
The Country Cousin (1936)
Mother Pluto (1936)
More Kittens (1936)
Woodland Café (1937)
Little Hiawatha (1937)
The Old Mill (1937)
Moth and the Flame (1938)
Wynken, Blynken, and Nod (1938)
Farmyard Symphony (1938)
Merbabies (1938)
Mother Goose Goes Hollywood (1938)
The Practical Pig (1939)
Unstable Fables (2008)
De 3 Biggetjes (2003 musical)
Parody films
Blitz Wolf (1942)
Pigs in a Polka (1943)
The Windblown Hare (1949)
Three Little Bops (1957)
Parody books
The True Story of the 3 Little Pigs! (1989)
The Three Little Wolves and the Big Bad Pig (1993)
The Three Pigs (2001)
"Who's Afraid of the Big Bad Wolf?" (1933)
"Three Little Pigs" (1991)
Story in story
San zhi xiao zhu
Big Bad Wolf (character)
Academy Award for Best Animated Short Film
Submissions for Best Animated Short Academy Award
Ferdinand the Bull (1938)
The Milky Way (1940)
Lend a Paw (1941)
Der Fuehrer's Face (1942)
The Yankee Doodle Mouse (1943)
Mouse Trouble (1944)
Quiet Please! (1945)
The Cat Concerto (1946)
Tweetie Pie (1947)
The Little Orphan (1948)
For Scent-imental Reasons (1949)
Gerald McBoing-Boing (1950)
The Two Mouseketeers (1951)
Johann Mouse (1952)
Toot, Whistle, Plunk and Boom (1953)
When Magoo Flew (1954)
Speedy Gonzales (1955)
Magoo's Puddle Jumper (1956)
Birds Anonymous (1957)
Knighty Knight Bugs (1958)
Moonbird (1959)
Munro (1960)
Ersatz (The Substitute) (1961)
The Hole (1962)
The Critic (1963)
The Pink Phink (1964)
The Dot and the Line: A Romance in Lower Mathematics (1965)
A Herb Alpert and the Tijuana Brass Double Feature (1966)
Winnie the Pooh and the Blustery Day (1968)
Is It Always Right to Be Right? (1970)
The Crunch Bird (1971)
Frank Film (1973)
Closed Mondays (1974)
Leisure (1976)
The Sand Castle (1977)
Special Delivery (1978)
Every Child (1979)
Crac (1981)
Tango (1982)
Sundae in New York (1983)
Charade (1984)
Anna & Bella (1985)
A Greek Tragedy (1986)
The Man Who Planted Trees (1987)
Tin Toy (1988)
Balance (1989)
Creature Comforts (1990)
Manipulation (1991)
Mona Lisa Descending a Staircase (1992)
The Wrong Trousers (1993)
Bob's Birthday (1994)
A Close Shave (1995)
Quest (1996)
Geri's Game (1997)
The Old Man and the Sea (1999)
Father and Daughter (2000)
For the Birds (2001)
The ChubbChubbs! (2002)
Harvie Krumpet (2003)
Ryan (2004)
The Moon and the Son: An Imagined Conversation (2005)
The Danish Poet (2006)
Peter & the Wolf (2007)
La Maison en Petits Cubes (2008)
Logorama (2009)
The Lost Thing (2010)
The Fantastic Flying Books of Mr. Morris Lessmore (2011)
Paperman (2012)
Mr Hublot (2013)
Feast (2014)
Bear Story (2015)
Piper (2016)
Dear Basketball (2017)
Bao (2018)
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English-language films
1933 short films
1930s comedy films
1930s American animated films
American films
Animated musical films
Disney animated short films, 1930s
Best Animated Short Academy Award winners
Films based on fairy tales
Films about pigs
Animated films about wolves
Silly Symphonies
United States National Film Registry films
1933 animated films
Films directed by Burt Gillett
Films produced by Walt Disney
Works based on The Three Little Pigs
Films scored by Frank Churchill
American black-and-white films
Film articles using infobox succession
Pages using infobox film with unknown parameters
Articles needing additional references from May 2011