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Twelve teachers from Edmonton schools are semi finalists for Alberta Education Excellence in Teaching awards.

don take enough time to recognize the excellence in our classrooms, said Alberta Teachers Association president Mark Ramsankar, who added that it is excellence in teaching in classrooms across the province that has seen Alberta education system recognized nationally and internationally.

The Excellence in Teaching Awards program was started in 1989 to honour effective, creative and innovative teaching practices and celebrate outstanding teachers. Over 10,000 teachers have been nominated for an Excellence in Teaching award, and more than 500 teachers have received the honour.

The 10 semi finalists from Edmonton Public Schools and three from Edmonton Catholic Schools join 18 other teachers from across the province in the running for 20 awards, which will be presented this week.

All semi finalists receive a certificate of recognition and access to $1,500 to use towards professional learning, while finalists receive a certificate, commemorative pin and $4,000 for professional learning.

Award recipients schools also benefit from the honour, with monetary awards and certificates of recognition.

Winning teachers are those who go above and beyond to foster the development of their students while working well with their colleagues, demonstrate in depth knowledge of their curriculum and achieve positive results in student learning while displaying genuine care for the well being of their students.

Ramsankar said that just as important as recognizing excellent teachers is working to ensure teachers have the resources they need to support their efforts.
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“We feel like our field work is done. We feel like we’ve exhausted everything that we can do in terms of looking for additional burials,” said Dr. Erin Kimmerle, an anthropologist heading up the effort.

Some of the White House Boys and their families are convinced there are more bodies at Dozier, possibly in a second cemetery. Some want the state to continue searching.

“Please don’t leave those children there let’s find the rest of them, as many as we can,” said Peggy Marx Grifffin, widow of White House Boy Frank Marx.

“There is a grave yard there that has more than 30 graves, and I ask that this does not stop,” White House Boy Charles Fudge told the cabinet.

Attorney General Pam Bondi says several questions remain, including what to do with the recovered remains that cannot be identified.

“I think they all deserve a proper burial, but I guess we have to decide ultimately where the burials should be,” Bondi said. “I’ve heard some people say they want them buried back at Dozier. I’ve heard some say they wouldn’t want their family members back there for anything in the world.”

Some are recommending a memorial and mausoleum on site.

The state hasn’t yet decided what to do with the property.

Civic and business leaders from Marianna offered their support and told the cabinet they are anxious to help bring closure.

“I don’t want to get into what did or didn’t happen. I wasn’t there. I want to say I’m sorry, and let’s get on,” former Marianna Mayor Elmore Bryant said after the cabinet meeting.

There is a bill in the legislature this session that would provide money for families to re bury the remains identified at Dozier. The final report of the archeological work and excavation at the former Arthur G. Dozier School for Boys in Marianna has been released.

A total of seven positive DNA matches and 14 presumptive identifications were made from the 51 remains that were located at the site.
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Talking to academy members the past couple of weeks, I heard an earful about all the problems they had with various best picture contenders “Why’d she have to that fish?” lamented one voter of “The Shape of Water’s” interspecies sex scene but not so much about the ways they loved the nominated movies. Right up until the Feb. 27 deadline, many still couldn’t decide how to rank their ballots.

With Gary Oldman, Frances McDormand, Sam Rockwell and Allison Janney sweeping all of the key precursor awards, the four major acting races appear to be locked down. But the overall indecision in the best picture field has proved contagious. With this year’s best picture race being such a wide open free for all, I’ve gone back and forth on my own prediction a couple of times.

Will it be “The Shape of Water”? Could “Get Out” sneak in? What about “Three Billboards Outside Ebbing, Missouri”? Can’t we just give it to “Moonlight” again, this time in a proper fashion? But the wheel’s got to stop spinning sometime. Here’s where it landed.

(Note: In races where an upset may be looming, I’ve offered an alternate prediction. The others you can take to the bank.)

FULL COVERAGE: Oscars 2018 PICTURE

“Call Me by Your Name”

“Get Out”

“Lady Bird””The Post”

“The Shape of Water”

“Three Billboards Outside Ebbing, Missouri”Alternate: “Get Out”

The safe bet is “Shape of Water” with its PGA and DGA wins, plus its leading 13 noms. And “Get Out” appears poised for a “Moonlight” style ambush with voters gravitating toward its social message as a way to extend another middle finger salute to Washington.

“Three Billboards,
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” meanwhile was labeled “divisive” after a handful of critics thoughtfully objected to the way the film used and dealt with race. The arguments have merit, but they haven’t seemed to persuade awards season voters. “Three Billboards” swept through the SAG Awards and took the top honor from the British Film Academy. I didn’t find many academy members who found the movie problematic.

Voters I spoke with responded to the palpable sense of rage coursing through the film, the helpless frustration and anger expressed by Frances McDormand’s grieving mother. It’s no accident that artists and activists have been using the movie’s titular tactic and creating their own protest messages.

The movie connects with its audience in ways they might not be able to fully articulate. But that doesn’t mean you should underestimate the connection. Two members of the movie’s ensemble Frances McDormand and Sam Rockwell are heavily favored to win Oscars. The actors branch, by far the academy’s largest group, might push this all the way to the top.

Want to get an early read on the best picture winner? Watch this category. If Peele prevails (as he should), then “Get Out” could go on to win best picture. If it’s McDonagh, then it’s probably “Three Billboards.”

There’s also the possibility of smorgasbord voting, where members will go for “Get Out” here, but “Billboards” or “Shape of Water” for picture. (That damn preferential ballot complicates things.) But to buy into that, you have to ignore decades of history. Best picture winners also usually win for their writing. So if I’m thinking “Billboards” takes picture, I’ve got to go with it here too, much as it pains me to do so.

Winner: “Dear Basketball.” Angelenos like to see Kobe Bryant (who produced and wrote the short) holding trophies,
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and it’s been a long time.

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Here’s Part 1 of our March 16 cover story.

Happy birthday, Bubba Chuck, you’re about to be traded to the Clippers! Bubba Chuck is hearing this over the phone last summer, hearing this from the man who runs the franchise, hearing this from the loudest talker he’s ever met. But Bubba Chuck is going to get a word in, bitch, and he’s going to get it in now.

He’s saying, You want to trade me? Trade me for Grant Hill, but don’t trade me for some lame ass Clipper. Don’t trade me for holding up the bus, or for eating tacos for breakfast, or for hiding in the can during weightlifting sessions, or for showing up for practice with only one Reebok on. Don’t trade me for all that silly BS because I can control that. You hear me?

I’m 25 now, man, just turned the other day, and 25 means I’m all grown up now. I’m getting married, man, you hear me? I’m gonna buy me a bigger house in Philly, and I want my boy, Deuce, to be proud of me, to know that I do what I’m told, that I’m a pro, that I’m captain of the whole damn team. Where I come from, not a lot of people make it to 25, but I made it, and I didn’t even have some whup ass party to celebrate it. Because I want a ring, and I want to pour champagne on Coach, and you may think I’m a thug punk, but I’m not.

So, if you’re gonna trade me, trade me for basketball reasons, trade me because you can get a superstar in return. But don’t trade me because I wear do rags to and from games, man. Tell that to Coach, tell that to him, please.

And then Bubba Chuck shuts up for a second, and the man who runs the franchise, the man who went from taping Sixers ankles to owning Sixers ankles, is thinking, Hallelujah. And then he hollers to Bubba Chuck, Do it then. You do it! That’s all you gotta do. You will not be traded. Walk the talk, Bubba. You walk it.

And he and Bubba Chuck went on to chat for 90 minutes, and the man who runs the franchise did only 10 or 12 minutes of the talking. And they were about to hang up when Bubba Chuck said, Now go tell Coach, go tell Coach, and he didn’t refer to Coach as the bleeping coach, either. And the man who runs the franchise called his general manager, Billy King, and he said, I’ve just had the most amazing conversation with Bubba Chuck and if 50% of what he says is true, we’re in heaven.

But they didn’t want to be gullible, because Bubba Chuck had made promises before, ever since he entered the league from Georgetown. Back then, the man who runs the franchise wanted to get to know the kid and his people. So, when he drafted the kid, he said, Hi, I’m Pat Croce. I run the team, and asked the kid for his nickname. The kid said his posse called him Bubba Chuck, back from his days growing up in Hampton, Va., and Croce thought that was cool; that was what he was going to call him too.

But Bubba Chuck’s posse began dragging him down, and soon they and Bubba Chuck got arrested for gun possession (he got three years probation), and the man who runs the franchise warned the posse to clean up its act, and some in that posse talked back. So this is what the Sixers were dealing with, a raw 20 year old, and even though he scored 40 points or more five games in a row his rookie season, Bubba Chuck needed to be reeled in, needed to be coached. And the man who runs the franchise brought in a doozy, too. For Bubba Chuck’s second year, he brought in someone a whole lot like Bubba Chuck: Larry Brown.

And for three years Brown tried to get inside Bubba Chuck’s head, and it was futile until last summer when Bubba Chuck turned 25 and finally said to the coach, I’m yours. He showed up for training camp 15 pounds under his playing weight. (Well, you wouldn’t eat either if you were going to be traded to the Clippers, he says.) And the team started 10 0, and Bubba Chuck was busting his bony rear end. Not only was he always on time, but he played with a sore hip, a raw elbow, a partially dislocated shoulder, a twisted knee and a sore quad. He played hurt and scored a career high 54 at Cleveland, and he scored at least 40 at least a dozen other times, and then he kissed the ground when the coach and the man who runs the franchise traded for Dikembe Mutombo.

And so the team is now a legit championship contender, and he is a legit MVP contender, and the three of them have done it. And that is what this tale is about. Three men who have figured it out. Three men who have lost their fathers, and, at various times, their minds. Three men who keep the Sixers rolling because of a simple dance they do, where the coach tears Bubba Chuck down, and the man who runs the franchise builds Bubba Chuck back up. It is obviously all a work in progress, because the coach or the player could snap at any moment. But like Bubba Chuck says, he is 25 now, and he can take it. Come on, man, Allen Iverson says. I’m halfway to 50.

Allen Iverson cannot live with Larry Brown or without him. This is some mess Bubba Chuck is in, prospering under a coach he sometimes wishes he wouldn’t prosper under. How these two got in synch is the mystery of the year,
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but it probably has to do with a simple premise: They’re the same damn guy.

Iverson doesn’t know Brown’s story, but Brown knows Iverson’s, because he has spoken to Iverson’s mother, Ann, and Ann has told Brown she wants the best for her son even if it means Brown must scold him incessantly. And that made Brown think of his own life, and his own mother, because it was just he and she and a brother for a while. Living over a bakery. Living without any heat.

The coach is 60 now, and he can talk about it, can talk about going more than a month without knowing his father was dead. He can talk about his temper, how he got kicked out of the Atlantic Coast Conference for punching Duke’s Art Heyman. How he grew up in a black and Jewish neighborhood on Long Island. How he was semi adopted by an unbelievable family. How he found discipline. How today he alternately loves to coach Allen Iverson and hates to coach Allen Iverson. All of this helps explain the vagabond in Brown the nine jobs in 29 years and his hypersensitivity. All of this helps explain why earlier this season, Brown contemplated quitting the Sixers.

But it all goes back a ways. He was the 7 year old son of a furniture salesman, back in Brooklyn, and his father would leave for Pittsburgh on Sunday nights and be there until Friday at dusk. It was taxing on the family, and the road gave his father a heart attack, and the only way to solve it was to pack up and move to Pittsburgh.

They found a house to buy there, but 22 days before move in day, his father caught a cold. It was a Sunday night, and his father seemed listless. His mother dropped him at the hospital, and later that evening a nurse called to say hurry back. By the time his mother arrived, her husband was dead from a second heart attack.

The next morning, a relative gave the news to Brown’s 12 year old brother, Herb, who reacted angrily. So the family decided to keep it all from Larry, who simply thought his father was on a long business trip. All Larry knew was that they were flying back to Brooklyn, to live in the attic over his grandfather’s bakery, where the workers would share the family toilet. He had no idea he’d missed a funeral, and it was more than a month before he heard the truth. “How did I react?” Brown asks now. “I think you probably block some of that stuff out.”

He played ball all the time, well enough to win sponsorship to a basketball camp in the Poconos every summer. He became a camp counselor, and that’s when teaching and coaching got in his blood. All the campers begged to sit at his dinner table because he was the coolest and best dressed counselor. But he’d shock them by making them eat their vegetables. It started then, the discipline.

A camper named Brent Glass was Larry’s favorite. Brent played hard, got the most out of his ability, and that was Larry’s MO too. When Larry enrolled at North Carolina to play for Frank McGuire, the Glass family could find his games only on a car radio. So they’d pile into their sedan, eat snacks and listen close.

At Chapel Hill, McGuire needed to rein in Brown. In one early game, Brown was a 5’8″ kamikaze, challenging post men twice his size. McGuire’s post game comment was, “I go to Long Island to get one smart Jewish kid to run my team, and Brown comes down and plays like a crazy Irishman.”

But eventually McGuire taught Brown what Brown would later try to teach Iverson. He would scold him, Brown would mope, and Joe Glass or Brown’s uncles would always tell Brown, “If they’re not on you, they don’t love you.”

It is 40 years later, and Larry Brown is being Frank McGuire. He is always trying to get Iverson to defend, to play the right way, to distribute a little. He does not mean to tear him down; he’s just nagging the way he’s always nagged. “My advice for Iverson?” says Danny Manning, who got tired of Brown at Kansas and with the Clippers. “Listen to what Coach Brown says, not how he’s saying it.”

The coach had a plan; always has. When Brown arrived in Philly, he realized he had to surround Iverson with lunch pail players, which meant Derrick Coleman, Jerry Stackhouse, Tim Thomas and Larry Hughes all had to go. Brown seemed reactionary and power starved, but what he did was give Iverson the cocoon he needed. The new acquisitions were Aaron McKie, Theo Ratliff (later sacrificed for Mutombo), Eric Snow, Tyrone Hill and George Lynch, and it wasn’t their nature to gripe for the ball. They’d do the dirty work, Iverson the scoring. Brown convinced him if he gave up being point guard, if he simply let go of the ball, he’d get it back tenfold. He gave Allen a great gift: freedom.

Of course, Iverson had no clue. He abused everything Brown had created for him, showing up late to practices, games, buses and weight room sessions. “Allen would hide in the toilet when we’d lift weights,” says John Croce, Pat’s brother and until recently the team’s strength coach. “He’d come in and eat 20, 25 tacos for breakfast I mean, he’d be in the locker room with bags of them and I don’t know if they made him sick, but he’d spend the rest of the morning in the bathroom. There’s no way he’d want to lift. He’d be, ‘John, I’ll be right there,’ and then he’d disappear. I called him Casper.”

Brown initially showed mercy on Iverson. Maybe part of it was he’d heard the whispers about Iverson from people in the organization. Whispers from people who called Iverson and his mother “The Beverly Hillbillies.” Whispers that Iverson’s mother wore sneakers with her mink coat. Whispers that Iverson had his posse pick up his mother at an airport one day, that they couldn’t remember where they parked his sports utility vehicle and that she just went out and bought another one. Whispers that Iverson sold his house to teammate Matt Geiger, and that Geiger moved in to find a Mercedes in the garage and 25 pairs of new Timberland boots in the front bedroom. Whispers that Geiger also found cash just lying around on the rug.

So, for whatever reason, Brown protected Iverson against his own instincts. Brown had been taught long ago by McGuire and then Dean Smith to put the team first. By tolerating Iverson’s insolence, he was breaking Tar Heel law. This burdened him, and he worried what other Sixers thought.

He pulled McKie aside to say, “I can’t keep avoiding these issues with Allen being late and overlooking it, because you guys won’t respect me.” But McKie and Snow told Brown, “Let us handle it.” Their idea was to drive Iverson to the arena themselves. But Brown’s guilt kicked in, and he was trying to rationalize this double standard he’d created when he told McKie, “Well, the little kid has had a pretty tough childhood.” McKie’s response: “Well, 12 guys in that locker room could probably say the same.” And that’s the statement that rocked Brown.

McKie was right what made Iverson so special? And that’s when Brown started climbing all over Iverson, which in turn was when Brown learned the dos and don’ts of coaching Bubba Chuck.

Rule No.1: Critique him in private. If not, he’ll rebel. “Aaron McKie once told me Allen had some loose wires; that he doesn’t respond in a group setting very well,” Brown says. “And I told Allen that. And Allen kind of laughed, and he said, ‘No, no, no, Coach, I can do it. You can get on me.’ But there’s no way. He’s got too much pride. He can’t.”
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Somewhere in the second act of “Maze Runner: The Scorch Trials” the second in the Wes Ball directed adaptation of the James Dashner young adult trilogy a group of teenagers walks in silhouette along the ridge of a sand dune, having just left behind one of their own who was clawed by a zombie and in the process of “turning.” As they walk, a shot rings out, and the line stops, poignantly, in unison.

It’s not often that YA dystopian novel turned films of which there has been no dearth of late aspire to that level of emotional and cinematic craftsmanship, and it’s all the more surprising coming from a series by Ball, a first time director when the franchise began.

Now we have the series’ third and final entry, “The Death Cure” (officially “Maze Runner: The Death Cure,” though the title card drops the prefix), and we can finally take a step back and observe the series in full.

Dashner’s novels were never what one would call excellent: They’re good airport fiction, with a healthy dose of silliness (the bad guys are called “WICKED,” short for “World In Catastrophe: Killzone Experiment Department”) and an annoying love triangle here and there.

Surprisingly, Ball took less of a scalpel and more of a chainsaw to the series’ plot, essentially rewriting its middle chapter and streamlining its characters and narrative. More surprisingly, he may even have ended up with an improvement on the source material.

2014’s “The Maze Runner” and 2015’s “The Scorch Trials” were not films that had much in the way of beginnings and endings. But taken all as one, the trilogy paints an arc driven by friendship, loss and the moral grey zone between good and evil. Its characters aren’t very three dimensional but damn it, they’re loyal. There are good people out there? Who knew.

True to form, “The Death Cure” dispenses with narrative backstory, jumping straight into the well orchestrated action of a high speed train heist/rescue. At this point, the group of boys originally being experimented on in a massive maze have escaped their captors twice,
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led by the alternatingly recklessly determined and fearfully confused Thomas (Dylan O’Brien). He used to work for WCKD (the movie abbreviates the acronym), but has gone through a Bourne like loss of memory and change of heart.

Joe Alblas / Twentieth Century Fox / Courtesy

As the plot unfolds, and the wiley group attempts to rescue their friend Minho (Ki Hong Lee) from WCKD’s headquarters, we realize that the narrative itself doesn’t much matter it was always the weakest point of the series. What engages us, instead, is the bond built between the boys, thrown together in the first film and forced to survive.

Where most YA dystopian films languish on the decisions between friendship and “the mission” (see “The Hunger Games”), or engage in those runtime padding love triangles (see “The Hunger Games,” and “Divergent” et al.), with “The Death Cure,” the friendships are completely unspoken. It’s not a question. Hell or high water, the boys look out for their own. It’s refreshing.

It’s also refreshing to see a villain organization that, for all its silliness, actually has a point. WCKD has been experimenting on kids several of whom are immune to a virus that has turned much of the world into zombies to try to find the cure lurking in their blood. As “The Death Cure” wraps up, we discover something interesting: WCKD was right all along, Thomas’s blood does contain a cure, and he’s basically doomed most of the world by aiding in WCKD’s downfall.

And yet: The film concludes on another note, in which Thomas has managed to save hundreds of kids and many, but not all, of his friends, from an organization that was complicit in child torture.

Does Ball really delve into who was right? No. But the question is left open enough to invite some thought on the part of its audience. And for a YA action series, that’s about all we could hope for.
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Main Street transformed into a spy’s stomping ground when the television series “Homeland” filmed Monday in downtown West Point.

The cast and crew of “Homeland,” a television political espionage thriller, filmed scenes for the show in the 700 block of Main Street and St. John Episcopal Church. Claire Danes, who plays the series’ protagonist CIA officer Carrie Mathison, was among the team working in West Point. It was the first time West Point has been a filming location, Town Manager John Edwards said.

“It was just too tough to film there. This is much better,” said Coleman, who added that about 90 percent of the upcoming seventh season is being filmed in Virginia.

A portion of Main Street was blocked off filming and given a big city vibe with parking meters and Dash Cash, a fictitious payday loan establishment set up for the show. The crew was busy tending film equipment set up around the street.

Tyler Britt found the scene intriguing, and the Old Dominion University film student tagged along with the crew to observe the filming. He said the experience provided a unique look into the process.
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Charles K. Campbell doesn’t like slave movies.

“It’s surprising to me that I made one,” said Campbell, the director of All or Nothin’, his first feature film. “I loathe slave stories. So many movies about slavery focus on the beatings and the violence.”

So when he set out to make All or Nothin’, Campbell said he spared scant attention for the violence the characters in the story endure. But he didn’t carefully document the torture that feels central to so many movies about slavery, like 12 Years a Slave and 2016’s Birth of a Nation.

“I wanted to focus on the positive side of this,” Campbell said. “When you read the story of the Escape of the 28, you see the heroism in all of the people who wanted freedom. You see where blacks and whites, men and women, Quakers, Wesleyan Methodists all worked together to correct this evil. I knew I had to make a feature film about it.”

All or Nothin’ dramatizes the true story of 28 slaves who escaped from a plantation in Boone County, Kentucky in 1853. With the help of abolitionists and connections along the Underground Railroad, the slaves moved northward to Canada, where the Fugitive Slave Law of 1850 couldn’t reach them.

Campbell was in graduate school working on a master’s degree in film when he first learned about one of the biggest single escapes of a group of slaves in America. A historian friend gave him a pamphlet about the escape. Campbell knew about the Underground Railroad, the hidden network of safe houses and checkpoints abolitionists created. Convicted by religious fervor, American abolitionists quietly helped fugitive slaves flee the south using subterfuge, deception and no small amount of supplies needed for travel. Scholars believe that 30,000 fugitive slaves reached Canada, and that the Underground Railroad played a key role in getting many of them there.

But Campbell said he didn’t know about the escape of 28 slaves in Kentucky.

“I was amazed by the abolitionists across four states who were able to arrange the escape of these 28 people,” Campbell said. “After I read it, I opened my big mouth and said ‘this is going to be my master’s thesis.'”

Campbell made his movie on a micro budget, which shows here and there. But the principal actors Bryant Bentley as the slave Washington Barker and Daniel Britt as the leathery John Fairfield bring gravitas to their scenes and the supporting cast is convincing in the tale about hardship and loss on a journey undertaken on foot. The crew made all the costumes and built all the boats and guns seen in the film.

Campbell recruited Ukrainian filmmaker Michael Avensen to do the cinematography, and Ben Devine to edit the film. Campbell’s friends in California cast the movie, and the production team traced the fugitive’s journey, packing the trek into about two weeks. The crew shot the film in about 11 days.

Campbell’s version whittles the fugitives to about a dozen, with Fairfield leading with a rough exterior and tender heart.

“There were 28 slaves who escaped we only focus on about eight,” Campbell said. “It would be hard to afford 28 actors, and the emotional investment on the audience it would be hard to connect with 28 people.”

Narrowing the narrative to fewer fugitives gave Campbell another opportunity he wouldn’t have had if he’d cast 28 actors.

“I also wanted to give them a voice,” he said. “If you look into the history, the slaves didn’t have a voice. Their thoughts about the things they experiences weren’t recorded. The history we have, a lot of it is through the writings of the white abolitionists who recorded it.”

Campbell doesn’t spare the audience the indignities and brutality of chattel slavery. Washington Barker is a compliant and gentlemanly slave who turns fugitive when his master decides to sell Barker’s wife, Tilly, to make room for younger “breeding stock.” The audience feels the tension that comes when Fairfield has to disguise the band of slaves as a funeral procession, only to reel minutes later when the sole infant in the party dies and the slaves have to bury one of their own. Campbell also shows the grief and frustration of young Elsie Terry, who has to endure the unwelcome sexual attention of her master’s shiftless son.

Campbell said he considers the movie an educational film as well as a drama.

“We tried to be as historically accurate as possible,” he said. “We just screened the film for some students in Kansas. At the end, several audience members were crying. For them to be moved by the story, they did some introspective thinking. That’s a good sign, to me. I want to make a good piece of art, and I want people to think.”

If you goWhat: Screening of All or Nothin’ at the 2018 Denton Black Film Festival

When: Noon on Saturday, Jan. 27. A short film will screen before the feature

Where: The Campus Theatre, 214 W. Hickory St.

Details: Admission to individual film blocks costs $10 for adults, $8 for students with ID and seniors through Thursday, Jan. 25; $12 for adults and $10 for students with ID and seniors on Friday, Jan. 25. See the full schedule and festival passes.
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Jazz. At the library. Dig it.

Starting on Jan. (there’s no concert on Easter) and tend to fill up quickly. Here’s a handy guide.

Andy Sherwood’sDixieland Jazz Quartet (Jan. 7)Sherwood, a clarinet and saxophone player, ran the Coast Guard Dixieland Band for 15 years, and his band pianist (and fellow Coast Guard Band veteran) Ian Frenkel, bassist Bryan Rizzuto (who works at Upton Bass in Mystic) and drummer Tom Briggs brings a quasi military sense of precision to Dixieland standards (without sacrificing spontaneity).

Metro Jazz Band (Jan. 14)Singer Kath Bonaccorsi and her CT centric Metro Jazz (pianist Mark Vickers, guitarist Drew Amendola, bassist James Hunter and drummer Garry Lapidus) navigate standards from the Great American Songbook with a light, sophisticated touch.

The Matisse Project (Jan. 21)Inspired by French painter Henri Matisse (1869 1954), pianist (and Wesleyan alum) Christopher Bakriges composed 20 impressionistic pieces that explore a wide range of characters and moods. He performs at HPL with violinist and Creative Strings Improvisers Orchestra founder Gwen Laster.

Ronnie BurrageAnd Holographic Principle (Jan. As performed by Holographic Principle (pianist Michal Wierba and bassist Nimrod Speaks), it’s funky and airtight, metrically ambiguous and expansive. More, please.

Sinan Bakir Duo (Feb. 4)Some of us have been lucky enough to hear Bakir, a Hartford area guitarist, play long, electric sets on Saturday afternoons at Wethersfield record shop Integrity N Music, backed by outstanding local players. These days, he’s interpreting the music of French jazz guitarist Django Reinhardt. (Catch a preview of Bakir’s act at First Night Hartford.) At HPL, he’ll perform with pianist Tim Peck.

John Kordalewski Trio (Feb. 11)Boston area pianist John Kordalewski communes with Colombian bassist Carlos Pino and South African drummer Kesivan Naidoo in nimble, hard swinging, global jazz,
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which sometimes includes a run through Hartford legend Horace Silver’s “The St. Vitus Dance.”

New World Ensemble, Featuring Margaux Hayes (Feb. 18)Vocalist Margaux Hayes leads a group loaded with Connecticut talent woodwind player and frequent collaborator Richard A. McGhee II, pianist Jonathan Chatfield, Medusa drummer Jocelyn Pleasant, and violinist Colin Benn through a set of spiritual, diaspora centered jazz.

Haneef Nelson (Feb. 25)In addition to fronting the Paul Brown Legacy Band, trumpeter/composer Nelson runs the Hartford Jazz Jam on Monday nights at Black eyed Sally’s in Hartford. He’ll perform at HPL with pianist Taber Gable, bassist Matt Dwonszyk and drummer Jonathan Barber.

Jan Jungden Trio (March 11)Jungden, a keyboardist, singer and multi instrumentalist (she also performs with funk/soul/R band FUSE), brings her trio (bassist Bob Laramie and drummer Justin Blackburn) to HPL for a fun afternoon set.

Hot Club of New England (March 18)Atla and Matt DeChamplain released the album “Pause” at the end of 2015. Atla then began fronting the stylish, gypsy jazz collective Hot Club of New England with violinist Jason Anick (of The Rhythm Future Quartet), guitarist Max O’Rourke and bassist Greg Loughman. (Matt, a pianist, is now on board, too.) Check out their live take on “It Don’t Mean a Thing (If It Ain’t Got That Swing).”Bossa Nova Project (April 15)”Blame Destiny,” the 2015 debut by sublime Brazilian singer/pianist Isabella Mendes, was an eclectic collection of original songs. Her Bossa Nova Project, on the other hand, which now includes bassist Itaiguara Brand guitarist Wesley Amorim and drummer Mauricio Zottarelli,
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pays tribute to her musical forbears.

timberland shop uk figure skaters named for 2018 Winter Olympics

timberland chelsea boot figure skaters named for 2018 Winter Olympics

It will be the first Olympics for all three.

Rippon’s inclusion at Miner’s expense isn’t unprecedented; the committee has made such moves in the past involving Michelle Kwan and Ashley Wagner, for example.

On Twitter, Rippon said: “When I found out what the Olympic team was, I texted Ross Miner and I told him that I was proud of what he did yesterday and how well he skated. He texted me right back and told me he was very happy to me.”

At 28, Rippon was the oldest competitor in the men’s field. By contrast, Chen is 18 and Zhou is 17.

Chen has won every competition he’s entered this season and, with his repertoire of quadruple jumps he did five on Saturday night in his free skate has pushed the envelope on technical skills in skating. He will be among the favorites at the Olympics.

“This is another big step to the games,” he said. “More pressures, more, you know, media, all that. There’s more to come, but I’m so excited for it. This is exactly what I’ve wanted my entire life and I’m ready for it.”
timberland shop uk figure skaters named for 2018 Winter Olympics

laces for timberland boots figure reward for missing RAF serviceman Corrie

timberland pink boots figure reward for missing RAF serviceman Corrie

McKeague family announce five figure reward for missing RAF serviceman CorrieThe grandparents of the 23 year old airman have announced a five figure reward for his discovery11:50, 6 DEC 2016Updated12:58, 6 DEC 2016Missing RAF Honington airman , whose phone was traced to Barton Mills

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The grandparents of missing RAF serviceman announced a five figure reward for his return today (Tuesday, December 6).

Mary and Oliver McKeague, from Cupar in Fife, are offering a reward to the individual who provides new information that leads to Corrie’s discovery and return.

They also believe that a third party could be involved in Corrie’s disappearance.

Mary said: “We’ve pledged this reward in hopes that it will motivate someone to come forward and help us find my beautiful grandson, Corrie, who went missing the day of his stepmother’s birthday.

“We’re heartbroken, but we’re not giving up. Corrie would expect us to stay strong.

“I can’t describe how empty and helpless you feel when a family member goes missing. This is what has happened to us. This is why we’re here. To ask for your help.”

“We have pledged this reward following the now 10 week search involving local Suffolk police and military,
laces for timberland boots figure reward for missing RAF serviceman Corrie
the Suffolk Lowland Search and Rescue organisation and masses of volunteers from in and around Bury St Edmunds.

“Their support has been incredible. Now we need someone to come forward.”

Corrie, 23, has been missing since 3.25am on September 24 after a night out in Bury St Edmunds.

He went out with friends but was separated early in the morning while leaving the Flex nightclub on St Andrews Street South.

He was last seen in the town centre on CCTV at 3.25am wearing a light pink Ralph Lauren shirt, white jeans and brown suede Timberland boots with light soles.

The footage shows Corrie walking from a shop doorway into a horseshoe shaped area in Brentgovel Street. No sight of him emerged afterwards.

His phone was traced to Barton Mills near Newmarket but has not been found.

Oliver said: “Corrie’s base at RAF Honington is near two other military bases, RAF Marham to the north, and Aldershot Camp to the south, and each recently reported suspected kidnapping attempts of military servicemen.

“You could draw a near straight line on a map and connect all three. Corrie’s base is right in the middle.

“The CCTV cameras show him walking in but not coming out. He seems to have just vanished. But people don’t just vanish; they leave or they get taken away.

“We think Corrie arranged to meet someone that night but we don’t know who, and then got into a car and disappeared.

“We know he didn’t just run away; he loved his fellow squaddies, his life and the career direction he had chosen. He was so proud the day he passed out and joined 2 Squadron RAF Regiment three years ago, and so were we.”
laces for timberland boots figure reward for missing RAF serviceman Corrie