#greenhut

[smbhax]

rene_gruau The blues.

[cheesebongdynasty]

Israeli or Palestinian?

Israeli

[pwrn51]

Caregiver Empowerment: Lessons from Dr. Greenhut

  Betsy Guest’s guest on her show today is Deborah Greenhut, Ph.D., a best-selling author of two books: The Hoarder’s Wife: A Novel and The Rational Caregiver: How to Protect Your Life While Taking Care of Other People. Deborah is also a keynote speaker, lifelong caregiving educator, podcast guest, professional and executive life coach, and the founder of Creative Room for Learning, LLC. She has…

[arlengrossman]

Should We Worship the Orange Savior?

Monday Halitics: Hal and Arlen disagree on controlling the lies and misinformation over social media. And is Trump talking and acting like a religious leader to counteract secular trends in the U.S.?

[krazetv]

Greenhut Memorial - Gar Hall Peoria, IL | Historical Documentary Tour

[movies-to-add-to-your-tbw]

Title: The Craft

Rating: R

Director: Andrew Fleming

Cast: Robin Tunney, Fairuza Balk, Neve Campbell, Rachel True, Skeet Ulrich, Christine Taylor, Breckin Meyer, Nathaniel Marston, Cliff DeYoung, Assumpta Serna, Helen Shaver, Jeanine Jackson, Brenda Strong, Elizabeth Guber, Jennifer Greenhut, Arthur Senzy

Release year: 1996

Genres: horror, fantasy, drama

Blurb: A Catholic school newcomer falls in with a clique of teen witches who wield their powers against all who dare to cross them...be they teachers, rivals, or meddlesome parents.

[ulkaralakbarova]

With a serial strangler on the loose, a bookkeeper wanders around town searching for the vigilante group intent on catching the killer. Credits: TheMovieDb. Film Cast: Kleinman: Woody Allen Prostitute: Kathy Bates Student Jack: John Cusack Irmy: Mia Farrow Prostitute: Jodie Foster Hacker’s Follower: Fred Gwynne Clown: John Malkovich Alma: Julie Kavner Marie: Madonna Magician: Kenneth Mars Eve: Kate Nelligan Doctor: Donald Pleasence Prostitute: Lily Tomlin Mr. Paulsen: Philip Bosco Spiro’s Assistant: Robert Joy Simon Carr: Wallace Shawn Vogel’s Follower: Kurtwood Smith Priest: Josef Sommer Hacker: David Ogden Stiers Cop at Police Station: John C. Reilly Woman with Baby: Eszter Balint Vigilante: James Rebhorn Roustabout: Richard Riehle Cop: William H. Macy Undesirables Onlooker: Fred Melamed Killer: Michael Kirby Vigilante: Victor Argo Vigilante: Daniel von Bargen Landlady: Camille Saviola Dwarf: Tim Loomis Fat Lady: Katy Dierlam Strongman: Dennis Vestunis Prostitute: Anne Lange Student: Andy Berman Student: Paul Anthony Stewart Student: Thomas L. Bolster Police Chief: Greg Stebner Cop at Police Station: Peter Appel Cop at Police Station: Brian Smiar Cop at Police Station: Michael P. Troy Cop at Police Station: Remak Ramsay Cop at Police Station: Ron Turek Bartender: Peter McRobbie Cop with Priest: Ira Wheeler Baby: Rebecca Gibson Hacker’s Follower: Robert Silver Spiro: Charles Cragin Vigilante with Spiro: Tom Riis Farrell Vigilante with Spiro: Ron Weyand Roustabout: Max Robinson Film Crew: Additional Casting: Todd M. Thaler Casting: Juliet Taylor Writer: Woody Allen Producer: Robert Greenhut Assistant Editor: Mark Livolsi Costume Design: Jeffrey Kurland Production Coordinator: Helen Robin Executive Producer: Charles H. Joffe Executive Producer: Jack Rollins Editor: Susan E. Morse Hairstylist: Romaine Greene Assistant Art Director: W. Steven Graham Casting Associate: Laura Rosenthal Supervising Sound Editor: Robert Hein Director of Photography: Carlo Di Palma Gaffer: Ray Quinlan Sound Designer: Dan Sable Foley Artist: Brian Vancho Set Decoration: George DeTitta Jr. Assistant Costume Designer: Donna Zakowska Production Sound Mixer: James Sabat Production Design: Santo Loquasto Assistant Sound Editor: Stuart Levy Co-Producer: Joseph Hartwick Sound Re-Recording Mixer: Lee Dichter Construction Coordinator: Ron Petagna Key Scenic Artist: James Sorice Production Assistant: Robert C. Albertell Makeup Artist: Bernadette Mazur First Assistant Director: Thomas A. Reilly Art Direction: Speed Hopkins Property Master: James Mazzola Assistant Production Coordinator: Ilyse A. Reutlinger Still Photographer: Brian Hamill Standby Carpenter: Joseph A. Alfieri Jr. Scenic Artist: Cosmo Sorice Set Dresser: Dave Weinman Assistant Camera: Michael Green Sound Recordist: Frank Graziadei Camera Operator: Dick Mingalone Script Supervisor: Kay Chapin Set Decoration: Amy Marshall Boom Operator: Louis Sabat Dolly Grip: Ronald Burke Key Grip: Robert Ward Wardrobe Supervisor: Patricia Eiben Second Assistant Camera: Michael Caracciolo Camera Trainee: David E. Baron Art Department Coordinator: Glenn Lloyd Second Assistant Director: Richard Patrick Assistant Editor: William Kruzykowski Transportation Captain: Peter Tavis Transportation Captain: Harold ‘Whitey’ McEvoy Production Assistant: Justin Moritt Wardrobe Supervisor: Bill Christians Foley Artist: Elisha Birnbaum Additional Casting: Judie Fixler Key Construction Grip: Vincent Guarriello Production Assistant: Danielle Rigby Projection: Carl Turnquest Best Boy Electric: Jim Manzione Costume Assistant: Lauren Gibson Assistant Art Director: Robert Perdziola Foley Editor: Lori Kornspun Assistant Art Director: Peter Eastman Location Scout: Megan Monaghan Assistant Art Director: Richard Michael Miller Apprentice Sound Editor: Yasmine Amitai Location Manager: James A. Davis Movie Reviews:

[angelanatel]

Criança descobre estatueta de 3.400 anos em Israel.

Ori Greenhut, de sete anos, achou peça em excursão no vale do rio Jordão. Arqueólogos dizem que figura veio de Rehov, cidade governada por faraós.

Uma criança israelense de sete anos descobriu por acaso uma estatueta de 3.400 anos durante uma excursão com amigos perto do vale do rio Jordão - informaram as autoridades competentes pelo setor de arqueologia.

Ori Greenhut e seus amigos, acompanhados de um adulto, subiam um morro nesta semana quando o menino pegou uma pedra e "de repente viu a imagem de um personagem. Ele limpou a pedra e descobriu a figura em argila", disseram as autoridades, em comunicado.

A estátua, que cabe na palma da mão, representa uma mulher nua com os cabelos possivelmente trançados, de contornos graciosos, os braços junto ao corpo e as mãos nos quadris, segundo as fotos publicadas pelas autoridades. Ela foi modelada apertando argila num molde.

"Ela é típica da cultura cananeia do período que compreende os séculos 15 e 13 antes da nossa era", disse Amihai Mazar, professor emérito da Universidade Hebraica. Alguns pesquisadores consideram que tais figuras são a representação de mulheres em carne e osso, outros que trata-se da Deusa Astarte.

"Esta figura pertencia sem sombra de dúvidas a um morador da cidade de Rehov (perto do local da descoberta, no nordeste de Israel), que à época era governada por faraós egípcios", disse.

Os cananeus ocupavam uma região que corresponde hoje mais ou menos a Israel, o oeste da Jordânia e da Síria, e o sul do Líbano.

Ori Greenhut mostrou a descoberta ao chegar em casa, e seus pais disseram que o objeto deveria ser entregue às autoridades. Arqueólogos foram depois à escola para entregar um certificado de civismo ao menino e explicar aos alunos o que se sabia desta estatueta.

Fonte G1 - Da France Presse

Se você deseja explicação, orientação, recomendações bibliográficas personalizadas ou aulas específicas, entre em contato pelo e-mail eetown@gmail.com e solicite um orçamento.

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[ericabirmingham]

Glenn Renell, Marsh Edge at Greenhut Gallery

[weehughie]

Think Different... • • #thinkdifferent #thinkdifferent # #beachhut #beachhuts #beachhutstyle #beach #shore #seashore #shoreline #coast #coastal #beachlife #coastlife #lifeasart #blueandwhite #stripes #blueandwhitestripes #green #greenhut #tiltshift #leeonsolent #leeonthesolent #11promax #hutlife #woodenhut (at Lee-on-the-Solent) https://www.instagram.com/p/B8J6aspBujg/?igshid=1qo8z2utbeysm

[mycinematheque]

[afigment]

[insidewarp]

Earlier this month, President Donald Trump pardoned a former Army lieutenant who was convicted of ordering his troops to fire on unarmed civilians. He granted a pardon to an Army major who had been awaiting trial for killing an Afghan man. Trump reversed the demotion of another officer, who had been acquitted of alleged war crimes charges but was convicted of a lesser charge of posing with a dead Taliban fighter. Not even the worst allegations here came close to My Lai, but there's a reason a number of writers have raised these parallels. Pentagon brass, who urged the president not to issue these orders, fear that the president's actions will undermine the system of military justice. Gen. Martin Dempsey, former chairman of the Joint Chiefs of Staff, tweeted that it signals "that we don't take the Law of Armed Conflict seriously." He called it an "abdication of moral responsibility." He's right.

Steven Greenhut

https://reason.com/2019/11/29/trumps-pardons-for-war-criminals-are-shameful/

[pwrn51]

Protecting Your Well-being as a Caregiver

  Betsy’s guest is Dr. Deborah Greenhut, a lifelong family caregiver, keynote speaker, educator, podcast guest, professional, and executive life coach. Dr. Greenhut’s professional career has alternated between university teaching and corporate training. She is also a best-selling author and writer of two books: “The Hoarder’s Wife: A Novel” and “The Rational Caregiver: How to Protect Your Life…

[whileiamdying]

SEPTEMBER

Twilight Time Collection

Like Interiors (1978, also a Twilight Time release), September (1987) is a film from writer-director Woody Allen that focuses with razor-sharp seriousness on relationships, familial and otherwise. And by otherwise, we mean relationships that exist more potently in the heart and mind of one participant than the object of affection can imagine or bear. Chekhovian unrequited love is very much the subject in September, and Allen attacks it with a compelling combination of fascination and fury and tenderness.

Set in a Vermont country house (and we do mean "set" the entire film was shot on a soundstage at the Astoria Studios, magnificently designed by Santo Loquasto to suggest the natural world—perhaps even a cherry orchard—lapping oppressively at the edge of every shot), September takes place, in fact, as a long summer is coming to its close; September itself is the uncertain future, for every one of the distressed characters. Front and center is Lane (Mia Farrow), a fragile woman who has come to her family home some months earlier to recover from a suicide attempt; she has fallen in love with her guest house tenant, Peter (Sam Waterston), a New York advertising man hoping that a few months in Vermont will turn him into the novelist he longs to be. Lane is almost too supportive of him—and he, as it happens, is actually in love with Lane's best friend, Stephanie (Dianne Wiest), a married woman and mother taking a tortured "break" from her husband and children. Not that Lane is unloved; sadly, her admirer is a darling older neighbor, Howard (Denholm Elliott), who longs to take care of her: too, too bad, because, blinded by her infatuation with Peter, she can't see him.

Complicating this roundelay even more are unexpected, not very welcome guests: Lane's self-described tough-cookie actress mother, Diane (Elaine Stritch), and her latest husband, Lloyd (Jack Warden), a kindly but out-of-his-element physicist. To call Lane's relationship with Diane troubled is to understate, vastly. In a back story that emerges gradually, we learn that this pair were involved, many years earlier, in a replay of the notorious real-life Lana Turner/CheryI Crane/Johnny Stompanato horror show: 14-year-old Lane allegedly shot her mom's abusive gangster lover. This catastrophic event more or less rolled off the careless Diane's back; Lane, however, was permanently traumatized and is still trying to deal with the shock decades later. Tragically, another example of unrequited love here exists between secretly yearning mother and implacable daughter.

There is material enough here for several movies, but Allen keeps his multiple narratives under a control as tight as the narrow confines of the country house that itself eventually becomes a bone of contention. Lots of bones are worried here, and the actors doing the worrying are experts. Farrow—who, in the same year, played a goofy cigarette girl in Allen's more light-hearted nostalgia piece, Radio Days (another Twilight Time release)—is heartrending as the floundering, destroyed, but ever-hopeful Lane; her outcry, at the end, that "l always wanted to live!" is supremely touching. Wiest—already an Oscar@ winner for her performance in Allen's 1986 Hannah and Her Sisters—manages to be wavering and uncertain without being annoying. Stritch is hard and selfish yet somehow poignant; Waterston is a moony kind of everyman, longing to be an artist; Warden, playing a character seemingly out of his wheelhouse, is wonderfully level-headed and honest. And Elliott reigns supreme as the sublime exemplar of selfless love; his yearning gaze and quietly passionate voice will remain with you long after September comes to a close.

t's worth noting that all this excellence comprises Allen's second iteration of September, this release version is, slightly infamously, September 2.0, the first having been shot with a somewhat different script and a substantially different cast. In the first version, Maureen O'Sullivan—Farrow's real-life mother—played the role of Diane; Elliott assayed the part of her husband; Charles Durning played the amorous neighbor; and the role of Peter was played first by Christopher Walken, who, mere days into the original shoot, was replaced by Sam Shepard. In a December 1987 New York Times interview with Eric Lax, Allen suggested that this was part of his normal process.

As Lax wrote, "Mr. Allen's penchant for reshooting scenes is so integral a part of his creative process that extra weeks for reshoots are budgeted into every film. Even entirely redoing September, he managed to come in only about 20 percent over budget." As Allen told Lax, "When I saw the first version, I saw many mistakes and character things I could do better. I didn't need certain speeches, and certain things needed to be said that weren't said. It's no different than any playwright with a show out of town. In Philadelphia, you sit in the hotel room and rework scenes. I was doing the same thing."

And doing them, as is so often the case with Woody Allen, superlatively well.

—Julie Kirgo

Prepared for Blu-ray™. Release by Brian Jamieson and Nick Redman. Project Coordinator: Mike Finnegan Layout and Design: Louis Falzarano at Soda Design, Hollywood, CA. Booklet Essay: Julie Kirgo Isolated Score Tracks Prepared by Mike Matessino.

Technical Services:

Jeff Jewett at West Entertainment, Studio City, CA. Blu-ray Authored and Mastered at West Entertainment, Studio City, CA. Special Thanks: Craig Spaulding, William Waybourn, Bill Hecksteden, Cindy Snuggs, Katie Chilsolm, Neil S. Buck, and Dan Hersch. The views expressed are solely those of the individuals providing them and do not reflect the opinions of Metro-Goldwyn-Mayer Studios Inc., Twentieth Century Fox Film Corporation, its affiliates or employees. "OSCAR" is the registered trademark and service mark of the Academy of Motion Picture Arts and Sciences. TWILIAGHT TIME© is the registered trademark of RED JAM, LLC. 505 N Brand Blvd Ste 1560, Glendale, CA 91203, © 2017 RED JAM, LLC. All Rights Reserved. www.facebook.com/twilighttimemovies. Available exclusively at www.screenarchives.com and www.twilighttimemovies.com.

[rodgermalcolmmitchell]

"There's No Such Thing as 'Free Money.'" Yes, there is, Mr. Greenhut.

“There’s No Such Thing as ‘Free Money.'” Yes, there is, Mr. Greenhut.

Economics is a unique science.

It is the only science in which people who have no background, no education, no history, and no knowledge, feel absolutely confident in their opinions about it.

I’m sure they don’t feel confident in arguing about quantum mechanics or about relativity, or about rocket science, but when it comes to economics, everyone is an “expert” — often a laughable expert with a…