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Crescenta Valley Community Church: Free Easter Egg Hunt

first_img Community News Faith & Religion Events Crescenta Valley Community Church: Free Easter Egg Hunt Published on Thursday, March 22, 2012 | 9:48 pm Make a comment faithfernandez More » ShareTweetShare on Google+Pin on PinterestSend with WhatsApp,Virtual Schools PasadenaHomes Solve Community/Gov/Pub SafetyPASADENA EVENTS & ACTIVITIES CALENDARClick here for Movie Showtimes Top of the News EVENTS & ENTERTAINMENT | FOOD & DRINK | THE ARTS | REAL ESTATE | HOME & GARDEN | WELLNESS | SOCIAL SCENE | GETAWAYS | PARENTS & KIDS Crescenta Valley Community Church and Kid’s Place invites everyone to their Free Easter Egg Hunt. Everyone is welcome and free to bring along their friends and family.There will be two Super Egg Hunts at 10:00 a.m. and 10:30 a.m. plus, “Golden Eggs Win a Basket!”This Easter Egg Hunt is brought to you as a gift from the Crescenta Valley Community Church. For more questions about the egg hunt contact Beth at CVCC (818) 249-5808 ext. 23.Crescenta Valley Community Church, 4001 La Crescenta Avenue, La Crescenta, (818) 249-5805 or visit www.cvchurch.com. Name (required)  Mail (required) (not be published)  Website  Business News 11 recommended0 commentsShareShareTweetSharePin it Home of the Week: Unique Pasadena Home Located on Madeline Drive, Pasadenacenter_img Community News Get our daily Pasadena newspaper in your email box. Free.Get all the latest Pasadena news, more than 10 fresh stories daily, 7 days a week at 7 a.m. Subscribe Your email address will not be published. Required fields are marked * First Heatwave Expected Next Week Pasadena’s ‘626 Day’ Aims to Celebrate City, Boost Local Economy More Cool Stuff Pasadena Will Allow Vaccinated People to Go Without Masks in Most Settings Starting on Tuesday HerbeautyA Mental Health Chatbot Which Helps People With DepressionHerbeautyHerbeautyHerbeauty10 Brutally Honest Reasons Why You’re Still SingleHerbeautyHerbeautyHerbeautyThe Most Heartwarming Moments Between Father And DaughterHerbeautyHerbeautyHerbeauty7 Most Startling Movie Moments We Didn’t Realize Were InsensitiveHerbeautyHerbeautyHerbeautyWhat Is It That Actually Makes French Women So Admirable?HerbeautyHerbeautyHerbeauty5 Things To Avoid If You Want To Have Whiter TeethHerbeautyHerbeautylast_img read more

Former Keck dean was subject of complaints about drinking, verbally abusive demeanor while at USC

first_imgFormer Keck School of Medicine Dean Carmen Puliafito was the subject of various complaints during his 10 years as dean from co-workers and also received disciplinary action, according to a letter sent by President C. L. Max Nikias to the USC community on Friday and a new report released by the Los Angeles Times on Sunday. Co-workers of Puliafito detail his heavy drinking, verbally abusive tendencies and low faculty morale in the latest Times report about his tenure at USC.Many of the co-workers contacted by the Times say that they had brought forth complaints to senior administrators during the review process in 2012 at the end of his term to determine if the University would rehire him. Despite these complaints, Puliafito was re-hired at a $1 million per year salary. Nikias declined to comment to the Times on the faculty complaints.Detailed in the coworker testimonies include yelling matches between Puliafito and staff-members at meetings, high-ranking Keck administrators leaving due to Puliafito’s demeanor and concerns about the dean driving home drunk from work functions.The Times reported in their initial investigation that Puliafito was often in his USC office after hours, partying with a string of criminals and drug addicts, however, the co-worker testimonies indicated that Puliafito was often absent during working hours and difficult to contact.In the most recent of what has been a series of letters from USC administration following the Los Angeles Times investigation into the misconduct of Puliafito — which includes drug use and association with criminals and drug addicts — Nikias provided more details about when and how senior administrators found out about Puliafito’s behavior. According to the LA Times, this letter was sent out to the USC community shortly after the Times shared evidence published in Sunday’s report with senior USC officials.In the letter, Nikias stressed that senior administrators were not aware of any “illegal or illicit activities” at the time of Puliafito’s resignation in March 2016 — just 10 days after police were called to a Pasadena hotel room in Puliafito’s name to aid his female companion suffering from a drug overdose.Nikias also claimed that he and other senior administrators were not presented evidence of Puliafito’s conduct until the LA Times published their report on July 17, which then caused USC to dismiss Puliafito and strip him of his tenure. “In my view, we acted when we felt we had the information necessary to act, and then we acted decisively,” Nikias said. The letter also stated that Puliafito seemed disengaged from his leadership duties for months prior to his resignation, resulting in Provost Michael Quick putting him on notice in November 2015. It was not until two other USC employees came forward on March 11, 2016 with questions about Puliafito’s recent behavior that Quick spoke with Puliafito for a second time, ultimately leading to his March 24 resignation. Nikias did not detail the nature of Puliafito’s behavior that led to the employees’ concerns.Nikias also confirmed that in March 2017, senior USC officials received information from the LA Times about the overdose associated with Puliafito in the Pasadena Hotel. He stated that this information was referred to the Hospital Medical Staff, who found evidence of “no existing patient care complaints and no known clinical issues.” The LA Times has since reported that following the publication of their initial report about Puliafito, the Hospital Medical Staff has reopened their investigation.In the initial Times report about Puliafito’s conduct, it cited a record of a six-minute phone call to Nikias’ office by an anonymous person with a tip about the Pasadena hotel incident. A spokesperson for USC told The New York Times and LA Times earlier this week that the phone call had never reached a senior administrator. Nikias reinforced this in Saturday’s letter.“Neither receptionist found the claims or the caller credible, and so the information was not elevated and did not reach a senior administrator,” Nikias wrote. “Needless to say, we have already put into place a new system that documents and records all incoming calls to the president’s office.”This is one of a few actions the University has announced in response to the report, amid growing frustration by the USC community at the University’s seemingly sluggish response to the investigation.  Last week, USC announced the hiring of Debra Wong Yang, a partner at Gibson, Dunn & Crutcher and a former member of the Los Angeles Police Commission, to oversee the university’s internal investigation into the incident. According to the LA Times, Yang is also a former USC faculty member, and her firm’s managing partner is a USC alumnus and former chair of its board of councilors. Sarah Chan and Terry Nguyen contributed to this report. Editor’s Note: A previous version of this story has been updated to reflect new details published in a Los Angeles Times report on Sunday.last_img read more

Dominant Man City will only get better, Guardiola warns rivals

first_imgShare on: WhatsApp Brighton, United Kingdom | AFP | Manchester City manager Pep Guardiola has warned his side’s rivals that the English champions will only get stronger after holding off Liverpool to become the first side in a decade to retain the Premier League.City came from behind to beat Brighton 4-1 on Sunday and take the title by just one point from Liverpool, despite the Reds amassing a club record 97 points.Indeed, Liverpool’s points tally is the third highest in Premier League history, behind only City this season and when they racked up 100 points in storming to the title for the first time under Guardiola last year.City could become the first side to ever win a domestic treble in England should they beat Watford in the FA Cup final next weekend.But Guardiola is already looking ahead to next season and strengthening his squad to repeat the feats he achieved in winning three titles in a row at Barcelona and Bayern Munich.“Winning is so addictive and of course in a few days we have the FA Cup,” said Guardiola, who has now won eight league titles in 10 seasons as a coach.“After (we’ll) prepare well, take the right decisions for next season to come back stronger because Liverpool will maintain it I think and the other ones will be better.“I think (Manchester) United must come back, Chelsea one more year with (Maurizio) Sarri will be better, Tottenham we have seen (get to the) final of the Champions League and Arsenal, when they make what they have to do, will be there as well.“We know it, but we accept the challenge and I promise you we will come back and I have the feeling we will be stronger next season.” Liverpool’s wait for a league title will now stretch to at least 30 years and the Champions League finalists will aim to end a seven-year wait for silverware of any kind against Tottenham on June 1.Meanwhile, an embarrassing 2-0 home defeat by already-relegated Cardiff saw Manchester United end the campaign as close to the relegation zone as the top of the table.And Guardiola used England’s traditionally two most successful clubs as an example to City’s players, fans and owners not to take their current success for granted.“Now when you win the title you realise how difficult it is just to win one title,” he added.“Liverpool in the last four years didn’t win one. Man Utd and Liverpool are the biggest clubs in England.“The biggest mistake, which with me is not going to happen, is believe we are something special, because you win four or five titles in two years. But still you can go the next four or five without winning anything.“That’s why I want the fans, the organisation, to enjoy that moment because it’s so complicated.”last_img read more

Champions celebrity tennis tournament…All hail the King

first_imgThe 36th Annual Mixed Doubles Celebrity Tennis Tournament did not conclude on Labor Day as has been it’s history but the end results were very similar.Once again Dom Costa claimed championship honors with this year’s partner LaWade Garvis, who is also no stranger to the winner’s platform. BEST OF THE BEST—2011 Champions Celebrity Tennis Tournament staff and winners from left: Kalea, Diamond Models director; Donna Bey, tournament director;  Joyce Scott and Nick Rhodes, secnd Place; Dom Costa and LaWade Garvis; Jim Quigley, tournament co-director; Gabrille, Diamond Model. The tournament was delayed by what has to be one of the rainiest summers in Pittsburgh history. But once back on track the field emerged with the same great play and highly competitive level as always.With the regular local legends in full swing the field witnessed an influx of new and upcoming talent.Rounding out the awardees placement was Nick Rhodes and Joyce Scott in secnd place and Bud Craig and Lorna Secrest in third.As always the case the tournament was co-hosted by the Highland Park Tennis Club under the direction of President Fred Crawford and directed by veteran player and coaches Donna Bey and Jim Quigley.Special thanks go out to this year’s sponsors (proceeds benefit The Champions upcoming Toys for Tots Program) Highmark, Chuck Saunders Charities, Savoy Restaurant, CitiParks, Bob Burt Photography, Penn Avenue McDonalds and the New Pittsburgh Courier.last_img read more

The Disaster Artist: Editing A Film About Making a Film

first_imgWe talked with the editor of The Disaster Artist about what it’s like telling a true story that is simultaneously hilarious, inspiring, and bizarre.All images via A24.One of the strangest cultural phenomena to come out of the 21st century is the cult god Tommy Wiseau. The story of how the “worst movie ever made” found its fanbase among cinephiles defies all logic, but here we are with an award-winning movie about the making of The Room.After talking with the editor of The Disaster Artist, I learned that one of the most fascinating aspects of the film’s story is its reception. Even before the movie debuted, there were expectations the team was fighting to meet. On one hand, you have the die-hard fans of The Room who know the source material by heart and want to see it honored and respected. On the other hand, you have the mainstream audience who might not know anything about the legendary film. The production team met the challenge head-on, and the editor, Stacey Schroeder, was a big part of telling the story in a respectable way that honored the source material while entertaining audiences.Portraying Tommy WiseauOne of the most admirable accomplishments of the film is that it nails Tommy Wiseau’s redeeming qualities. For being such a divisive figure in the filmmaking community, he comes across as a sympathetic-yet-ambitiously flawed character. However, this was no easy feat. Schroeder and the team behind the film were careful to balance comedy, drama, and cringe:We didn’t want to make fun of Tommy ever — we constantly discussed the balance of being true to that story, which is very complicated, and sometimes a little nonsensical, and then not making fun of him. We wanted to make sure that we were making him relatable on some level by helping the audience understand his motives. This idea of having a dream and pursuing it, [with] whatever means are available to you, is very universal. We knew if we could push that narrative, people could relate to the story and the character of Tommy. To relate to Tommy, you don’t have to believe you would make all the same decisions as him — you just have to understand why he made the decisions he did. That idea of desire and wanting respect and wanting to be liked on some level are all universal themes that carry the movie.The film successfully makes a questionable, sometimes-rude character likable — a character that has gained a massive following since The Room‘s initial release in 2003. Like any piece of pop-culture with a substantial following, bringing the characters to the screen came with challenges.It was tough, though, because he is such a character and is known to a lot of people. The Room has a lot of fans built in that bring something to that movie when they watch it, and they expect something from that character, so it was tricky.However, reception from fans everywhere has been nothing but positive for the film’s strong narrative and comedic qualities.The Film’s Initial ReceptionThe premiere at the 2017 SXSW Film Festival in Austin, Texas, was the first chance Tommy Wiseau got to see the film — along with several hundred other people. So, for a movie about someone making one of the worst movies ever, it’s hard not to go into the theater thinking about the titular character in a comedic and (frankly) insulting way. Schroeder and company, however, were confident that the story wouldn’t upset Wiseau:I don’t think we’re ever condescending to Tommy or Greg in the movie. I think the idea that they make a bad movie wasn’t treated as a joke — more like the result of this desperation they had. They wanted so badly to be accepted into Hollywood. Tommy just wants to be liked, and they didn’t have the proper tools to necessarily get to where they wanted to be, so they just went at it alone, and on some levels, that’s just really admirable. The whole story is a take on perspective. Just because the outcome isn’t exactly how you planned it, does that make something not a success? The Room is considered a lot of people’s favorite movie.The filmmakers described the version they showed at the initial screening as a work in progress. The premiere would be a moment of truth for Schroeder and crew, eager to see how Tommy (and the general public) would react. Knowing that most of the audience at SXSW would probably know of or have some appreciation for The Room helped, but they still didn’t know what to expect. After the viewing, they got both critical praise and appreciation from the audience. After this screening, Schroeder and her team made a few changes to the 90-minute, film including some additional titles and a few new cuts:He didn’t see the movie until SXSW . . . all the filmmakers were there; we were all holding our breath a little bit because we didn’t know what he would think of it. But it was a tough film to test on people who didn’t know what they were walking into. So going into SXSW, we knew the audience was probably going to be primed for this type of film, specifically familiar with The Room and with Tommy. So we were pretty confident in the cut, but we had some room to make some tweaks after SXSW, and it did go really well, and people responded positively to the film. The changes we made afterward were really minor.Exposition for a New AudienceIf you haven’t seen the film, the first sequence you see is a series of interviews with big-name celebrities talking about the first time they saw The Room. It’s a short, sweet, somewhat-humorous way to prep the audience for the story they are about to watch. But, the sequence is a masterful example of how to balance real life with a fictional world.It was very important to all of us that it wasn’t just a movie for fans of The Room. There’s a lot of them, but we wanted to make sure it worked for people who hadn’t seen the original source material. We just wanted to make sure that, from the beginning, people understand that this was a real thing that exists without just dropping them into this character who seems so crazy — because Franco’s performance is very accurate. There were two different scenes at the beginning of the movie, then we shifted to title cards that established that ‘This is a true story.’ We were getting some comments that people were still unsure about what they just watched and if it was really based on a true story. But, eventually, we went with the interviews because some of these people were so great about talking about their experience with The Room.Sources of InspirationOne of the most interesting aspects of The Disaster Artist is how the filmmakers shot it. The camera moves in and out of fake movie scenes and setups, so at some points, you’re not sure if you’re watching the film-within-the-film or the film you bought a ticket to see. It’s a wonderful blend of documentary-style shots and dialogue. Schroeder discussed the cutting of some of the long-take shots:They do a lot for those tracking shots behind Tommy. He’s kind of this larger-than-life, looming figure. Especially at the beginning when the camera follows Tommy onto the stage as we see him for the first time. (The Wrestler influences are very prominent in that shot.) Brandon shot a lot of handheld footage, which gives it that documentary feel. The handheld stuff can be tricky to cut because when cameras are moving, sometimes it’s hard to get in and out of shots, and once they get going into the recreation of The Room, the takes start lasting longer.In order to build tension, Schroeder decided not to cut certain scenes in the film. She wanted the audience immersed in the extremely tense and awkward moment while Tommy and Greg, or Tommy and the crew, argue about what’s going wrong with production.The scene when Tommy and Greg are on the roof and he keeps having the weird laughing reaction to a moment when he shouldn’t. We stayed in a oner because it just starts to feel more stressful, and we wanted the audience to have that feeling as well.This is filmmaking at its finest. The DP shoots a scene one way, then the editor determines what makes the most sense for the emotional weight of the story in this moment and lets it play out. This scene, in particular, is so awkward and hilarious that you simultaneously want it to end and keep going. What a story, Stacey, ahah.Editing ImprovAs you might expect in a movie filled with comedic actors, Schroeder and her team had to sift through plenty of improvisation. As an editor (especially cutting Franco, Rogen and Goldberg), you’re going to have to find the jokes that really land, while still telling your story.We, certainly in the edit room, try out a lot of jokes. When I’m receiving dailies, I try to cut my favorite version of most of the jokes that come through — just to have them cut together, and it can give you a different feel. Then I try to pick my favorites and put them in my editor’s cut. The jokes in this one, though, were tough. We took out really funny jokes in moments when we needed people not to laugh — or when it felt just too broad, or too out of character, or out of the scene. There’s so much emotion in this movie, more than the average comedy, we had to be very careful picking the moments. There was a lot of discussion, and things came in and out a lot (clips being cut and brought back in), but you get there.So, naturally, I asked her which of the darlings she killed was her favorite:One of the original openings to the movie (hopefully this will end up on the extra material so people can see it) started with Greg alone in his bedroom before he moved to Los Angeles with Tommy, acting out his favorite scenes from Point Break into a little camcorder. Just for the tone and pace of the movie, it was the right thing to do.Mockumentary vs. True StoryHaving worked on projects like Popstar: Never Stop Never Stopping, Schroeder found that the footage and editing flow of this project couldn’t have been more different. Instead of endless talking heads or short bits, she had long, emotionally weighted scenes that had to hit very specific notes.Everything is kind of its own problem in some way. The great and overwhelming thing about Popstar is that we changed so much of it in the edit. We could just have Andy do another talking head on a whim or do ADR and cut together concert footage and change the story, so it was much more malleable in that way. You could really change the narrative with that movie as much as we needed to. With this one, you couldn’t do it as much for a couple reasons. First, it is more narrative, and it’s a real story with humans who have lived it who are out there, even though they are not super famous — they are public figures, and Greg had written a book about it, so the story already existed. But, that being said, their story is so incredibly complicated that, to tell it, there were a lot of scenes that were cut simply for clarity. The real story is a little more fragmented in a way that we didn’t need.On which film was harder to edit for which reasons, Schroeder had the following to say:The pace was harder on Popstar, but the tone was harder on The Disaster Artist. The tone on this one was probably one of the things we had the most conversations about, and I feel it is one of the biggest strengths of the movie. It’s such a razor-sharp edge of making jokes, making fun, and relating to the characters.Advice for New EditorsJust get in there and do the work, or if you love editing (or whatever bit of filmmaking it is that really interests you), keep doing it and keep doing it — over and over. If it interests you, then it is resonating with you, and you might not be amazing at it when you sit down to do it for the first time. It might not turn out how you wish it had. But all of this is craft, and you have to work on it and hone it, so just take those jobs, do the shorts. It’s a collaborative medium, and you have to work with other people. The more work you take on, and the more filmmakers you work with and build relationships with, the easier your path will become, and the whole career will become a little more fun because you develop these relationships, and you have an understanding with people.There you have it: keep working and explore your passions.This movie was edited on Avid Media Composer 8.1.Looking for more filmmaking interviews? Check out our previous coverage.Interview: The Director and The Producer Behind “Man on Fire”Exclusive: Designing Wakanda and the Amazing Sets of Black PantherInterview: How the Editor Behind I, Tonya Recreated HistoryInterview: How This Oscar Nom Edited Downsizing While Directing His First FeatureExclusive Interview: The Secrets Behind RED Sensors and ResolutionInterested in more articles on editing? Check these out.The Comprehensive Guide To Building Your Own Video Editing PC5 Essential Tips for Editing Professional Interview SoundbitesResolve 14’s Best Editing Features For The Online Content CreatorEditing Theory: How to Manipulate The Passage of TimeHow David Fincher Shot and Edited Netflix’s “Mindhunter”last_img read more