News for today's 2018: 03/22/12

Library Media Specialist - New Milford High School

1:41 PM Anonymous 0

Library Media Specialist - New Milford High School

Library Media Specialist - New Milford High School. Date Available: tent. 8/22/2012. New Milford Public Schools has an anticipated opening...

Library Media Specialist - Hill and Plain School, New Milford

1:40 PM Anonymous 0

Library Media Specialist - Hill and Plain School, New Milford

Library Media Specialist - Hill and Plain School, New Milford. Date Available: tent. 8/22/2012. New Milford Public Schools has an anticipa...

Children’s Librarian - New Canaan Library

1:39 PM Anonymous 0

<strong>Children’s Librarian position</strong> - Are you creative and energetic, and do you love children? <span style="color: #48286d;"><strong>New Canaan Library</strong></span> is looking for an enthusiastic person, who enjoys working with young  children to develop and present storytime programs; work at the  Children’s Room Information Desk, and perform other tasks for this busy  suburban department. Knowledge of Children’s Literature and strong  computer skill are essential.  Position requires working one evening a  week and some weekends. MLIS required.  New Canaan Library meets CLA  minimum salary guidelines.  Interested applicants can send or email  resume, cover letter, names and telephone numbers of three business  references to Rose Marie Zaharek, Head of Children’s Services, New  Canaan Library, 151 Main Street, New Canaan, CT 06840 or <a href="mailto:rzaharek@newcanaanlibrary.org">rzaharek@newcanaanlibrary.org</a>.  Applications accepted until <span style="color: red;">April 30, 2012</span>.

Children’s Librarian - New Canaan Library

Children’s Librarian position - Are you creative and energetic, and do you love children? New Canaan Library is looking for an enthusiasti...

My Life In Kenya: A Musungu Memoir -- Part 3

9:03 AM Tukiyooo 0

Cowboys, Farmers, And Schools In Kenya<br /><br />After our first Church service in Kenya and our first experience of Home Bible Church, Bishop and Mrs. Kanuku drove us to their rural home, hours away from Machakos, on a mountain top. On a clear day, you can see Mt. Kenya looking one way and Kilimanjaro looking the other. The stars are amazing. Closer at hand you look down on forested valleys. The Kanuku rural home is a work in progress, but already Bishop Kanuku has designed and implemented all manner of clever engineering devices. He has a system to divert and gather rainwater and another system to generate bio-gas which is pumped up to the house. He is a bit of a Thomas Jefferson and this is his Monticello. On the surrounding land, he keeps a few dairy cows for milk, raises a garden (another garden – there is also one at his Machakos house), and of course, plants trees, many trees! He has plans to make his home a place of service to children which he will run after his retirement from the episcopacy in a few years (which reminds me of the game plan of one of my best friends among the American bishops – “Put in a few years as Bishop, then retire and do something good for the Church.”) <br /><br />As Bishop Kanuku showed me his garden, he explained that he is of the Kamba tribe, and they are farmers. The Masai have traditionally not thought well of the Kamba and have various derogatory terms for the things they do to the soil – a Bantu equivalent of “sodbusters.” It reminded me of the range wars and other farmer-cattleman hostilities in our history – and of course the Oklahoma classic “The Cowboy And The Farmer Can Be Friends.” It's an old conflict. It goes back to Abel and Cain and persisted all through the Hebrew Scriptures.<br /><br />The next morning we began visiting schools. I honestly lost track of how many schools we visited. We had brought pens, rulers, calculators, and markers for 6 schools, but did not have enough gifts for all of them, so it was more than 6. At least 3 were the first day in the mountainous rural part of the diocese. Three were on the savannah of the Masai Mara. I think the others were closer in to Machakos or perhaps Nairobi. It blurs.<br /><br />At the first school, ACK Kyandote Bulwa, the teachers and children were assembled outside to greet us with song. We then processed up a hill to the site of the Girls Hostel (which will be a combination Rescue House for girls escaping circumcision and forced marriage, a group home for girls escaping abuse and neglect at home, and a dormitory for boarding students). There Bishop Kanuku and I dedicated the foundation stone inscribed with Linda’s and my names. Then we gathered inside for a school assembly where Linda and I spoke to the students. <br /><br />Then it was on to Maknonga where once again the children and teachers were waiting for us outside with song, dance, and a hearty welcome. Bishop Kanuku and I each planted a tree and I blessed them.  Then came another assembly, where they gave us gifts. Mine was a walking stick with African wildlife carved on it.<br /><br />And so it went, school after school, where we gave gifts and spoke with students. Bishop Kanuku encouraged hard work. I held forth on God’s call to be true Kenyans, not accepting unquestioningly the ways of the West or of China, but staying rooted in the chaste, humble, and communal morality of their own land. Linda encouraged girls to achieve equal educations and professional status. <br /><br />One of the best schools we visited had a classroom named for the late wife of Fr. Lloyd Rupp. The teachers were grateful for Fr. Lloyd’s gifts of a computer (their only computer) and a photocopier. Gratitude to and affection for Fr. Lloyd was expressed at numerous schools and churches. At schools both in the Diocese of Machakos, in the Karen district outside Nairobi, and in the Masai Mara, people were also grateful for the support to individual students from Melvin Stringer and Kenya Keep. Melvin’s program is a scholarship rather than sponsorship program. They support kids who are in dire straits but they have to be more than needy. They must have the talent and the will to become leaders for a better Kenya tomorrow. <br /><br />We also visited one of five schools which had malaria bearing mosquitoes eradicated with a gift from the Diocese of Nevada.

My Life In Kenya: A Musungu Memoir -- Part 3

Cowboys, Farmers, And Schools In Kenya After our first Church service in Kenya and our first experience of Home Bible Church, Bishop and Mrs...

Ernst Lubitsch does Noel Coward: Design for Living (1933)

8:03 AM Tukiyooo 0

<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyhSDqicjYJxi5nsWQTd1Y6DXxKAwRu0xoE_58tRzL4kIaB4ysvGzT3IMZFzBZREfTXF16CUldK7McsPOaMIcbc6F4ToGgsv_ozcTwSPJWJNlfy2UCI9r2oLeGxXDrLETDezXadV4ppNkm/s1600/design_for_living_1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyhSDqicjYJxi5nsWQTd1Y6DXxKAwRu0xoE_58tRzL4kIaB4ysvGzT3IMZFzBZREfTXF16CUldK7McsPOaMIcbc6F4ToGgsv_ozcTwSPJWJNlfy2UCI9r2oLeGxXDrLETDezXadV4ppNkm/s400/design_for_living_1.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Verdana,sans-serif;">Gary Cooper, Miriam Hopkins and Fredric March</span></td></tr></tbody></table><br /><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><span style="font-size: small;">Fredric March was already an Oscar winner and a newly minted Hollywood star when he co-starred with Miriam Hopkins and Gary Cooper in Ernst Lubitsch’s 1933 adaptation of the Noel Coward play <i>Design for Living</i>. In 1929, when all the major studios were scouring the Broadway stage for photogenic leading men with trained and mellifluous voices, March had been recruited and signed by Paramount Pictures.  He received his first Best Actor Oscar nomination for his 1930 portrayal of ‘Tony Cavendish’ in <i>The Royal Family of Broadway</i><i>, </i>but it was his split-personality tour-de-force as <i>Dr. Jekyll and Mr. Hyde </i>in 1931 that brought Fredric March his first Academy Award and movie stardom.</span><br /><br /><a name="more"></a><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs35tsVmI5_FkUasHW1iOMWwopAjft-qaxI7U2mDV8KNAebexdCCJ6fHQSM-gbHaLLygSJie8SsIWUL13YNWe_NtHWKcic8hQbtnt7GujBLfyBNMGf158K0HEJrgwASumE4W3YnGupWSFk/s1600/dr.+jekyll.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs35tsVmI5_FkUasHW1iOMWwopAjft-qaxI7U2mDV8KNAebexdCCJ6fHQSM-gbHaLLygSJie8SsIWUL13YNWe_NtHWKcic8hQbtnt7GujBLfyBNMGf158K0HEJrgwASumE4W3YnGupWSFk/s320/dr.+jekyll.jpg" width="256" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Dr. Jekyll and Mr. Hyde</i> (1931)</td></tr></tbody></table>Playwright/actor Noel Coward wrote <i>Design for Living</i>, a comedy in three acts,<i> </i>in 1932; it debuted on Broadway in 1933 at the Ethyl Barrymore Theatre starring legends of the stage Alfred Lunt, Lynn Fontanne and Coward himself. Because of its censoriously risqué plot, the play was not produced in London, Coward’s home ground, until 1939. His story of Gilda, Otto and Leo, a sophisticated trio involved in a romantic triangle (not to say threesome), was inspired by the personal lives and relationships of Lunt and Fontanne who were his close friends; Noel Coward would remark that <i style="mso-bidi-font-style: normal;">Design for Living</i> was about three people who love each other very much and that, though the play was a solid hit when it opened, no one loved it more than its three leading actors.</div><div class="MsoNormal"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgolDgFEzhzZhci3Y4_oh0HJij1tTxI-AItCofCN3tNXdXgndI77Oi5pGobcDV15MMNC1SYECcJVKJL0_ocp8C8lAJd2pG-wTwKdCkj5CHjdkcAfugA-bLWQUPWOjqFBrZhdacVdBDsLIS0/s1600/lunt+coward+fontanne.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgolDgFEzhzZhci3Y4_oh0HJij1tTxI-AItCofCN3tNXdXgndI77Oi5pGobcDV15MMNC1SYECcJVKJL0_ocp8C8lAJd2pG-wTwKdCkj5CHjdkcAfugA-bLWQUPWOjqFBrZhdacVdBDsLIS0/s400/lunt+coward+fontanne.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Verdana,sans-serif;">The play: Alfred Lunt, Noel Coward, Lynn Fontanne in </span><i style="font-family: Verdana,sans-serif;">Design for Living</i></td></tr></tbody></table><br /></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><span style="font-size: small;">When Ernst Lubitsch set out to film Coward’s play, he had a particular cast and screenwriter in mind. Miriam Hopkins, who had starred for him in <i>The Smiling Lieutenant</i> (1931) and <i>Trouble in Paradise</i> (1932), was his first choice for the female lead.</span><span style="font-size: small;">  He was interested in Ronald Colman and Leslie Howard for the two male leads, but couldn’t afford Colman or persuade Howard. He next turned to Paramount leading man Fredric March for the role that was Coward’s Leo but became Lubitsch’s Tom, and approached Douglas Fairbanks, Jr., to portray the character that had been called Otto but would soon be George.</span><span style="font-size: small;">  But Fairbanks came down with pneumonia and the director eventually settled on popular Paramount matinee idol Gary Cooper. Of the three leads, Hopkins had the least experience on-screen, but the most experience with Lubitsch.</span><span style="font-size: small;">  She had also co-starred with March in <i>Dr. Jekyll and Mr. Hyde </i>and her film associations with both men helped advance her career.</span></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><br /></span></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVe3-RGac_OeDpczmnlHUccw1nYvfLaHlSZ7hSsEqzA3qpxIFl_UfqWnuf0LgYFIS-JQNhHP3BU_DcGmeuVB2WYwQPpPuU_qTchiGW0Ng9hnaccQ9cdh1l-up0xx6OCkt2YOO4uPmhXt1P/s1600/design-on-the-set.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVe3-RGac_OeDpczmnlHUccw1nYvfLaHlSZ7hSsEqzA3qpxIFl_UfqWnuf0LgYFIS-JQNhHP3BU_DcGmeuVB2WYwQPpPuU_qTchiGW0Ng9hnaccQ9cdh1l-up0xx6OCkt2YOO4uPmhXt1P/s400/design-on-the-set.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Lubitsch (standing), Cooper, Hopkins and March on the set</td></tr></tbody></table><span style="font-size: small;">Lubitsch, a writer himself, had hoped to collaborate once again with screenwriter Samson Raphaelson (<i>The Smiling Lieutenant</i>, <i>Trouble in Paradise</i>,<i> The Merry Widow</i>,<i> The Shop Around the Corner</i>) on <i>Design for Living</i>. But Raphaelson was not interested in working on “another damned sophisticated triangle” (referring to <i>The Smiling Lieutenant </i>and<i> Trouble in Paradise</i>) or in rewriting Noel Coward, and declined. Ben Hecht, an esteemed screenwriter and script doctor (<i>Nothing Sacred</i>, <i>Wuthering Heights</i>, <i>Notorious</i>) with a cynical view of the status quo, was Lubitsch’s next choice. </span><span style="font-size: small;"> But it was not an easy partnership. Lubitsch, who commented that the two “weren’t used to each other,” was most at home working closely with his writers and Hecht was comfortable writing on his own. But they managed.</span></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><br /></span></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><span style="font-size: small;">In the end, the plot was re-engineered and the triangular situation at the heart of Coward’s play was retained. </span></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><br /></span></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><span style="font-size: small;">As Leo became Tom and Otto became George, all three characters became struggling American creative types rather than the play’s free-spirited British socialites. And the situation between the three was toned down; at the beginning of the play Gilda is living with Otto and has just resumed an affair with ex-beau Leo. Lubitsch’s film would follow the amorous adventures of three young, attractive Americans in Paris, London and New York: playwright Tom Chambers (March), painter George Curtis (Cooper) and commercial artist Gilda Farrell (Hopkins). Tom and George are buddy/roommates who meet and fall in love with Gilda. </span><span style="font-size: small;"> </span></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKsDUF6j1sr-5PjTzG55ZXnDfqpfzPNYmmqwEwgX4fHyl2OhM2TJYKfuNIXpxvVsjRdkB_VgNtHAJwu4AG8sJV93pKcAqOq9g-X3FtwP5SDCzGdZVdcb9voL4ph5tHEGzKAoZQi3fy7k3H/s1600/miriam+hopkins+3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKsDUF6j1sr-5PjTzG55ZXnDfqpfzPNYmmqwEwgX4fHyl2OhM2TJYKfuNIXpxvVsjRdkB_VgNtHAJwu4AG8sJV93pKcAqOq9g-X3FtwP5SDCzGdZVdcb9voL4ph5tHEGzKAoZQi3fy7k3H/s1600/miriam+hopkins+3.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Miriam Hopkins, pre-Code siren</td></tr></tbody></table><span style="font-size: small;"></span></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><span style="font-size: small;">Miriam Hopkins is in her element as passionate, independent Gilda (pronounced ‘Jilda’). </span><span style="font-size: small;"> She commands the screen – and her co-stars – with easy charm and confidence. Hopkins was at the height of her delectable pre-Code heyday in 1933; the steamy and controversial <i>The Story of Temple Drake </i>was released just months before <i>Design for Living</i>. </span></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><br /></span></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><span style="font-size: small;">In his early films, Gary Cooper is always handsome and appealing, but he does not always convince as an actor. Cast against type in <i>Design for </i>Living he seems awkward spouting Hecht’s snappy dialogue at times and it isn’t hard to understand why Lubitsch had first turned to Douglas Fairbanks, Jr. But the director was satisfied with Cooper’s performance and believed movie-goers would “…be happy to see that he is an accomplished light comedian.”</span></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><br /></span></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><span style="font-size: small;">Fredric March, experienced in talky roles like this one, is a better fit. In a departure from the more somber roles he was better known for, he shines as dapper, jovial Tom, a character partially informed by Ben Hecht’s own background as a playwright. </span></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><br /></span></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><span style="font-size: small;">Had it been released just six months later, in 1934 when the Production Code was in force, <i>Design for Living</i> would not have gotten past the censors. Not only do Tom and George love Gilda – but Gilda loves Tom <i>and</i> George.</span><span style="font-size: small;">  She cannot and will not choose between them, and so the three decide to live together platonically – for a while… </span></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><br /></span></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><span style="font-size: small;">Gilda is able to take what was then considered the entirely male prerogative without having to pay the on-screen price – usually death – that would soon be ordained by the Code:</span></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><br /></span></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><span style="font-size: small;">Gilda: “A thing happened to me that usually happens to men…a man can meet two, three or even four women and fall in love with all of them and then, by a process of interesting elimination, he is able to decide which one he prefers. But a woman must decide purely on instinct, guesswork, if she wants to be considered nice. Oh, it’s alright for her to try on a hundred hats before she picks one out, but…”</span></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><br /></span></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><span style="font-size: small;">Tom: “That’s very fine, but which chapeau do you want, madam?”</span></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><br /></span></div><div class="MsoNormal" style="font-family: Verdana,sans-serif;"><span style="font-size: small;">Gilda: “Both”</span></div><div class="MsoNormal" style="font-family: Verdana,sans-serif; text-align: justify;"><span style="font-size: small;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiYHU37z2EJoY7SAmx6bpN0zlcKeFB2-ysinxagM6yZZfS1dtf6TNxIbuw2FhtapmRLgapAt4GVmwJin728sR1xTDHc_gRfrduGo5KFPC-VgTiPKBJ_bhKUcfBu5TnS0W2YR66SC9opa-y/s1600/design-for-living-4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="292" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiYHU37z2EJoY7SAmx6bpN0zlcKeFB2-ysinxagM6yZZfS1dtf6TNxIbuw2FhtapmRLgapAt4GVmwJin728sR1xTDHc_gRfrduGo5KFPC-VgTiPKBJ_bhKUcfBu5TnS0W2YR66SC9opa-y/s400/design-for-living-4.jpg" width="400" /></a></div><div style="font-family: Verdana,sans-serif;"><span style="font-size: small;"><br /></span></div><span style="font-size: small;"><span style="color: black;"><span style="font-family: Verdana,sans-serif;"><a href="http://sittinonabackyardfence.com/" style="color: #cc0000;">Click here</a> to go to </span><i style="font-family: Verdana,sans-serif;">Sittin' on a Backyard Fence </i><span style="font-family: Verdana,sans-serif;">where Jill is hosting</span><i style="font-family: Verdana,sans-serif;"> March-in-March, </i><span style="font-family: Verdana,sans-serif;">a</span><span style="font-family: Verdana,sans-serif;"><span style="font-family: Verdana,sans-serif;"> blogathon honoring the work of two-time Oscar winner (and five time nominee) Fredric March. This piece is my entry for the blogathon and also appears on Jill's blog.</span></span></span></span>

Ernst Lubitsch does Noel Coward: Design for Living (1933)

Gary Cooper, Miriam Hopkins and Fredric March Fredric March was already an Oscar winner and a newly minted Hollywood star when he co-starred...

PHARMAINDUSTRIE UND DAS GESCHÄFT MIT IMPFSTOFFEN

7:45 AM Tukiyooo 0

<br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjObj9wfeIFZs4237xGz230MUFUfFoOFM-OmvQ8CH8WXV4S9dDZsimogdEk9KcqVnseHb7UTN0a9p8FZk_1qYnrCbRZNHFzCg6lX2RTUnsO_hjt6iz-7rJ0V4c0uD3K1PSzcNsTI8XBqTT/s1600/narkolepsie_schlaf_420.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjObj9wfeIFZs4237xGz230MUFUfFoOFM-OmvQ8CH8WXV4S9dDZsimogdEk9KcqVnseHb7UTN0a9p8FZk_1qYnrCbRZNHFzCg6lX2RTUnsO_hjt6iz-7rJ0V4c0uD3K1PSzcNsTI8XBqTT/s400/narkolepsie_schlaf_420.jpg" width="400" /></a></div><div class="MsoNormal" style="background: white; line-height: 18.0pt; margin-bottom: .0001pt; margin-bottom: 0in; mso-outline-level: 2;"><strong><span lang="DE-AT" style="color: #333333; font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ansi-language: DE-AT;"><br /><span style="mso-spacerun: yes;"></span></span></strong><span lang="DE-AT" style="color: #333333; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ansi-language: DE-AT; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 18.0pt;"></span></div><div class="MsoNormal" style="background: none repeat scroll 0% 0% white; color: #45818e; line-height: 18pt; margin-bottom: 0.0001pt;"><br /></div><div class="MsoNormal" style="background: none repeat scroll 0% 0% white; color: red; line-height: 18pt; margin-bottom: 0.0001pt; text-align: center;"><span style="font-size: x-large;"><b><span lang="DE-AT" style="font-family: "Times New Roman","serif";">JUNGE LEBEN IN TRÜMMERN: NARKOLEPSIE DURCH SCHWEINEGRIPPE-IMPFUNG</span></b></span></div><div class="MsoNormal" style="background: none repeat scroll 0% 0% white; line-height: 18pt; margin-bottom: 7.5pt; text-align: center;"><span style="font-size: x-small;"><span lang="DE-AT" style="color: #333333; font-family: "Times New Roman","serif";">Von Gerhard Wisnewski</span></span></div><div style="background: white; line-height: 16.0pt;"><strong><span lang="DE-AT" style="color: #333333; mso-ansi-language: DE-AT;">Viele haben 2009 vor der Impfung gegen die so genannte Schweinegrippe gewarnt. Die offensichtlich korrupte Weltgesundheitsorganisation </span></strong><em><b><span lang="DE-AT" style="color: #333333; mso-ansi-language: DE-AT;">WHO</span></b></em><strong><span lang="DE-AT" style="color: #333333; mso-ansi-language: DE-AT;"> schlug Alarm wegen einer angeblichen »PANDEMIE«, weltweit kauften die Regierungen »Schweinegrippe«-Impfstoff ein und drängten ihre Bürger zur Impfung. </span></strong></div><div class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="DE-AT" style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: DE-AT;">Siehe: <a href="http://news-these-days.blogspot.com.ar/2011/06/manipulative-virus.html">http://news-these-days.blogspot.com.ar/2011/06/manipulative-virus.html</a></span></b></div><div class="MsoNormal"><br /></div><div style="background: white; line-height: 16.0pt;"><strong><span lang="DE-AT" style="color: #333333; mso-ansi-language: DE-AT;">Mit – wie sich jetzt herausstellt – verheerenden Folgen. Nicht nur, dass inzwischen abgelaufener Impfstoff im Wert von vielen Millionen Euro oder Dollar vernichtet werden musste – mittlerweile erkrankten in Skandinavien Hunderte geimpfter Kinder an der Schlafkrankheit Narkolepsie.</span></strong><span lang="DE-AT" style="color: #333333; mso-ansi-language: DE-AT;"></span></div><div style="background: white; line-height: 16.0pt;"><strong><span lang="DE-AT" style="color: #333333; mso-ansi-language: DE-AT;">»Ein kriminelles Komplott aus Politik, Medien, Medizin und Pharmaindustrie treibt Millionen von Menschen zu einer Impfung mit unsicheren Impfstoffen«, konnte man vor drei Jahren auf Alternativ Medien lesen. Eine Warnung, die sich inzwischen auf schreckliche Weise bestätigt hat.</span></strong></div><div style="background: none repeat scroll 0% 0% white; line-height: 16pt;"><br /></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvb3dSwjch3dclbAyI9lWNef99pRSpAecBmImFhVLOFKxxkZzDuvjOVO6m_IDL4wxXx9X0YakJeDkg8xueZNm8GzrfEcutn0UTFx2_9-H2WAA5aW71GR_XoqNsPjxnfIdRU3KwF9Cf5Zou/s1600/pandemrix-390x285.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="233" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvb3dSwjch3dclbAyI9lWNef99pRSpAecBmImFhVLOFKxxkZzDuvjOVO6m_IDL4wxXx9X0YakJeDkg8xueZNm8GzrfEcutn0UTFx2_9-H2WAA5aW71GR_XoqNsPjxnfIdRU3KwF9Cf5Zou/s320/pandemrix-390x285.jpg" width="320" /></a></div><div style="background: white; line-height: 16.0pt;"><span lang="DE-AT" style="color: #333333; mso-ansi-language: DE-AT;">»Wachen Sie auf!«, hörte im Herbst 2010 plötzlich die 17jährige schwedische Schülerin Daniela Dahl ihren Englischlehrer rufen: »Als mich die anklagenden Blicke meines Lehrers trafen, war ich sprachlos und stumm, schließlich brach ich in Tränen aus. Ich war plötzlich ganz wach – und kaputt. Plötzlich wach? Allerdings: Mitten im Englischunterricht war Daniela eingeschlafen. Auch später machten sich immer wieder Klassenkameraden über sie lustig, weil Daniela plötzlich mitten im Unterricht in tiefen Schlaf fiel.</span></div><div class="MsoNormal" style="background: white; line-height: 16.0pt; margin-bottom: 3.75pt;"><span lang="DE-AT" style="color: #333333; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ansi-language: DE-AT; mso-fareast-font-family: "Times New Roman";">»Ich schlief selbst auf dem Rücksitz des Autos und im Bus. In der U-Bahn verschlief ich meine Haltestelle und bekam sogar beim Klavierspielen Schlafattacken. Wahrscheinlich war ich einfach nur müde, nahm ich an, und dachte nicht mehr so viel darüber nach.</span></div><div class="MsoNormal" style="background: white; line-height: 16.0pt; margin-bottom: 3.75pt; margin-left: 0in; margin-right: 0in; margin-top: 3.75pt;"><br /></div><div class="MsoNormal" style="background: none repeat scroll 0% 0% white; color: red; line-height: 16pt; margin-bottom: 0.0001pt;"><b><span lang="DE-AT" style="font-family: "Times New Roman","serif"; font-size: 12pt;">DIAGNOSE: NARKOLEPSIE</span></b></div><div class="MsoNormal" style="background: white; line-height: 16.0pt; margin-bottom: 3.75pt; margin-left: 0in; margin-right: 0in; margin-top: 3.75pt;"><br /></div><div class="MsoNormal" style="background: white; line-height: 16.0pt; margin-bottom: 7.5pt; margin-left: 0in; margin-right: 0in; margin-top: 3.75pt;"><span lang="DE-AT" style="color: #333333; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ansi-language: DE-AT; mso-fareast-font-family: "Times New Roman";">Erst im Frühjahr 2011 kam die schreckliche Diagnose: Narkolepsie, die »Schlafkrankheit«. Unheilbar. Und unnötig. Denn Daniela bekam die Krankheit erst nach einer Impfung gegen die so genannte Schweinegrippe. Und mit ihr weitere 168 Schweden und 121 Finnen, meistens Kinder. In beiden Ländern hatte man im Zuge der Pandemie-Panik von 2009 auf Massenimpfungen gesetzt.</span></div><div class="separator" style="clear: both; text-align: center;"></div><div style="background: white; line-height: 16.0pt;"><span lang="DE-AT" style="color: #333333; mso-ansi-language: DE-AT;">Das Leben von Kindern – zerstört durch die Pharmaindustrie? Dieser Zusammenhang gilt  in den beiden skandinavischen Ländern inzwischen als naheliegend. Ja, nicht nur das: Dass zwischen dem Impfstoff <b style="mso-bidi-font-weight: normal;">»Pandemrix« (<em>GLAXO SMITH KLINE</em>)</b> und Narkolepsie »ein direkter Zusammenhang besteht«, sehe die finnische Gesundheitsbehörde sogar »als erwiesen an«, schreibt die österreichische Tageszeitung <em>Die Presse</em> (Online) vom 22. Februar 2012. Inzwischen liegen die Zahlen auf dem Tisch. Während ein Impfschutz »nicht nachweisbar« gewesen sei, sei in Finnland »ein mehr als zwölfmal höheres Narkolepsierisiko bei mit Pandemrix geimpften Kindern festgestellt« worden. </span><span style="color: #333333;"><a href="http://diepresse.com/home/panorama/welt/734690/Der-Preis-der-Panik_Folgenreiche-Impfung-gegen-Schweinegrippe" target="_blank"><em><span lang="DE-AT" style="color: #0000cc; mso-ansi-language: DE-AT;">Die Presse</span></em></a></span><span lang="DE-AT" style="color: #333333; mso-ansi-language: DE-AT;"> hat einige herzzerreißende Kinderschicksale zusammengetragen. </span></div><div style="background: none repeat scroll 0% 0% white; line-height: 16pt;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgPgvvy7LvKgT5fy6-AMunpMRcEEZaFjpmW-ybQKjT3JwG4cgUAci_SStiB_C5voZRDUEsInUGfjBMQ7KeJgvHJojuF7G_EbJjbqq_BJSFR4-pKXSLGohfDKkJ-VQWQc9PrGE2_IWK2aR-/s1600/GlaxoSmithKline50.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="219" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgPgvvy7LvKgT5fy6-AMunpMRcEEZaFjpmW-ybQKjT3JwG4cgUAci_SStiB_C5voZRDUEsInUGfjBMQ7KeJgvHJojuF7G_EbJjbqq_BJSFR4-pKXSLGohfDKkJ-VQWQc9PrGE2_IWK2aR-/s320/GlaxoSmithKline50.jpg" width="320" /></a></div><div style="background: none repeat scroll 0% 0% white; line-height: 16pt;"><span lang="DE-AT" style="color: #333333;">Die jungen Leben lägen »in Trümmern«. Weil die Anfälle meistens im Zustand positiver oder negativer Erregung auftreten, können sich Kinder oft nicht mehr freuen, ohne durch die Narkolepsie bestraft zu werden: »Man darf nicht zu viel lachen«, sagt der neunjährige Nemo, »sonst fällt man zusammen.« – »Ich hatte nicht mal Kraft, die Weihnachtsgeschenke zu öffnen«, erzählt der 13-jährige Manfred. Sie wolle, »dass alles wieder wie früher« sei, sagt die fünfjährige Tindra, »dass mein Gehirn wieder gut wird oder dass ich ein neues bekomme«. »Ehe ich krank wurde, freute ich mich aufs Erwachsenwerden«, sagt die 17-jährige Elin. »Ich werde alles an meine Krankheit anpassen müssen«, befürchtet Filip (15).</span></div><div class="MsoNormal"><br /></div><h3 style="background: none repeat scroll 0% 0% white; color: red; line-height: 16pt;"><span lang="DE-AT" style="font-size: 12pt;">»WIR WÜRDEN ES WIEDER TUN«...</span></h3><div style="background: white; line-height: 16.0pt;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZdWYtCJKChoXl49WfbWAHaIStVIULXjbxqWmDuvUJBBvXtKqddbnAkz5RsD48ZiacU1IBjbs_xXeDonoIMJUYYfyShpFAKepS_DfqJRFEeS-RnCaQeXgvyfNGS8k0pdNKuje7j0lMGODK/s1600/WHO-Reports-Industry.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZdWYtCJKChoXl49WfbWAHaIStVIULXjbxqWmDuvUJBBvXtKqddbnAkz5RsD48ZiacU1IBjbs_xXeDonoIMJUYYfyShpFAKepS_DfqJRFEeS-RnCaQeXgvyfNGS8k0pdNKuje7j0lMGODK/s320/WHO-Reports-Industry.jpg" width="320" /></a></div><div style="background: white; line-height: 16.0pt;"><span lang="DE-AT" style="color: #333333; mso-ansi-language: DE-AT;">Wer nun bei den Verantwortlichen auf Reue oder Einsicht hofft, ist allerdings schief gewickelt: »Alle Arzneimittel haben Nebenwirkungen, und bei der Schweinegrippe hätten sie nur wenige getroffen«, zitiert <em>Die Presse</em> Anders Tegnell von Schwedens Sozialbehörde, die für die Durchführung der Massenimpfungen verantwortlich gewesen sei. »Es gebe also keinen Grund zu Angst, es wäre eine ›Katastrophe‹, wenn nun eine generelle Skepsis gegenüber Impfungen ausbräche.«</span></div><div style="background: white; line-height: 16.0pt;"><br /></div><div style="background: white; line-height: 16.0pt;"><span lang="DE-AT" style="color: #333333; mso-ansi-language: DE-AT;">Ganz im Gegenteil. In Wirklichkeit ist die so genannte Schweinegrippe ein Lehrstück über die kriminelle Zusammenarbeit von <em>WHO</em>, Politik, Pharmaindustrie und Medizin. Was bei der Schweinegrippe aufflog, dürfte auch auf anderen Gebieten funktionieren und war wohl nur die Spitze des Eisbergs. Gesundheitspolitiker sind sich natürlich keiner Schuld bewusst. So sagt die schwedische Familienministerin Maria Larsson laut <em>Die Presse:</em> »Wir haben richtig gehandelt und würden es wieder so tun«. Was man kaum anders denn als Drohung verstehen kann.</span></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><br /></div>