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List of Bugs Bunny cartoons

This is a list of the various animated cartoons featuring Bugs Bunny. He starred in over 160 theatrical animated short films of the Looney Tunes and Merrie Melodies series produced by Warner Bros. and was voiced by vocal artist Mel Blanc. Listed are the cartoons featuring the earlier character that evolved into Bugs Bunny, as well as those produced after the golden age of American animation. "LT" stands for Looney Tunes. The name following this designation is that of the short's director. *1947 & 1962 Bugs Bunny Cartoons not directed by Chuck Jones. ** 1955, 1960 & 1961 Bugs Bunny Cartoons not directed by Robert McKimson. Porky's Hare Hunt April 30, 1938 – with Porky Pig Prest-O Change-O March 25, 1939 – with the Two Curious Puppies Naughty Neighbors October 7, 1939 - with Porky Pig and Daffy Duck Hare-um Scare-um August 12, 1939 – first appearance of Bugs Bunny's name in marketing and publicity Elmer's Candid Camera March 2, 1940 – with Elmer Fudd A Wild Hare July 27, 1940 – Bugs Bunny's official debut.

B. Wolf What's Cookin' Doc? January 8, 1944 – with Hiawatha Bugs Bunny and the Three Bears February 26, 1944 – with The Three Bears Bugs Bunny Nips the Nips April 22, 1944 Hare Ribbin' June 24, 1944 Hare Force July 22, 1944 – with Willoughby the Dog Buckaroo Bugs August 26, 1944 – with Red Hot Ryder. B. Wolf Frigid Hare October 8, 1949 – with Playboy Penguin Which Is Witch December 3, 1949 Rabbit Hood December 24, 1949 Hurdy-Gurdy Hare January 21, 1950 – with Gruesome Gorilla Mutiny on the Bunny February 11, 1950 – with Yosemite Sam Homeless Hare March 11, 1950 Big House Bunny April 22, 1950 – with Yosemite Sam What's Up Doc? June 17, 1950 – with Elmer Fudd 8 Ball Bunny July 8, 1950 – with Playboy Penguin Hillbilly Hare August 12, 1950 Bunker Hill Bunny September 23, 1950 – with Yosemite Sam Bushy Hare November 18, 1950 Rabbit of Seville December 16, 1950 – with Elmer Fudd

Provjereno

Provjereno is a Croatian investigative journalism television news magazine, broadcast on Nova TV. The show was launched in 2007, airs Thursdays at 10 pm, it is hosted by Ivana Paradžiković. Provjereno showcases investigative journalism reports which focus on social and political problems in Croatia, but is well known for its experimental reports and its more light-hearted segments; because the show deals with corruption and crime, over the years many of the journalists have received threats. Despite this Provjereno is credited with exposing many cases of crime and governmental negligence in Croatia. Provjereno follows the typical television news magazine format and features four stories every episode; each story is introduced by the presenter. Provjereno began airing in September 2007 and was, for its first two seasons, hosted by Marija Miholjek. In 2009 Ivana Paradžiković took over as host and managing editor of the show. CurrentMato Barišić Ema Branica Danka Derifaj Maja Medaković Domagoj Mikić Josipa Pletikosić Provjereno has been recognized by the public and media as one of the few examples of investigative journalism in Croatia.

Ivana Pradžiković received the “Joško Kulušić” award of the Croatian Helsinki Committee for promoting human rights, as well as the “Večernjakova ruža” person of the year award. Danka Derifaj received the “Velebitska degenija” award two years in a row for her contribution to environmental protection, as well as the "Marija Jurić-Zagorka" award of the Croatian Journalists' Association. Nova TV Provjereno web site

Banking in South Sudan

Established by the Bank of South Sudan Act of 2011, the Central Bank of South Sudan is statutorily mandated to regulate the operations of all financial institutions in the country, including commercial banks. The Central Bank fulfills this mandate by issuing prudential guidelines and regulations as provided for under the Act. In theory, the licensed commercial banks are obligated to operate in accordance with these laws and guidelines, but many suggest this is not happening. Prior to 9 July 2011, when South Sudan attained independence, banking operations in the country were controlled and governed by the Bank of Sudan based in Khartoum; the Sudanese central bank operated branches in South Sudan in the cities of Juba and Malakal. The legal tender was the Sudanese Pound. Beginning in 2005, with the signing of the Comprehensive Peace Agreement, most of the Sudanese banks operating in South Sudan began to close operations; as part of the CPA, the three branches of the Sudanese central bank located in South Sudan became known as the Bank of Southern Sudan, from January 2005 until July 2011.

Bank of Southern Sudan was headquartered with branches in Wau and Malakal. It is estimated that the total Sudanese currency circulating in South Sudan was valued at US$700 million, as of July 2011. Once South Sudan became independent, the Bank of Southern Sudan rebranded to the Central Bank of South Sudan, the central bank in the country and the national banking regulator. Nine days following independence day, the Central Bank of South Sudan released new currency notes of the South Sudanese Pound, to be exchanged at par with the Sudanese Pound for a period of sixty days. In late July 2011, the period to exchange the old Sudanese currency notes was shortened to six weeks, with 31 August 2011 as the last day for the activity. By independence day, the following commercial banks were operating in the country under license from the Central Bank of South Sudan: Agricultural Bank of Sudan Buffalo Commercial Bank Commercial Bank of Ethiopia Equity Bank Ivory Bank Kenya Commercial Bank Mountain Trade and Development Bank Nile Commercial Bank Banking in the country is under supervision and regulation of South Sudan's central bank, the Central Bank of South Sudan.

The bank maintains the country's capital and largest city. It is responsible for monitoring monetary policies and ensuring price stability and a stable exchange rate; the first governor of the central bank is Elijah Malok. In April 2017, Reuters reported that banks were running out of cash and exacerbating famine in the war-torn nation. "If you go to the commercial banks, you do not find South Sudan dollars. They are all in the black market,” said Deputy Minister Mou Ambrose Thiik, he said a parallel economy had emerged and people were hoarding cash. Black market rates have reached 150 South Sudanese pounds to the dollar, up from 105 in mid-February. No information is available about the operation of microfinance institutions in South Sudan. There are investment banks, insurance companies, foreign exchange bureaux, finance companies and leasing companies operating in South Sudan; the role of the central bank in the operations of these businesses will become clearer as the laws governing their operations are publicized in the coming weeks and months.

Economy of South Sudan South Sudanese pound List of banks in South Sudan South Sudan Enacts Central Bank Law

Quadrennial Diplomacy and Development Review

The Quadrennial Diplomacy and Development Review is a study by the United States Department of State, first started in 2009 and intended to be done every four years, that analyzes the short-, medium-, long-term blueprint for the United States' diplomatic and development efforts abroad. It seeks to plan on a longer-term basis than the usual year-to-year, appropriations-based practice, to integrate diplomacy and development missions under one planning process, it seeks to correlate the department’s missions with its capacities and identify shortfalls in resourcing. It is a precursor to core institutional reforms and corrective changes; the first such review was completed. A second such review began being conducted during 2014 and was released in April 2015; the final report of the QDDR lays out, in the department's own words: The baseline: An assessment of the range of global threats and opportunities both today and over the next two decades that should inform our diplomatic and development strategies.

The ends: A clear statement of our overarching foreign policy and development objectives, our specific policy priorities, our expected results, with an emphasis on the achievable and not the desirable. The ways: A set of recommendations on the strategies needed to achieve these results, including the timing and sequencing of decisions and implementation; the means: A set of recommendations on the tools and resources needed to implement the strategy. The metrics: A set of recommendations on performance measures to assess outcomes, and—where feasible—impacts; the links: An assessment of how the results and recommendations of this review fit into broader interagency, whole-of-government approaches, into the Administration’s larger foreign policy framework. On July 10, 2009, Secretary of State Hillary Clinton announced the initiative at a State Department town hall meeting; the most ambitious of Clinton's departmental reforms, it is modeled after the U. S. Defense Department's Quadrennial Defense Review, which Clinton was familiar with from her days as a United States Senator on the Senate Armed Services Committee.

The American Academy of Diplomacy had determined that the Secretary of State “lacks the tools – people, authorities and funding – to execute the President’s foreign policies.” More fundamentally, the department did not have a methodology in place to know how under-resourced it was. She appointed Deputy Secretary of State Jacob Lew, Director of Policy Planning Anne-Marie Slaughter, the United States Agency for International Development Administrator to undertake the review. At the time of the announcement, the Acting USAID Administrator, Alonzo Fulgham; the U. S. Department of Homeland Security conducts an assessment process, the Quadrennial Homeland Security Review, similar to the Defense's review; the Office of the Director of National Intelligence has something of a similar mechanism. However, the State Department has fewer employees available to conduct such an intensive review as the Pentagon; the State Department has less institutional experience with long-range planning, being more focused towards the management of immediate diplomatic crises, although the State Department created the Policy Planning Staff in 1947 to integrate long-range planning into the policy-making process.

The disparity of resources between State and Defense and the allocation thereof raised questions about State's capacity to implement the planned review. Former U. S. Ambassador Ronald E. Neumann said that the QDDR was “an intelligent measure” and that Secretary Clinton’s “focus on resources is important and has been too neglected by secretaries of state who focused only on policy, she understood she’s not going to manage with a busted institution.” The U. S. Global Leadership Coalition commended the creation of the QDDR, calling it "an important step toward elevating and strengthening the civilian-led tools of diplomacy and development." The Project on National Security Reform said it was important for the QDDR to meld a top-down approach to managing resources to a bottom-up approach of examining the needs of each embassy abroad. The Heritage Foundation was skeptical, predicting that "the final QDDR product will repeat past mistakes by maintaining a focus on the traditional official government instruments of foreign aid and will fail to achieve the true integration of all the tools of U.

S. foreign and security policy." The Cato Institute was skeptical, saying that the model, the Pentagon's Quadrennial Defense Review, had produced "a series of vacuous documents that commingle vague, unsubstantiated claims about great historical shifts underway... with threat inflation. There is no evidence that these documents have produced much beyond wasted time and effort." The QDDR held its first meetings in October 2009 at the Willard InterContinental Washington, hosted by the U. S. Global Leadership Coalition. There, Deputy Secretary Lew took care to say that the review process was not cover for an attempt by the State Department to absorb USAID; some 400 people attended, with many confused by the process and uncertain how they could influence it. The first Quadrennial Diplomacy and Development Review was completed in December 2010 and w

9 (Public Image Ltd album)

9 is the seventh studio album by Public Image Ltd, released in May 1989 on the Virgin Records label. The band that recorded 9 consisted of John Lydon, bassist Allan Dias, guitarist John McGeoch and drummer Bruce Smith. Former guitarist Lu Edmonds left the band by the time the album was recorded due to problems with tinnitus. However, Edmunds received a writing co-credit on all tracks. Ted Chau, who replaced Edmunds in the band, does not perform on 9; the album was produced by Stephen Hague, Eric "ET" Thorngren, the band. Bill Laswell, who had produced Album three years earlier, had been lined up to produce 9. However, tension between Laswell and Lydon after the recording of that album, coupled with Laswell's desire to once again use his own cast of session musicians on 9 and his dissatisfaction with Public Image's new line-up, led to the agreement being cancelled; the first album track to be released was "Warrior", which showed up on the soundtrack album to the movie Slaves of New York, released on 20 March 1989.

The track "Sand Castles in the Snow" was titled "Spit", was so listed in various Virgin pre-release information. It reached the Top 40 of the UK Singles Chart at number 38. All tracks are written by Public Image Ltd. John Lydon: vocals John McGeoch: guitar Allan Dias: bass Bruce Smith: drums, programming "Happy?": John Lydon: “'Happy?' was much more militant in its approach, kind of pissed off at the world. That was the attitude, but this one is much more open. I think it sums up the sense of optimism that has to be there for these serious times we live in There is a theme running through It's not to take life so actually, not to expect too much from anyone, which will at least give them a chance. And, optimism The songs were written much, much more for live than record, they were and rehearsed before they went anywhere near the studio. So the actual recording process was very quick. Took us a year to write, well worthwhile.” “We spent a lot of time writing these songs and perfecting them before we went anywhere near a studio to record them.

I think that's the main effort of our work, isn't it?” “I had doubts from the start, but I flew to New York with a tape of our songs. Said he hates our songs, the band is crap and I better fire them and work with the songs he wrote for me, his idea for me was to make some kind of U2 album. So we packed our bags and fucked off.” “Originally we were going to do this with Bill Laswell, but he said the band couldn't play and he hated all our songs, so I told him where to go. We moved to Jason Corsaro, that all fell through, so I took it all back to England, it was financially impossible after the Laswell fuck-up. Laswell's ego has become ridiculous, I couldn't deal with it, he said he'd written songs and I should sack the band and use his people and come out with a U2-type product! To me that reeks of cop-out. It's disappointing I won't be dictated to by producers. That's not their job, as far as I'm concerned, their job is clarity, if you're doing something wrong, to point an easier way around it. Y' know.

Steve is a musician, it's useful to work with people in that way. Eric Thorngren is more like a mad Hells Angel helped in the writing It's the actual writing of the thing that counts. I'm not going to take anything away from Lu at the moment, life's hard on him. It's a terrible thing to take a year off of your chosen profession.” “I realise that our new album sounds too good and that there's going to be a lot of criticism that we've sold out, but we wanted to make a professional pop album, so to hell with the critics. Why did we work with guys who produce mainstream acts like Pet Shop Boys and Talking Heads? We didn't have much of a choice, to be honest. We were booked to record the album in Los Angeles with another producer, but on the day we were due to start, he informed us that the songs stunk and that no one could play.” Allan Dias: “We miss Lu. It was a shock to have to go in and record without him after he had been involved in the songwriting We put a lot of time into arrangements and melody.

This album is more integration of rhythms and melody rather than just hard grooves on their own.” “We give a cassette, he'll take it away. Two months you ask him about it, he'll say'It's too nice, I don't know what to do with it!' In the final hour he'll come up with something brilliant.” “We would all have cassettes with some ideas and some songs, we would exchange them. We would listen to each others stuff, I'd pick what I like from their stuff, they'd pick what they like from mine, whatever, and we'd sit and try to play this stuff or try to structure it. Sometimes we'd use pieces from each others tunes, yeah. We shared everything so it didn't matter whose song it was. I think McGeoch was the more prolific writer. I think if an album had ten songs four or five came from John McGeoch, three of four would come from me and the others, John Lydon would have a couple.” Bruce Smith: “There were strong characters involved, but it didn't make one character. Rotten's vocals and the music and the compositions have gelled together.

On the last record we made, it wasn't there at all I think some of the tracks might suffer from the final mix being a little too smooth, but I would have done it like that.” Bill Laswell: “He's lost it. Ask him why he delivered a bad disco album.” John McGeoch: “I don't th