Latest news with #Path
Yahoo
12-06-2025
- Business
- Yahoo
RG&E and Arc of Monroe relaunch collaborative program to employ individuals with disabilities
ROCHESTER, N.Y. (WROC) — A collaborative program between RG&E and the Arc of Monroe announced its relaunch on Thursday. The Investment Recovery Program, launched in 1992, has been reintroduced to provide resources for employment support to individuals with intellectual and developmental disabilities in the Greater Rochester area. 'This program was successful 33 years ago, and we want to continue providing support and offering a positive experience,' Tracy Selby, coordinator of the Investment Recovery Program, said. Golisano institute's inaugural AI class graduating, ready for year two The program supports the work of The Arc of Monroe's Job Path program and the organization's effort to empower individuals with disabilities to live integrated lives and build community. The Job Path program is recognized as the first program to provide employment services for individuals with disabilities living in Western New York. 'It's partnerships like these that help The Arc of Monroe further its mission. We want to see the people that we support thrive in the communities they live in. The program gives them the opportunity to gain new skills and take part in competitive employment,' said the Director of Business Relations for Arc of Monroe's Job Path, Luke Mayo. Two participants from the Arc of Monroe participate in the Investment Recovery Program and work at RG&E's Scottsville Road facility. Their tasks include sorting different metals from utility poles for recycling five days a week. Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
Time of India
12-06-2025
- Lifestyle
- Time of India
Unlocking the Power of Life Path 2: The Natural Peacemakers
Ruled by Moon, Life Path 2s are known for their extraordinary ability to bring calm to chaos. According to Numerology, Life Path 2 is the peacemaker that holds families, relationships, and even workplaces together. Tired of too many ads? go ad free now But what makes them so naturally gifted at restoring balance wherever they go? They are quick to sense tension Even though reserved in nature, their intuition allows them to read the moods of others. They can sense tension in a room before even a word is spoken and they jump straight into smoothing things over. Whether it's a family dispute or office strife, you will always find them working behind the scenes to help everyone see eye to eye. They communicate with calm and clarity You will rarely find them raising their voice. But their calm and composed manner of communication always saves the day. They genuinely enjoy helping people find common ground, making them one of the most valuable team players in a work setting. Patience guides their every move While others lose control at the slightest point of conflict, Life Path 2 embraces patience. They don't rush to prove their opinion. Instead, they listen and make the other person feel understood before gently putting across their views with minimal resistance. Their kindness is always genuine You can only trust someone a few times before realizing their kindness is just a facade. However, that's not the case with Life Path 2s. They don't help others to caress their ego or earn praise. Instead, they support you because they can imagine themselves in your shoes. Their humility helps them earn trust, and authority follows. Way to go! Life Path 2s teach us that true strength stems from understanding and love. If you are lucky enough to know one, value their presence and not their patience.
Time of India
25-05-2025
- Entertainment
- Time of India
When 'Eat, Pray, Love' author Elizabeth Gilbert drew the line between being 'childlike' and 'childish'. Why it could change your life?
It's not every day that a bestselling author reframes something as fundamental as your relationship with wonder. But in a quietly powerful moment on The Marie Forleo Podcast back in 2015, Elizabeth Gilbert—yes, the Elizabeth Gilbert of Eat, Pray, Love fame—did just that. She wasn't selling a book, planning another world trip, or decoding spirituality this time. Instead, she was decoding you. Or more precisely, the part of you that still believes in magic—but often gets confused about how to use it in the real world. Childlike Wonder vs. Childish Whining 'You have to be childlike in the pursuit of your life, but you cannot be childish,' Gilbert said, with the kind of clarity that stays with you. Her voice didn't preach, but it pressed gently—like someone holding up a mirror and asking you to really look. Being childlike , she explained, is about wide-eyed wonder. It's a return to awe, curiosity, and the ability to greet each moment as if it's the first of its kind. In contrast, being childish is what happens when entitlement kicks in: 'I didn't get what I wanted, so I quit.' It's a tantrum dressed up as adult disappointment. Play Video Pause Skip Backward Skip Forward Unmute Current Time 0:00 / Duration 0:00 Loaded : 0.00% 0:00 Stream Type LIVE Seek to live, currently behind live LIVE Remaining Time - 0:00 1x Playback Rate Chapters Chapters Descriptions descriptions off , selected Captions captions settings , opens captions settings dialog captions off , selected Audio Track default , selected Picture-in-Picture Fullscreen This is a modal window. Beginning of dialog window. Escape will cancel and close the window. Text Color White Black Red Green Blue Yellow Magenta Cyan Opacity Opaque Semi-Transparent Text Background Color Black White Red Green Blue Yellow Magenta Cyan Opacity Opaque Semi-Transparent Transparent Caption Area Background Color Black White Red Green Blue Yellow Magenta Cyan Opacity Transparent Semi-Transparent Opaque Font Size 50% 75% 100% 125% 150% 175% 200% 300% 400% Text Edge Style None Raised Depressed Uniform Drop shadow Font Family Proportional Sans-Serif Monospace Sans-Serif Proportional Serif Monospace Serif Casual Script Small Caps Reset restore all settings to the default values Done Close Modal Dialog End of dialog window. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Play War Thunder now for free War Thunder Play Now Undo At a time when burnout is chronic and cynicism trendy, Gilbert's insight is a gentle rebellion. 'I believe you can be childlike and mature at the same time,' she said, inviting us all to carry a backpack filled with both wonder and wisdom . The Grown-Up Path to Magic Gilbert's reminder couldn't be timelier. In an age of productivity hacks and personal branding, we often forget the original joy of learning, trying, failing, and laughing through it all. Life, after all, isn't a performance—it's a practice. And maturity, Gilbert suggests, doesn't have to mean losing your sense of wonder. It means anchoring it in responsibility. You Might Also Like: Sapiens author Yuval Noah Harari warns about the rise of autonomous intelligence: 'AI is not a tool, it is an agent' 'You can embody both childlike wonder and mature responsibility simultaneously,' she said. That line alone is worth framing on a wall—or better yet, carrying in your heart. So often, the narrative of adulthood is synonymous with loss—loss of spontaneity, loss of playfulness, loss of belief in the unseen. But Gilbert argues for a reunion. That your ability to marvel is not childish. In fact, it's one of the most profound tools for resilience, reinvention, and even healing. A Life That Still Believes in Magic Let's not forget who's speaking here. Elizabeth Gilbert isn't merely a memoirist. Her life and work—spanning from fiction and essays to the deeply personal Big Magic —have consistently nudged readers toward self-discovery without shame or fluff. She's traveled the world, challenged societal norms, and stood vulnerable in front of millions of readers. Her words don't just sound good—they come from a life tested by grief, growth, and global adoration. When she talks about 'being ready to be amazed,' it's not just romantic rhetoric. It's a daily discipline. A conscious uncynical stance in a complicated world. You Might Also Like: 'Rich Dad Poor Dad' author Robert Kiyosaki compares mass layoffs by Trump and Musk to a 1974 horror classic: Why, and where to watch it So, What Now? Gilbert's insight begs a question worth asking yourself every morning: Am I approaching this day with childlike wonder or childish resistance? Are you letting awe lead you through your creative blocks , your life transitions, your hardest conversations? Or are you throwing tantrums about what you didn't get, whom the world didn't give you, and why things aren't fair? In an age when personal growth often sounds like a self-help algorithm, Elizabeth Gilbert gives us something beautifully analog: a human reminder that we don't have to choose between growing up and staying enchanted. We can do both. And maybe, just maybe, that's where the real magic begins.
Yahoo
25-05-2025
- Yahoo
Someone stole my BBC broadcasting bike - it's like losing a friend
I was planning an ordinary afternoon out - bags packed, ready to roll - when I bounded downstairs and was hit by a jolt of disbelief. The space where my cargo bike should have been was empty, and the double lock that had bolted it to my Amsterdam apartment wall was hacked. My daughter darted between the other bikes, convinced someone must have moved it, but no, it was gone. With cycling deeply embedded in daily life here in the Netherlands - part of the "Dutch DNA", as we say - I have no car, so used my bike for everything, from the school run to a shopping trip. This was no ordinary bicycle. My colleague Kate Vandy and I retrofitted it to become a mobile broadcasting studio, which we named the Bike Bureau. I started "Dutch News from the Cycle Path", a reporting series born on the school run after my daughter asked me: "Why don't you just tell people the news now?" The bike allowed me to reach breaking news scenes and broadcast live from anywhere, my daughter by my side, showing that working motherhood could be visible, joyful and real. It opened doors to collaborations, awards and a community of people who saw themselves in our story. I have zero expectation of getting the bike back, and searching for it has proven fruitless. I called the police immediately and they opened a case, but closed it shortly afterwards because of a lack of evidence that would help find the thief. People online and in my local community have rallied round to try to find it since I put out an appeal. Neighbours asked if I was okay, telling me they loved to see me enjoy their bike lanes and see their city from my foreigner's perspective. But why, my daughter asked, do so many people care that our bike was stolen? Colleagues and friends responded to my Instagram Reel about the theft. Legendary BBC camerawoman Julie Ritson called my bike a blueprint for the future of journalism. Others said it was a relatable life-hack that showed how one person can manage motherhood and career, and inspired them to rethink what's possible with a cargo bike. It was solar-powered, cutting the need for satellite trucks with heavy equipment and the pollution that mode of transport brings. Research last year from the Reuters Institute for the Study of Journalism shows audiences are not only interested in climate change news - they are particularly engaged by stories that highlight individuals taking empowering action in response to the crisis. Some people have expressed surprise that "this kind of thing" would happen in the Netherlands. What they may not realise is that bike theft is endemic here. Last year, more than 86,000 bikes were reported stolen in the Netherlands, up 1,000 compared to the year before, and 10,000 more than in 2022, according to police figures. Authorities say a rise in reports may have contributed to this. Most bikes stolen are stripped for parts or sold on. My e-cargo bike cost nearly €5,000 (£4,200) - more than our old car which I sold. I paid for the bike, so the BBC has undergone no financial loss. What it really bought me was independence - and in a way, losing it is like losing a friend. Aside from the impact on my own lifestyle, that bike gave my daughter a magical, nature-filled childhood: picnics in the dunes, detours to see highland cows, fairy lights in winter, breezy rides to the beach in summer. The theft has sparked conversations about urban safety, cycling infrastructure, and the burdens mothers still carry. But it's also a testament to the community we've built and the power of sharing authentic stories from the saddle. I might not get my bike back, but no one can steal what it gave us all. Why Dutch 'bike banks' are a game changer for kids He dreamed of a cycling revolution. Then an SUV crushed him Video guide made for new 'Dutch-style' roundabout
Hindustan Times
23-05-2025
- Entertainment
- Hindustan Times
Pradip Kurbah: 'Major OTT platforms don't even consider screening our films'
In the film, what is it that prevents the six protagonists from migrating to urban areas despite having a very tough, isolated and secluded life in their village? Before working on this script, I explored many villages in Meghalaya where I found some villagers, who, despite leading very tough lives, have decided against migrating to the cities. They are so emotionally connected to their land that they are worried about what would happen to the region if they moved out. Many of these natives have seen their neighbours moving out for better opportunities and in some cases, even their children have gone away, but still their connection to the entire space holds them back to their roots. There is an interesting motif of a choir group that appears whenever somebody is close to death. What was the idea behind the linkage? For me, the choir in the film is a very personal element. It was not actually a creative decision. It came from memories and emotions because I've experienced silence and sound in our Khasi Hills. And in the culture of Khasis, choral singing is more than just music; it's a part of our spiritual life, social life, mourning, and celebrations. It is connected to how we share sorrow, how we find comfort, how we speak when words fall short. I remember how these voices would fill the space during funerals, quiet evenings in church, or even during moments when no one knew what to say, and often these voices stayed with me, like echoes. For me, they are the connection between the living and the dead, the seen and the unseen. In the film, they embody the spirits of the past, of the land, of the people we have lost. They can be seen guiding the viewer through this emotional landscape. And as for the characters who witness them before death takes them away, they are like angels. Please take me through the film's cinematography and visual language. We shot the film with a Blackmagic Pocket Cinema camera. For indie filmmakers like us, we cannot even think of using high-end cameras or fancy equipment. We used a gimbal for hand-held shots. While writing the script, I was very sceptical and worried about the whole visual approach because I didn't want to go for cuts. I wanted very long takes to capture the feeling of isolation. I felt that if we frequently cut, we might lose the whole sense of the vast landscape. So, my team and I decided to make a short film first to explore what we had in mind. That's how we made Path, which went on to win the Second-Best Film at IDSFFK in 2022. Then it traveled to Taipei and Greece. That's how we got the confidence to extend our visual approach to Ha Lyngkha Bneng. The cinematographer Pradip Daimary and I were clear right from the beginning that we wanted to avoid close or tight shots. We wanted to stay wide to allow the characters to exist within the environment in a way that visually expresses their emotions. Are there any filmmakers who have influenced your approach when it comes to wide landscape shots and languid visuals? To tell you frankly, I was initially very much inclined towards commercial films. I could not even imagine a film without songs and all my initial works were mainstream in nature. It was not until I met fellow Meghalayan filmmaker Dominic Sangma that I was introduced to an entirely different kind of cinema. Then, I met a very promising filmmaker from Sikkim called Tribeny Rai, who has just completed her first feature now. They both asked me to watch the films of Bela Tarr, Nuri Bilge Ceylan and the works of Iranian masters. I realised that this was real cinema. And also, when I saw Dominic's first film, (2018), I was so impressed by it. Being a self-taught filmmaker, you learn only by watching other films and listening to the filmmakers talk about their work. How do you raise funding for your films, considering you're an indie film maker? How much went into making this film, and what is the process of recovering the investment? For films like these, we rely on the collective funds of the cast, crew, family members and friends. Ha Lyngkha Bneng was made for about ₹70 lakhs. It's a challenge to recover the money poured in. We just have two theatres in Shillong and getting films screened here is so difficult for us. So, I decided that rather than screening, let's travel and take our films to all the rural places and screen them. That's the best way to recover the investment. With this film, I did approach the government of Meghalaya because they have come out with their own OTT platform to support local filmmakers. They have agreed to support our film. But still, recovering our money will take a lot of time. As for the major OTT platforms, they will not even consider it. That's sad. I was assuming that with the popularity of Rima Das' Village Rockstars (2017) on Netflix, major OTT platforms might now be interested in films from the Northeast. I had made a National Award-winning film called Onaatah: Of the Earth (2016), which was picked by Netflix. They streamed it for three years. The late Satish Kaushik saw the film and bought the rights to it and remade it into Marathi. Later in 2019, after I won the Kim Jiseok Award at Busan for my film Market, I approached Netflix again, but this time they rejected the film. I approached other platforms as well and was turned down as they wanted stars or 'recognizable' actors in the film. Ha Lyngkha Bneng does not have any songs. The only music in the film is the choir songs and a few English songs sung by the characters. Did you grow up listening more to English songs, or was the native Khasi music also part of the culture? Yes, Khasi music is very much part of our culture, but we have been very much influenced by Western music. I've used some old Khasi songs previously that are not available on any platform. I sourced them from the All India Radio as those songs had been recorded there itself. Apart from Western songs, we have been heavily influenced by Bollywood songs also. What's happening with the Kelvin Cinema Festival in Meghalaya? Dominic Sangma and I put up two editions in 2022 and 2023, respectively. Then we thought of doing the third edition and suddenly the main people who were behind us backed out because there was no support from the government. We then tried to approach the government, but things are so difficult. Let's hope we can resume it again as the festival was a great way of bringing together small films from the Northeast. Unfortunately, the discourse on cinema from the Northeast is thin. I'm acquainted with the work of Jahnu Barua, Dominic Sangma, Bhaskar Hazarika, Lakshmipriya Devi, and a few others. Tell me some more good films. Manipuri filmmaker Haobam Paban Kumar's Loktak Lairembee (2016) is an amazing film. Then there's another lovely work from Manipur called Our Home (2022) by Romi Meitei. Keep an eye out for Shape of Momo by Tribeny Rai. It'll be travelling to film festivals soon. What kind of films do you want to make in the near future, and what kind of cinema culture do you wish to foster in Meghalaya? I always tell young and budding filmmakers from Meghalaya that it is very important for us to tell our own stories. Don't focus on what others are doing. We have such a unique and rich culture. As for me, I want to continue making the kind of films I have been making — human stories about our folks. I'm currently working on the script of my next project, which deals a lot about mental health as that's a major issue we are facing nowadays out here. Whenever I go to a crowded place or somewhere and I look at the faces of people, I see every individual looking so lonely. I don't know why, and this is more so, especially after COVID. People here have this fear of being left alone and that is creeping inside the people in cities, too. There was a time in Shillong when we knew our neighbours very well and would talk, discuss and also share our food. But nowadays, that kind of bonding has completely gone. And social media has only aggravated the problem. People are so lost in their mobile phones that real conversations rarely happen. The sense of feeling and isolation has increased more. In Ha Lyngkha Bneng, I've tried to show that despite being set in the future, the characters are leading a very old-school way of life without technology. As a result, they have to rely on each other, and it is because of real communication between them that they have such a strong bonding despite not being connected by blood. Arun AK is an independent journalist. Twitter: @arunusual
