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NoneParents looking for elite football coaching for their children are being misled by private organisations claiming to be academies, Wales' governing body has warned. The Football Association of Wales (FAW) said there was growing concern about the number of non-accredited training bodies saying they were academies without the relevant licence or governance. It comes amid claims that former Wales star Natasha Harding, now known by her married name Allen-Wyatt, took money for children’s coaching that was not delivered by her Tash Harding Academy. Ms Allen-Wyatt has admitted cancelling "some sessions" due to circumstances outside her control and apologised to those affected. Licensed football academies provide a pathway for the most talented youngsters to develop their skills with a view to reaching the professional game. The FAW has established the National Academi for registered and affiliated academies in Wales which are categorised as A, B or C. Only such organisations can call themselves academies and anyone using the FAW logo or branding to advertise a private setup will be asked to remove it. The BBC has been told that FAW lawyers wrote to Ms Allen-Wyatt asking her to remove its badge from early branding for her coaching enterprise. Ms Allen-Wyatt did not respond to questions about this when the allegations against her first emerged. Drew Sherman, head of FAW National Academi, said: "There is ambiguity around the term academy. "People are selling the dream who aren’t necessarily accredited or qualified to make that dream a reality." He said official academies were "a good environment for any child" with FAW-qualified staff who have had a background check and are first aid qualified. There is concern about the blurring of lines between training programmes for the most talented young players aiming to make it to the professional game and those offering a more inclusive, fun environment. The FAW acknowledged there was a place for both, but stressed the importance of parents being aware of the difference when signing up their children. There are up to 3,000 children playing across 18 FAW-accredited academies - 14 of which have the full 10 age group teams, from under-8s to under-19s. The remaining four clubs have half this age group structure. Neil Ward, chief executive of Penybont FC which runs an A-licensed academy, said there was a "growing trend" of unlicensed private coaches calling their operations academies. He urged parents to be "more inquisitive" and ask about issues such as minimum coaching qualifications, training time, additional support around physical preparation training, safeguarding and first aid. "What's important is that parents reassure themselves about the quality of provision by researching who's providing the coaching and are they regulated under the governing body," he added. academies in Wales receive funding from UEFA and charge parents, unlike academies in England, which are free. Mr Ward said this was due to better funding for Football League clubs in England, but in Wales the cost was about "£1.50 to £2 per session over 40-plus weeks of training per year". He added: "It's affordable and helps us offset some costs, and we also fundraise to keep costs down as much as possible." In the girls' game, the FAW runs academies in north and south Wales for promising players aged 11-17. There are also opportunities to access extra training through the FAW’s development centre, a bespoke programme of competitive fixtures for girls against boys. Paul Kirton, founder and managing director of Team Grassroots, which represents the amateur game, expressed his worries about the proliferation of so-called academies across England and Wales. "There’s been an explosion in private football coaching providers who use academy in their title and in some cases charge four or five times more than grassroots clubs," he said. "People think they’re paying for something special but actually it’s not any different from the grassroots club." He added that the word academy should only be used by coaches who have been given the A, B or C ranking by the FAW. "The inference of that word is that it’s something professional, whereas the reality might be something completely different." The FAW said it urged parents, carers and football clubs to "undertake safeguarding and business assurances when engaging with third party providers, who are not affiliated to a national governing body" with safeguarding guidance available online .RBI raises limit for collateral-free agri loans to Rs 2 lakh
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By JESSICA DAMIANO Finding the perfect gift can be daunting. The only way to truly ensure you get it right would be to ask the recipient what they want, but that wouldn’t be much fun for either of you. Luckily, there’s another tactic to help you earn a “gift whisperer” reputation: seeking out unique, practical, game-changing gifts that will truly surprise and delight. But that’s about as easy as it sounds, which is to say it’s not easy at all. So, we’ve done the legwork for you. Start making your list with this compilation of some of the most innovative, functional and fun gifts of 2024. There’s something for every budget. Bear with me: The new FinaMill Ultimate Spice Grinder set elevates the pedestrian pepper and spice mill in both function and style. Available in three colors (Sangria Red, Midnight Black and Soft Cream), the rechargeable-battery unit grinds with a light touch rather than hand-tiring twists. That’s easier for everyone and especially helpful for those experiencing hand or wrist issues such as arthritis, carpal tunnel syndrome or tendinitis. And it’s fun to use. The set includes a stackable storage tray and four pods that can be easily swapped as needed: The GT microplane grater for hard spices, nuts and chocolate; the MAX for large spices and dried herbs; the ProPlus for smaller and oily spices; and the Pepper Pod for, well, pepper. $110. Campers and backyard firepit lovers who have experienced the heartbreak of wet wood will appreciate having a three-pack of Pull Start Fire on hand. Made of 89% recycled materials, including sanding dust, wax and flint, the food-safe, eco-friendly, 3-by-2-by-1-inch fire starters will light a fire quickly without matches, lighters or kindling. Just loop the attached green string around a log, incorporate it into a wood stack, and pull the attached red string to ignite. Each windproof, rainproof block burns for 30 minutes. $29.99. The No Mess Utensil Set from Souper Cubes , a company known for its portioned, silicone freezer trays, lives up to its name. The utensils — a serving spoon and a ladle — have innovative, S-shaped handles designed to rest on the edge of a pot, keeping them upright so they won’t slip in. The design also eliminates the need for a spoon rest or, worse, placing dirty utensils on the kitchen counter or stovetop between stirs. A silicone coating in a choice of Aqua, Charcoal, Cranberry or Blueberry keeps handles cool to the touch. $24.99. The FeatherSnap Wi-Fi smart bird feeder could turn anyone into an avid birdwatcher. Equipped with an HD camera, the dual-chamber feeder enables up-close livestreaming of avian visitors, as well as species-logging via the free mobile app. An optional premium subscription ($59.99 annually or $6.99 monthly) includes unlimited photo and video storage, AI identification with species-specific details, and the opportunity to earn badges for logging new visitors. Turn on notifications to get alerts sent to your phone whenever there’s activity at the feeder. $179.99. Fujifilm’s Instax Mini Link 3 smartphone printer offers a touch of nostalgia without sacrificing technology. Just load the 4.9-by-3.5-by-1.3-inch printer with Instax Mini instant film and connect it to your Android or iOS device via Bluetooth to print wallet-size photos. If you want to get fancy, you can adjust brightness, contrast and saturation, or apply filters, including 3D augmented-reality effects, via the free Instax Mini Link app. It can also make collages of up to six images, or animate photos to share on social media. Available in Rose Pink, Clay White and Sage Green. $99.95. The appropriately named easyplant is one of the best gifts you can give your houseplant-loving friends, regardless of their experience level. 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The Nama M1 appliance both blends and strains ingredients, converting nuts, seeds, grains or oats into velvety-smooth milk in just one minute, with zero grit. And for zero waste, the pasty leftover pulp can be used in other recipes for added nutrients. The device also makes infused oils, flavored waters and soups. And, importantly, cleanup is easy. Available in white and black. $400. For friends who prefer stronger beverages, the QelviQ personal sommelier uses “smart” technology to ensure wine is served at its ideal temperature. Unlike traditional wine refrigerators, this device doesn’t take up any floor space. It also doesn’t chill wine to just one or two temperatures based on its color. Instead — paired with the free QelviQ app — the tabletop chiller relies on a database of more than 350,000 wines to bring a bottle to its specific recommended serving temperature in as little as 20 minutes. It also suggests food-wine and wine-food pairings. Plus, the appliance serves as a great icebreaker to inspire dinnertime conversation. Available in Exciting Red, Dashing Black and Dreamy White. $495. Grilling food after dark — and ascertaining its doneness — can prove challenging without outdoor lighting, and it’s nearly impossible to cook while holding a flashlight. But as is often the case, the simplest of solutions can make the biggest of impacts: Uncommon Good’s 2-piece LED Grilling Tool Set puts illumination into the handles of its stainless-steel spatula and tongs. After use, the lights can be removed and the utensils run through the dishwasher. $40.
NoneScammers are a determined, creative bunch, and they’re hard to catch. Scammers will sometimes even trip up trained professionals. Many of us have received text messages claiming there’s a problem with either a U.S. Postal Service or UPS delivery. The best thing to do is to immediately delete those messages. But Eagle County Sheriff James van Beek received one of those messages very early one morning a few days after sending a package to relatives overseas. He followed the link, and about the time he’d finished his first cup of coffee, quickly canceled the card he used to try to “correct” what was ultimately a scam. But that’s how easy it is to fall for some of these schemes. “Sometimes people are using our numbers,” van Beek said, who added that his office receives scam reports “multiple times a week.” One of the most recent calls was from someone reporting a call that claimed a resident had failed to appear in “federal court in Eagle,” van Beek said. There is no such facility. Vail Police Chief Ryan Kenney said many scam calls are generated overseas. That means the information technology element of tracing those calls is “extremely challenging,” he said. Then there’s the jurisdictional component. Searching internet service providers in different countries, and even for different domestic banks, requires separate search warrants, Kenney said. Following a money trail also takes separate warrants, he noted. “Everything is manpower intensive,” Kenney said. And with only two full-time detectives, along with another officer who rotates in and out of that role, there aren’t a lot of hours to devote to those cases. Still, Kenney added, detectives take those cases “as far as we can.” Recovering lost money is difficult, at best. Avon Police Chief Greg Daly’s officers did recover some cash in a case he called “unique.” That case got the FBI involved and actually resulted in an arrest. Daly said the suspect sent an email, persuading the victim that his bank account had been compromised. Ultimately, the victim was persuaded to give cash to someone posing as an agent of the Federal Deposit Insurance Corporation. That “agent” was then arrested in possession of the cash and is currently free on bond. “Our FBI partners told us this is happening more often” since cash is essentially untraceable, Daly said. Daly noted that many scammers “have degrees from scammer university,” and know exactly how to present themselves. But that doesn’t always work, depending on who’s on the other end of the phone. One potential victim, who’d been told to buy Walmart gift cards, was cautioned against it by the cashier at the store. At Avon’s police headquarters, a call from the scammer came in. Daly, who’s Irish, answered, and doing his best Liam Neeson impression, went into the actor’s soliloquy from “Taken” — “I have a certain set of skills ... I will find you...” That ended the call. Not long after taking office, van Beek answered the office phone and fielded a call from someone claiming to be one of his detectives. That didn’t end well, either. But, van Beek said, “The guy had it down. It would have convinced anyone else.” In addition to those calls, scammers are increasingly relying on artificial intelligence to copy the voices of either yourself or your loved ones. Daly said “99.999%” of those calls are scams, and the best advice is to call the police. To avoid having your voice cloned, local police are advising changing the way we answer our phones. When van Beek answers a call from an unknown number, he’ll say “Hello.” When asked if it’s him, he’ll then ask who’s calling. Kenney’s even more vague. “If it’s not a number you know, don’t even say ‘hello,'” he said. “It’s just safer.”
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NoneVoters reject turncoats in western MaharashtraOne night last month, near the end of the Chicago International Film Festival, a particularly long line of moviegoers snaked down Southport Avenue by the Music Box Theatre. The hot ticket? This fall’s hottest ticket, in fact, all over the international festival circuit? Well, it’s a 215-minute drama about a fictional Hungarian Jewish architect who emigrates to America in 1947 after surviving the Holocaust. The film’s title, “The Brutalist,” references several things, firstly a post-World War II design imperative made of stern concrete, steel, and a collision of poetry and functionality. Director and co-writer Brady Corbet, who wrote “The Brutalist” with his filmmaker wife, Mona Fastvold, explores brutalism in other forms as well, including love, envy, capitalist economics and how the promise of America eludes someone like the visionary architect László Tóth, played by Adrien Brody. Corbet, now 36 and a good bet for Oscar nominations this coming January, says his unfashionable sprawl of a picture, being distributed by A24, is also about the “strange relationship between artist and patron, and art and commerce.” It co-stars Felicity Jones as the visionary architect’s wife, Erzsébet, trapped in Eastern Europe after the war with their niece for an agonizingly long time. Guy Pearce portrays the imperious Philadelphia blueblood who hires Tóth, a near-invisible figure in his adopted country, to design a monumental public building known as the Institute in rural Pennsylvania. The project becomes an obsession, then a breaking point and then something else. Corbet’s project, which took the better part of a decade to come together after falling apart more than once, felt like that, too. Spanning five decades and filmed in Hungary and Italy, “The Brutalist” looks like a well-spent $50 million project. In actuality, it was made for a mere $10 million, with Corbet and cinematographer Lol Crawley shooting on film, largely in the VistaVision process. The filmmaker said at the Chicago festival screening: “Who woulda thunk that for screening after screening over the last couple of months, people stood in line around the block to get into a three-and-a-half-hour movie about a mid-century designer?” He lives in Brooklyn, New York, with Fastvold and their daughter. Our conversation has been edited for clarity and length. Q: Putting together an independent movie, keeping it on track, getting it made: not easy, as you told the Music Box audience last night. Money is inevitably going to be part of the story of “The Brutalist,” since you had only so much to make a far-flung historical epic. A: Yeah, that’s right. In relation to my earlier features, “The Childhood of a Leader” had a $3 million budget. The budget for “Vox Lux” was right around $10 million, same as “The Brutalist,” although the actual production budget for “Vox Lux” was about $4.5 million. Which is to say: All the money on top of that was going to all the wrong places. For a lot of reasons, when my wife and I finished the screenplay for “The Brutalist,” we ruled out scouting locations in Philadelphia or anywhere in the northeastern United States. We needed to (film) somewhere with a lot less red tape. My wife’s previous film, “The World to Come,” she made in Romania; we shot “Childhood of a Leader” in Hungary. For “The Brutalist” we initially landed on Poland, but this was early on in COVID and Poland shut its borders the week our crew was arriving for pre-production. When we finally got things up and running again with a different iteration of the cast (the original ensemble was to star Joel Edgerton, Marion Cotillard and Mark Rylance), after nine months, the movie fell apart again because Russia’s invasion of Ukraine. We couldn’t get any of the banks to cash-flow the tax credit (for location shooting in Poland). It’s completely stable now, but at that time the banks were nervous about whether the war would be contained to Ukraine or not. And then we finally got it up and running in Budapest, Hungary. Q: That’s a long time. A: Every filmmaker I know suffers from some form of post-traumatic stress (laughs). It sounds funny but it’s true. At every level. On the level of independent cinema, you’re just so damn poor. You’re not making any money, and yet from nose to tail, at minimum, a movie always takes a couple of years. With bigger projects, you might have a little more personal security but a lot less creative security with so many more cooks in the kitchen. Either route you choose, it can be an arduous and painful one. Whether you’re making a movie for a million dollars, or $10 million, or $100 million, it’s still “millions of dollars.” And if you’re concerned about the lives and livelihoods of the people working with you, it’s especially stressful. People are constantly calling you: “Is it happening? Are we starting? Should I take this other job or not?” And you have 250 people who need that answer from you. Every iteration of the project, I always thought we were really about to start in a week, two weeks. It’s just very challenging interpersonally. It’s an imposition for everyone in your life. And then there’s the imposition of screening a movie that’s three-and-a-half-hours long for film festivals, where it’s difficult to find that kind of real estate on the schedule. So essentially, making a movie means constantly apologizing. Q: At what point in your acting career did you take a strong interest in what was going on behind the camera? A: I was making short films when I was 11, 12 years old. The first thing I ever made more properly, I guess, was a short film I made when I was 18, “Protect You + Me,” shot by (cinematographer) Darius Khondji. It was supposed to be part of a triptych of films, and I went to Paris for the two films that followed it. And then all the financing fell through. But that first one screened at the London film festival, and won a prize at Sundance, and I was making music videos and other stuff by then. Q: You’ve written a lot of screenplays with your wife. How many? A: Probably 25. We work a lot for other people, too. I think we’ve done six together for our own projects. Sometimes I’ll start something at night and my wife will finish in the morning. Sometimes we work very closely together, talking and typing together. It’s always different. Right now I’m writing a lot on the road, and my wife is editing her film, which is a musical we wrote, “Ann Lee,” about the founder of the Shakers. I’m working on my next movie now, which spans a lot of time, like “The Brutalist,” with a lot of locations. And I need to make sure we can do it for not a lot of money, because it’s just not possible to have a lot of money and total autonomy. For me making a movie is like cooking. If everyone starts coming in and throwing a dash of this or that in the pot, it won’t work out. A continuity of vision is what I look for when I read a novel. Same with watching a film. A lot of stuff out there today, appropriately referred to as “content,” has more in common with a pair of Nikes than it does with narrative cinema. Q: Yeah, I can’t imagine a lot of Hollywood executives who’d sign off on “The Brutalist.” A: Well, even with our terrific producing team, I mean, everyone was up for a three-hour movie but we were sort of pushing it with three-and-a-half (laughs). I figured, worst-case scenario, it opens on a streamer. Not what I had in mind, but people watch stuff that’s eight, 12 hours long all the time. They get a cold, they watch four seasons of “Succession.” (A24 is releasing the film in theaters, gradually.) It was important for all of us to try to capture an entire century’s worth of thinking about design with “The Brutalist.” For me, making something means expressing a feeling I have about our history. I’ve described my films as poetic films about politics, that go to places politics alone cannot reach. It’s one thing to say something like “history repeats itself.” It’s another thing to make people see that, and feel it. I really want viewers to engage with the past, and the trauma of that history can be uncomfortable, or dusty, or dry. But if you can make it something vital, and tangible, the way great professors can do for their students, that’s my definition of success. “The Brutalist” opens in New York and Los Angeles on Dec. 20. The Chicago release is Jan. 10, 2025. Michael Phillips is a Tribune critic.The Clean Energy Jobs and Justice Fund Welcomes Rebeccah Sanders as Executive Director
Final 2024 House race decided with Democrats scoring net gain CBS News has projected a winner for the last race in the U.S. House of Representatives. Democrats scored a net gain from their last term to create a narrow GOP majority in the chamber. CBS News political reporter Hunter Woodall joins "America Decides" to examine the state of the 119th Congress.
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