Established in 1989, HCG-MSR Cancer Centre located in MSR Nagar in Bangalore is over 20-bedded super speciality centre offering a wide spectrum of advanced medical treatments to its patients. HCG-MSR Cancer Centre offers state-of-the-art infrastructure and is technologically up to date. It has a great team of qualified doctors available around the clock and emergency services. Staff members make sure patients are given the best of medical care. HCG-MSR Cancer Centre consists of an experienced team of skilled professionals, aimed to provide the quality healthcare. First in North Bangalore to be equipped with Agility synergy linear accelerator, the hospital assures the best of medical facilities.


As we all know, sometimes doctor visits require necessary paperwork. To make it more convenient for you, you may download our required forms, print them, and fill them out prior to your appointment at Lakeshore Bone & Joint Institute.
If you are seeing Dr. Heather Nath, Dr. Anita Rao, Susan M. Fazekas, A.N.P., or Judith L. Watson, F.N.P., please refer to the Patient Portal for pain patient forms.


Oh my, that's a lotta wood! We did the same thing this past fall, trying to get ready for winter. I think my back is still a bit angry with me! Well, at least we don't need a gym membership, right?
You all act like it's calling for 4 feet of snow or something!


At Interplay Space, you are invited to learn a new skill, revisit an old one, or simply create in an interactive and supportive environment.
Students are accepted on a first-come, first serve basis. We encourage students to register early; some classes may fill up quickly!
A minimum number of registered students is required for workshops to be held; numbers vary according to class.
Workshop enrollments are reviewed one-week prior to the first session. Workshops that have met minimum enrollment will stay open, and accept additional registrations until full, or until first day of workshop.
We currently accept four major credit cards: Discover, American Express, MasterCard, and Visa. We must be able to verify your credit card, so the billing address you provide must match the address to which your credit card statements are sent. We also require the security code found on all major credit cards. If you are unable to provide us with this information at checkout, your order may require extra processing time.
If you wish to pay via a PayPal account, you must first proceed through the checkout process. At the end of the checkout process, you will see a PayPal logo that you must click. This link will ensure that all of your order information is properly stored during the PayPal transaction.
If you have any questions about PayPal payments, visit the PayPal Help Center.
A full refund (minus merchant fees) will be issued for any workshop that is cancelled by Interplay Space.
Students have 30 days after notification of a workshop cancellation to resolve a refund; after this point any registration fees and/or materials fees will be considered a donation to Interplay Space.
Registration fee refunds will not be granted after the first session has met.
In the event that the instructor must cancel a class, the instructor will schedule a make-up session. In the event that a make-up session isn't made available, a single session refund may be issued.
Failure of a student to attend workshop does not obligate Interplay Space to provide make-up sessions, registration fee credits or refunds. Make-ups for student absences are upon instructor approval only, space permitting.
If a workshop is for adults, make separate child supervision arrangements.
If a workshop is for children or pre-driving age teens, please drop off and pick up promptly after session ends.
Instructors and volunteers are not able to supervise children outside of instructional time.
Parents/guardians of students under the age of 18 much provide an authorized drop-off/pick-up list.


This policy describes the information we may collect, how we may collect and use it, and certain other privacy issues, including the precautions we take to protect your privacy.
The website you visited prior to coming to this site.
The information we automatically collect or store is used by us only for the purpose of improving the content of our web services and to help us understand how people are using our services so that we may continually improve the performance, suitability and usefulness of our websites to you.


Founded over 35 years ago, Flowmaster is a leader in both research and manufacturing of exhaust systems. In the early 1980s, founder Ray Flugger invented his renowned "Suitcase"-style racing mufflers, drawing on a wide range of creative ideas and engineering principles. The first of their kind, these mufflers were the end-result of countless hours of Dyno research and on-track testing around the country.
Flowmaster's inventory has really grown over the last decade-and-a-half to now include exhaust products for performance street, truck, RV and motorhome applications. It offers more than 400 different muffler models and 140+ exhaust systems, and AutoAnything is the proud carrier of so many of these products. Whatever your needs and whichever product you go in for, you can bet they're backed by our 1-Year, Lower Price Guarantee, to save you more at checkout.
Reference # 761-028-516 © 2000-2019 AutoAnything, Inc.


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Let your voice be heard What to expect this year His biz life after 🏀 Avoid these blunders
Backup cameras now required in new cars in the U.S.
New cars sold in the U.S. must have backup cameras to help drivers avoid accidents under a federal regulation that took effect Wednesday.
The regulation requires rearview cameras and video displays on new models, a move aimed at preventing accidents in which pedestrians — often children — are run over because a driver can't see them as they back their vehicles.
Congress passed a law in 2008 requiring regulators to enact measures requiring the adoption of technology to greatly improve rearview visibility.
After years of delays, the Department of Transportation announced the camera requirement in 2014, giving automakers several years to prepare.
Many higher-end models and mainstream vehicles with extra safety packages already have rearview cameras. But the technology will now be standard in even the cheapest of new cars.
"The regulation is a monumental advancement of safety for children, pedestrians, bicyclists and other vulnerable road users," Cathy Chase, president of Advocates for Highway and Auto Safety, said in a statement.
Backover crashes kill more than 200 people annually and injure more than 12,000.
Follow USA TODAY reporter Nathan Bomey on Twitter @NathanBomey.

redpajama_set_name: RedPajamaCommonCrawl


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Misleading McDonald's Ads Removed After Animal Justice Files Legal Complaint
TORONTO—Fast food chain McDonald's has stopped running a misleading "greenwashing" ad campaign about its Quarter Pounder burger after Animal Justice filed a legal complaint, prompting investigations by federal authorities.
The ads claimed that the Quarter Pounder burger was "now sustainably sourced", but in the fine print, the company conceded that only 30% or more of the beef used in the Quarter Pounder was from "certified sustainable sources". Animal Justice requested that the Canadian Food Inspection Agency ("the CFIA") and Competition Bureau investigate the ads, which appeared on billboards and in transit stations in major cities across Canada. Animal Justice's complaint pointed out that Canadians are increasingly looking for ethical and environmentally sustainable products, and that falsely claiming that beef is sustainable might dupe consumers into buying products they would otherwise avoid.
"Beef is not green, and trying to dupe consumers into thinking otherwise can be false advertising—which is illegal," said Camille Labchuk, a lawyer and executive director of Animal Justice. "Animal Justice is thrilled that the Competition Bureau and CFIA took this greenwashing case seriously, and that McDonald's has stopped running these misleading ads. Consumers should not be left with the false impression that a Quarter Pounder from McDonald's is an environmentally friendly or sustainable meal. To the contrary, farming cows for food is a major driver of human-caused climate change, as well as water pollution and biodiversity loss."
According to conservative estimates, animal agriculture produces approximately 14.5% of global greenhouse gas emissions—about the same percentage as the entire transportation sector. Beef and dairy production are responsible for the vast majority of these emissions. Animal agriculture is also a primary driver of biodiversity loss.
The Canadian Roundtable for Sustainable Beef ("CRSB") requirements that McDonald's relied on for its sustainable sourcing certification have also been criticized as vague and unenforceable, leaving the door wide open for greenwashing.
The Competition Bureau confirmed to Animal Justice that it opened an inquiry into the misleading ads, and worked with McDonald's to facilitate voluntary compliance with relevant consumer protection laws. The CFIA also carried out an investigation, and discussed the matter with the company. The CFIA confirmed that the company then decided to stop running the ads.
Animal Justice's legal complaint can be read here.


Puss Reboots: Blog: September 2013: Should I Share My Ice Cream?
Should I Share My Ice Cream? by Mo Willems is the fifteenth Elephant and Piggie book. Gerald has an ice cream cone and is trying the best the way share the joy with Piggie.
So the question isn't: should he share the ice cream or keep it to himself. The question is: what's the best way of sharing the ice cream eating experience with Piggie? Should they share the same cone? Should he get another flavor? Is so, which one?
Now the problem if, of course, that ice cream melts. Therein lies the humor and charm of this volume of Elephant and Piggie.


text:
Кубок маршала Тито 1962/1963 () — 16-й розыгрыш Кубка Югославии по футболу.

Первый раунд

Второй раунд

1/4 финала

1/2 финала

Финал

Ссылки
Статистика на rsssf.com

1962/1963
Спорт в Югославии в 1962 году
Спорт в Югославии в 1963 году
Югославия

redpajama_set_name: RedPajamaWikipedia


Fancy making another gorgeous Chocolate Cake this Christmas that will definitely be a hit with all the family? A cake that celebrates the reason for the season!
I developed this recipe for Woman's Weekly Magazine and you can find the recipe on Good to Know here..
Are you going to make it!
this is so cute! i want to try this recipe!
It's really very easy- enjoy!


How much does Australia spend on foreign aid? Not quite as much as we think. For the fifth most prosperous country in the OECD we rank 21st in generosity. Read more here on the Pro Bono website. Today's Pro Bono news cartoon.


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Das Pfarrhaus in Siegertshofen, einem Ortsteil der Marktgemeinde Fischach im Landkreis Augsburg im bayerischen Regierungsbezirk Schwaben, steht westlich der katholischen Pfarrkirche St. Nikolaus und ist als Baudenkmal in der Bayerischen Denkmalliste eingetragen. Die Adresse des im Jahre 1724 errichteten Gebäudes lautet Kirchberg 6.

Beschreibung
Der zweigeschossige Satteldachbau mit roter Ziegeleindeckung besitzt einen rechteckigen Grundriss und steht an einem Hang. Weiße Sprossenfenster, die mit grünen Holzläden versehen sind, gliedern die weiße Putzfassade. Westseitig stützen Lisenen den Giebel. An der nördlichen Traufseite führt eine Treppe zum rundbogigen Hauseingang. Im Inneren befinden sich teilweise farbig gefasste Stuckornamente an den Decken. Zudem sind die Innentüren mit Grisaillemalereien versehen.

Geschichte

Vorgängerbau
Über den Vorgängerbau ist nur wenig bekannt. Erste Aufzeichnungen stammen aus der Zeit des Dreißigjährigen Krieges. Es kann allerdings davon ausgegangen werden, dass das erste Pfarrhaus deutlich älter war. Es wurde durch die im Krieg eingefallenen Schweden um 1633 so stark zerstört, dass es zunächst unbewohnbar war. Erst um 1653 zog dort wieder ein Pfarrer ein.

Neubau im 18. Jahrhundert

Pfarrer Nikolaus Osterlehner erhielt 1724 vom bischöflichen Ordinariat die Zustimmung zum Neubau eines Pfarrhauses. Er ordnete daraufhin den Verkauf von Holz aus den nahegelegenen Wäldern an, um das notwendige Kapital für den Bau einzunehmen. Noch im gleichen Jahr begann die Errichtung des Neubaus mit Mauersteinen und Dachziegeln aus dem Kloster Oberschönenfeld. Vollendet wurde der Neubau allerdings erst wesentlich später. So belegen alte Rechnungen, dass die Innentüren im Jahre 1762 von Pius Rampp und seinem Sohn Michael (beide aus Mickhausen) mit Grisaillemalereien versehen wurden. Eine anschließend vom bischöflichen Ordinariat angeordnete Besichtigung kam zu dem Ergebnis, dass insbesondere aufgrund der aufwändigen Innengestaltung das neue Pfarrhaus zu prächtig und kostbar hergestellt worden sei.

In der Karte von Johann Lambert Kolleffel, die um 1750 entstand, ist das neue Pfarrhaus noch nicht eingezeichnet. Stattdessen zeigt die Karte das alte Pfarrhaus unmittelbar nördlich der Pfarrkirche.

Gegenwart
Nachdem das Pfarrhaus einige Jahre leer gestanden hatte und zudem baufällig geworden war, machten sich Siegertshofer Bürger nach der Jahrtausendwende an die Sanierung des Gebäudes. Die Arbeiten am Pfarrhaus konnten 2011 abgeschlossen werden. Seither steht es Vereinen und Bürgern für Veranstaltungen zur Verfügung. Auch Trauungen werden dort abgehalten.

Literatur

Weblinks

 Das Pfarrhaus Siegertshofen in der Broschüre zum Tag des offenen Denkmals am 10. September 2017 (PDF-Datei; 3,6 MB)

Einzelnachweise

Baudenkmal in Fischach
Bauwerk in Fischach
Siegertshofen
Umgenutztes Bauwerk im Landkreis Augsburg
Barockbauwerk in Bayern
Erbaut in den 1720er Jahren
Religion (Fischach)


By Andy Greder / St. Paul Pioneer Press on Apr 7, 2019 at 6:47 p.m.
ST. PAUL -- Miguel Ibarra's hamstring injury — which kept the midfielder out of Minnesota United's starting lineup Saturday, April 6 — now threatens to keep him out of the Loons' debut game at Allianz Field and beyond, multiple sources told the Pioneer Press.
Ibarra's sudden injury kept him from traveling to Harrison, N.J., for the Loons' 2-1 victory over New York Red Bulls on Saturday night and could sideline the speedy winger for weeks, sources said.
United (3-2) will christen its new St. Paul stadium against New York City (0-1-4) on April 13, the first of four games in 16 days.
Ibarra was a surprise addition to the club's injury report Friday, on which he was listed as "questionable." He trained without apparent issue in the club's first-ever training session at Allianz Field last Wednesday as well as Tuesday at their training grounds at the National Sports Center in Blaine.
Ibarra's impending absence from the initial game at Allianz Field would be a blow for a hard-working fan favorite with an extensive history with Minnesota's pro soccer club. His tenure, interrupted by a spell in Mexico's Liga MX, dates back to the Minnesota Stars in 2012.
Ibarra, who received consideration for a call-up to the U.S. men's national team's camp in January, started the first four games for the Loons this season.
The winger scored his only goal of the season in a 90-minute outing during the Loons' 3-0 victory over San Jose on March 9. He also played 254 of 270 minutes in the three games against Vancouver, Los Angeles Galaxy and New England in March.
Last season, Ibarra played in 33 of 34 games, finishing with seven goals and eight assists, improvements from his three goals and four assists in 29 games during the Loons' expansion season in MLS in 2017.
Ibarra's aim this year is to reach double digits in both goals and assists, an achievement reached by only a handful of MLS players each year.
Last year "got my confidence back up and made me hungrier for this season," Ibarra said at the start of preseason camp in January.
On Saturday, the Loons displayed new depth in attacking pieces to produce their third win in five road games. Without Ibarra and leading scorer Darwin Quintero — sidelined with a groin injury suffered Wednesday — Minnesota started an attacking trio of Angelo Rodriguez, Ethan Finlay and Abu Danladi.
United coach Adrian Heath said Quintero's injury was slight, but the central attacking midfielder, with three goals on penalty kicks this season, stayed in Minnesota with Ibarra.
Meanwhile on Saturday, Rodriguez put together one of the most productive displays of the hold-up play, a style which propelled the club to use one of three, higher-priced Designated Player slots on him last summer.
Coming from Tolima in the Colombian league, Rodriguez was able to control the ball with his back to the goal at Red Bull Arena. He posted up well-respected center back Tim Parker, received a pass off his midsection and passed off to Danladi, who scored Saturday's opening goal in the 34th minute.
In the 50th minute, Rodriguez fended off another respected Red Bulls defender, Aaron Long, to controlled a pass with his chest. His ensuing shot deflected off Long, with Romario Ibarra capitalizing for a goal in the 50th minute.
Minnesota altered its formation to a 3-4-3 with the Ibarra and Quintero absences, allowing fullbacks Francisco Calvo and Romain Metanire even more freedom to join the attack. Metanire fed Rodriguez on the first goal, and Calvo did so on the second.


Tips to ensure you get the best bang for your AirBNB buck.
Home for me is Easton, Pennsylvania. With fall approaching I can't help but get homesick. Fall is the best time of the year. The weather cools down and the humidity subsides – the leaves start to change and the fields go purple and gold….


This December, ACCT has raised over $11,000 for affordable housing--can you join with the nearly 50 Addison County residents who have donated this month and help us get to $15,000 by December 31? Your dollars help keep a roof over the heads of hundreds of our neighbors, from working Vermonters to seniors to people with disabilities. Giving is easy--please consider showing your support by donating a dollar for every year you and your family members have had a roof over your heads! From all of us at ACCT, we thank you!


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Home › Guide to Inshore Saltwater Fishing: Bays, Inlets & Sounds with Bass Fishing Legend Tom Mann
Guide to Inshore Saltwater Fishing: Bays, Inlets & Sounds with Bass Fishing Legend Tom Mann
Product SKU: F8845DVD
Bays, inlets and sounds offer a diverse range of species of saltwater sport fish and for the most part, are easily accessible by small boats. Conservation efforts and changes in commercial and recreational fishing laws in many areas of the...
Bays, inlets and sounds offer a diverse range of species of saltwater sport fish and for the most part, are easily accessible by small boats. Conservation efforts and changes in commercial and recreational fishing laws in many areas of the nation have accounted for an improved habitat and stable populations of fish. This has resulted in a huge increase in the popularity of inshore saltwater fishing and the number of anglers who prefer light tackle. Join host James Marsh and his guest Tom Mann, a true fishing legend, as they fish the bays of the Florida Panhandle. Tom reveals his fishing techniques, strategies and secrets in order to teach you the art and skills of fishing. Discover the methods, strategies and techniques they use to catch trout and other inshore saltwater species. Spotted seatrout, commonly called speckled trout and ladyfish, a member of the tarpon family, are the main species targeted and taken. Speckled trout are found from the South Texas Coastline around the Gulf of Mexico to the Florida Keys and north along the Atlantic coastline all the way to Cape Cod, Massachusetts. Ladyfish, called the "Poor Man's Tarpon" are an acrobatic sight to behold, especially when they are taken on light tackle. Tom Mann was a fishing legend and BASS professional for over twenty years. He is also one of the most successful lure designers. Over a billion of his lures have been sold including the famous Little George, Jelly Worm, Kangaroo Worm, Mann-O-Lure and Sting Ray Grub. He was a member of the National Fishing Hall of Fame and founder of Mann's Bait Company.


ADULTS LEARN TO PLAY CANADA'S GAME IN JUST 12 WEEKS - PROFESSIONAL COACHES - NO JUDGEMENT!
Naomi Became A Hockey Player With Her Own Real Hockey Team! Now It's Your Turn!
The program is for anyone 18 years and older, and is entirely co-ed. Discover Hockey started as a women's-only program back in 2008, and became co-ed shortly after; all ages are welcome, we have had participants as young as 70.
Sign up with your friends, larger groups save $50 per person by getting the Buddy Bonus!
We know you love hockey and this is why you are here. Maybe you never had the chance to learn to play because your parents could not afford the time or the money it took, or maybe you lived somewhere where ice and hockey do not exist. Whatever the reason why you have been missing out, take the program and become a hockey player now.
The program spans 12 weeks where we teach you how to become a hockey player. There are 12 on-ice sessions and 2 off-ice sessions, including an orientation where you learn about equipment, and a classroom session where you learn about icing, offside and other rules of the game. 8 on-ice informational practices are followed by 4 games against other program participants.
You will learn the fundamentals of skating forward, backwards, stopping, turning and crossovers even if you have never skated before. Skating is the base for all hockey, so the first 2 sessions strictly concentrate on learning how to skate and the rest of the program reinforces good skating habits.
Next you will learn all aspects of playing hockey. You will learn about saucer passes, snappers, wristers, and slap shots, and when to use each in a game. Once you have a good grasp of some of the individual skills needed for hockey, we will teach you how to play together as a team.
Finally, you will play 4 games against the other players in the program. You will be on the same team as your friends, playing other new hockey players in a fun, safe and judgment-free environment where if you fall no one laughs, instead they help you up. Teams can continue playing in the NCHL beginner division for the next season.
Please give us a call send us a message. We are always happy to talk hockey!


One more day until the release!
With the Grail restored, Merlin has become the most powerful being in the entire Grimm Universe. Camelot has been resurrected with him as its ruler. Now, Merlin and his knights have their sights set on conquering the earth, and only Skye and a handful of heroes can stop them.


Whatever your personal feelings on Metal Gear Solid 2, there's no doubt that the once-revered franchise has come down in the world since that incredible trailer wowed audiences and left journalists scrambling for superlatives at E3 a few years ago - selling countless PS2s in the process. At E3 this year, not one but two MGS titles were shown, and to describe the reaction as "muted" would be an overstatement; the fact is that following the disappointing MGS2 and given the wealth of incredible stuff at the show, MGS just isn't that high on most people's must-see lists any more.
It didn't help that one of the games on display - and of the two, the only one that was actually playable - was Metal Gear Solid: The Twin Snakes, a GameCube conversion of the original PlayStation MGS which, despite having input from Kojima and Miyamoto, not to mention being developed by Silicon Knights (creators of Eternal Darkness), looks shockingly poor.
It's not the fact that it's a remake of MGS that bothered us particularly - after all, MGS was a truly stunning game and the prospect of playing it with enhanced Cube-quality graphics and some of the niftier bits of MGS2 thrown in is actually rather tempting. However, it didn't take much playtime with the game to realise that that's not what we're getting.
Instead, this seems to be an almost exact port of the PlayStation game, with only very minor graphical enhancement and nothing very special in the gameplay department either. A few new cut-scenes seem to be in store, so expect some more plot exposition to be thrown in, but that's your lot as far as we can gather.
If this was an obscure, little known game being brought to a mainstream system (like Ikagura's transition to the Cube for example), we'd probably applaud it, but MGS can be picked up for under a tenner in most game retailers, and even if you've thrown out your trusty old PSX, it'll work happily on a PS2. So really, what's the point - and more importantly, is this really the best use of the development dream-team of Miyamoto, Kojima and Silicon Knights? We think not.
Thankfully for Metal Gear fans, the disappointment of Twin Snakes is easily compensated for by the other MGS on show at E3 - namely Metal Gear Solid 3: Snake Eater (someone really should tell Konami how bloody dodgy these names sound to British ears). We've already seen that Konami are fully capable of throwing together jaw-dropping trailers that aren't really representative of the games involved (the legacy of MGS2 rearing its head), but we really do want to give this one the benefit of the doubt - and many of the signs are definitely good.
Snake Eater takes place in a jungle environment, which looks absolutely excellent and makes the bland interiors of MGS2 seem even blander. Foliage sways, long grass moves realistically as enemies run through it, and there are plenty of pleasingly gnarly trees and bushes around the place - not to mention rivers, waterfalls and lakes. Because the environments are so different it's hard to do a direct comparison, but we're hugely impressed with the progress made over MGS2 in a graphical sense at least.
Obviously the move to a jungle (which reminds us a great deal of the setting of Metal Gear 2 - some connection here to the series' past, perhaps?) is going to require a significant change to the gameplay as well, and although we're reticent about speculating too much here (trailers can be very misleading after all), the whole game does look a lot more action-oriented than MGS2 did. Stealth is still going to be key, obviously, but Snake does seem to spend a lot of time running about with an assault rifle, and seems to have a variety of new moves at his disposal - including climbing trees and then dropping on passing enemies from above. How very Predator.
Two other factors seem set to impact upon the gameplay in a major way, the first being the element hinted upon by that title - Snake Eater. One of the screens which flashed up while we watched the trailer was "Stealth + Survival", and we were treated to the lovely sight of Snake tucking in to a raw fish and a raw snake. Could it be that this game is going to add jungle survival elements to the gameplay, forcing you to hunt for your own food - and perhaps defend yourself from the wildlife as well as your enemies? Okay, we're into the realms of speculation here, but if done properly this could give a fascinating new twist to the gameplay of the series.
The other factor which will affect the gameplay is the timeline in which it is set - because Snake Eater is in fact a prequel to all the other titles in the series, and seems to be set in the early 1960s - although we're not sure how that works, as it would mean Snake is 40 years younger than he is in Metal Gear Solid 2, and he doesn't look to be in his sixties by then! Perhaps the character in the game is actually Big Boss, the soldier from whom both Solid and Liquid Snake were cloned... Or perhaps the dates given in the trailer were just completely wrong, who's to say? Either way, the earlier setting is likely to rule out familiar gadgets from the series, such as the radar, the codec and other such technological wonders - again hinting at a fairly radical overhaul of the series gameplay.
Two things are certain - firstly, that the trailer for MGS3: Snake Eater is every bit as interesting as the MGS2 trailer was, even if it doesn't look as stunning or groundbreaking to modern eyes. The new game (which is not being designed by Hideo Kojima - he is simply acting as scriptwriter and director on the cut-scenes) may well be quite a departure for the series, and if this means that Konami are responding positively to criticisms of MGS2, that must surely be a good thing - whatever your opinion of the second game was. Secondly, it's also certain that if Konami can't get the game right this time around, they may not get another chance, and it'll be an uphill struggle to convince gamers that the series is worth bothering with - and blatant cash-ins like The Twin Snakes really aren't going to help.
Can MGS make a decent case this long after the original Shadow Moses incident?


text:
Q: Creating abstraction over a class locate in external library The c# project I am working on make references to a "Product" concrete type that resides in an external class libray. "Product" class does not implement any interface.
I would like to create an "IProduct" interface base on "Product" and use this interface code, so I can program against an interface, not an implementation.
As I still want to keep using "Product" type, what could be a good pattern to let my code knows "Product" implements "IProduct"?
As "Product" resides in an external library, I cannnot alter its declaration (i.e Procut: IProduct).
The class has also no public constructor, so I guess extending it is not an option.
What is a good solution pattern for this scenario? A wrapper?
Thank you.

A: You'd probably want to use the Adapter pattern.
So you can so something like the below:
public class Product
{
    // Your Product Class
}

public class MyProduct : Product,  IProduct
{

}

Where the MyProduct class implements the interface but also has all of the public and protected methods/properties available from the Product class. This allows you to extend the original class without modification to the Product class which follows the Open/Close principle.
You can read more about this here: https://exceptionnotfound.net/the-daily-design-pattern-adapter/

redpajama_set_name: RedPajamaStackExchange


text:
* Philip Bachman, Alessandro Sordoni, Adam Trischler *

TLDR: Deep Networks are used to learn policies that allow agents to query environments and make decisions in a step towards generalized artifical intelligence. Objectives are formulated on reward functions that result in models learning to ask better questions.

## Method

* Attention as a strategy: * Information seeking is related to attention. That is where to focus to ask new questions to improve an internal representation can be connected to attention. By virtue of attention, models can also prevent focusing on irrelevant features.

The key contribution here is the objective and how to think about it.

### Objective

Formulated as a sequential decision making problem where at each step, we have all the information collected so far to ask the next best question.

* Information-seeking objective:  Encourage questions that are most likely to reduce error in model predictions.

Overall objective:

`max_theta E_D [ E_questions [ sum_{t=1,..,T} R_t(f_theta, x, y )] ]`

Basically, we are maximizing over the parameters (policy) that can ask questions about a datapoint in `(x,y)~D` that can maximize a reward function that is based on the belief of the world `f_theta`.

* Example: `(x,y)` is an image and annotation. A possible question `q_t` could be a small window from `x`. The observation function `O(x, q_t)` will return the value of those pixels. `R_t` is log-likelihood that `f_theta` assigns to the true value of `y` once it has observed the answers to questions `q_1, ... , q_t`.

### Training

The derivative of the objective can be separated into two:

1. Wrto the policy: this modifies the question and answer distribution
2. Wrto the belief (`f`): modifies

Train gradient wrto beleif using backpropagation and MC integration.

Train gradient wrto policy using Generalized Advantage Estimation (GAE) which trains model to make better decisions.

#### Reward Function

Separate reward function into two parts: extrinsic and intrinsic.

* Extrinsic:  incorporation of external feedback eg: performance metrics, cross entropy functions.
* Intrinsic:  task-agnostic metric that drives curiosity to ask better questions. Authors use cross-entropy using q(x|f_theta) which encorages model to form a better belief about D.

(!) Each question is rewarded by the difference between the reward from all previously asked questions and the reward from then asking the new quesstion `q_t`. This favours questions that exploit more information from the world.

### Architecture

The policy `pi`, belief `f` and value estimates `V` are based on deep neural networks with shared parameters. The inputs are a *table* tuples of `(qrepr, qansr)`. `qrepr` represents which question was asked, `qansr` represents the answer. The neural networks take in all questions observed so far and feed them through the hidden layers.

* image analysis: they use two networks (bottom-up and top-down). The **bottom-up** uses conv nets for sumarize a **masked** image into `V` and the label `f_y`. For last layer they use LSTM which stores the internal representation between steps. The **Top-down** network takes input the last layer of the bottom-up and does *layer integration* between the two networks. The output of the top-down network is the reconstructed image `f_x` and a policy `pi`. Iterestingly, this network simulatenously learns to query and reconstruct the image.

* general architecture:  input is now an masked observation vector and a mask vector indicating features requested by model. All outputs `f_x,f_y, V, pi` are computed from the final layer of the network.

* other information
- ADAM Optimizer
- Batch norm
- Leaky Relu
- minbatch 100

## Evaluation and results

### Cluttered MNIST

Dataset: small MNIST digit in a big picture with some clutter.

Model learns to detect a digit from a masked image and then concentrate efforts in that region. Sometimes did not find a digit before time ran out (41 queries were allowed.) Model had 4.5% test error which was better than 8.1% from the RAM model but slightly worse than the 3.36% from the DRAW model.

### BlockWorld

Dataset: synthetic, 3 colored objects in an image. Question is about two objects and their relative positions eg: (Yellow triangle, above, yellow square).

Input is an image 10x16x16 containing the image, statement and the true label summarized.

Model seems to learn how to look for the answer, in Fig 3. First exploring the image for the objects and then eventually realizing that the answer to the question is false. Learned policy reaches accuracy of about 98%. A random policy reaches 71%.

### CelebA

Dataset: celebrity images with annotation related to their attributes (gray hair, bald, etc)

The model is able to make quite accurate decisions (85.9%) after querying just 5 questions. However, it performs only ~10% better than a random policy. After 20 questions, the model gets an accuracy of 87% which reaches the limit of using unmasked images (88.3%).

### Hangman

Dataset: 16-character sequences from Text8 corpus. Reinforcement learning using the reward of +1 for correct guess and -1 for incorrect guess.

Model performs better than random and frequency distribution policies. Also performance seems to saturate after 100K iterations.

## Thoughts

1. Brilliant computational view of the "Information Seeking" game in that the optimal question at every turn is based on the optimal questions asked at the previous turn.
2. Lots of arbitriary downsampling and upsampling. Could there be a better method of summarizing this input data?
3. Very cool visualizations of how an image is being searched for the right answer.
4. Coming back to the "20 questions" task, is there a dataset which contains (question, answer) attributes for a famous person and the label where the model has to guess who the person is? How would this data be stored? Very interesting to think about. I imagine there are some datasets with annotated objects in images where one can ask "is there a tree" etc etc, could we train a model to ask human interprable questions?

redpajama_set_name: RedPajamaGithub


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Juniors to be accompanied by an adult.
No floating baits or floating attractors.
Fishing dawn to dusk only , no night fishing without prior arrangment.
No fish to be removed from any of our waters.
No fishing permitted during official club swim clearing sessions, unless work party does not affect work and vice versa.
Strictly no alcohol or drugs at any of our venues.
The purpose of these rules is to ensure club matches are fished in a commonly organised and fair way, whilst aiming to reduce the risk any dispute or challenge by competitors. The aim is to maintain a sensible balance between competitive spirit and social enjoyment of the club's matches. Fish welfare and reduction of the impact of matches on our waters is of paramount importance.
The rules are loosely based on NRA and Angling Trust guidelines and provide a common standard.
Match Bookings – Competitors intending to fish should let the Match Secretary know in advance so sufficient pegs can be laid out and names recorded prior to the competition. A phone call or email the night before the match is sufficient notice.
Match Secretary's Briefing – The match start and finish times are as stated on the club tab and website and may be only varied by the Match Secretary in agreement with competitors. The Match Secretary will brief competitors as to the type of match (club match, knockout, league etc) and highlight any prizes, trophies and optional pool monies etc. He will organise the peg draw process and collect any competitors pools. It will be his decision as to the division of pool monies between winning competitors which will normally be first, second and third and an award for silver fish when this is part of the competition.
During matches, club waters will be deemed to be closed and priority will be given to the match. Once pegs have been selected, every effort will be made to accommodate pleasure anglers away from the match area so that competitors swims are not encroached or obstructed.
All Club rules apply to matches including use of barbless hooks and no use of floating baits, with any local rules applicable to away match fisheries.
Match Pegs – All matches will be pegged out on lake platforms in advance. For matches on rivers without specific pegs or platforms, the pegs will be marked and numbered at least twenty yards apart where practicable, prior to fishing.
Upon drawing their pegs, competitors shall proceed to the corresponding number on the bank and this will be where they will fish during the match.
Keep nets and landing nets will comply with EA Byelaws and must be dry when arriving to fish. Carp and silver fish must be kept in separate nets , no more than 60lbs in each net. Competitors must take care of fish welfare, ensuring their nets are placed deep enough in the water, taking care during weighing and returning fish to the water. If for any reason fish are seen in distress, the competitor must request that the fish be weighed immediately and returned to the water during the match.
Groundbait or loose feed must not be introduced to the swim before the match start signal. Mixing groundbait , depth plumbing, testing floats, clearing his/her swim of weed or obstructions is allowed. A ledger weight, empty feeder may be cast to find depth and for distance purposes.
Start and end signals – The Match Secretary will signal the start and end of fishing, normally indicated by a whistle. Competitors may need to pass on these signals to the neighbouring competitors which are remote from the Match Secretary.
Competitors shall use only one rod or pole, one line and one single hook at a time, but may have other rods or poles and tackle assembled. Only one hook to be baited at any one time.
Baits – All baits, subject to Club and local rules, can be used with the exception of live or dead fish, spinning baits or artificial lures. Groundbait may be introduced to the swim by all means with the exception of mechanical equipment such as bait boats.
Fishing boundaries – Competitor will restrict their activities to the following boundaries with no intrusion to the neighbouring swims.
Still waters – Competitors may fish as far as half the distance between their peg and adjoining pegs, fishing from platforms only.
Flowing waters – Competitor will fish from within one metre either side of their drawn peg and in the direction of the flow as far as the next peg. Where competitors are drawn on opposite banks, the limit of the swim is the line midway between each bank.
In an extreme situation e.g. snagged tackle or a snagged fish, competitors must seek permission from neighbouring competitors before moving from their peg to remedy the situation.
Competitors must cease fishing at the finishing signal. Should they still be playing a fish hooked before the signal is given, they will be permitted fifteen minutes after time has been called to land the fish.
All fish are eligible for weighing with the exception of game fish and crustaceans. Carp and silverfish will be weighed separately.
Competitors are responsible for ensuring their catch weight is recorded by the Match Secretary or steward. In any dispute the decision of the Match Secretary will be final.
Any objection to an angler's conduct, for whatever reason, must be notified to the Match Secretary, who will adjudicate and resolve the issue. Any angler in contravention of these rules may be disqualified.
All holders of trophies must take reasonable care of them, return them in a clean and presentable condition when asked by the Match Secretary.


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Home Chevron icon It indicates an expandable section or menu, or sometimes previous / next navigation options. Finance
Oxford University is in talks to set up a campus in Paris to keep EU links post-Brexit
Ben Moshinsky
Erin Lorelie Young
Oxford University is in talks to open its first foreign campus to keep a foot in the European Union after Brexit.
The Telegraph reported that the 700-year old university is considering opening a base in Paris to maintain EU funding links once the UK leaves the trading bloc.
A spokesman for Oxford University told The Telegraph: "Oxford has been an international university throughout its history and it is determined to remain open to the world whatever the future political landscape looks like."
The paper cites Jean-Michel Blanquer, dean of Ecole Supérieure des Sciences Economiques et Commerciales (ESSEC), who said there were plans to develop an international campus at Universite Paris Sienne.
He told The Telegraph that he had met with officials at the European Commission, Oxford and Warwick University to discuss the proposals.
A French subsidiary would help maintain Oxford's access to European funding programs as well as international students.
Brexit, and potential changes to immigration rules, has already had an effect on foreign student numbers in the UK. The number of applications to UK universities from students in the European Union shrunk by 7% in the wake of the Brexit vote, according to figures from UCAS. EU applications are down to 42,070 from 45,220 the year before.
In December, the Guardian reported that the government is considering cutting annual student visa numbers from 300,000 to 170,000 as part of a post-Brexit drive to lower immigration figures.
Up to 31,000 EU students could be deterred from coming to the UK if the Home Office makes European students pay the same university rates as non-EU nationals after Brexit, which would represent a 57% decline, according to a report from the Higher Education Policy Institute (HEPI).
UPDATE: Oxford University tweeted a statement saying that it wouldn't pursue the French campus:
—Oxford University (@UniofOxford) February 20, 2017
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Home / Aretha Franklin / Brian Grant / Donna Summer / Duran Duran / interview / MTV / Music / Music video / Olivia Newton-John / Peter Gabriel / Queen / Whitney Houston / Interview With '80s Music Video Director Brian Grant
Aretha Franklin Brian Grant Donna Summer Duran Duran interview MTV Music Music video Olivia Newton-John Peter Gabriel Queen Whitney Houston
Interview With '80s Music Video Director Brian Grant
OldSchool80s April 25, 2018
(This interview was originally published March 10, 2014 on the now-retired Kickin' it Old School blog. It is one installment in an incredible series of interviews we are republishing on Rediscover the '80s for posterity and your enjoyment. These are more than just interviews in a way; they are more like '80s timelines or oral histories on their respective subject matters. Please keep in mind the original date because some content could be specific to the time of the interview, though the majority should be timeless and totally rad.)
When the opportunity presents itself to ask a few questions to someone who contributed to the awesomeness of the '80s, I will continue to share those answers with you right here. Again, lucky for me (and hopefully you), I do get to share a little more awesomeness with you.
This time that awesomeness is Brian Grant. He was one of the trailblazing directors on the forefront of the music video revolution. He and MGMM, the production company he co-founded, directed many of the most successful, most ground-breaking music videos of the '80s. Grant wrote and directed the video for Olivia Newton-John's hit "Physical" which won him the Grammy for Video of the Year. He also created music videos for Queen, Peter Gabriel, Duran Duran, Tina Turner, Aretha Franklin and Whitney Houston among many others. Find out about those videos, working with those artists and what it was like being at the cutting edge of the music video phenomenon as we get on to some selections from my interview with Brian Grant...
Q: How did you come to start directing music videos in the early '80s even before they went on to become so mainstream mostly from the advent of MTV?
Brian: I started directing music videos in 1979. Before that I was a cameraman at a company called ATV during the 70s for about ten years. But I have always loved music, I play myself and have always been interested in all sorts of musical things. One day I saw on the TV the, now very famous, video for "Bohemian Rhapsody" by Queen. At that time, I had never seen anything like that before. It really piqued my interest. I was already thinking about directing by then and this really seemed to spur me on. So I made some inquiries and hooked up with a guy named Scott Millaney who worked at Island Records. He used to have a little studio, a very basic studio where they used to shoot videos for Island artists more for internal use. I asked him if I could come down and shoot a couple and so I did and I just had great fun. Then one day we decided we'd try to make a go of this and formed a little production company called Millaney Grant in 1979. For the next few months, we had no money and we didn't eat a lot while we tried to hustle up some work.
Eventually, I was offered my first real job, the chance to do a video for a band called M for the single "Pop Muzik". I think we had about 2,500 pounds to make this video. In those days, you used to set up things in the studio in the morning and then shoot in the afternoon, so you basically had one afternoon to shoot the video which was all done on video tape as well. We looked at the budget and figured out that if we edited this video ourselves that we wouldn't make any money because video editing was very expensive at the time. So I came up with the mad idea of actually editing this video as we shot it. If you watch the video you will see the result. I recorded a shot, moved the camera, recorded the next shot, moved the camera, recorded the next shot and so on. What we shot was actually on the tape and all edited together. When we were done for the day, we handed the tape over to the record company, they gave us a check and that was the first video I ever made. It took just a half a day and cost just about 2000 pounds. About a week later, there was a guy who would later become one of our partners, David Mallet, he was a director on a show called the Kenny Everett Video Show, a very hot show at the time. He saw the "Pop Muzik" video, he put it on that show, everybody went mad, about two weeks later the single went to #2 on the charts and then our phone didn't stop ringing. So that was sort of the beginnings of it.
"Pop Muzik" became a hit in the UK boosted by the music video. It made it to #2 on the UK chart (blocked by Art Garfunkel's "Bright Eyes"), but was later released in the U.S. and reached #1 on the Billboard Hot 100 as well as at least seven other countries. Here is the music video for "Pop Muzik" by M...
Q: What can you tell us about how, when and why MGMM Productions was formed?
Brian: Basically, Millaney Grant worked for the next year or so making little clips but not really making much money. There was another company in town in London at the time called Mallet Mulcahy, they were David Mallet and Russell Mulcahy. We were the directors making most of the videos at the time, since MTV hadn't started yet and most of these clips were mainly shown on Saturday morning kids shows. There were a couple others like Julian Temple and Steve Barron, but these were the main two. We knew them and we kind of looked out for what Mallet Mulcahy were doing and then one day we were at the same party and decided it was mad having two separate companies. So we decided to combine them and that is how MGMM Productions started. It was common sense really, rather than being competition why don't we just work together. Lo and behold, over the next ten years MGMM went on to become the most successful video company in London. I believe we made over 1500 videos between us, we made five feature films including one called Sid and Nancy [1986], we made about ten television shows and about 300 commercials. Something like that, it was a big company that grew quickly and really gave us a career.
Q: Many of your videos received lots of exposure on MTV along the way. MTV really seemed to change the music landscape with image becoming much more prominent. What are your thoughts on the impact that MTV had on music in the '80s, especially in America?
Brian: At first we had few outlets for the videos, but then MTV came and we had an outlet. Yeah, MTV had a massive impact, but not straight away. In fact, when it was first suggested that there was going to be a 24-hour music network, we all thought it was mad, we all thought it would never work. But luckily for us, it did. It did change the landscape. It became the new kid on the block and because there were not that many videos being made and most of them were being made here in London, it did really pique interest. There wasn't anything on American television like it and in the first few years it really stole the show. But interestingly enough, in those first couple of years, there weren't that many videos so they were rotating the same ones quite often. There wasn't that much material and, in fact, I was the first director to ever do an interview on MTV and during that interview I was told that for a couple of years that MGMM provided at least 50% of the content on MTV.
Obviously, it has had a huge effect, not only in music, but in cinema and commercials. It changed the way people got information from the television. MTV had a massive cultural influence everywhere. Now, it is very different, though it can still have a reasonable amount of power when the big acts come out with fabulous videos. But its power has certainly diminished as other cable channels and the internet (YouTube) has grown. There was nothing like MTV, it was like the internet is now, but back then. It changed our lives. I spent most of the 80s going back and forth at 33,000 feet in an airplane having to shoot in New York and Los Angeles and in London of course. It was great and we were kind of making it up as we went along. Getting any one of your videos onto MTV and getting into heavy rotation was huge. I was very glad that I was making music videos at the dawn of it all, rather than now, because it was a very exciting time and MTV had a lot to do with it.
Q: How did you end up directing the music video for Olivia Newton-John's "Physical"?
Brian: I had done a few videos in England and Olivia's manager, Roger Davies, called us one day. He told us that Olivia Newton-John was making a brand new album and they were going to shoot every single track on the album as a music video. He asked if I would be interested and I, of course, jumped at the chance. He paid for an airline ticket and I jumped on a plane for Los Angeles. I went up to her house in Malibu, she invited me in and she was in her bedroom looking at photos with a couple folks from EMI that could be potential album covers for 'Physical'.
Then I sat down to talk to her about ideas for the video and, as I said, it was for the entire album, all ten tracks. An hour went by and I came to say goodbye, and as I got to the front door I turned around and said it was great to have met her because I can go home to England and tell everybody that I sat on Olivia Newton-John's bed with her. She told me later on that was one of the reasons I got the job, because I made her laugh.
Q: What can you tell us about the concept for the video and how it evolved? Was the gym setting chosen to distract from the obvious sexual connotations of the song? In addition to the sexual connotations, the video also became controversial because of the depiction that some of the attractive men were gay. How was Olivia to work with? Any other interesting details about creating the "Physical" video?
Brian: When it came to coming up with the idea, my partner Scott Millaney put me together with a writer, Marcelo Anciano, on a plane to Los Angeles. He put us up in a famous hotel on Sunset Boulevard called the Chateau Marmont and told us we'd be in there for two weeks and that we couldn't come out until we had written a concept for every single one of the ten tracks. This was a big task in that amount of time, so Marcelo and I threw them all up in the air, flipped a coin and split them all in half. He did five and I did five. We sat in two separate rooms, though we collaborated on some things, but basically just out of pure chance, I ended up with "Physical". I listened to it and I thought this is a song about two people having sex and this is not going to work as a video for Olivia. I thought the best way to do this was to come at it completely differently, just play on the word physical and then take the piss out of it, I mean have as much fun as we possibly can with it. So I wrote this concept, the obvious thing was to put her in a gym with a bunch of good-looking boys, but you always want to undercut expectations when you write anything.
So I came up with the idea that you think she is in a gym with a bunch of good-looking boys, but then the camera pulls back and it turns out she's trying to get all of these fat guys into shape. They are really fat and not pretty boys at all. Half way through the video she gets frustrated and leaves, goes into the shower and, by magic, when she comes back out all of these beautiful hunky boys are there that she really wanted in the first place. Then to add a final twist at the end, I thought it would be good to undercut the expectation again and have it turn out that the boys are all gay. So she really doesn't get what she wants and still ends up with one of the fat guys.
I do remember going to Capitol Records with this as the concept and having a whole pile of executives in this meeting room. It was dreadful and the only person who said anything was Olivia. She just giggled and thought it was great. Despite everybody else kind of thinking it was a terrible idea, she said it was a great idea. So we went off and made that one as well as the other nine tracks. Lo and behold, "Physical" became her biggest hit, it spent ten weeks at #1, the video went all over the place and she gained a whole new audience (including gay men) and I won the first music video Grammy ever awarded to a director. All due to throwing cares to the wind, a bit of luck and serendipity.
"Physical" was an enormous hit for Olivia Newton-John. It was released as a single in September of 1981, reached the top of the Billboard Hot 100 chart by November and spent an impressive 10 weeks at #1. As mentioned in the introduction, "Physical" won the Grammy for Video of the Year in 1983. Without further ado, here is the music video for "Physical" by Olivia Newton-John...
Q: How did you end up directing the music video for Peter Gabriel's "Shock the Monkey"? What can you tell us about Peter Gabriel and your experience working with him? What can you tell us about the concept for the video and how it evolved? Were there any difficulties from shooting with a real monkey? Any other interesting details about filming the video? How did you feel about this video when it was finished?
Brian: I ended up working on "Shock the Monkey" just because Peter had seen some of the work I had done and he liked it. Working with Peter was one of the nicest experiences I have ever had. He is a brilliant man and a total sweetheart. He is really easy to work with and will do almost anything to get it right. He's not high maintenance. He's a perfectionist, but in the nicest way.
It was a concept that came from an idea that men, as time has progressed, have sort of lost their primeval instincts. As we become more modern and the more technology takes over, the less instincts we have. That's what the two men in the video basically represent. The man in the business suit represents modern man. The man in all white is representative of his more primal side trying to tap into his subconscious. The white just felt more tribal, more primeval and we drew our inspiration from some tribes in South America. It wasn't that difficult working with monkeys. Children and animals, they say you should never work with, but I don't think we had that much trouble with the monkey.
There was lots of symbolism in the images used including the ceiling coming down on him and running through the forest. Other ideas in there, the lights inside and the lights outside, came because we had just seen a private screening of the film 'Blade Runner' and I was fascinated by all of the machines and the lights that whizzed by outside the windows. That is where that inspiration came from and then we had to do the opposite inside. I think the "Shock the Monkey" video is one of the best things I have ever done. It's a great song, it's a great artist. We got lucky that all of the imagery worked and it can be interpreted in different ways. Something very important about music videos is that you have to be able to watch them over and over again. The imagery must be able to stand up to scrutiny. I think it does in this case. The pictures seem to work with the music and people all seem to have a different opinion about it. I'm still very fond of it and, yeah, I think it is one of the best things I've ever done.
Peter Gabriel released "Shock the Monkey" in September of 1982 and it became his first Top 40 hit in the U.S. peaking at #29 on the Billboard Hot 100. It is particularly memorable for featuring Gabriel in that white tribal face paint and a frightened-looking Capuchin monkey. Here is the music video for "Shock the Monkey" by Peter Gabriel...
Q: The following year you created the video for Donna Summer's "She Works Hard for the Money". What can you share with us about how the concept for that one evolved?
Brian: I met Donna in Los Angeles and had dinner with her one night. I asked her where she got the idea for this song. She told me that she had actually gotten it right in that very restaurant. A very expensive restaurant in L.A. full of very wealthy people that served very expensive food. She said that if you go downstairs to the washrooms, there is a black lady or black man as an attendant who hands you a towel when you are done washing your hands or gives you perfume or aftershave. She said she was eating there one day and went down to the restroom and this little black lady gave her a towel. When she came back up, she was thinking that exhausted woman is stuck down there with no windows and she really works hard for the money. Then she sat down and wrote the song about a working women.
So I thought it would be good to do the video as a tribute to working women and wrote a story based on that. I think it might've been the first proper narrative I ever directed. It's about a working woman with two unruly kids who works three jobs every day struggling to make ends meet and gave up everything she wanted to do. She'd always wanted to be a dancer. So the video shows what her life is like and then turns into a fantasy of what she really would like to have done. Like I said, it was meant to be a tribute to working women. An interesting story, when we were in pre-production Donna said she wanted to play the waitress. I wasn't sure because this wasn't a fun video, it was a serious video that had a meaning, a point. I told her that nobody would believe her as a waitress because she was Donna Summer, a famous pop star. Eventually she agreed and I told her that she should be more of the narrator like it was a documentary and she was an observer. I think that made all the difference because I think it gave the video some weight compared to if she would've just sang it the normal way.
"She Works Hard for the Money" was released as a single in May of 1983. It went on to reach #1 on the Billboard R&B chart and peak at #3 on the Hot 100. It became the first video by an African-American female artist to be placed in heavy rotation on MTV. Here is the music video for "She Works Hard for the Money" by Donna Summer...
Q: I am going to jump to "New Moon on Monday" by Duran Duran. How did you come to direct this video when Russell Mulcahy had done many of their previous hits. What can you tell us about the Duran Duran guys and your experience working with them? What can you tell us about the concept for the video and how it evolved? How did you feel about this video when it was finished since have read that some of the band does not seem to like it as much.
Brian: The reason I got to direct this one is simply because Russell wasn't available. We were partners at MGMM, Russell suggested that I do it, I met the guys and they were fine with it. So I sat down with Simon [Le Bon], John [Taylor] and Nick [Rhodes] to write down some ideas. We came up with a very simple concept that there is a cultural repression in a country somewhere and Duran Duran were going to lead the revolution. That was basically it in its simplest form and we all contributed to the ideas. I wrote a story which everybody seemed to like. We then all went off to France to shoot it. We shot some of it in Paris. Simon meets a girl [played by Patricia Barzyk, winner of the Miss France title in 1980] who knows about what he does and persuades him that she can help his cause which is called "La Luna". So they go off into the country where the revolution is beginning to fester. We shot that in a village called Noyers just north of Paris during an icy-cold January.
Unfortunately, it wasn't the most successful thing I've ever done. I think the biggest problem was that it just didn't quite work. It's not one of my favorite videos and it's not one of the band's favorite videos. I also think, to be fair, it's not particularly one of the greatest tracks by Duran Duran ever made. Therein lies the problem. It's a classic case of if it's not in the music, you can't turn it into something it's not. As we were doing it, it felt right, but when we put it together afterward, it just didn't work. I just think we got it wrong in this case. But it was still a very pleasant experience working with them and I have seen them many times since. It is interesting because you just don't always know when things are going to work. When you're working on something slightly abstract, there is no guarantee. Sometimes you can do something abstract that seems to make no sense at all, but when you put it to music it works. I don't have an answer on why "New Moon on Monday" isn't a great music video, it just isn't.
"New Moon on Monday" was the second single released from Seven and the Ragged Tiger in January of 1984. It was another successful hit peaking at #10 on the Billboard Hot 100. As mentioned, the band is not all that fond of it because of the conditions and "particularly the dreadful scene at the end" where they all dance together. Here is the music video for "New Moon on Monday" by Duran Duran...
Q: What can you tell us about working with the legendary Aretha Franklin and making the video for "Freeway of Love"?
Brian: I've loved Aretha Franklin since I was about fourteen years of age. When I was offered the chance to work with her, I jumped at it. I listened to "Freeway of Love" and I thought it was a fantastic song, absolutely brilliant. When you work with Aretha, you have to go to Detroit since she is the Queen of Soul and wasn't going anywhere she didn't want to. So I got on a plane to Detroit with my crew and Arlene Phillips my choreographer. I wrote the idea for the video on the plane. It had to work in Detroit. I thought it's got to be upbeat and it's got to be fun.
Then I came up with the idea that, in the video, Aretha actually works in an automobile factory. Eventually singing the song, it's an uplifting experience and she leads the workers away from the drudgery of making cars like a pied piper and out into the open road. That's where the initial basic concept came from. So we set it up and we used some local dancers. The first day and night we used the dancers and shot some stuff all over Detroit. In fact, there is a shot of me in that video in front of Hitsville, the original Motown studio there in Detroit.
The next day, I got a phone call from Aretha saying she didn't want to do it anymore. I was completely shocked and she wouldn't even give a reason. We didn't know what to do. We had shots of a bunch of dancers all over Detroit, but we had no shots of Aretha at all. So a little bit of panic set in and I went back to my room. While I watched the sun go down in Detroit, I decided I wasn't going to leave without getting something with her. So I found out who her record producer was, Narada Michael Walden, I called him up, told him about the situation and he was great. He got on a plane and flew over from Los Angeles, we went up to Aretha's house and talked to her. Eventually, after a lot of cajoling, she agreed to be in the video but she just wanted it to be a performance in front of a band. So we quickly put a band together, Michael was actually playing the drums [and Clarence Clemons who played sax on the actual track]. We shot it in a nightclub. We now had a performance as well as the shots of the dancers around Detroit.
I took it back to England, went into the editing room and began cutting, but it just didn't seem to work. It needed a third element. So I started thinking and came up with the inspiration of using some stock footage of cars and what makes Motor City work. So I went back into the editing room by myself for three days and just cut the different images together with no story in my head or really any rhyme or reason. Eventually it worked. Turning it into black and white helped. The video ended up being very successful for her. So it was very successful for me as well.
"Freeway of Love" was released in June of 1985 and went on to become Aretha Franklin's biggest pop hit in over ten years and one of the biggest hits of 1985. The single peaked at #3 on the Billboard Hot 100 and spent five weeks at #1 on the R&B chart. Here is the music video for "Freeway of Love" by Aretha Franklin...
Q: You directed two popular videos for Whitney Houston. How did you first end up directing "How Will I Know" from her debut album? This was her first up-tempo hit, so what can you tell us about the concept for the video and letting her dance? What can you share about the late, great Whitney Houston and your experience working with her on this video?
Brian: I was in Los Angeles at a music conference where I was on a panel with some other directors. Afterward, I was approached by Peter Baron from Arista Records who I had known from some previous work I did with Arista. He told me they had this brand new young artist on the label named Whitney Houston. He said this was her first album, she was just nineteen and asked me if I would be interested in making a video with her. By this time, I had gotten a reputation for shooting women, as a photographer and a director for making people look good. I think that helped. Anyway, I listened to the song and thought it was a great piece of pop music. So I said yes.
The concept came from a play on the words, how will I know, which led me to the idea of a maze as a metaphor for relationships. The set was basically a lot of panels made of plastic and all of those bright colors are just printer's ink thrown on there by an art director. Whitney came over to London. Lovely Whitney that she was at just nineteen. Absolutely beautiful. Absolutely lovely to work with. Nothing bad had happened to her at this point. She had come from gospel and had been brought up well. She had great manners. She had no entourage, just one friend with her. I had a technique that I always used when I shot women. No matter what other ideas we had going on, I always would spend an hour and shoot what I called a master close up of them singing the song all the way through. I'd light it and operate the camera myself and it would almost be like a photographic session. It was very personal. I would always clear the studio and it would be just me and the artist. She'd sing the song to me, basically. I still remember the first time I was looking through the lens and Whitney looked into the camera and just smiled. My knees wobbled and I thought, my, that is one of the most beautiful women I have ever seen. When you stand that close to someone like that, it is quite astonishing. Her voice was absolutely amazing. It was the most incredible sound.
Arlene Phillips choreographed all of the dancers. What we discovered, interestingly enough, was that Whitney really couldn't dance. She had good rhythm, but couldn't put one foot in front of the other. Arlene recognized that, so she surrounded her with other great dancers from England. Then we made sure that she felt comfortable and had as much fun as we could. We could hide her dancing in the edit, but what was important is that she looked great and had a good time. Which you can tell that she did and it was a hit.
"How Will I Know" was the third single released from her debut album in November of 1985 and it became her second to reach #1 on the Billboard Hot 100. This was not a ballad and gave her lots of exposure to a wider audience. The video went on to win Best Female Video at the 1986 MTV Video Music Awards. Here is the music video for "How Will I Know" by Whitney Houston...
Q: Then you came back to direct "I Wanna Dance With Somebody" from her second album. What can you tell us about making that one? Any other comments on Whitney or her tragic passing in 2012?
Brian: There isn't really a concept in the song itself other than wanting to dance with somebody, so I came up with the idea of shooting every single scene in the video slightly differently. It was just about giving her lots of different looks. So we used two cameramen in a tiny studio in New York. We set up one cameraman to give it one certain kind of look and while he was shooting I set up the other cameraman at the other end of the stage giving it a different kind of look. Then we would ping pong between the two. Again, we surrounded her with a bunch of great dancers, lit it beautifully and just had some fun. It was as simple as that. Both songs were great pieces of pop music and that's why they worked.
Her dying two years ago was terribly sad. I was very, very fond of Whitney. She was one of those great artists and I think about how much more music could have came out of her. I think she would've recovered and she would've gotten back on top of the game again. But it was a real shame especially the way she died. They interviewed me on the BBC here about it because I was one of the only British guys to work with her. It was a real shock and I was really, really saddened. When I met her, she was the loveliest woman to work with. The things that happened to her, who knows why they happened, that's for other people to comment on. But for me, it was one of the loveliest experiences of my life working with Whitney.
"I Wanna Dance With Somebody (Who Loves Me)" was released in May of 1987 as the first single off of her second album. Like "How Will I Know", it was also co-written by George Merrill and Shannon Rubicam of Boy Meets Girl. It became her fourth consecutive single to reach #1 on the Billboard Hot 100. Here is the music video for "I Wanna Dance With Somebody" by Whitney Houston...
Q: You worked on several videos for Queen. What can you tell us about working with Freddie Mercury and the guys?
Brian: Queen, one of my favorite bands. Interestingly, I was a huge fan of them right from the beginning. I used to see them live back in the 70s and, as I said, it was "Bohemian Rhapsody" that ironically got me into making music videos in the first place. So the chance to work with them was fantastic. I ended up doing four or five videos with them myself. Fantastic bunch of guys and all very intelligent and fun. Freddie was a fantastic person. He was a dream to work with. He had his moments, but always in the right way. He was a terrific performer. We did some outrageous things with them.
We were shooting "I Want to Break Free" and I had to put Freddie on something up very high. He had a few drinks by that stage of the evening and he fell off. We had to rush him off to the hospital, but we carried on shooting the video with the others. My producer got a call from the hospital and they told us that we had to come and get Freddie because he was disturbing the other patients. So we went over there and found Freddie (with his bottle of booze that he brought with him) having a drink with some patients and singing to them in a hospital corridor. He was a real character. There are many more stories that I wish I could tell you, but I cannot. Terribly sad to see him go and especially in the way that he did. We watched a brilliant performer waste away in front of our eyes. Queen was a fantastic band to work with and really bright people really trying to do something different.
Brian Grant was one of the most prolific and influential directors in music video history. His videos often propelled the songs to greater popularity. In addition to his creativity, he really seemed to have the ability to make the artists, especially women, more comfortable and more gorgeous on screen. In addition to the many songs already discussed above, Grant also directed many other significant music videos including Kim Wilde's "Kids in America", The Fixx's "Saved By Zero", Bee Gees' "The Woman in You", Tina Turner's "Private Dancer", Moody Blues' "Your Wildest Dreams" and Jody Watley's "Looking For a New Love".
I wanted to ask him about all of them, but just couldn't for sake of time. MGMM had offices in London, New York and Los Angeles and produced some of the most ground-breaking and now classic music videos ever made. Brian Grant and his partners attracted some of the other top directors to create over 1500 music videos and win over 200 awards during the '80s. They made about as great an impact as anybody on music videos that decade this side of Michael Jackson himself.
Q: What do you remember best about the decade of '80s music and music videos? What lasting impact do you feel music from the '80s has made?
Brian: The '80s, one of my favorite decades. I was lucky enough to be a teenager in the '60s and I was in my 30s during the '80s. Two decades that were a lot of fun. The '80s was obviously a very, very important decade for me. I was 29 when I started directing and coming in at the beginning of music videos. And I got to be there along with a few other very lucky directors. We got to experiment with other people's money and had a lot of fun doing it. Basically the '80s and music videos were my film school. Other people paid for me to try things out. They didn't always work but some of them worked spectacularly well. But because, as the director, you also wrote everything, you could choose to shoot in a helicopter or underwater or try anything you wanted. They were a bunch of little experiments. But I earned a decent living, got to travel all over the world, got to meet some amazing people in a time when the music was fantastic and this new art form was burgeoning. We were in the vanguard of it all. It was a wonderful time.
If I am completely honest, I don't think I would like to be making music videos now as much, though the technology is there now to do things that wasn't possible back in the '80s. But I did think there were lots of very good ideas back then and not so much now. It's more difficult to be original now. You really have to troll through a lot of videos to find a good one. It takes a lot to stand out. The world (anybody with a camera) is making them now, which is great in some ways, but the downside is that everybody thinks they can. It's the democratization of the form, so I am glad I was there in the beginning. Because nobody knew anything. The record companies didn't know anything. The artists didn't know anything. We all didn't know anything and you could kind of do whatever you wanted. Where as now, I suspect it's a little bit more restrictive, in fact I know it is.
I was very privileged to be a part of it and I think the '80s made a huge impact, especially MTV, on film, on commercials, on music itself. Even on the way we, as the audience, process material with the way we increased the cutting rate compared to what television used before. It taught a whole new generation's brains how to download imagery quicker. There was a whole short-hand in film and television that was a direct result of what some of us did in the '80s.
Q: Please tell us a little about where your career has taken you since that time and why you moved away from music videos.
Brian: Towards the end of the '80s, there was a stock market crash that affected basically everything. People stopped making as many videos and commercials for a little while. We all decided that it was time to move on and try different things.I wanted to direct films, but I had come from television as a cameraman. I thought the best way to get into film was through television drama. So I persuaded a producer to give me a shot directing a television drama. It was an American show called 'She-Wolf of London'. It was being shot in London at first and I did a few episodes of that. They moved the show to shoot in Los Angeles and, while there, Universal offered me a movie-of-the-week. So I directed 'Sweet Poison' [1991] and it won a few awards. Then Universal Studios offered me a three-year contract as director and I did a whole pile of movies and television through the rest of the '90s.
I got a bit homesick, decided I missed England, decided to move back home to England and carried on shooting drama here. I co-created a few shows that I am very proud of including one called As If [2001-2004], a teenage drama series that was very successful here (and, in fact, we made a little version of it for the United States as well). It wasn't as successful in America, but it was quite successful here. I have gone on to shoot all sorts of dramas like 'Doctor Who', 'Sinchronicity', 'Party Animals', 'Merlin' and many more. And that's what I am doing now, I am basically producing and directing. I have shot some documentaries including some music documentaries. I don't really make music videos anymore. I've made over 250 of them in my career. As I said earlier, I was lucky to do it when I wanted to do it. So now it's really just doing television dramas and films.
Q: What else is Brian Grant up to nowadays? Any remaining ambitions or regrets?
Brian: I just want to keep directing good dramas and that makes me happy. Dramas are all about scripts and actors. I love working with actors as I enjoyed working with musicians. Any regrets? Well, you know, it's mad to have regrets. There are things I would have done better, of course, but hindsight is a wonderful thing. Most importantly, the experience of making music videos has helped me so much in making drama. Music videos gave you a certain amount of money to work with and a certain amount of time to shoot it. You don't have a choice, you've got to deliver. If it rains or snows, no matter what happens you've got to come up with an idea. Very often you have to think on your feet. Many lucky accidents were just that. That happens in television and film all of the time. Being creative on the spot is a joy. I was able to hone that through music video. I will always do anything that involves music. I love music to death. If somebody asked me to do a music video today and I thought the song was good, I probably might consider it. But nothing will be like the '80s again.
I am so honored that Brian was able to take some time to answer some questions so I could share them with you here. You can find out more about him on his official BrianGrant.co.uk website. I want to take this occasion to again thank Brian Grant for his contributions to '80s pop culture especially through the great music videos he created and, even more, for going back to the '80s with us here for a little while as well.
Follow @OldSchool80s on Twitter for a daily dose of '80s nostalgia and read more Retro Interviews on RD80s.
#Aretha Franklin #Brian Grant #Donna Summer #Duran Duran #interview #MTV #Music #Music video #Olivia Newton-John #Peter Gabriel #Queen #Whitney Houston


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117th Congressional Rules Package Eliminates 'Gendered Language' Like 'Father' And 'Daughter'
House of Representatives leader Nancy Pelosi (D-CA) and Representative James McGovern have brought gender identity to the Congressional floor. On Friday, House leaders announced, "the Rules Package for 117th Congress includes a proposal to replace gendered language referring to a representative's family members with gender-neutral terms" reported the Daily Caller News Foundation.
Apparently, it is now inappropriate to ask a Democratic representative how their "daughter" or "son" is doing. McGovern's announcement stated that the resolution would change "pronouns and familial relationships in the House rules to be gender-neutral or removes references to gender, as appropriate, to ensure we are inclusive of all Members, Delegates, Resident Commissioners and their families – including those who are nonbinary."
Specifics include changing references to fathers, mothers, sons, daughters, brothers, sisters, husbands, wives and sons-in-law to be changed to "parent, child, sibling, spouse, or parent-in-law." Instead of aunt or uncle, stepparents, and siblings-in-law, extended family will be referred to as "child's parent."
Other changes include using "seafarers" instead of "seamen," "chair" instead of "chairman" and instead of "submit his or her resignation" it will simply be "resigns." The rules package is to be voted on when the new Congress assembles. The package also includes reforms to ethics, accountability and inclusion.
Pelosi is thrilled with the proposal, stating, "Thanks to the leadership of Chairman McGovern and our Members, Democrats have crafted a package of unprecedented, bold reforms, which will make the House more accountable, transparent and effective in our work to meet the needs of the American people." As the Daily Caller points out, Pelosi still has "mother" and "grandmother" in her Twitter bio. How insulting!
In this article:Gender, James McGovern, Nancy Pelosi, news1


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Smittipora is a genus of bryozoans belonging to the family Onychocellidae.

The genus has almost cosmopolitan distribution.

Species:

Smittipora abyssicola
Smittipora acutirostris
Smittipora adeoniformis
Smittipora americana
Smittipora articularia
Smittipora bilamellaria
Smittipora bourgeoisi
Smittipora calliope
Smittipora cellarioides
Smittipora cheethami
Smittipora claudia
Smittipora cordiformis
Smittipora creona
Smittipora dentifera
Smittipora dimorphocella
Smittipora elliptica
Smittipora elongata
Smittipora fenestrata
Smittipora fusiformis
Smittipora grandiconis
Smittipora hantonensis
Smittipora harmeriana
Smittipora inarmata
Smittipora irregularis
Smittipora leognanensis
Smittipora levigata
Smittipora levinseni
Smittipora lineata
Smittipora parvulipora
Smittipora peregrina
Smittipora philippinensis
Smittipora platystoma
Smittipora plicata
Smittipora prisca
Smittipora ryukuensis
Smittipora sagittaria
Smittipora sagittellaria
Smittipora sawayai
Smittipora semiluna
Smittipora tenuis
Smittipora tuberculata
Smittipora verticillata

References

Bryozoan genera


This paper analyzes the effects of segregation on commute distances for a sample of workers employed at a single company. With a CBD workplace, both black and white commutes increase with income. Both black and white workers increase their commutes if they move. However, commutes for all blacks are less than those for similar whites. Furthermore, black commutes increase much less quickly with income. Lastly, moves by black workers increase commutes by much less. With a suburban workplace, high-income whites and whites who move choose longer commutes from more distant suburbs. All blacks reverse commute from the ghetto. High-income blacks and those who move commute from the ghetto boundary. The accordance pre-order describes whether a service can safely be replaced by another service. That is, all partners for the original service should be partners for the new service. Partners for a service interact with the service in such a way that always a certain common goal can be reached.We Air Max 1 Toronto relate the accordance pre-order to the pre-orders known from the linear–branching time spectrum, notably fair testing. The differences between accordance and fair testing include the modeling of Nike Air Max Mens Shoes termination and success, and the parts of the services that cannot be used reliably by any partner. Apart from the theoretical results, we address the practical relevance of the introduced concepts.


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MSV Art in the Halls Presents These Two Highways by Artist Teddy Johnson
Contemporary Landscapes Incorporate Interpretations of Nineteenth-Century Sketches
Winchester, VA 10/02/13…Fourteen contemporary paintings by artist Teddy Johnson are now on view in the Museum of the Shenandoah Valley (MSV) Art in the Halls Glaize Hall space.
From Frederick County, Virginia, Teddy Johnson has spent much of the last decade working as an artist in Baltimore, Maryland. In his Art in the Halls display at the MSV, 14 paintings comprise These Two Highways, a grouping inspired by his travels on highways 70 and 340 between his Baltimore and Shenandoah Valley homes. Each painting features personal interpretations of the present-day landscape and incorporates interpretations of sketches by David Hunter Strother (1816–1888), a nineteenth-century Harper's Weekly illustrator, writer, and journalist. Born in Martinsburg, West Virginia, Strother trained as an artist in Europe and then, working under the name Porte Crayon, gained fame as a writer and illustrator for national magazines. These Two Highways will be on view in the MSV through December 15, 2013.
According to Johnson, the works on view in the MSV are part of an ongoing series that he started in 2010; all paintings on view in the MSV were completed in 2012 and 2013. Featuring vibrant colors, notable works in the display include the 2012 painting Near Adventure Park USA On His Way to the Mineral Springs at Bath. The painting depicts a stretch of highway near Frederick, Maryland, and incorporates Johnson's interpretation of a Strother sketch of a man on horseback near Berkley Springs, West Virginia. This painting, says Johnson, describes his mental reflections during long drives to visit family and teach a drawing class at Shepherd University.
Another 2012 work, Betty Sweat by Route 340, juxtaposes a modern-day view along Route 340 with a nineteenth-century African American laborer whom Strother documented. It is among several paintings in These Two Highways depicting antebellum African Americans who worked in the area and were documented by Strother. Johnson imagines that some of the individuals featured in his paintings could have passed through the area by the Underground Railroad or other means.
Painted in 2013 and one of the newest in the series is Single Family Homes: David and Anne Near Brunswick. In this work, Johnson pictures a landscape near Brunswick, Maryland, featuring new home construction and real estate signs coupled with a reworking of a Strother illustration of himself and his first wife, Anne Doyne Wolff Strother (1830–1859).
Teddy Johnson's paintings play with the traditions of western art and history as a forum to explore storytelling, human psychology, color, and culture. He has presented solo exhibitions in Maryland, Virginia, Georgia, and New York City. In addition to the MSV display, this fall he is exhibiting work at the Cade Fine Arts Center Gallery at Anne Arundel Community College in Arnold, Maryland, and at the Linda Matney Gallery in Williamsburg, Virginia. Johnson's paintings have been featured in the Korean magazine, Art People, as well as in Urbanite and Baltimore Style Magazine. His work has been exhibited in Italy and Korea, and he has curated shows in Baltimore, Maryland, and Brooklyn, New York, with the Rotating History Project, which he co-founded with fellow Baltimore artist Heather Rounds in 2010. The duo is currently working on an upcoming show, The Clermont Forum II: Interpreting Clermont's History Through Art, which is scheduled to open in the spring of 2014 in the historic buildings on the grounds of Clermont, a 361-acre, eighteenth-century farmstead in Clarke County, Virginia.
A graduate of James Wood High School (2000) in Frederick County, Virginia, Johnson's education includes a bachelor's degree from the Maryland Institute College of Art, a Master of Fine Arts degree from the Lamar Dodd School of Art at the University of Georgia, and two semesters of study in Cortona, Italy.
Johnson will be at the MSV from 10 a.m. until 4 p.m. on December 14 and 15 to meet visitors and have an informal discussion his works, all of which will be available for purchase following their display at the Museum.
The Museum of the Shenandoah Valley is located at 901 Amherst Street in Winchester, Virginia. The MSV complex—which includes galleries, the Glen Burnie House, and six acres of gardens—is open Tuesday through Sunday from 10 a.m. until 4 p.m. Additional information is available at www.theMSV.org or by calling 540-662-1473, ext. 235.


Due to a younger city goal group, we now have seen the emergence of modern fitness training within the life-style of athletes in the city. Public parks have been turned in out of doors gyms as classic training has developed into CrossFit, city operating, purposeful training, and sports such as Parkour, all of which have rapidly come to be seen as the trendy calling playing cards of on-development sporty varieties. The sports activities industry has responded to this trend by producing clothing, footwear, and accessories aimed toward this target group known for maintaining with the most recent trends.
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