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Home » Politics » Dark secret: how six parties frustrated the bid to bring them under RTI
Dark secret: how six parties frustrated the bid to bring them under RTI
Jagdeep S. Chhokar | Updated on: 13 February 2017, 3:17 IST
75-80% of political parties' income is from unknown sources. Will the SC lift the veil?
The Congress, BJP, BSP refuse to submit to the RTI. Here's why.
QUICK PILL
The directive
Activists requested political parties to disclose all donations.
They refused; the activists complained to the CIC.
CIC asked the Congress, BJP, BSP, CPI(M), CPI, NCP to submit to RTI Act.
The defiance
All six parties refused to comply despite repeated notices.
Exhausted, the activists petitioned the Supreme Court.
The SC has asked the parties to respond to the PIL.
In a sense, the root of many evils in India, is the nature of election funding.
It is particularly significant, therefore, that this week the Supreme Court has asked six national political parties to respond to a public interest petition that seeks to bring them under the Right to Information Act. This has been a long time coming.
The PIL had its genesis in 2006, just a year after the RTI Act came into effect, when the Association for Democratic Reforms filed an RTI application with the Central Board of Direct Taxes requesting copies of income tax returns, or ITRs, of 22 political parties.
The request was denied, and the ADR appealed to the appellate authorities. When these appeals were rejected, it went to the Central Information Commission. After several hearings, during which all parties vehemently opposed disclosing their tax returns, the CIC, on 29 April, 2008, asked the CBDT to furnish the ITRs.
The ITRs revealed that political parties routinely declared hundreds of crores in income but did not pay income tax, arguing that Section 13A of the Income Tax Act exempted them.
One party declared hundreds of crores in income, but insisted it never got a donation of over Rs 20,000
Section 13A, however, has a proviso that this exemption can be availed only if the party submits a list of all donations over Rs 20,000 to the Election Commission.
Records obtained from the EC through an RTI request revealed that few parties submitted these lists. Subsequently, the EC insisted that they do, and the parties complied.
A comparison of the income declared in the ITRs and the details of donations given to the EC revealed that, on average, the donations covered just 25-30% of the total income. One party, in fact, declared hundreds of crores in income, but insisted that not a single donation it had received was over Rs 20,000.
Across political parties, 75-80% of the declared income was from unknown sources, prompting the ADR to send RTI requests for disclosure of the sources. All parties declined the request, saying they were not public authorities under the RTI Act.
Following this, the ADR filed a complaint with the CIC on March 14, 2011, asking that the six national parties to be declared public authorities under the RTI Act. Six months later, RTI activist Subhash Chandra Agrawal filed a similar complaint.
In 2013, the CIC directed the Congress, BJP, BSP, CPI(M) to submit to the RTI Act. They've blatantly refused
Both the ADR and Agrawal presented data to show that political parties fulfilled the criteria laid down in section 2(h) of the RTI Act that defines a "public authority".
In several hearings before a full bench of the CIC, the six parties - some represented by senior lawyers, others by their own well-known leaders - rejected the proposal. However, in its decision on 3 June, 2013, the CIC held that the Congress, BJP, CPI(M), CPI, NCP and BSP are public authorities under section 2(h).
The CIC directed the parties to "designate CPIOs and the appellate authorities" within six weeks. "The CPIOs so appointed will respond to the RTI applications extracted in this order in four weeks time," it added.
All six parties ignored the decision, forcing the ADR and Agrawal to complain to the CIC. The commission again convened its full bench of three Information Commissioners, and held several hearings.
None of the parties, however, turned up for the hearings even when the CIC issued showcause notices. In their absence, the commission pronounced its decision on 16 March 2015, which said:
The commission's order of 3 June 2013 is "binding and final. It has not been affected by any judicial or legislative intervention".
"As per the commission's order, which is final and binding, the respondent national political parties are public authorities under the RTI Act."
"It is clear that the respondents have not implemented, as public authorities, the directions contained in the commission's order."
The commission "is bereft of the tools to get its orders complied with".
"The complainants are at liberty, in view of the facts and circumstances of this case, to approach the higher courts for appropriate relief and redressal."
The complainants, the ADR and Agarwal, took the advice and approached the Supreme Court with a PIL.
What is disconcerting about all this is that six major political parties have blatantly refused to accept the decision of the highest statutory authority responsible for implementing a law unanimously passed by the Parliament. And that this statutory authority has found itself unable to get its own decision implemented.
Let's hope the highest court in the land will set this right.
The views expressed here are personal and do not necessarily reflect those of the organisation.
First published: 9 July 2015, 9:38 IST
RTI Act national political parties Congress NCP BJP BSP CPI CPI(M) CIC Supreme Court ADR income tax donation records
Jagdeep S. Chhokar @CatchNews
Jagdeep S. Chhokar is a former professor, Dean, and Director In-charge at IIM, Ahmedabad. Views are personal.
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The old site was, in my opinion, too simplistic. But we launched the new one and sales dropped through the floor. Today I posted a message on one of the big web design/SEO forums I frequent, and got featured on their daily email.
That brought about 30 professional SEO people to look at and review my site – probably the best thing that could have happened. Based on their comments, I took it down tonight and put it back on my production server to fix it. And I put the old site back up.
This has been a very frustrating experience, but I think in a few days when we relaunch, the new site will be much better than it was two weeks ago. I'm hoping that the changes I intend to make, suggested by the forum writers, will do the trick.
Usually it's the frontend of a site where I excel – but in this case, we paid so much attention to what was great about the new backend that I neglected to keep some of the 'simplistic' yet highly effective features of the old site's homepage and navigation (as I've been told many times today: 'if it ain't broke, don't fix it'). Lesson learned, I'm hoping….


Legendary musician and producer turned filmmaker Kashif Saleem has embarked on a cinematic journey to tell the rich history of rhythm and blues music and its impact across the globe. With over 70 million album sales to his credit and years of producing commercials for well-known American brands, Saleem is the perfect person to helm the directing duties for such an important project. The History of R&B Music will be a ten-part series exploring the origins of the art form and highlighting the vast contributions of musicians and music industry veterans throughout the past few decades.
EBONY recently sat down with Saleem to delve into the making of his documentary and the importance of documenting the history of Black music in this country.
EBONY: What compelled you to pursue making a documentary on the history of R&B music?
Kashif Saleem: It's been a project that has been in making for about six years. I was thinking about it and planning and strategizing for it. My initial inspiration for doing this project is that R&B is such a great form of music. There were so many people that didn't seem to have a whole lot of information about the music. During my career, I've always lived between the intersection of art and education. So – it was a natural fit for me to do this documentary after seeing documentaries on the history of jazz, rock and roll, and classical music. I felt compelled that someone had to produce a documentary on the history of R&B.
EBONY: How many artists, producers, managers, and engineers are you planning to interview for this documentary?
KS: We already have a couple hundred interviews done. Our interviews go beyond the people who created the music. It's also about the core people. It's about the stylists and limousine drivers. They all have their own special stories about an artist. Some of those stories you won't get from the artists or managers because they're sanitized. We're capturing interviews with old school yard friends and barbers, too. In addition to all the other people you mentioned before, we're going beyond that and getting real, true stories.
EBONY: Who are some of the more prominent names to be featured within it?
KS: The stories about the artists are just as important as the artists featured in the documentary. Jody Watley, Howard Hewitt, Freddie Jackson, Melba Moore, Howard Johnson, Kenny Gamble, Jerry Greenberg, the former president of Atlantic Records, Larkin Arnold, who signed Michael Jackson after he left Motown and executive produced, Thriller just to name a few. The list goes on and on. We have all the greats.
EBONY: Has it been difficult tracking down these legends for the project?
KS: It's still an on-going process. In some respects, it has been difficult, and in other respects it hasn't been difficult because the music industry is such an incestuous business. As you meet people, those people know other people, and they have their own stories. The hardest one was Little Richard. It took me a while to track him down.
EBONY: This is going to be a 10 part mini-series. What is the projected length for each mini-series?
KS: One hour each. Some parts may be an hour plus.
EBONY: For the past 50 years, R&B music has been the soundtrack to America's societal history from Motown to present day. In your viewpoint, how has R&B music transformed not only American popular culture but the world?
KS: R&B music has changed the way we thought about love. In the 1950s, there were doo wop songs. In the 1960s, 1970s, 1980s, and 1990s, songs were about coming home to your girl, conveying our social conditions and finding a way out of them, empowering women, fighting against the status quo, and the good, bad, and indifference toward love. Hip hop, funk, smooth jazz, disco, and dance were all borne from R&B music. We learned to express our love, and through R&B music, we were able to frame it.
EBONY: What has been your approach to the project?
KS: My approach to the project has been to gather as much footage as I can, and to identify the most pertinent stories that are applicable to the vast subject matter of rhythm and blues music and its influence on world culture. I've had to talk to all kinds of people. Rhythm and blues music isn't just a black thing. It's been a diverse cultural expression. Ahmet Ertegun was the president of Atlantic Records and he was from Turkey. Arif Mardin worked with Atlantic and Warner Bros. Records as a producer and arranger. He was from Turkey as well. Clive Davis was a young Jewish guy from Brooklyn. Also, there are the blue-eyed soul artists. We have to make sure that the story of R&B isn't just a black thing. It's touched every corner of the globe.
EBONY: When will this documentary be finished and released to the public?
KS: I have another year-and-a-half of filming and editing. It should be released by late 2015 or early 2016.
EBONY: Why is it important to uphold the proud legacy of R&B music and maintain its validity into the future?
KS: It is important to know your history, so you know how to move forward. Obviously, rhythm and blues music really requires a certain proficiency and musical talent. If we don't hold on to that, sooner or later the powers that be will define what R&B is. For example, Justin Timberlake, Justin Bieber, Adele, and Robin Thicke will take over and say this is our music. We can't let that happen. They're very talented people, but we have to keep the legacy right where it belongs. We have to keep the history documented in a way, so that it's not told twenty years from now, and we're omitted from the story. When I say we, I mean African Americans. R&B music has been one of America's most incredible exports. If we're going to hold on to what is ours, we have to be able to identify and prove that it's ours. This doesn't have racial overtones. People may come at me and say I'm speaking racially. No. I'm not. I'm speaking factually.
EBONY: What are some of the main goals you wish to accomplish with this documentary?
KS: What I hope to achieve is to identify, document, and elongate the true legacy of rhythm and blues music. I want to be able to convey how it has impacted us from a cultural, political, and social perspective. My goals are to tell the true story of R&B music, give the proper credit where it belongs, and I want people to engage and think about the songs that are most important to them from an entertainment and personal development perspective. I want them to think about those songs and lyrics and why every time they hear them something moves in their spirit. This is what this whole thing is about.


text:
DOE to Fund up to $50 Million to Demonstrate Innovative, Cost-Competitive Solar Technologies
The Nevada National Security Site (NNSS) will serve as a proving ground for cutting-edge solar technologies, such as concentrating solar thermal power and concentrating photovoltaic energy.
Energy Secretary Steven Chu announced the Department's intent to fund up to $50 million to test and demonstrate innovative technologies that will lead to cost-competitive solar energy technologies.
The Obama administration on Thursday proposed special energy zones on public lands in six western states deemed good locations to build utility-scale facilities to produce electricity from solar power.
The Interior Department issued a draft environmental impact statement that looked at the effect of solar energy projects able to generate 20 megawatts of power in areas that have the highest solar potential and will do the least harm to the environment.
"As stewards of our public lands, we must make sure that we are developing renewable energy in the right way and in the right places," Salazar told reporters. The western states targeted with 24 solar energy zones were Arizona, California, Colorado, New Mexico, Nevada and Utah.
Bob Abbey, who heads the Interior Department's Bureau of Land Management, the agency that will review any specific solar projects, said the amount of electricity that could be generated by the sun on all BLM lands in the six states, including, the designated energy zones could total 24,000 megawatts over 20 years. The department does not have an estimate for solar generation just on the designated energy zones.
"For years, the oil and gas industries have had an easy path for getting permits to drill on public lands. With today's announcement, solar energy projects are now closer to a more predictable review and approval process for projects on public lands," said Rhone Resch, president of Solar Energy Industries Association.
The proposal will be open for public comment for 90 days and the department expects to issue a final report during the fall of 2011, said Salazar. The solar energy zones will help meet President Barack Obama's goal to double the amount of U.S. electricity generated by renewable energy sources like solar, wind and geothermal.
The department's energy zone proposal comes a day after the U.S. Senate approved extending a Treasury Department program through next year that gives companies a rebate equal to 30 percent of the cost of their solar or wind energy projects. To be successful, Salazar said solar projects in the six western states will need access to transmission lines.
Federal regulators proposed last month reforms to make the U.S. electric grid more accessible to electricity generated by renewable energy sources, which should lower costs for consumers who want to buy clean power. The Federal Energy Regulatory Commission proposed a rule requiring public utility transmission providers to allow renewable power producers to schedule their shipments of electricity over shorter time periods to better reflect the moment-to-moment changes in generation output by renewables.
Solar and wind power producers would be able to schedule transmission service in 15-minute intervals, instead of the current one-hour scheduling procedure.
The demonstration program will be a critical link between the Department of Energy's advanced technology development programs and full-scale commercialization efforts. The Nevada National Security Site (NNSS) will serve as a proving ground for cutting-edge solar technologies, such as concentrating solar thermal power and concentrating photovoltaic energy, which can be used for utility applications in the Southwestern United States where there is an abundance of solar energy.
"This funding will allow the Department to further test advanced and innovative solar energy technologies in real-world conditions, providing critical data for companies and communities looking to invest in large-scale solar projects," said Secretary Chu. "The Solar Demonstration Zone in Nevada is part of an integrated effort to expand the solar energy industry, helping to put America on a path to a sustainable energy future and create the jobs of the 21st century economy."
The Department expects to announce the Funding Opportunity Announcement early next year. Potential technology applications include Concentrated Solar Power systems that use mirrors to reflect and concentrate sunlight on a heat absorbing fluid, convert it to steam, and ultimately generate electricity, as well as Concentrated Photovoltaic Power that uses lenses to concentrate sunlight to improve the efficiency of conventional photovoltaics.
The demonstration projects as part of the Solar Demonstration Zone will be deployed at a large enough scale to provide useful operating and economic data for the eventual deployment of solar energy projects at utility-scale, which are typically grid-connected projects larger than 20 megawatts.
The Solar Demonstration Zone at the Nevada National Security Site will complement the Department of Interior's Bureau of Land Management's 24 Solar Energy Study Areas (SESAs) on public lands across the Southwest United States by providing essential data about the commercial viability of the most advanced solar technologies.
As part of DOE and the Department of Interior's continuing collaboration, the Departments are working together to implement this project, including conducting environmental reviews and coordinating necessary infrastructure planning for the site. Department of Energy funding for the project is dependent upon congressional appropriations. The full Notice of Intent is available on FedConnect.net by searching under Reference Number DE-FOA-0000233.
www.blm.gov/wo/st/en/prog/energy/renewable_energy.html
David Llamas2016-12-27T15:03:31+00:0017-12-2010|Categorías: NEWS|Etiquetas: Concentrating Solar Power, DOE, solar energy, solar power, solar thermal, U.S.|

redpajama_set_name: RedPajamaCommonCrawl


Are you attracting customers with your brand colors? What emotions does the color of your brand evoke among your consumers?
According to a research, color has a psychological impact on people's behavior and purchasing decisions. For that reason, companies should ensure the colors used on their brands appeal to the target market.
A survey found that up to 93 percent of buyers focus on visual appearance of a product, and about 85 percent claim that color of the product was the main attraction.
Color psychology is thus an important factor considered by both the consumer and the designer and more so the designer as they need to appeal to the target market. Different colors evoke different emotions, moods, and feelings among people, and cultures.
Although color is too personal to be fit into specific universal feelings, there are broader messaging patterns that cannot be ignored by companies that aim to stand out in the market. Thus, it is up to the marketer to pick the best design and colors that represents the brand and evokes the right feelings towards such products.
So what do consumers look for when they interact with products?
Studies show that knowing what colors will evoke what emotions towards your products increases effectiveness of your marketing strategies. By applying the psychology of colors you will make better branding and advertising decisions that will help you to reach the targeted audience.
A paper by Stanford professor Jennifer Aaker reveals that there are five ways or dimensions people constantly react to brand personality.
Studies reveal that colors are categorized by specific traits for example blue is used to depict trust, expertise and strength, and green for nature and harmony. Sometimes however, brand identity crossover when two traits are used to represent a product, but mostly one color dominates.
How appropriate is the brand color? This is the question that marketers should ask before deciding on the brand color. Rather than over relying on color traits, researchers advise marketers to use colors that support the personality that they want to portray to their clients.
It is crucial for companies to explore branding strategies that suit the characteristics of the product or company. Clearly, a tour and travel company wouldn't want to use pink sparkles as part of its main brand color unless the target market calls for it.
Additionally, brand colors should stand out from those of other competitors. To have the image of the product embedded in the mind of the consumers; color should be used to create a great identity. In a journal article, results from a study suggest that brains tend to recognize brands and create a positive emotional processing which leads to positive responses towards such products.
Thus, new companies should endeavor to choose colors that are different from their main competitors. By so doing, they are creating their own identity which, though new, will be recognizable among the target market in the future.
Marketers and designers should ensure that colors they choose represent their brand personality appropriately. Additionally, the color should enable consumers to recognize the brand from others. However, there are other factors that hinder consumers' interpretations and experiences including personal preference and cultural influence.
In general, different people prefer different colors. To some extent, this may cause a consumer to pick or leave a product based on color alone. Gender also plays a major role in identifying with a certain color. Some colors are predominantly associated with males while others are female, yet others cut across the genders. For example, bright pink color is mainly used on young girls' clothes and toys while blue shades are used for male clothes.
Additionally, colors are interpreted differently in diverse cultures which could have a major impact on how a product is perceived. Red, a common color across all cultures depicts different emotions in different cultural set ups. In South African nations for example, it is associated with mourning. In Indian culture, red is the color of wealth, power, fertility, seduction, and beauty, while in Thai it is the color of a solar god.
How a company uses colors depends on what need there is to be met. A combination of psychological effects of colors and factors that affect the interpretation of colors should be used to arrive at the best branding strategy to attract consumers.


If you like lemon and white chocolate together, this delicious cookie cake with its sweet and tart flavor is for you!
I am very excited to share my recipe today. I love all the recipes I share here and it makes me very happy when I develop a recipe and it turns out good. But today I am overjoyed as it contains lemon and white chocolate. I love lemon desserts a lot and this soft cookie cake, crispy at the edges, with sweet and tart flavor, tastes just so good.
White chocolate is very different than milk or bitter chocolate. I don't know anyone who has strong negative words for these two. On the other hand, white chocolate has either fans or opponents. Some people even say, it is not a chocolate as it doesn't contain cocoa mass but contains cocoa butter.
I use good amount of lemon juice and lemon zest which give the nice tart flavor.
Below you can see the "stars" of my cookie cake. I use 1 tablespoon of packed lemon zest. ActuallyI am not sure if I can use the word "packed" for the lemon zest. I almost use 2 medium-big size lemons to get enough peel. I read many times as 1 medium-size lemon yields 1 tablespoon of lemon zest which is not the case for me. That's why I especially write "packed".
First, I put the sugar and lemon zest in a big bowl and mix-press with my fork. Then I add in the flour and mix well.
Next, I add the cubed butter and rub them with my fingers until they look like crumbs.
Then, I add the lemon juice and start to stir with my spatula.
Finally I add the white chocolate and mix it evenly. I place the dough in the cake pan and spread it. The dough is stiff so I spread it slowly. You can use your measuring cup to give an even thickness.
I bake for 22-25 minutes or until the edges become darker, and the top is lightly golden brown but still soft. If you over bake, it won't be soft. I take the cookie cake from the oven and keep it for 10 minutes in the cake pan. Before I open the pan, by using my small spatula, I make sure the cookie cake is not attached to the sides of the pan (you can use a knife too). I don't remove the cake pan's bottom until the cookie cake is firm enough. While still warm, I cut into 12 slices. Then, I melt the white chocolate. I dip my fork into the melted chocolate and drizzle it over the cookie cake. I repeat this step until I get this beautiful look.
This lemon cookie cake is soft in the middle, crispy at the edges. Baking time is very important to make this cookie cake soft instead of crunchy!
Preheat the oven to 325°F(165C°). Line the bottom of a 9 inch (23cm) springform cake pan with parchment paper and set aside.
Put the sugar and lemon zest in a big bowl and mix with a fork or rub with your hand. Add in the flour and mix well.
Add the cubed butter and rub them with your fingers until they look like crumbs. Then add in the lemon juice and start to stir with a spatula.
Bake for 22-25 minutes or until the edges become darker, and the top is lightly golden brown but still soft. Take the cookie cake from the oven and keep it for 10 minutes in the cake pan. By using small spatula or knife, make sure the cookie cake is not attached to the sides of the pan and gently open it. Don't remove the cake pan's bottom until the cookie cake is firm enough. While still warm, slice into 12 pieces.
Melt 30g (1 oz) white chocolate in the oven at 210°F (100°C). Place the chopped chocolate into an ovenproof dish. When the chocolate starts melting, stir the chocolate. Continue melting-stirring as needed. When the chocolate melts, dip a fork into the melted chocolate and drizzle it over the cookie cake.


text:
#region License
//
// Author: Nate Kohari <nkohari@gmail.com>
// Copyright (c) 2007-2008, Enkari, Ltd.
//
// Licensed under the Apache License, Version 2.0 (the "License");
// you may not use this file except in compliance with the License.
// You may obtain a copy of the License at
//
//   http://www.apache.org/licenses/LICENSE-2.0
//
// Unless required by applicable law or agreed to in writing, software
// distributed under the License is distributed on an "AS IS" BASIS,
// WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.
// See the License for the specific language governing permissions and
// limitations under the License.
//
#endregion
#region Using Directives
using System;
using Ninject.Core;
using Ninject.Core.Interception;
#endregion

namespace Ninject.Tests
{
	public class FlagInterceptor : SimpleInterceptor
	{
		/*----------------------------------------------------------------------------------------*/
		public static bool WasCalled { get; private set; }
		/*----------------------------------------------------------------------------------------*/
		protected override void BeforeInvoke(IInvocation invocation)
		{
			WasCalled = true;
		}
		/*----------------------------------------------------------------------------------------*/
		public static void Reset()
		{
			WasCalled = false;
		}
		/*----------------------------------------------------------------------------------------*/
	}
}

redpajama_set_name: RedPajamaGithub


text:
import { inject as service } from '@ember/service';
import { computed } from '@ember/object';
import Controller from '@ember/controller';
import ParentNameMixin from 'ember-api-docs/mixins/parent-name';
import FilterParams from 'ember-api-docs/mixins/filter-params';

export default Controller.extend(ParentNameMixin, FilterParams, {
  filterData: service(),
  legacyModuleMappings: service(),

  hasImportExample: computed('model.name', 'legacyModuleMappings.mappings', function () {
    return this.get('legacyModuleMappings').hasClassMapping(this.get('model.name'), this.get('model.module'));
  }),

  module: computed('model.name', 'legacyModulemappings.mappings', function () {
    return this.get('legacyModuleMappings').getModule(this.get('model.name'), this.get('model.module'));
  }),

  actions: {
    updateFilter(filter) {
      this.toggleProperty(`filterData.${filter}`);
    }
  }
});


! WOW, FREE ACCESS !
FREE Restricted access to the entire network, connect with other free members, add photos, videos, view events, join groups and become a members of the community.
Become a part of the Pawn Stars UK Limited Community for FREE.
This is a 12-month FREE membership that provides restricted access to our network for people who want to see what our community has to offer.
You can upgrade your membership at anytime within the first 12-months.
! WOW what a great offer !
Only £2.00 per month for access to the entire International network, where you can connect with other fans, join in the fun and become a part of our community.
We are also giving you 2 months for FREE.
This is a 12-month fan membership for people who want to gain access to the world of Pawn Stars UK Limited.
Upgrade your membership at anytime, any remaining membership will be deducted from your upgrade fee automatically.
! Truly Exclusive Access !
Only £5.00 per month for exclusive access, connect directly with Pawn Stars UK Limited, connect with each other, access exclusive offers and features.
You will also recieve an Exclusive Signed Gift and FREE entry to our exclusive prize draw at no extra cost and yes, you still get 2 months for FREE.
This is a 12-month membership for people who want to access a world of exclusive Pawn Stars UK Limited content, features and contacts that are not available anywhere else in the world.
! Working with the Trade !
Only £15.00 per month for Unrestricted access to the entire International network, classified adverts system, trade support services and reserach documents.
This is a 12-month Trade membership for people who are in the trade and want to access Pawn Stars UK Limited, buy and sell items, access our research material archives, or are looking for advice, tips and support.
Promote your business, your products and your events.


text:
Find a Story
Home Summer 2019 The Creator of NASA's First Podcast
The Creator of NASA's First Podcast
Share via Google Plus
By Amanda K. Clark
Laurie Cantillo, NASA communicator and educator, is on a mission to get more people engaged in science — especially girls.
Laurie Cantillo (Jour'80) was fresh out of college when she first spotted the Milky Way during an outdoor education trip in Utah. Since then, the director of communication and education at NASA's Jet Propulsion Laboratory (JPL) has been on a mission to share the wonders of space with the world.
At CU, Cantillo produced a space film in her astronomy intro course. It was shown in Fiske Planetarium and set to Pink Floyd's Dark Side of the Moon album. After graduating, she worked as a radio anchor, reporter and program director for 30 years before landing in NASA's headquarters in Washington, D.C., where she was a writer and public affairs specialist for the New Horizons mission to Pluto, led by Alan Stern (PhDAstro'89).
When Pluto became visible through a sequence of images in 2015, Cantillo noticed a large bright spot that resembled a heart. That day, she wrote a short article about the icy formation now called Sputnik Planitia and shared it on NASA's website and social media channels.
I appreciate the value of audio and wanted to share the powerful stories of the people behind our missions — their struggles, and how 'failing' is an essential ingredient for success.
The next morning, the mainstream media had erupted with headlines featuring Pluto's "heart."
While in D.C., Cantillo produced NASA's first podcast, Gravity Assist, which refers to the slingshot effect a spacecraft gets when it uses the gravity of a planet or object to speed up or alter its course. The podcast's first season, in 2017, was hosted by chief scientist Jim Green and featured lively discussions about top discoveries and mysteries in space science. Each episode's guest reveals the "gravity assist" that propelled them into their field of research.
"I appreciate the value of audio and wanted to share the powerful stories of the people behind our missions — their struggles, and how 'failing' is an essential ingredient for success," said Cantillo, who grew up in Parker, Colo.
Today, Cantillo and her California-based JPL team often set up telescopes in public spaces and wait for curious viewers to walk by: "It never gets old to see how surprised and delighted people are to see the Moon's craters, Saturn's rings or Jupiter's stripes through a telescope for the first time," she said.
Cantillo credits her son David for planting the idea of a career pivot to NASA. He had encouraged her to apply.
"I was able to achieve a couple extra years of 'coolness' by working at NASA and JPL. With a teenager, that's priceless," she said.
Cantillo hopes her work inspires others to learn more about space and pursue STEM careers.
"When I was growing up, it never occurred to me to be a scientist or engineer, since there were so few female role models," she said. "Had I been in school today, I might have chosen a different path."
When she sees young girls wearing NASA T-shirts and playing with Space Legos, or receives a letter from a child who now wants to be a scientist after meeting someone from JPL, she knows her work is having an impact.
"It doesn't get any better than that," Cantillo said.
Issue: Summer 2019
Jill Seubert had done everything possible to ensure their calculations and directions were correct. Read more
CU Boulder Launches Space Minor
Open to all undergrads in all majors. Read more
Space Walking Just a Living
Whether hiking in the mountains or walking in space, astronaut Steve Swanson's life is full of adventure. Read more
Coloradan Magazine
1202 University Avenue, 459 UCB
editor@colorado.edu


Bahubali 2 begins when Katappa started telling why he killed Amarendra Bahubali. After the fight with Kalakeyas, Sivagami decided Amarendra Bahubali to be the future king of Maheshmati and Bhallala Deva to be the commander-in-chief. Before the coronation, Sivagami tells Bahubali to have a world tour so that he can see the problems of all the people closely.
While Bahubali went for the visit, he went to the kingdom of Kuntala where he falls in love with the princess of the kingdom Devasena but he pretended that he is a common man as others and did not show Devasena that he is the future king of Maheshmati. When Bhallala Deva learns about Devasena and Amarendra, he decided to bridge a gap between Amarendra and Sivagami. Bhallala Deva tells Sivagami that he wants to marry Devasena and Sivagami promises to him. When Sivagami sends the proposal of marriage to Devasena, she didn't like the way and rejected the marriage proposal and from then only clashes started between Sivagami and Devasena.
The kingdom of Kuntala was then attacked by Pindaris and at that time Amarendra with the help of Devasena and his brother won the fight and Devasena realises the truth about Amarendra to be the future king of Maheshmati and then marries Devasena and take her to meet his mother.
When he reached back to his kingdom, all the misunderstandings come clear and Sivagami asked Bahubali to decide one between the throne and Devasena and Bahubali chooses Devasena.
Due to further clashes Devasena and Amarendra were banished from the palace and then they started living with the common people and their life happily. Bhallala Deva then started convincing Sivagami that Bahubali is trying to assassinate him. Sivagami was convinced and ordered her loyal Katappa to kill Bahubali. Katappa stabs Bahubali in the back. Katappa then learns about Bhallala Deva plans and informs to Sivagami. When Devasena learns about her husband's death, her only aim was to save his son and kill Bhallala Deva. As Devasena was weak after giving birth to a baby, she puts her son in the hands of Sivagami and then Sivagami announces Mahendra Bahubali, the son of Amarendra Bahubali to be the future king of the Maheshmati Kingdom and then she flees with the baby.
After hearing the whole story, Mahendra Bahubali decides to take revenge of his father's death and rescue his mother from Bhallala Deva. Mahendra Bahubali then managed to enter the palace and then the huge fight took place between Bahubali and Bhallala Deva. Bahubali then manages to throw Bhallala Dev in the pit of woods which was collected by Devasena and he was burnt alive according to their old tradition. Mahendra then was the new king of the Mahishmati Kingdom and people celebrated as good wins over evil.
• Critics asking how such movies can be made in the 21st century as there are no pooping of children, no suffering of poor and weaker sections, there was only a man avenging his father's death.
• The strength of Bahubali hands by making Devasana walking on his arms.
• I liked the movie because of the various techniques used by Bahubali for fighting i.e. the bull technique, the cloth technique etc.
• The start of the movie with the introduction of the first part with the song and the amazing scenes.
• The VFX scenes of the movie were amazing.
• The settings of the movie were beautiful.
• I loved the role of Bahubali as he was concerned with the people of his kingdom to be happy and in the protection of respect for women.
• The role of Devasena was also adorable as she was an independent, self-respect, fighting women.
According to news and people, everyone is talking about the relationship between Prabhas and Anushka. Everyone is talking as they are in a relationship after the movie and the close kiss scene perform by them.
Sonam Kapoor rejected the role which Tamanna Bhatia performed, Sri Devi rejected the role of Sivagami, Hrithik Roshan rejected the role of Bahubali and various other Bollywood actors rejected the role in such a marvellous movie.
Bahubali cannot be compared with any other film only in the terms of collections or the scale on which it has been built. Bahubali is one of the amazing films which cannot be compared with another movie in terms of editing, settings, story of even VFX. This movie has paved the way for Indian movies to go global and capture international audiences.


Von Duprin CD3347EO-LBR narrow stile exit only concealed vertical rod device. Series 33 exit devices for heavy traffic applications. Exit only, no outside operation. With cylinder dogging. Less bottom Rod.
Exit Only function-trim not included.
With cylinder dogging.1-1/4" Mortise cylinder required not included.
For use on all types of single and double doors .
Fits door stiles as narrow as 2-1/8", wood door stiles as narrow as 4".
Device length- 3', fits 2'4" to 3' door size.
Vertical rods-round 2 piece adjustable rods. Top rod adjustable from 6'8" to 8'4". Bottom rod adjustable 35 5/8" to 49 5/8".
Latch bolt-deadlocking top bolt, 5/8" throw.
Strikes top - 338 – unfinished, bottom – 385A - unfinished.
UL listed for Panic Exit Hardware. Devices are ANSI A156.3 – 2001 Grade 1.
Center case dimensions 8 13/16" x 2 13/32" x 1 9/16".


text:
U.S. repeats warning to China against attack on Philippine forces
By Qatar Day - July 12, 2021
Secretary of State Antony Blinken
The United States on Sunday repeated a warning to China that an attack on Philippine armed forces in the South China Sea would trigger a 1951 U.S.-Philippines mutual defense treaty.
Secretary of State Antony Blinken made the comment in a written statement marking the fifth anniversary of a ruling by an arbitration tribunal repudiating China's vast territorial claims in the South China Sea.
China - which lays claim to most of the waters within a so-called Nine Dash Line, which is also contested by Brunei, Malaysia, the Philippines, Taiwan and Vietnam - reiterated on Friday that Beijing did not accept the ruling. read more
"The United States reaffirms its July 13, 2020 policy regarding maritime claims in the South China Sea," Blinken said, referring to the rejection by former President Donald Trump's administration of China's claims to offshore resources in most of the South China Sea.
"We also reaffirm that an armed attack on Philippine armed forces, public vessels, or aircraft in the South China Sea would invoke U.S. mutual defense commitments under Article IV of the 1951 U.S.-Philippines Mutual Defense Treaty," Blinken added.
That article of the treaty says in part that "each Party recognizes that an armed attack in the Pacific area on either of the Parties would be dangerous to its own peace and safety and declares that it would act to meet the common dangers in accordance with its constitutional processes."
Blinken has made the point before, including during an April 8 conversation with the Philippine foreign minister in which the State Department said he "reaffirmed the applicability" of the treaty to the South China Sea.


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default:
	@echo ""
	@echo "Available Targets:"
	@echo ""
	@echo "   make start"
	@echo "   make compile"
	@echo "   make clean"
	@echo "   make test"
	@echo ""

install: npm-install-packages jspm-install-packages

production: prepare-compile compile bundle-app minify-core-files

dev: prepare-compile gulp-compile minify-core-files

compile: prepare-compile
	$(babel) src --out-dir lib

gulp-compile: prepare-compile
	$(gulp) compile

gulp-compile-watch: prepare-compile
	$(gulp) compile-watch

server:
	node index.js

bundle-app:
	$(jspm) bundle lib/app - app-decorators dist/lib/app.js \
	--skip-source-maps \
	--minify;

minify-core-files:
	$(uglifyjs) ./node_modules/systemjs/dist/system.js \
	./node_modules/app-decorators/bootstrap.js \
	./node_modules/app-decorators/jspm.config.js \
	./node_modules/app-decorators/runtime.js \
	-o dist/runtime.js \
	-c -m

npm-install-packages:
	npm install

jspm-install-packages:
	$(jspm) install

clean:
	make clean-dist; rm -rf node_modules jspm_packages

clean-dist:
	rm -rf dist lib;

prepare-compile: clean-dist
	mkdir -p dist; \
	cp index.html dist; \
	cd dist; \
	ln -sf ../jspm_packages jspm_packages; \
	ln -sf ../node_modules node_modules; \
	cd ..;

babel    = ./node_modules/.bin/babel
gulp     = ./node_modules/.bin/gulp
jspm     = ./node_modules/.bin/jspm
uglifyjs = ./node_modules/.bin/uglifyjs

.PHONY: compile compile-watch live production bundle-app server prepare-compile;
MAKEFLAGS = -s


The redesign of 2013 Honda Accord this year has revolutionized it in every and each angle. In distinction to numerous competitors, it still has the V-6 option, at the same time it has improved its gasoline mileage in addition to enhancement general. Just like the past models, the new accord sedan & coupe still have large space of interiors. And now they provide connectivity and safety-tech attributes on many of the based models and not just on the top of the line Accord, isn't it awesome or what?
A halo vehicle backwards. That's the program for that 2012 Hyundai Veloster hatchback. Normally, a halo vehicle may be the unobtanium-built vehicle that sits towards the top of the model selection to have an auto manufacturer. Meant for purchase with a choose couple of, it's supposed to attract visitors to the showroom. That's the actual way it happens to be.
The purpose of the Veloster, Hyundai states, would be to draw youthful prospects with the door for his or her first vehicle and to ensure that they're returning through their lifetime. If things play view Hyundai hopes, the duration of their kids, too. As the Hyundai Veloster roll out to the public, Hyundai lease deals offer incentive on Veloster as well. But let's look at how good this car really is.
Hyundai Veloster faces other youthful hipsters competitors such as Honda Fit, Scion tC, Small Cooper, Fiat 500 as well as the Volkswagen Beetle, and these brands such as Honda lease deals, Mini car leasing, & Volkswagen lease specials all have car lease deals on those models. But the Veloster is about to take the lead within this group. The Veloster is really a four seater with a cool, if helpful, features. Uncommon styling adds interest towards the vehicle, while an opportune third door adds utility. Mixing by using the hatchback helps make the Veloster a cargo star.


Why is working with a fiduciary as your financial advisor so important? In our several decades of combined experience, too few prospective clients understand the fiduciary relationship, its importance, and the risk they assume when hiring an advisor without it.
Looking for Someone to "Beat the Market?" Good Luck.
When many people begin investing, they aim to find just the right asset mix to "beat the market." This means attempting to gain a higher return over time than a commonly accepted index, such as the S&P 500. This inclination is natural but impractical, and research is now showing that it's nearly impossible over a long period of time.
Would you like an early retirement? How does financial independence sound? Whether your retirement goals include shifting to part-time, making a hobby your new career or 10 am tee times by age 60, making smarter decisions with your money now can make those goals attainable.
An Individual Retirement Account, more commonly known as an IRA, is a standard savings account approved by the IRS that grants significant tax advantages for users. While retirement is the most common way people use IRAs, it's not the only way IRAs can be used. In this post, we explore the other ways IRAs can be used like for the down payment of a house, to cover college education costs, for medical expenses, as a tax-free gift to beneficiaries, as disability income, or even to purchase investment properties.
Today, the average American retires between age 62 and 65, with most people leaving the workforce at 63. If you're nearing your mid-to-late 50's, you may be starting to seriously consider when to retire and what steps you'll need to take now to ensure you're financially prepared when you do retire. Consider these 3 Tips to Successfully Transition into Retirement.
Switching careers can be an extremely stressful time for you and your family. With career transitions come change and uncertainty. Here are some tips on how successfully manage your finances during career transitions.
Life insurance is an important component in a diversified financial portfolio. While it may be a difficult conversation to have with your loved ones, it's an important and necessary one. We may not like discussing our own death but ensuring our families are taken care of and supported is paramount, especially for families with children. The first step is to understand which type of life insurance policy fits best with your situation. In this post, we explore the various types of life insurance policies including term and permanent options including whole, universal, and variable options.
On February 3rd, President Trump issued an executive memorandum requiring review of the previously instated Department of Labor fiduciary ruling. In the memorandum, President Trump tasked the Department of Labor to fully review the ruling to assess if it would 'negatively affect' investors ability to access retirement information, offerings, product structures, or related financial advice.
Congratulations, on your upcoming marriage! Along with making wedding plans, there are many considerations to discuss with your soon-to-be spouse; one of the most important is financial planning. In fact, a 2016 study found that 31% of married participants reported arguing over finances at least once a month. The most common points of disagreement: major purchases, decisions about finance and children, a partner's spending habits, and important investment decisions. Before you walk down the aisle, have an open and honest conversation with your spouse about your joint finances.


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Imagination at Work
Exhibit of drawings and texts by students from kindergarten to Grade 4
Imagination à l'œuvre
Exposition de dessins et de textes d'élèves de la maternelle à la 4e année
Festival Frye Festival
Poets Flyés
Poètes flyé·es 2022-2024
2019-2022 Moncton Poets Flyés
Former Frye Festival Poets Flyés
Workshop with Sue Sinclair
Participating in the Frye Festival
Imagination at Work (K-5)
Photonovel (6-8)
Frye Academy (9-12)
Writing Contest (9-12)
Writers in the Schools (K-12)
Support the Festival
2022-2023 Press Review
> FRYE FESTIVAL BOARD OF DIRECTORS
Vanessa Moeller
The first entry about Vanessa Moeller in her mother's diary reads, "Vanessa wrote on the white wall with a red marker." She was barely one at the time; it was a portent of things to come. Since then, she's been committed to writing, drawing, literacy, and the arts, and while she doesn't write on walls (much) anymore, her words do occasionally appear on a billboard or two as part of her work as a Senior Creative Writer for m5 Marketing Communications.
Vanessa holds an MA in Creative Writing from the University of New Brunswick. Her first book, Our Extraordinary Monsters, was released by Signature Editions, and her work has received numerous awards including the Atlantic Poetry Prize and an honorable mention in the poetry category of the National Magazine Awards. Her poems and short stories have appeared in numerous periodicals including The Fiddlehead, Prism International, and CV2, as well as in anthologies by Guernica Editions, Baseline Press, and Frog Hollow Press.
info@frye.ca
P.O. Box 26023, Moncton, N.-B. E1E 4H9
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The Frye Festival recognizes that the land upon which the organization is settled and offers events is the traditional, unceded territory of the Mik'maq. As we commit to reconciliation with Indigenous Peoples, we acknowledge and honour their voices, stories, and works, which are vital to our shared literary landscape.
© Festival Frye 2022.All rights reserved.


While browsing the shelves and tables in Foyles on Charing Cross Road a few weeks ago, a book caught me eye. Well, the book jacket and book design did. They demanded attention, and within moments convinced me to buy the book. I was glad I did – it turns out as well as being a great piece of book design, it's also a fantastic book.
Published in the UK by Faber & Faber, Unsheltered is the latest novel from author Barbara Kingsolver, and it's a cracker. The Guardian calls it 'a powerful lament for the American dream'. It centres on the lives of two families living in a crumbling house in Vineland in New Jersey, but at different times – 1871 and 2016. The back cover blurb simply states: 'Without shelter, we stand in daylight. Without shelter, we feel ourselves likely to die.' I'd heard of one of Kingsolver's previous books, The Poisonwood Bible, but wasn't familiar with her work generally, and hadn't heard anything about this book. But I didn't hesitate to buy it. And that's principally down to the design.
The book [printed by CPI] is particularly unusual for having an image printed along its fore-edge. It's a continuation of part of the photograph from the dust jacket, which integrates the jacket brilliantly into the book.
Colour along the edge of a book isn't anything new of course. Historically some books were covered with a top edge gilt finish – a layer of gold leaf, or similar, to protect them from dust and moisture over the years they might spend sitting on shelves. Even putting images onto the edges of books is nothing new – fore-edge painting has been around for ages. However this is the first time I've seen fore-edge printing of an image done on a such a mainstream contemporary book. It really enhances the feeling of the book and the text within as a cohesive 'thing'.
I was intrigued by the way the cover had grabbed and maintained my interest, so I got in touch with the designer, Ami Smithson, to ask her a few questions about it.
This was flagged from the beginning to be a Big Book for Faber. Which is both helpful and anxiety-inducing! Kingsolver is a heavyweight and hadn't published a book for five years, so this book needed to be noticed. And, importantly, to be different from the botanical themes of previous novels. The editor highlighted that alteration in direction, and also that a focus on person, time and place were wanted. The key booksellers were outlined, and high production values flagged. The book needed to be a complete, covetable object.
The actual brief was incredibly specific on paper – but having read and re-read it, I spoke to Donna [Donna Payne, the Faber & Faber art director] and we did what designers usually do – separated the specifics from the intention, and then things looked clearer. In essence, the two time periods were important, and the passage of time, and the pull of the house itself being the thing that linked the characters. There was also the significance of a baby crib in the mix. I found the house very significant, and its effect on the inhabitants over time, so wanted to use this.
Was the US edition designed simultaneously? Did you know what it looked like when you started your design?
Yes, they had the same publication date, but I didn't know what route they were taking, so this didn't alter my thinking.
Generally, why do you think the US and UK markets have different designs anyway?
Massive question and probably needs another blog post. My understanding is loosely, the US has a clearer distinction between more commercial books and literary ones, and the UK possibly less so. The edges are fuzzier, so I've found our commercial designs can look more varied, and our literary designs more poppy. So possibly more people read more widely here. This is by no means the full answer – editor and author and importantly international sales would know more about their markets. I'd also say that now every hardback has to work very hard, be very desirable in some form, to incentivise ownership and spend.
Was your published design the first design route, or one of many?
What was the evolution from initial idea to finished concept?
This one was reasonably smooth – there was plenty more work but what was great is that I felt we were all pulling in the same direction. We secured the image, and worked on getting the most from both type and image that we could. That balance where there's a tipping point between overworking an image and type, and it looking right. So retouching, thinking about the book as a whole – front, back, finishes, flaps, author image, endpapers, board and edge colours – those were all in the mix.
Did you get to chat to the author about the design at any point?
I didn't – I am hoping that's because she liked it! I know that she was really appreciative once she'd seen it. Faber were great about sending on feedback, which is always so positive. The editor sent the visual to her after I had refined the colour more, so I knew fairly quickly that we had her approval.
The fore-edge printing is spectacular, and really adds to the experience of reading the book. How did it come about?
I have to confess that though I suggested a dusty pink, Faber took the edges to another level by taking the wallpaper to the long edge. My pink suggestion was used top and base. I'm not in house at Faber, so wasn't involved in those production intricacies, but would think they tested first.
Do you find that you have to fight for extra finishes on books – or does the editor / art director suggest them from the outset?
My tactic is to talk to the production controller (and editor) as soon as possible, so they can think about this and cost things as soon as they can. Then if the margins look terrible to go to Plan B, or scale down. This jacket was always flagged as special, and Faber stuck brilliantly to that principle. I thank you Faber. I also thank production controllers everywhere.
It looks to me like you've done a fair bit of retouching to the photograph used on the cover – how did that come about?
Yes, the retouch was on two levels of thinking. I drive myself bonkers by being a very symmetrical designer, so wanted the wallpaper even on each side. Then there are legibility issues for type running over areas of high contrast, then it's just making the image as luscious as you can. While not, hopefully, trashing it; and respecting its original feel. I also wanted this image to look not entirely period, so making some colours more vivid was part of this.
The cover text looks like it's embossed and hit with a spot UV – is that right?
Yes, and the cover has a soft-touch laminate, which usually gives some colours an enhanced glow.
You've left some of the letters solid, and the others are translucent. What's the thinking behind that?
I wanted graphic type but also atmospheric type – initially I presented two versions, one solid white and the other where the type deepened almost as the light in the doorway did, so they were more of a piece. Though solid white is graphic and legible, there's a sitting-on-top slightly hard edge to that, and that's not how the book feels. There was much exchange between me and Donna at this point until we had something where the type became much more in harmony with the almost ghostly feel of the image, and they sync together. I like the blues that have come though so am really happy we got to that point.
I generally remove dust-jackets while reading hardbacks, and return them once I'm done. Is that something you do too?
Pretty much always. How respectful of you – thank you. I have a tragic story: I removed the jacket of my copy of The Old Ways to take the book on holiday and then somehow, along the way, lost the book (forgive me). Now there's a sad empty dust jacket staring at me thinly from my bookshelves.


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CEO Bryce Maddock Shares the TaskUs Founding Story on Entrepreneurship Podcast
NEW BRAUNFELS, Texas (October 8, 2021)—TaskUs Co-Founder and CEO Bryce Maddock was recently featured as a guest on The Futureproof Leader podcast hosted by Malik Parekh. A former CEO of global companies such as Inspiro and SPi Global, Parekh is an avid entrepreneur and serial angel investor with a passion for "futureproofing" industry leaders by keeping ahead of the curve.
On the podcast, Maddock sat down with Parekh to discuss how TaskUs managed to see such incredible growth over the last 13 years—from just seven employees in the Philippines to more than 31,500 employees operating across 20 sites in eight different countries.
Maddock first described how his entrepreneurial journey started: He and his business partner, Jaspar Weir, had envisioned TaskUs as a Virtual Assistant (VA) business that connected individual tasks with individual workers. Within the first several years, however, they pivoted to scaling business operations for larger companies after identifying new industry trends and increased demands for outsourced business services.
When they started their company in the Philippines, Maddock said that TaskUs expanded at a staggering pace as their customers grew and began emerging as household names. "We were very lucky to discover the [outsourcing] space when we did," said Maddock. "Especially in the last decade, digital disruptors have become the largest companies, as well as the largest procurers of outsourced services in the world." While more and more businesses moved online, increased demand for digital transformation accelerated TaskUs's growth. As their customers expanded, TaskUs also flourished.
When asked where TaskUs is headed for the future, Maddock said his company will continue to proactively identify new industry disruptors, anticipate emerging trends, and ensure that TaskUs still has the ability to change and adapt alongside an increasingly unpredictable tech-driven economy. "It's all about continuing to discover the fastest-growing technology disruptors, and understanding exactly what services they need to succeed, as well as delivering those services more effectively than any of our competitors," Maddock explained.
To learn more about the TaskUs story, listen to the podcast on Apple, Google, or Spotify!


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Biden nominates associate state Attorney General Vanessa Avery as Connecticut's first Black female U.S. attorney
Settlement that would end 30-year Sheff v. O'Neill desegregation case promises to create space at magnet and suburban schools for all Hartford students
Deadly Fentanyl Disguised As Prescription Pills
Cheers For Ovation: Guitar Company Re-Opens In New Hartford
White Hartford police officer who lost his job after telling Black and Hispanic group he was feeling 'trigger happy' wants to rejoin force
By Rebecca Lurye
Hartford Courant |
Pictured in May 2018, former Sgt. Stephen Barone was the ranking officer of the newly formed Community Response Unit focused on quality of life issues. He was fired in October 2018 after he was caught on camera telling a group of black and Hispanic youth that he was "trigger happy." (Mark Mirko / Hartford Courant)
HARTFORD — An ex-city police officer is fighting his 2018 firing for trying to control a group of black and Hispanic youth by telling them he was "trigger happy," a city attorney said.
Stephen Barone, who is white, is one of two Hartford officers seeking to be reinstated to the force. According to Deputy Corporation Counsel Alexandra Lombardi, the city is also awaiting a decision in the case of Robert Lanza, a white, former Hartford detective who was fired in January 2018 after he used racial slurs during a drunken driving arrest in Plainville.
Both cases have been delayed due to the coronavirus pandemic's disruption to the courts, Lombardi said.
Hartford Mayor Luke Bronin referenced both officers earlier this month, though not by name, in a statement opposing calls to defund and dismantle Hartford police in the name of racial justice and police accountability.
While addressing the national push for reform spurred by the recent deaths of George Floyd in Minnesotta, Ahmaud Arbery in Georgia and Breonna Taylor in Kentucky, Bronin said the Hartford department "has been serious about making accountability mean something."
"When an officer talked casually about using force inappropriately, he was fired," Bronin said. "When an officer used a racial slur, he was fired."
It remains to be seen whether the terminations will stick.
Barone admitted to using threats and profanity to try to "control" the group of young people he stopped on suspicion of trespassing on Aug. 9, 2018. The video posted to Facebook the night of the encounter shows Barone telling the group, "If anybody wants to fight or run, I'm a little trigger happy, guys, I'm not gonna lie."
Later, Barone spoke to the inconveniences of having to shoot someone on duty. Officers who've fired their weapons are put under investigation, unable to earn thousands of dollars in overtime, he explained.
"I'm going to make double my base salary this year — I could lose $70,000 if I shot somebody," he said. "I'm not [expletive] shooting somebody unless I have to. That means I got to sell my cars, move from my nice house."
Days after Barone was terminated, the Hartford Police Union filed grievances against his demotion, firing and lost hours, Lombardi said. Procedural issues delayed the case from reaching arbitration until recently, she said.
In Lanza's case, authorities said the detective repeatedly used a racial slur for black people, threatened officers and asked them why they would not drive him home out of professional courtesy to a fellow cop.
His criminal charges were dropped after Lanza completed the state's alcohol education program, and an arbitrator ordered the city more than a year ago to reinstate Lanza with Hartford police.
The city appealed the arbitrator's decision, which Bronin at the time called "stunning and wrong."
[Related] Theater review: Despite no-frills set, fiesty, fiery 'What the Constitution Means to Me' ideal for The Bushnell »
"Nobody who used this kind of racist language can serve effectively as a police officer in the Hartford community," the mayor said in 2018.
Final hearings have been held and legal briefs submitted in that case, Lombardi said. A decision could come any day.
Arbitration has not begun for Barone's grievance due to court delays, she said.
In August 2018, when he was caught on camera threatening deadly force, Barone was the ranking officer of a new unit Community Response Unit focused on quality of life concerns in "hot spot" areas. He was also facing possible discipline for a July 2018 police chase in which he drove the wrong way on I-91 and failed to follow other department rules.
While the disciplinary proceeding took months, then-Police Chief David Rosado moved within a few weeks to demote Barone to officer, returning him to the rank he held before being promoted in September 2017.
[Related] Hartford's Parkville Market launches $6 million expansion, with plans for a rooftop deck, event spaces and a new home for Hog River Brewing »
Barone received that promotion just five months after he was suspended for turning off his dashboard camera during a 2016 car chase that ended violently. Barone was one of five officers disciplined in the use-of-force incident.
Another officer, then-Sgt. Sean Spell, retired before he was ultimately convicted of assault for kicking a man long after he'd been taken to the ground and handcuffed.
The city of Hartford is still defending itself in a legal battle over that case as well as a separate lawsuit filed against Barone and the city in December 2018 over an arrest Barone made while patrolling a "hot spot" for drug and gang activity.
That complaint, which is pending in federal court, states that Barone struck a man several times while he was handcuffed on the ground.
Rebecca Harris, the attorney representing Barone in those lawsuits, said she is not his attorney in the termination grievance.
The Hartford Police Union did not respond to a request for comment Wednesday.
Rebecca Lurye can be reached at rlurye@courant.com.


Austrian marine crane specialist Palfinger Marine has officially submitted an offer to acquire the Norwegian cranes and offshore access systems provider TTS Group.
TTS Group said on Monday that Oslo Børs, in the capacity of the takeover supervisory authority, has approved an offer for acquisition of shares in TTS Group made by Palfinger Marine.
The company said that the offer stands at NOK 5.60 ($0.66) per share and the offer period will last until August 12 at 16:30 CET. The offer for the acquisition of shares is subject to extension.
As announced on June 19, the board of TTS has unanimously recommended that shareholders accept the offer. In total, and on a fully diluted basis, shareholders, and bondholders representing 66.3 percent of the shares in TTS support the offer by having pre-accepted the offer subject to customary conditions.
To remind, Palfinger announced last month its intention of acquiring the company for a share price identical to the official offer approved on Monday.
Subject to the positive outcome of the due diligence audit and the official approvals, the intended acquisition is expected to be finalized in the fourth quarter this year, but latest in January 2017. The offer price values the total share capital of TTS Group ASA on a fully diluted basis at approximately NOK 600 million ($71 million).
Herbert Ortner, CEO of Palfinger, said that the eventual acquisition of TTS with the already completed acquisition of Harding would place Palfinger Marine amongst the global top three ship equipment suppliers.
Posted on July 18, 2016 with tags Palfinger Marine, TTS Group.


This is something I found myself speaking a lot about last week in person and online. I am, like many others, an amateur rider. Horses are not in my family background and much as they are what I live for, I had neither the talent, the support or the funds to be a professional at this sport. Thankfully I am good enough at other things to manage to be gainfully employed doing them which in turn allows me to enjoy horses which are my true passion in life.
As an amateur rider, my performance does not dictate if my mortgage gets paid and it does not dictate if I keep or lose the ride on a horse. It does not pay my bills (the opposite actually) nor does it determine my career success. From this perspective, it is easier to be an amateur rider. There is less pressure to perform. The horses are a hobby, a pleasure, an enjoyment. This isn't my job, I don't have to be good at it.
However, the flipside is one often not fully realised. As an amateur you do not work at your passion in life, instead you work long and hard at something you may not even enjoy just to afford your passion in life. As an amateur, horses don't come first – neither does any aspect of it. Horses are squeezed in in the evenings, the early mornings, the weekends and the lunch breaks. Horses come after the day job, the commute, the family commitments and the jobs that have to be done at home and around the house. Having a job outside of horses often on paper leaves you financially well off enough to enjoy them and to afford lessons / clinics / saddlery but it can leave you very time poor and under pressure, making it hard to enjoy those perks. It's the work – life – horse balance.
It's easy to say oh just enjoy it and take part but actually there is nothing wrong with being competitive and nothing wrong with wanting to be the best you can be at something that you love. I really hate hearing amateurs being criticised for being competitive – why shouldn't they? There is nothing wrong in having drive and passion and goals. Sometimes being competitive is mistakenly seen as not enjoying something – quite the opposite – many of us would not enjoy the sport without an element of competition.
What I have learned as an amateur rider is to stop trying to act like a professional in terms of performance. I have learned to stop criticising myself for not getting enough done with a horse a particular week, for making a mistake in training or in the ring, for not having time after a long day to ride, for not performing to each time to maximum potential, for not being as good or as consistent as a professional.
There is one aspect of professional riding that I am now going to make myself take on board though – it is not performance, its planning. When going to shows I have learned that I need to proactively plan time in advance to allow myself to prioritise what I am doing and to enjoy my time with my horse – to enjoy the preparation and to feel relaxed and confident. I went to a national competition last weekend under way too much pressure. I committed to too many things the day before we travelled – trying to keep the day job, the family business and clients happy and I forgot about myself. The night before I ended up soaking from riding in the rain and freezing cold and tired at the thoughts of how much had to be done. I ended up working late and leaving late on the day of travel only to arrive at the show too late to ride, tired and feeling ill prepared. This was a show I had worked for months to qualify for, this was a show that I spent a lot money on lessons and equipment for only to ride undress pressure I put myself under. I didn't prioritise myself so why would anyone else?
In summary, as an amateur rider, I think we need to stop trying to be professionals and instead try to learn from them. We need to allow ourselves to enjoy being with and competing on our horses. We need to remember that if we can balance the day job and the rest and still find time to ride, we are doing well. We need sometimes to block out time free of other people's wants and needs and free of work just for us to achieve the things we work so hard for. We don't have to be amazing at this, it's not our job.
Posted on April 9, 2019, in Dressage, General, Uncategorized and tagged #horselife, blogger, equestrian, irish blogger, irish equestrian, irish equestrian blogger. Bookmark the permalink.	Leave a comment.


According to the November 19 th Crop Progress Report, Iowa corn harvest is 91% complete and soybean harvest is 97% complete. At the Crop Reporting District (CRD) level, Iowa corn harvest progress ranges from 78% complete in the Southwest CRD to 96% complete in the Northwest and North Central CRDs. Southwest Iowa is also only 90% complete with soybean harvest while several crop reporting districts across the state are 99% complete.
Iowa has completed 91% of their corn harvest, while neighboring states such as Illinois and Missouri are 100% and 95% complete, respectively. However, North and South Dakota have only harvested 71% and 82% of their corn crop.
Iowa and most of their neighboring states have harvested 90% or more of their soybean crop, however, Missouri and Kansas are only 77% an 81% done, respectively.


GD Library 2.2 or higher.
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After uploading all the files, go to youdomain.com/text2png/install.php and follow the on screen instructions. Once you complete this step, you are ready to use the script.
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Before installation, make sure the "config.php" is writable, you can remove the writing permissions after the installation is over.
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Login (if needed) and follow the on screen instruction on how to add a new font.
By default, the script only recognize fonts in the database. If the font is not found, Arial will be used.


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Episode 268: Metamorphosis with Steven L. Blue
On this episode I speak with Steven L. Blue. Steven is the best-selling author of five critically acclaimed books that target executives, leaders, entrepreneurs, and anyone seeking to learn the secrets of success in the corporate world.Steven's latest book, Metamorphosis: From Rust-Belt to High-Tech in a 21st Century World, is a detailed blueprint for CEOs and senior leaders to transform their businesses from failing rust-belt companies with small margins into high-tech leaders with superior profits.
I spoke with Steven about the shift from rust-belt to high-tech products, the patience involved when making a change, and the process of metamorphosis as a whole. There's a lot to unpack in this episode and plenty of lessons that Steven offers that you should heed when undergoing organizational – or even individual – metamorphosis.
What metamorphosis means to Steven – and what Steven wanted to title the book in the first place
Steven discusses the idea of "innovational potential"
The surprising model that Steven believes you should follow when going through a metamorphosis
We talk about disruptive thinking and how important it is to adopt it
Would Steven hire a Chief Innovation Officer?
This is what Steven had his staff trained in years ago that has helped the company out in incredible ways
The impact Steven feels change has on productivity – and how he suggests a company combat any fears that arise from an initial loss in productivity when instituting change
We talk about the many forms that innovation can show up in your business and where he has it show up in Steven's company
When and how does scale play a role in the metamorphosis of a company?
This is one of the toughest aspects of making change… no matter the size of your business
How much time does Steven spend in the planning phase?
Outsourcing is key – but there's an important piece when you're outsourcing to external contractors that Steven believes is a must
This is the biggest piece of advice that Steven says will help you get a decent start when you decide to undergo a metamorphosis
"Innovation should be everybody's job."
– Steven L. Blue
Metamorphosis by Steven L. Blue
Steven's Website
Steven on Twitter
The Productivityist Podcast Pick of the Week: Get Yourself Optimized
Even though you may not be running a manufacturing company like Steven does, there are still great takeaways regarding change that you can use in your own business – and life. Change is never easy but if you stand still then others will pass you by along the way… and you'll spend time playing catch-up instead of investing it in what you need and want to be investing it in. If your intention is to make change that matters, then you need to plan for it so that you can be as ready as possible for whatever that new route will throw your way.
Enjoy the show? Want to keep up with the podcast? You can subscribe to the podcast feed by clicking the "Share" button in the player above – and you can share it further using the same button as well. You can take things even one step further by rating and reviewing the show wherever you listen to podcasts. (FYI: I use Overcast on iOS.)


So. I have been trying to pinpoint just why this new type of blogging I'm doing is making me feel so happy, and alive, and I think it has to do with time. With feeling in the moment, and blogging in the moment. For me, there is really something truly exhilarating about experiencing something, a small story, and then being able to steal a few minutes to write about it.
I just picked up Big Girl from school. And on the way home, we popped into the Starbucks on my corner for my afternoon fix. And the moment I walked through the door, Natalie Merchant sang something to me, to us: These are the days to remember... And oh how I smiled. And my girl pointed at the snowman cookie in the little glass case and I ordered my enormous sugar-free mint cappuccino and the barista whom I love was wearing this hilarious and amazing Santa hat with elf ears pointing through... And she told me that Big Girl has my eyes.
And as I was stirring my Splenda in, my girl waiting patiently by my side in her peacock blue coat, it hit me: This is it. These tiny moments. And we skipped home and I snapped a few of my girl, my biggest girl, my buddy. And I sipped my coffee, waking up, and up, and up.


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Bigness counts when it comes to construction backlogs
Large companies that can attract talent are better able to commit to more work, according to a national trade group for builders and contractors.
Contractors |
John Caulfield, Senior Editor
The chart above shows year-over-year (Q1 2016 v. Q1 2015) changes in regional construction backlogs. Most contractors are satisfied with the amount of work they have currently. But bigger firms with more robust workforces can expand their backlogs. Image: Associated Builders and Contractors
In markets where labor continues to be in short supply, contractors that can attract and retain workers are capable of accepting projects that other manpower-deficient competitors might be turning away.
Labor availability is an important distinction in a construction market that "has stabilized at a comfortable level." The backlog for the nation's largest contractors stands at a record 12 months, according to the latest estimates from Associated Builders and Contractors (ABC), a national trade association representing 70 chapters with nearly 21,000 members.
The group's Construction Backlog Indicator, which has measured the national backlog average for every quarter since Q2 2009, stood at 8.6 months, compared to 8.7 months in Q4 2015 and 8.5 months for Q1 2015.
Where contractor backlogs in the Midwest increased by double digit percentages in the latest quarter measured, they fell in the Northeast, South, and West compared to the previous quarter.
ABC's latest Construction Backlog Index shows that contractors in the Midwest saw the biggest change in their backlogs during the first quarter of this year, as did companies whose revenues range from $50 million to $100 million. Image: Associated Builders and Contractors.
However, contractors in the South have reported average backlogs in excess of 10 months for three consecutive quarters, which is unprecedented in the history of ABC's series. And while the Northeast isn't expanding, the region "continues to experience a considerable volume of activity related to commercial development," including ecommerce fulfillment centers, said ABC.
Backlogs for Commercial/Institutional (which have exceeded eight months for 3½ years), and heavy industrial were up in the most recent quarter tracked, where infrastructure backlogs, while outpacing other sectors at 11.2 months, were down slightly. "The passage of the FAST Act and growing focus among many state and local government policymakers should allow backlog in the infrastructure category to remain elevated," ABC stated.
Companies with more than $100 million in revenue reported an average 12.25 months of backlog, representing a 3.8% gain over the previous quarter, which itself had set the previous record.
Apparently, the largest firms have recently been taking market share primarily from companies in the $30 million to $100 million range, which reported backlog declines. Companies under $30 million in revenue, on the other hand, enjoyed a modest backlog increase, and have collectively reported backlogs in excess of seven months for 11 consecutive quarters.
"Most contractors continue to express satisfaction regarding the amount of work they have under contract. This is of course truer in certain parts of the nation than others," said Anirban Basu, ABC's Chief Economist.
Indeed, backlogs in the West slipped in the latest quarter, even as technology generates "profound levels of activity" in markets like San Jose, Seattle, and San Diego.
ABC's data track a steady increase in national average backlogs dating back to the second quarter of 2009. Image: Associated Builders and Contractors.
June 26, 2019 | Contractors | Katerra
Katerra launches apprenticeship program to help develop the future of construction
The program offers nationally recognized, portable construction trade credentials.
Turner workers position top beam for a new building on the campus of Middle Tennessee State University. Image: Turner Construction
June 15, 2019 | Contractors | John Caulfield, Senior Editor
Turner tops off new classroom space at Middle Tennessee State University
The building includes a "command center" for training students to interact with emergency personnel.
A team from the Savannah College of Arts & Design in Georgia came up with myriad abstract conceptions—including a few informed by its equestrian department—to develop a new hard hat design that Clayco is now in the process of producing. Image: Clayco
May 24, 2019 | Contractors | John Caulfield, Senior Editor
Two versions of a hard hat for the future are ready for production
Clayco worked with a Georgia college to design a helmet with greater comfort and adaptability.
The Kinesiology and Athletic Complex at Orange Coast College is one of many projects that C.W. Driver has started or completed in California, its home state. Image: courtesy of C.W. Driver
SoCal's oldest GC bounds into second century
C.W. Driver succeeds by sticking to core markets and practices.
April 15, 2019 | Contractors | David Barista, Editorial Director
Do you have a fear of getting 'Uber'd'? Join the club
Exacerbating the AEC talent shortage is the coming mass exodus of baby boomers as they reach retirement age...
Photo: Suffolk
April 15, 2019 | Contractors | David Malone, Associate Editor
Suffolk launches Smart Lab in Los Angeles
The lab will identify, test, and scale new technologies to help advance the construction industry.
April 08, 2019 | Contractors | Peter Fabris, Contributing Editor
Employers at risk when using construction equipment not sized for women
As more women enter male-dominated fields, gear supply has not kept up with demand.
October 26, 2018 | Contractors | Amex
Three ways construction leaders harness digital transformation
The construction industry is lagging behind others when it comes to digital transformation. Some constructi...
How three contractors expanded thin profit margins
If there's one issue that every contractor is familiar with, it's the challenge of finishing the job on tim...
How seasoned construction pros handle the cost of scaling up
Here's how seasoned operators meet the new demand for homes, offices and new locations without drowning in...
Contractors,Market Data