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"Don't Turn Your Back" is a song written by bass guitarist Göran Lagerberg and guitarist Anders Töpel, first recorded by their band Tages in 1965. Produced by the Violents Rune Wallebom, the song would be featured as the lead track from their debut EP Tages released three weeks later

The song was the third and final single by the group to employ a similar sound; heavily involving acoustic guitars combined with positive lyrics. Released as a single on 14 May, it was a commercial success, reaching number two on both Kvällstoppen and Tio i Topp during the summer of 1965.

Background and recording
Throughout early 1965, Tages established themselves as successful recording artists; they had recorded two singles, "Sleep Little Girl" (1964) and "I Should Be Glad" (1965). Both of these singles were extremely commercially successful, reaching the top three on both Kvällstoppen and Tio i Topp. The former became the group's best selling single while the latter was well received in the Swedish press, unlike "Sleep Little Girl" which was flat out panned. However, "I Should Be Glad" was also slightly criticized for being "too poppy". Similarly, the group now had to face the challenges of being national stars, being chased around by girls around Gothenburg, which took its toll on the band members, who still had to keep up with school while recording.

A similar issue also faced their record label, Platina Records. Platina was at the time an entirely independent record label, whose success was based completely around Tages. Therefore, they had no distribution deal nor a recording studio, which resulted in "Sleep Little Girl" and "I Should Be Glad" being recorded in a youth centre and at the rival Metronome studio respectively. In April 1965 however, Platina signed a contract with EMI Records which lent them their studio on Sandhamnsgatan in Gärdet, Stockholm. Platina promptly booked studio time for the band in May during one of their tours. On 4 May 1965, they entered the studio with former the Violents guitarist Rune Wallebom as the producer, as he had produced "I Should Be Glad" as well. Upon finalizing their recordings on 6 May, the session resulted in four songs, "Don't Turn Your Back", "Forget Him", "Donna" and "Hound Dog".

Release
Platina did not keep "Don't Turn Your Back" in their vaults for that long as a follow up to "I Should Be Glad" had to be released, as it had begun to drop out of the charts at the time. On 14 May 1965, Platina released "Don't Turn Your Back" as a single, backed by "Hound Dog", which was a Leiber–Stoller composition. This was the first time a cover song by the group was released, as both the A-side and B-sides of their two previous singles were original compositions. It was initially released in sleeves with both pink and orange text. Due to the success the single would get, it was eventually re-pressed in November 1965, and featured an alternate picture sleeve that featured a different photo of the band altogether.

Released in time for their summer tour, it similarly to its predecessors became a huge commercial success on both Sweden's record charts Kvällstoppen and Tio i Topp. It entered Kvällstoppen on 6 June at a position of 14, before reaching number two on 20 July, a position it held for one week. It was last seen on the chart on 14 September at a position of 16. It spent 16 weeks on the chart, seven of which were in the top-ten and three in the top-five. On Tio i Topp it was also successful, being voted in at number 11 on 29 May. It also peaked at number two on 12 June, a position it also would hold for a week. It was kept from the number one spot by "Here Comes the Night"  by Them. It was last seen on 24 July of that year at a position of 12. In total, "Don't Turn Your Back" spent nine weeks on the chart.

"Don't Turn Your Back" nor its B-side were included on any studio albums the group released during the 1960s. It was however featured as the lead track from their eponymous debut EP, released three weeks after the single on 4 June 1965, and following the group's contract with Platina expiring in 1967, also included on Hits Volym 1 in August 1967. That same month, a compilation album named The Best Of Tages was released, which included "Don't Turn Your Back" as the third track. The track's first release on compact disc was on a CD-reissue of a compilation album named Tages, 1964–1968!, released on 18 November 1992, where the song was the third track. Both sides of the single would be released on the This One's For You Box Set, released on 28 November 1964 together with all the group's other recordings.

Charts

References

Sources

1965 singles
1965 songs
English-language Swedish songs
Tages (band) songs
Platina Records singles

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Vietnamese data centre attack compromises news sites, insiders suspected
The data centre for VCCorp (Vietnam Communications Corporation), a major Vietnamese internet company, was the subject of a targeted attack that seemed designed to compromise news sites hosted at the site, according to the company's deputy general director.
Nguyen The Tan said: "We thought there was just an error at the Data Center, but with the help of relevant agencies, we were able to confirm on Sunday that a group of hackers are behind this targeted attack."
The company conducted a joint investigation with the police, concluding that the outage was most likely caused by sabotage, and it is reported, though unverified, that one or more of VCCorp's own employees may have been responsible.
The attack removed a large number of VCCorp client sites and services, and managing director of news website SecurityDaily Tran Quang Chien estimates that some of the outlets were unavailable for two days.
The effects of the attack began on October 13th, when a number of online news concerns powered by VCCorp went offline. These included cafeF.vn, genk.vn, kenh14.vn and soha.vn.
Chien is quoted as saying: "The hackers went much further this time by deliberately deleting all of VCCorp's data in a way that would make it hard for the system administrators to retrieve the [data] loss.", and described the incursion as "unlike normal hacking attacks". He also described the event as "the largest cyberattack, with the most severe damage, ever in Vietnam."
It is reported that the outages have caused significant financial damage to the clients of VCCorp, and to the company and its partners. Nguyen The Tan said: "We incurred losses from VND700 million to VND1.5 billion (£20,000- £43,000) on a daily basis."
Tan also apologised to customers who had suffered from the attack, and assured that new security systems have been implemented for the news websites.
Tan said that there was no data loss, as all data had been backed up.
Asia data centre hacking news security Vietnam

redpajama_set_name: RedPajamaCommonCrawl


Should I continue to click like on a person's photo when they never click like on mine?
Has TRAIN of THOUGHT ever GONE OFF the TRACKS?................. Would someone who insisted on budget tickets to an ice rink be considered a cheap skate? Would you vote for Kellyanne Conway if she ran for an elected office? Can you be crazy over fruit cake? Is pushing your peas into your mash potatoes, and eating them together a good superpower?


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You might wonder how we install your replacement windows. Wonder no more, because we've written this post to set your expectations about what's going to happen during the installation process. Kroll Construction, the leading window replacement company in the area, explains more below.
This is the first step of your replacement project. Kroll Construction has various windows in many shapes and sizes or you can even choose to get customized windows. Our window consultants will drop by your home to get your windows' exact dimensions and make sure your customized ones are a great fit.
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Remove anything that would hinder the replacement, such as objects that could be damaged, appliances or sensitive furniture. Put away your curtains or drapes. Move wall shelves and bookcases as well for preparation.
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After installation, the crew will secure the windows and test for any factory defects or installation deficiencies. They make sure that the windows do not have hidden gaps or openings and then teach you proper window maintenance. The job is only finished once you are satisfied, after which we would clean up and leave you to your new windows.
Kroll Construction is the leading company behind successful window replacement throughout Michigan. Call us now at (844) 688-9632 to request a quote today. We have been one of the area's leading window companies since 1961.


text:
package org.hibernate.event.internal;

import org.hibernate.engine.spi.CascadingAction;

/**
 * When persist is used as the cascade action, persistOnFlush should be used
 * @author Emmanuel Bernard
 */
public class DefaultPersistOnFlushEventListener extends DefaultPersistEventListener {
	protected CascadingAction getCascadeAction() {
		return CascadingAction.PERSIST_ON_FLUSH;
	}
}

redpajama_set_name: RedPajamaGithub


So I had just received my concealed weapons permit for Florida which ended up taking well over 6 months, when I decided to move back to washington. My florida permit has reciprocity in washington and like 25 other states or so, do I need a washington permit as I am now a washington resident? I'd rather not pay for another permit if it isn't necessary..My florida permit does not state resident or non resident on the permit it just shows I have a florida permit. This is a good one to have as well, I believe it has almost as much reciprocity as the utah permit. So I should be good right? I live in washington and have a valid florida permit and always carry..
As a resident of WA, you must get a WA concealed pistol license. They recognize other's permits for visitors, but not for residents. You could probably get by as long as you have a FL license, but not once you have ID from here.
But shouldn't he keep his Florida CPL valid too, if at all possible, just for the reciprocity?
I would think the law would state that as a permanent WA resident and holder of a WA ccw, you would forfeit the Florida permit..
That depends on Florida. WA issues the same permit to residents and non-residents, so if you were to move out of WA, you wouldn't forfeit your WA permit. If FL works the same, I would believe it would just become a non-resident, and in that case would be worth keeping for the states WA doesn't have reciprocity agreements with.
Your right BB, My Alabama ccw was no longer valid once I obtained my Washington DL. You will have to get a Washington one once you establish residencey( This is what was explained at the SO when I went in to get a Washington one), I've never heard of a ccw taking that long to be issued. Did it get lost in the mail or something?
Last edited by gravey86; 07-17-2011 at 01:42 PM.
After reading through FL's laws on their CCW (790.06 License to carry concealed weapon or firearm.), it does not even mention residency other than being a US citizen or legal resident. It sounds like it is the same permit issued to everyone regardless of state residency. Thus your FL permit will still be valid as a non-resident, it will just knock off a few states that do not respect non-resident permits.
Either way, once you establish residency here, you need to get a WA CPL.
I guess I need to study the washington law, it doesn't make sense to forfeit my FL permit for my WA permit and have one that has reciprocity with less states. And why would you have to forfeit your Alabama permit to get your WA permit? Alot of WA permit holders take classes for the Utah permit and have reciprocity in more states, don't they have an additional permit to their WA permit? They don't forfeit their WA permit when they get a non resident permit. Am I missing something here? Does Washington not have reciprocity with Alabama and that's why you had to forfeit your Alabama permit? Or does any one who establishes residency have to forfeit whatever permits they have? What if I decide to move back to Florida in 6 months? Do I now have to forfeit my WA permit and re-apply for my Florida permit? So what's the point in reciprocity if you have to get a permit for that state each time you change residency? What if I decide to move to another state that has reciprocity with WA. Again would I have to do the same process all over again? Does a CPL have reciprocity only for when you are traveling to another state but not if you decide to live there? Sorry for all the crazy questions but my Brother lives in Missouri and has a VA permit that is still good for 5 years, wouldn't he be able to keep that as long as it was still valid and then when it expired have to apply for a Missouri permit?
Sorry for all the crazy questions, you stated off the bat that Washington accepts non resident permits but a permanent resident needs a Washington cpl makes sense so far, its just the part about forfeiting your current license that doesn't make sense. There are many Washington residents that have multiple permits so they can carry in more states than if they had only the Washington permit alone. That's why I don't see why I should have to void my Florida permit in order to get a Washington permit is all.
You DO NOT have to void your FL permit. I'm sure gravey didn't actually void his either. The reason his was no long valid is because AL only issues resident CPL's. Thus when he gave up residency, his CPL was no longer valid. Your FL CCW will still be valid when your a WA resident, it will just be considered a nonresident CCW. FL issues permits to both residents and nonresidents with no difference in permits (as far as I could find), so they only way to tell is by what drivers license you use with it. However if you are a WA resident, then you must have a WA CPL to conceal a pistol. I hope that makes sense to you. You might need to update FL with your new address though if you want to get your renewal notice.
Am I missing where anyone said you would have to surrender your FL CPL?
From what I am reading you should be able to keep & renew your FL CPL, but you will also need a WA CPL being as you are now a WA resident.
To try to make things a little simplier, some states require residents to have that states CPL to conceal (WA being one of them). That is why you need to get a WA CPL.
Now you have states that issue to residents and/or nonresidents. With a state that only issues to residents, you lose your CPL when you become a nonresident. FL is a shall issue state for both residents and nonresidents so your CPL should still be valid until it expires.
Now a few states only have reciprocity agreements with resident CPLs only. Since you are a WA resident, your FL CPL will no longer cover you in those states. Off the top of my head CO is a state that does that.
usacarry.com is a great site that shows who honors what and gives some of the laws of each state.
Also Handgunlaw.us. This site is updated regularly.
So I ran into a couple gentle men out here promoting open carry and gave me a pamphlet with some of washington's laws regarding carrying. For a temporary solution I think I will be ok with an unloaded pistol in my console and can even have loaded magazines so long as they are not in the gun and won't bed a permit to do that. I still will apply for a cpl but in the meantime...My wife and commute to work together after dropping our daughter off at daycare. I saw a 12 year old boy get run down and shot to death my first month back here and don't plan on leaving the house with my wife and daughter unarmed.
A misdeameanor possession offense should not stop you from getting a CPL at all here either. Also if your interested in open carry, opencarry.org is a great resource. I often open carry myself, but I do have a CPL to avoid unloading everytime I get into a car.
Last edited by JayD1981; 07-18-2011 at 06:50 PM.
Thanks for all the help, the pamphlet they gave me had a photo copy of a couple things from open carry and the web address. So I am ok carrying unloaded in my console righteven with loaded mags there as well. I was thinking about carrying that little pamphlet from open carry with me in case I was questioned about it. That is just a temporary fix but works for now, I can't carry during the day anyways, I would get canned for bringing one with me and my wife works in a hospital which is a definite no go so the pistol stays locked in the truck out if sight unloaded while we are at work. I'll still apply for my Washington cpl though. Thanks again.
Sorry about that, When I went in to the Sherrif's office in 2001 when I moved here I wanted to see what steps I needed to take to be able to still carry and be legal in the state ( plans where to only be in the state for about a year). At that time the Sherrif told me that Alabama was not reconized by Washington and that if I had planned on becoming a permit resident then I would have to get a new permit for the state. Things might have changed since then, now I did talk to someone a few weeks ago about the utha permit and they sadi there are a few states that don't reconize them. Is there any truth to that? Again, Sorry newbie.
Just checked and the state still does not reconize Alabama. Reciprocity not available due to more stringent Washington laws.
Last edited by gravey86; 07-18-2011 at 08:16 PM.
Yeah I didn't pay attention to the non reciprocity with Alabama part. But still they didn't physically take your old Alabama permit did they? Or I guess if there is no reciprocity with the state of Washington and moving out of your residence in Alabama and taking up residence in Washington would make your Alabama permit void as Alabama doesn't issue non residenpermits that would kind of make sense to take your Alabama permit the same way you turn over your drivers license when you got your drivers license for a new state..


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Activities and games for kids
Fun Ways to Assign Roles Before You Start Playing
Want to discover some fun ways to assign roles before you start playing? Read today's article and take note!
Written and verified by the psychologist Ana Couñago.
Last update: 27 December, 2022
Here are some fun ways to assign roles in children's games, sports or activities. In many cases, before starting to play certain games, you have to decide who's going to play a particular position or how the groups are going to be formed.
For example, in hide and seek, you have to choose who's "it" or the person in charge of looking for everyone else; and to play a basketball game you have to create two teams. To make these decisions as fair as possible, it's best to choose at random.
Fun formulas for raffling before starting to play
Drawing straws is a classic technique when it comes to assigning roles. In this case, you'll need to have as many straws as players want to participate in the game.
The straws can vary in length, but one of them must be shorter than all the rest. Also, you must be able to hide one end of the straws within a closed fist in such a way that all of them appear to be equal in size. You may have to do some cutting.
Next, one of the participants must be in charge of hiding the set of straws in his or her hand. Then, the rest must take turns picking up one of the straws. In this sense, the last straw belongs to whoever was holding them (if that individual is going to play). And, whoever picked the shortest straw will play whichever role was being assigned.
As an alternative, if you don't have straws, you can also use chopsticks, matches, sticks, or any other small object.
Hand tower
The players stand next to one another and form a circle. After that, one of the participants puts one of their hands in the center and the rest, one by one, put their hands on top of one another to create a tower of hands.
Then everyone says out loud, "1, 2, 3… hand tower!" While counting to three, the players who have their hand on the bottom must place it on top of the tower. And, when the group shouts "tower undone," they must remove their hands at the same time and put them in the air.
Each player decides whether to raise their hand with the palm facing in or out of the circle. So, whoever is left with the hand facing the opposite way as the rest of the groups is the person who takes on a specific role in the game. If all participants have their palms facing the same way, they repeat the activity.
Minority feet
Another way to assign roles is for the players to stand in a circle and put one foot in the center. The tips of all of the players' feet should be touching.
Once the players are in position, they must say aloud: "1, 2, 3…minority!" After this, each participant decides whether to remove their foot from the circle or leave it where it is.
Then, the players count to see if there are more players with their foot in the circle or out. Thus, the minority participants repeat this process until only one is left. In the case of a tie, they play the game again.
Gold and silver, an ideal way to assign roles before playing a game
This activity is especially useful when it comes to dividing players into teams. Two of the players, those who will act as team captains, have to position themselves face to face. While doing so, they must maintain a distance of a few yards.
Then, one of them must start by putting one foot in front of the other and saying "gold." At the same time, the other captain performs the same action while saying "silver."
They repeat this process until they're close to one another. At that point, one of them must say "mine" and try to step on the other's foot. Whoever succeeds must then say "fit" and put their foot, sideways, between their own foot and their partner's. Whoever manages to do both of these things will be able to go first while choosing team members.
As you can see, the different ways to assign roles before starting to play a game can be a lot of fun. What's more, they create a very pleasant atmosphere that's conducive to playing sports and games. So, what are you waiting for? Teach your children to try them out next time they're with their friends!
8 Games to Help Your Children Develop Gross Motor Skills
The good news is that there are plenty of games to play with your children to help them develop gross motor skills. Find out more here.
Allué, J. M. (1998). El gran libro de los juegos. Barcelona: Parramón Ediciones.
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FLUSHING, Queens (WABC) -- A 78-year-old woman died in a fire in Queens Friday night.
Around 9:30 p.m., firefighters were on the scene of a blaze at a two-story private home on 180th Street in Flushing.
An 84-year-old man, and a 78-year-old woman, identified as resident Linda Landau, were taken from the home to Queens General Hospital.
The man is stable, but Landau was pronounced dead.
The fire was under control at 10:25 p.m. Twelve units and 60 firefighters responded.


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Q: How can I know if the user has made a screenshot? I'm writing a small c# program, I don't want the final user to take screenshots while using my program, is it possible? Or even if he takes one, how can I know it?
Thanks in advance and sorry if this is a poor-content question due to my lack of experience in c# coding.

A: You can create a system-wide keyboard hook using the low-level keyboard filter and cancel any printscreen keyboard combination. But if someone has also installed a helper application (like Gadwin or something) it'll become a lot more difficult because you won't know beforehand what keyboard shortcut you should catch (most tools allow to specify your own hooks).

*

*Here's an article on using hooks in C#

*and here's a ready-made keyboard hook library for .net that uses global mouse and keyboard hooks (use Google to find more freeware and commercial libraries and tools).

On a side note: it's generally not preferred to change the system behavior. Screenshots are system behavior and serve a distinguished purpose for trouble shooting. If you prevent this, users will not be able to show you a screenshot of something wrong. But if you must do it, you can do it.

EDIT: on a deeper level, you can install an API hook. All screenshot applications use API calls to get the content of a (part of) the screen. But API hooks are hard to get right. A more trivial way is probably by writing a user-level driver. While you can prevent all this, it is really worth all the trouble?

A: You might want a keyboard hook. But it'll tell you if the user pressed the "print screen" key, not if someone programmatically take a screenshot using some GDI function.
I doubt it's possible to prevent all the ways of taking a screenshot.

A: General answer: No. It's not possible to detect this - especially from C#. There are dozens of ways to take screenshot and even applications written in C++/WinAPI can only detect some of them, but not all.
Also consider - what if user is running your app in virtual machine? He'll be able to take screenshots at host machine and you can do absolutely nothing to detect (not even prevent) this.

redpajama_set_name: RedPajamaStackExchange


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Rema And Fireboy Are Not My Competitors – Joeboy Talks About His Relationship With Fellow Artiste
Posted by E.L.E.X on March 07 2020 under Celebrities
On another thrilling episode of MTV Base Behind The Story, one of the most talked-about names bubbling out of the Nigerian music scene, Joeboy, sat with host, Sammy Walsh.
Born Akinfenwa-Donus Joseph, the singer talked about his childhood, family, music, relationships and his plans for the future.
During the episode, Joeboy revisited places that were pivotal to his rise to the top and talked about the moments that made him. From a very religious family, Joeboy, revealed that his parents were very accommodating when he told them he wanted to do music full time.
The 'Baby' hit-maker was encouraged to make this decision because of the high rate of unemployment in the country.
Many surprising facts about Joeboy were unravelled in this edition of 'Behind The Story', and the singer opened up on how his elder brother's relationship with 9ice and ID Cabasa sparked his interest in music.
He also revealed that he met Mr Eazi in 2017, through a friend in Europe who sent his song to Eazi via Instagram and how his life has changed since then.
In the episode, Joeboy, who is 22 years old, disclosed that he has been making music since he was 17, but officially went mainstream in 2017.
The singer also gave fans more than a glimpse of his life before his rise to fame and how his life has changed since 2017.
Speaking of relationships, Joeboy revealed that he is a private person, and he is currently in a relationship with many people. On his relationship with other industry new stars, the singer identified Rema, Fireboy and Oxlade as "motivations" rather than competition.
The artist shared some exclusive stories about his Unilag days, the constant pressure on him always to release dope music and the challenges faced by a young artist growing up in the industry.
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Another Bold Move by OPPO Nigeria? OPPOxTacha
Fans Reacts As Khloe Begs Toke For Cloth Days After Warning People To Stay Off Begging In 2020


text:
Word Of Life Music
A record label in Ballyjamesduff Co Cavan, Ireland
Our songs are born out of encounter with a loving God who is always speaking to us as we walk out the incredible adventure of life.
Listen To Our Music Here!
Hear the Sound
About the album
Hear the Sound is the long awaited debut album from Word of Life Music. The album has seen the team walk through a journey of learning to hear the voice of God and see His face through impossible circumstances.
The songs are a testimony of God's faithfulness through every season of life and they will inspire you to fix your eyes on an unmovable and unshakeable God who never leaves us.
Wild and Free is the new single from Word of Life Music (feat. Ali Giusti). This song is a story which marks the journey from fear to freedom, as we are called out, through the storms, to walk where we have never been before.
To watch the lyric video click HERE
Buy this Single on Itunes HERE
Word of life music is a collective of musicians, songwriters and worshippers whose passion is to lead people into encounter with the Living God. Our mission is to glorify God and be a voice of hope to the nations
Word of Life Music is based in Ballyjamesduff, Co. Cavan, Ireland. We are passionate about our local church and about raising up leaders who will go out and declare the mission of the King of kings to the nations, using music as their language.
Sneak peak of the new album cover
The CDs arrived today
© Copyrights 2019 Word of Life Music | Design and Developed by Visual Design, Ireland


Chris West and Deni Hlavinka were having a drink in a Boston bar when another couple caught their attention.
From their nervous awkwardness, the musicians deduced they were on their first date.
Now engaged, it took them back to the breathlessness of their early days. Before they knew it they'd written a single, Spark, Set Fire.
"Some of our first dates were in the same dimly lit bar," said Mr West who, with Ms Hlavinka, forms indie band The Western Den.
"Spark, Set Fire is the internal narrative of a first date as it is happening. It's about the anxiety-ridden, sometimes insecure moments when you're the first one to arrive.
The song premiered on Billboard last month.
"Billboard is a notoriously large and reputable publication in the music industry," the Bermudian said. "We were pretty speechless when we heard they wanted to premiere our single.
The pair wrote their first song together even before they'd met.
"Deni posted a song on a forum at Berklee College of Music," said the 25-year-old, who graduated from the Boston school in 2015. "We were newly accepted, eager students.
A face-to-face meeting didn't happen for a couple months.
Sparks flew and they found they shared a similar taste in music.
They started The Western Den, a play on their names, in 2013.
Their music has been categorised as folk, but that wasn't their intention.
Spark, Set Fire will be one of the songs in the band's debut album, A Light Left On, when it's released early next year.
"We have been wanting to do a full-length album since we started the band," said Mr West. "We made our first EP back then. We had our heart set on making a full-length album, but it didn't pan out.
They spent 12 hours a day for 18 days in the studio recording.
"That was pretty amazing," he said. "It is really special to lock yourselves for an entire day with friends making music. A Light Left On has been done for almost a year.
As it is easy to put music on the internet and have it get lost, the pair teamed up with a couple of friends with industry experience to help them out.
The couple recently moved to Ms Hlavinka's home town of Winchester, Virginia and are preparing to hit the road.
"It's true that the music scene is hotter in Boston but at this stage, we are not really playing any one city more than once every two months," Mr West said. "We have a pretty hefty tour schedule coming up.
"Our pattern is two to three weeks on the road, going everywhere on the East Coast and in the Midwest.
Mr West remembered one gig in the band's early days when only three people turned up. Two years later they opened for Tall Heights, an electrofolk duo based in Boston, and played for 500 fans.
"That was probably the biggest crowd we've played for," he said. "You really just have to suffer through the bad shows, revel in the good shows and keep doing it.
The couple plan to marry in Virginia on April 13. Mr West said 1980s music would probably play a part.


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Producer Scott Rudin Slapped With $6.3 Million Lawsuit by Broadway Ad Agency
SpotCo says it is owed for work on "To Kill a Mockingbird," "West Side Story" and others
Daniel Goldblatt | August 7, 2020 @ 4:19 PM
Award-winning producer Scott Rudin is being sued by an advertising agency that says it is owed over $6 million for ad work it was never paid for.
In a lawsuit filed this week in New York, SpotCo said they did work for Rudin on his Broadway shows for years with no written contract. The company said that Rudin would routinely fall behind on payment but always made good. SpotCo says that Rudin's "usual practice is to make partial payments on outstanding invoices on the one hand, while requesting additional services on the other. In other words, while the oldest debts were paid off, new debts were incurred, and the result was that the totality of the debt was never paid in full."
That is, until last September, when SpotCo says a dispute arose between the two sides "over the failure to pay outstanding invoices." SpotCo says its request for payment has been "ignored" and Rudin currently owes $6,331,972.04.
Also Read: Scott Rudin Offers $50 Tickets to Broadway's 'Book of Mormon,' 'To Kill a Mockingbird' to Lure Coronavirus-Scared Theatergoers
The work in question, SpotCo says, involves various Broadway productions, including "The Waverly Gallery," "To Kill A Mockingbird," "King Lear," "Hillary and Clinton," "Gary: A Sequel to Titus Andronicus," "West Side Story," "The Lehman Trilogy" and "Who's Afraid of Virginia Woolf?"
"The case has no merit and the defendants intend to contest it vigorously." Jonathan Zavin, attorney for Scott Rudin Productions, said in a statement to TheWrap.
In his career, Scott Rudin has won 17 Tony Awards and an Academy Award for Best Picture for producing "No Country for Old Men."
17 Top-Grossing Broadway Musicals of All Time, From 'Hamilton' to 'The Lion King' (Photos)
A ranked list of the biggest hits on the Great White Way, as of March 8, 2020 (according to The Broadway League)
17. "Rent" (original production)
Opened: April 29, 1996
Closed: Sept. 7, 2008
Gross: $274.2 million
16. "The Producers"
Closed: April 22, 2007
15. "Mary Poppins"
Opened: Nov. 16, 2006
Closed: March 3, 2013
14. "Miss Saigon" (original production)
Closed: Jan. 28, 2001
13. "Kinky Boots"
Opened: April 4, 2013
Closed: April 7, 2019
Gross to date: $319.0 million
12. "Les Misérables" (original production)
Opened: March 12, 1987
Closed: May 18, 2003
11. "Cats" (original production)
Opened: Oct. 7, 1982
Closed: Sept. 10, 2000
10. "Beauty and the Beast"
Closed: July 29, 2007
9. "Aladdin"
Closed: Still running
8. "Jersey Boys"
Opened: Nov. 6, 2005
Closed: January 15, 2017
7. "Mamma Mia!"
Opened: Oct. 18, 2001
6. "Hamilton"
Opened: Aug. 6, 2015
5. "The Book of Mormon"
Photo: Julieta Cervantes
4. "Chicago" (revival)
3. "The Phantom of the Opera"
Opened: Jan. 26, 1988
Gross to date: $1.25 billion
2. "Wicked"
Gross: $1.37 billion
1. "The Lion King"


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In Saturdays herald there is an editorial entitled Editorial: NZ's culture of honesty one to be cherished, it states that corruption is foreign to the NZ government .
Corruption simply is not defined in New Zealand and we have no agencies that specifically deal with it. for 5 years I have been questioning why we gave law enforcement powers to a private body which was not identifiable and transpired to be just one person, the one person who had massive input into the legislation under which his fictional " body " gained massive powers of search seizure and prosecution including retaining fines which had a maximum of $250,000 .
Our current and last Government have been great at concealing corruption by saying" that is simply not happening" and walking away .
What few realise is that by ignoring corruption and condoning it you are allowing it to grow.
Very soon countries like India won't want to trade with us because we are so corrupt.
At least the countries who are perceived at being corrupt acknowledge that they are and have systems in place to deal with corruption. We simply ignore it. And if you don't define it then it's not.
I note that you are now a councillor at Thames District council and find it ironic that you sued me in 2006 to silence me from asking questions of the councillors at Waitakere city council with regards to the operation of your "organisation" which was performing SPCA type duties by using the councils staff facilities and infrastructure.
I had been approached by a dog and stock control officer who was employed by the council who questioned the need for her to have a warrant under the animal welfare act and why the duties for animal welfare were being prioritised over council work ,during her council paid time.
It transpired that The animal welfare institute of New Zealand (AWINZ) was a fabricated organisation created by the man who wrote and advised on the animal welfare act.
In his rush to make the application for approved status, Mr Wells overlooked the fact that he did not have an organisation and made the application in the name of a non-existent trust. There by making the application in a name other than his legal name and this name not representing any one else can only be his alias.
In 2006 after we discovered that Mr Wells a council manager for dog and stock control was running a his fictitious organisation in a situation of gross conflict of interest and parallel to his council responsibilities using the resources and infrastructure of council and there by deriving an income which only he was in control of and received this into a bank account which he operated in the name of his alias.
To prove categorically that AWINZ did not have any known legal foundations, those with an interest in accountability, which included me ,set up a trust and incorporated it on the 27 April 2006 in the name Animal welfare institute of New Zealand.
This made me a Board member of a legally incorporated trust which was Legally registered on the 27th April 2006 and had obtained charitable status with the IRD, being the only legal entity by that name to have that status. There were no other groups recorded as using that name with IRD . As with any credible organisation we can produce the document trail it is found on the purpose of transparency and accountability.
In May 2006 we applied for the trade mark AWINZ which was eventually registered to us unopposed.
In contrast you formed a relationship with Neil Wells and Graeme Coutts JP on 10 May 2006 and called yourselves AWINZ . You have never provided any documentary evidence of this relationship and there has been no evidence that you formed a trust or became a trustee or took on any obligations to the approved organisation other than by inference .
I recently received your explanation as to your involvement with AWINZ which was that you had been asked to become a trustee and became both trustee and Chairperson on 10 May 2006. This date is some three weeks after the entity I was a board member of was legally incorporated.
You went on to state that as a chair person you and the other alleged trustees then instructed lawyers to take action against myself and the board of the legally incorporated AWINZ for passing off and breach of the fair trading act, this is rather odd in view of the date which after 5 years of litigation we have finally been supplied with.
When you sued for passing off one would have presumed that you had prior usage rights, not be part of an informal group which adopted the name weeks after the other party was legally incorporated.
Any ordinary person could tell you that to have prior usage right you have to pre-exist the other entity and logically have proof of your existence. As a barrister I would have thought that that would have been obvious to you too.
The Letter signed By David Neutze as then sent a short time later to the board of the legal entity AWINZ which made legal threats based on false claims.
The letter was followed by a trust deed which did not include your name and Mr Neutze by inference indicated that those persons named on the deed were his clients.He never checked and never questioned that the plaintiffs in the proceedings were not the same group of persons.
Now 5 years later after you dragged me though court and destroyed my family through the stress of it all , I discover that you had no prior usage rights at all and that your claim in the statement of claim is entirely fictitious.
What exactly did you join on the 10th May 2006, was there a proper meeting with minutes were other people there or did the date somehow evolve due to Mr Wells completing a form with the charities commission.
How come you have never been able to provide any documents that prove that you were a trustee, If you didn't sign any papers how did you know you were become a trustee to a trust, how did you get an obligation to the deed.
Mr Coutts told me that the trust, he belonged to which by its own documentation ( 7 (a)) ceased to exist on 1.3.2003, never met so how did you become a trustee of this defunct trust?
How were you appointed given the fact that the trust never met?
If this this trust still existed, how did this trust which was allegedly formed on 1.3.2000 have any obligations to the approved status given that none of the trustees other than Wells had signed any documents for the application for approved status. And that there are no documents any where which bind those trustees to the responsibility of running a law enforcement agency.
How we could have been breaching the fair trading act when you had not traded using the name AWINZ prior to our existence.
How could you sue us without checking the validity of your claim?
In June 2006 I became aware that you were involved through a donation flyer which had been sent out with the dog registration papers in 2006 .Sent to all dog owners in Waitakere city council.
Since you took action against us a legally incorporated charitable trust for passing off and breach of fair trade, do you not think that the logo you and your associates Mr Wells and Mr Coutts JP adopted was not a tad similar with the logo on the Waitakere council dog control building? And could also be seen as passing off and breach of fair trade?
Why was the new logo you adopted so close to the ones on the council building and vehicles?
Why did you use the council phone number for your flyer and why continue to use the postal address of the council manager Mr Wells, do you not think that that was a conflict of interest for him ?
You signed the donation flyer and the following years flyer . Legislation states that "No trustees or society shall be incorporated under a name which is identical with that of any other Board " Mr wells had a letter from the ministry of economic developmentswhich explained this point . Please explain by what legislation or documentary evidence you can supply which gave you the right to call yourself the chairperson of the board of trustees of AWINZ.
Mr Wells up to this time, had been the only person who had any discoverable associations with the approved organisation AWINZ, he had written and advised on the legislation which facilitated the application he made in the name of a non-existent organisation.
Mr Wells was also the manager dog and stock control of Waitakere city council having replaced Mr Didovich who had signed the MOU with Mr Wells some years earlier, Mr wells was effectively contracting to himself , this contract had never received consent through council and MAF believed that the agreement was with council not a division of council and certainly not some one contracting to himself.
Mr Wells a council employee using the council paid officers, facilities and resources derived income from the function of the council officers in the name of AWINZ .
Even after you became supposed chair, Mr Wells continued to operate a Bank account in the name of his alias Animal welfare institute of New Zealand. He was the sole operator and the account had no trust deed associated with it.
Wyn , as Former Mayor and now a councillor of TCDC does this mean that you support council officers running a private venture using council staff and resources to generate income for a group other than Council?
This practice internationally is known as corruption , in taking action to conceal the activities of Mr wells and his approved " organisation which in reality was no more than an alias for himself , do you not think that you may have been concealing corruption ?
Why did you as chairperson not have any over sight over the bank accounts ?
What due diligence have you ever done with regards to the set up of the "organisation " you claim to be head of? Why sue before you have done due diligence? And why did you not wish to discuss the matter with me or meet with our trustees to attempt to resolve it?
The legal action you took against me and the legal entity AWINZ was to force us to give up the name and the web site, You have stated that the trustees of AWINZ decided to instruct legal counsel Brookfield's. Why then go to a law clerk who did not have a practising certificate.
Why not take the recommended action as advised by the MED in the letter Mr Wells had or could you not take this course because you did not have the evidence or the standing?
You always said it was urgent is that why Intimidation was the chosen method? Did you condone the intimidation ? You certainly did nothing to stop it!
You withdrew your claim after you had brought about some $20,000 cost against me personally all intended to strike out my defence of truth and honest opinion with regards to the questions I had raised about AWINZ. do you think that that was ethical . As an officer of the court should you not have spoken up and advised the court that you really did not have a rightful claim or standing?
In December 2006 some 5 months after you initiated legal action without seeking redress outside the court you signed a trust deed , this trust eventually obtained charitable status and retrospectively took on the role as the approved Organisation .. could you please explain how this is legally possible?
This trust obtained charitable funds which were used in the litigation against me which was conducted in the name of AWINZ, could you please advise why the lawyers your trusts funds paid for were able to claim that your unincorporated trust was an entity in its own name and how your trust established 5 months later got to be involved in the litigation.
I note that on various sites you set out your public involvement why do you never make mention of AWINZ ?
Wyn Hoadley, QSO, Barrister, Auckland Regional Council Finance Chair, Member Earthquake Commission, patron & trustee of various performing arts, sports, community organisations, long serving City Councillor & Mayor Takapuna City, previously Chancellor AUT.
Wyn seeks to build relationships between the WDHB and other community organisations to address public health issues and is a strong advocate for clear and balanced priorities for the communities of the Waitemata Health District.
I have 28 years local and regional governance experience, understand the issues and how to get things done. Wyn and husband Steve are TCDC ratepayers with property and flat in Pollen Street. Was previous Mayor of Takapuna City, Chancellor Auckland University of Technology, Chair Trustees NZ National Library, and National Animal Ethics Advisory Committee, am a barrister specialising in resource management and public law, served on variety of boards, including Earthquake Commission, Transit NZ, Building Research (BRANZ), National Animal Welfare Advisory Committee, Civil Defence, and awarded Queen's Service Order for Public Services (QSO) 2004.
I hereby disclose the following conflict of interest with the Waitemata District Health Board that may arise in the future: I am a Trustee of the North Shore Hospital Foundation, Trustee of the Three Harbours Health Foundation, and a member of North Shore Community Health Voice, and I give professional legal advice and assistance to persons and organisations involved in the health sector from time to time in my capacity as a barrister.
Wyn the past five years of litigation have hardly been on a level playing field, me a lay litigant up against a number of barristers namely Wyn Hoadley, Neil Wells, David Neutze, xxxxx and Nick Wright. You could say that the playing field was not level.
The litigation has given me great experiences for writing a book on dirty tricks lawyers play , I would have thought that so many officers of the court would have won hands down without dirty tactics.. but I guess that only happens if you have a real case.
You have had me in bankruptcy court skipped the formal proof hearing for defamation , filed a statutory demand on my business while claiming to be an incorporated trust , opposed every application I have made for appeal, your lawyers have misled the courts and blocked a judicial review. Is this justice?
13 The overriding duty of a lawyer acting in litigation is to the court concerned.
13.1 A lawyer has an absolute duty of honesty to the court and must not mislead or deceive the court.
13.2 A lawyer must not act in a way that undermines the processes of the court or the dignity of the judiciary.
Quite clearly the past 5 years have not followed these rules or the previous rules which also had similar obligations to the court.
I find it very hard to comprehend that someone such as yourself who claims to have humanitarian interest in animals can treat a fellow human being so badly. I have likened this to being assualted, if done with a base ball bat you would have been locked up but as a lawyer you can hide behind what is supposed tobe a pure reputaton your queens service medal and your previus status as a mayor.
Wyn Integrity comes from within. You are by the values that you live by. You continue to be a public figure and give the pretence of being a person of good standing, to me it would appear that this is a façade.
Wyn I speak the truth because I believe that the public need to know who you are and what your standards are and if you have allowed council officers to run a private enterprise off council resources before will you continue to condone it.
Wyn You cannot keep your reputation in tact while destroying mine. the truth will come out , it is never too late to apologise and make amends. My crime has been to question corruption corruption which you have chosen not to question and to defend.
I will publish any reply you wish to supply.


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Writing Stack Exchange is a question and answer site for the craft of professional writing, including fiction, non-fiction, technical, scholarly, and commercial writing. Join them; it only takes a minute:
What are the signs of accidental self insertion?
I am currently writing a novel where the main character will be far more powerful than most of the people in the world and I am worried that I will end up losing sight of what I am writing and start writing a power fantasy where the main character will be a Mary Sue with every hot guy kneeling before her and telling her just how beautiful she is and that she is the only woman they will love.
The last part may be a bit of an exaggeration I am using to make a point. What I want to ask is: what are the warnings signs I should watch out for in order to not end up with a character that is obviously self inserted?
novel characters character-development fantasy process
Secespitus
Maiko ChikyuMaiko Chikyu
Are you asking mainly about self-insertion, as in writing a character into the story who represents yourself, or more broadly about a wish-fulfillment fantasy? – Davislor Apr 30 '18 at 16:46
Hmm, I'd be VERY wary of a character who isn't particularly interesting. "It's me, but I've got loads of power and no hardship and I have a whale of a time." isn't improved by making it sound less like you. – AJFaraday May 1 '18 at 10:31
If you give Frodo a light saber, then Sauron gets a death star (or the ring has to get to Jupiter to be destroyed... or the ring is literally 10 tons and is physically tough to move) -- if the hero is powerful, then the odds have to be even harder, whether it's in power-ups or complexity, whether in the task/goal or the antagonist. Balance in all things. – April Mar 15 at 20:54
Neither being powerful, nor reflecting the author is an insurmountable problem for a character. What you want to avoid is a character who faces no significant problems on her path to success, whose character flaws are all overlooked, and who is unjustifiably treated as intrinsically lovable. Self-insertion isn't the problem, it's the explanation. If it was intrinsically problematic to "insert yourself" into your work, no one would ever read autobiographies, and all the loosely autobiographical novels would have to be pulled from the shelves. Rather, "self-insertion" is a frequent explanation for poorly conceived, unrealistic characters who star in plots of interest solely to the author.
Basically, most readers, when they read a book, or watch a movie, want to be able to put themselves in the place of the main character, and to learn something from her story. Either they want to see her overcome a significant problem, or they want to learn what NOT to do in the same situation. But if the challenges are too easy, it feels like a cheat. We all know how to wish ourselves out of a bad situation, or how to fantasize a perfect scenario for ourselves. We don't need a writer to do that for us.
A super-powerful heroine isn't the most promising start for a compelling narrative, but there are interesting places to take it. Her biggest challenges are likely to be internal. Given how overpowered she is, you'll need to focus on her problems and her failures, not her successes. How does she keep from becoming a monster? How does she form real relationships with ordinary people? How does she maintain perspective? How does she deal with the boredom? How does she deal with the crushing responsibility? How does she keep from hurting people or destroying them accidentally? What unexpected, hidden, or paradoxical limits to her power are there? While few of us will ever actually be in the shoes of someone who is that powerful, we can still relate it to situations we do face in real life --getting a promotion, perhaps, or caretaking a child, situations that with intrinsic power differentials that can easily lead to abusive situations.
Chris SunamiChris Sunami
On the Hi-Power MC issue, I recommend reading the isekai genre of japanese novels. Most of them have MC's that are over the board, but the story is interesting nonetheless because they develop other aspects. Yes, they ROFLStomp all the enemies, and except in some cases you know they will win without almost a scratch. But the story is interesting because other aspects (most of them listed in the A). – Mindwin Apr 30 '18 at 17:38
Similarly, One Punch Man and Mob Psycho 100 are excellent examples of how to handle stories with basically invincible main characters. – Tacroy Apr 30 '18 at 20:54
@Mindwin Overlord is a good example of an isekai story where the main character is so overpowered that any obstacle is a laughing matter, but still manages to keep an interesting narrative and series of events in other ways outside of a usual power struggle. – colsw May 1 '18 at 11:56
If this character is to be either hero or villain, there must be something they want and do not know how to get, or that comes at a hefty price. There must be a goal not easily attained, or there is no story, there is just a list of actions that produced their desired result and for the reader this is boring. There is no conflict, and to be interesting (as a story) conflict is crucial all along.
Mary Sue may be the most beautiful girl in the world: But the man she wants is a blind musician that doesn't really care, and in fact he is only romantically interested in women that are also blind and have shared his life journey firsthand. She can't have him without lying; and he will never love her for herself.
Your character needs something to strive for, and no matter how powerful, she can't be happy until she gets it. (Of course she might be happy to start the book, that is an entry into the status-quo world; but by the end of Act I she must need something that all her powers cannot easily deliver; she must be constrained somehow.
Some heroes are constrained by their own rules or code of ethics or morality: Mary Sue may be capable of besting anybody in battle, but refuses to kill for her own selfish wants and desires.
Superman detectives (Sherlock derivatives) want to solve the mystery and prove the guilt of the murderer. It isn't enough to know in their gut who is guilty and then assassinate them, even if they are morally capable of such a feat. That would still be a failure of their intelligence and ability.
Your Mary Sue needs something her powers cannot reach with simplicity: The love of another, a political revolution, technology beyond her grasp, to save the life of somebody she loves, a puzzle she cannot (by her own code) solve by snapping her fingers, because she feels that would be fundamentally wrong, or cheating, or worthless (e.g. using a potion to magically make a man love her).
She has to struggle. Act I is about 30% of the story; the setup. The finale is about 5% of the story. If she is not struggling for the middle 65% of the story, you probably don't have a story, you likely have a wish-fulfillment fantasy.
AmadeusAmadeus
There are three things that make a Mary Sue. You want to avoid all three of them:
The character has a backstory that is desperately tragic, but doesn't encounter serious problems in the story. (This is frequently an attempt to compel readers to feel sympathy for a character without properly earning the readers' investment into the character.)
The character is always treated as being morally in the right by your story, even when they are being selfish.
The character never runs into a problem in your story that they must struggle to solve.
To avoid writing a self-insert Mary Sue, you need to avoid all three of those issues. Here are some specific questions you can ask yourself to determine whether you're writing a Mary Sue:
Of the difficult experiences your character has had, do most of them occur during the events of the story itself as opposed to your character's backstory?
Why do you think readers will care about your character? Do most of your reasons have to do with what happens to your character during the story instead of the backstory?
Are there any friendly characters that ever disagree with your character's actions? If so, are these friendly characters portrayed as being right or at least having an honest disagreement of opinion?
Does your character ever make a genuinely selfish decision?
Do you have any conflicts that your character must struggle greatly to overcome?
Do you have any conflicts that are resolved by your character becoming more mature or selfless as opposed to using a cool power or relying on an aspect of who they are that was already present at the start of the story?
You want to be able to say yes to all of these questions. If you can't, that's a strong sign that you're writing wish fulfillment, not a compelling story.
I hope you noticed how each of the questions I listed ties into one of the three marks of a Mary Sue at the top of this answer. I do believe that these questions are a practical way of determining whether you're writing a self-insert character. The specific reason these questions work is because they reveal the particular symptoms of a character meant to serve as a vehicle for your own fantasies, not a story with rich meaning.
KevinKevin
You should make a list of the most important conflict points that your character will have to face throughout the book. It's important to be able to tell beforehand roughly which problems your character has to face and overcome - if there is nothing to overcome the character is too powerful and/or you didn't think about the mental component.
There are different sorts of writers out there - those who plan and those who simply write and see what they bring to paper. But in any case it's a good idea to have at least a rough idea of what their characters will go through over the course of their book. This list can of course be updated depending on what you discover about your characters and their world while writing, but it gives you an idea of what you can and should focus on and where your character has too many or not enough weaknesses.
If you are thinking about what you want to write - what are the situations where your character will look powerless?
Just because you are the most powerful being doesn't mean that you are invincible.
For example the Big Bad Evil Guy could simply try to kidnap your friends and family. They are not so powerful, are they? But you are vulnerable because you have feelings that humans could relate to. You want to know your friends and family safe, which is giving your antagonists a leverage they can use.
Or you are the most powerful being - in face-to-face combat. That doesn't mean that a knife in your back during the night won't kill you. Surprises can still surprise you, even if you have a lot of alarms. A real life advice here would be that security is not meant to be perfect - it's meant to be a deterrent that will make the resources your antagonist has to use too high and the costs in case your antagonist fails too grave to make it useful to try to steal something from you.
And while we are at face-to-face combat: how many people does it take to overwhelm you? Three? A dozen? Do you have a powerful mage that can basically control the thoughts of everyone around you? In that case you could define how many are too many to control at the same time.
And people can relate to flaws. Some people might look up to a perfect super powerful being, but others - for example the love interest of your protagonist - might prefer someone who shares a common interest or displays a certain character trait. Being powerful is nice and all, but what about being good with kids/animals/..., eloquent, funny, ...? How can your character show this? And what might happen if they try to and fail? What if the kids start to cry suddenly? Would your character go so far as to use their almighty mind-control abilities on kids or their love interest? That would be a pretty big character flaw and you should definitely think about this.
All in all you should think about the limitations of your characters power. Which aspects can your character not control, when is it too much, what could your character do, but deciced they don't want to do, what do other characters value in a person, ...?
There is more to a protagonist, an antagonist and supporting characters than mere strength. Wits and character flaws are an important aspect of what is means to live. That's why it's important to think about the most important positive and negative aspects of the most important characters before starting your writing. At least a bit - this list will probably get updated regularly and that's fine.
If you only watch out for the problems while writing you will more easily get lost. It's far easier to keep track of your "milestones" that you have defined earlier and to re-read something and see if it aligns with your "character sheet" that states the most important traits and problems than trying to keep an eye on signs for overly powerful characters - because that is pretty open ended and you don't have any criteria to define a find.
SecespitusSecespitus
What has helped me is the following:
I assume you have developed your character and "know him"
create a list (or spreadsheet table, if you have more than one character) with the most defining characteristics and habits, especially habit of speech
create a graph of the character arc (unfinished example from myself) or a list of the changes the character undergoes over the course of your narrative, or add that to the first list in a different color
this will be your guide, so do take some time to really have the essentials in the list and to design the list in a way that you find informative and visually easy and quick to read (so use keywords or images, not long walls of text)
pin both lists/tables/graphs on the wall over your desk so that whenever you switch to another character, you can look at it and remind yourself quickly of how you want to write that character
In this case consider the three (or four) character sliders: Proactivity, Likability, and Competence (and mission.) The podcast at the link describes this.
You are worried your character will be a ten out of ten in all three areas - Highly proactive, highly likable, and highly competent. (and on a good mission.) (incidentally, my female character suffers from extremely low proactivity, and it's a different problem ... that I'm working to overcome.)
You are right, a character high in all three areas risks being a flat character, a Superman character.
Your solution is simple: Draw down one of the sliders. (Or two.) You get to choose - but if you want a deeper character, that's the solution. Make the character less proactive, less likable, or less competent. This makes the character more relatable to us mere mortals and also gives the character more room to grow.
You can play out how drawing down a slider in any of those areas affects the story - An unlikable character will have certain interpersonal challenges. An incompetent character will fail in the action sequences. And so on.
Answer: Break it down into those three (or four, if you include mission) areas, and decide what to reduce and then just do it.
DPTDPT
I think it's important to strictly define what exactly it is that you are attempting to avoid.
A self-insert is when you literally insert yourself into a work of fiction: the character acts like you would, talks like you would, has the same tastes as you would, etc. This is an extremely common trope but in and of itself is not inherently bad: see the excellent Worth the Candle for an example of the self-insert done well.
The connotation of "self-insert" often refers to a character having out-of-universe knowledge of the world they find themselves in; think the very common "I read Harry Potter and am now sucked into the world of Harry Potter" type of fan-fiction. This can lend itself to problems if handled poorly but again is not inherently bad in and of itself.
A Mary-Sue (as contentious as the term is) once upon a time exclusively referred to A) self-inserts who B) everyone loved and C) never lost, but over time the term appears to have drifted to not require the self-insertness, and for the most part seems to be a vague "this character is overpowered and never loses" (when it's not simply being used as a "I don't like this character" stand-in).
So of these three, I don't think that you're afraid of making a self-insert, you're attempting to avoid a Mary Sue. There's a very simple antidote for Sue-ness: make the character lose. Not just "darn, the villain got away", or "darn, everyone's jealous of my ability to win all the time", but "I intervened when told not to and accidentally killed a bunch of people and actually made everything worse" or "I tried to be clever and cut the Gordian knot and instead ended up cutting myself", or something of that nature.
So TL;DR is: if you find that the number and quality of the character's victories is far, far more than the number and quality of the character's failures, you might have a Mary Sue. There are exceptions, but this is the biggest flag to look out for, imo.
KeturaKetura
Personally, I think Mary Sue means so many things to so many people these days that it's become unusable. (One fecund source of arguments that I especially prefer to side-step, having seen it derail other people's discussions, is whether a Mary Sue has to be female.) Some alternatives that seem to get misunderstood less often: Wish-fulfillment character, creator's pet, power fantasy. – Davislor Apr 30 '18 at 17:53
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Memoir is not an autobiography but rather a selected aspect of a life. No event in your life is too small, but the details are important.
There is a universality to memoirs.
Honesty and Sincerity: Is the narrator authentic? When you are talking about yourself, you are talking about all of us to a certain degree; that's the universal element. The struggle for emotional truth is central to memoir.
Intimacy: The hallmark of memoir is its intimacy with its audience.
Language in memoir is conversational, everyday, direct.
Humor: Be willing to laugh at yourself, reveal your foibles. We all have them.
Self-Reflection: The essence of memoir is the track of the writer's thoughts struggling to understand some event in her life. What have you learned from this event?
Character: In writing memoir, you have to make yourself into a believable character. What do you want to know about the people you write about, including yourself?
Scenes: Vignettes, episodes, slices of reality are the building blocks of memoir. Get the reader into the scene with you. What's happening? Who's there? What's the interaction?
Voice and Tense: Start with the personal I (1st-person narrative). Start in the past tense. You are writing about the past in the present. This is what happened then; this is what I know now. You can write in the present tense later!
Purpose: What's the purpose in writing memoir? Self-discovery, understanding another, healing a relationship, finding a broader perspective, telling a story that must be told?
Maureen Murdock has been on the psychology faculty at both Pacifica Graduate Institute and Antioch University in Santa Barbara, but her real love is memoir writing. To that end, she is teaching in Pacifica's new Memoir Certificate Program. Since 1990, she has taught memoir writing in the UCLA Extension Writers' Program, where she received the Outstanding Teacher of the Year Award in 1995. She is the author of the bestselling book The Heroine's Journey, which explores the rich territory of the feminine psyche; Unreliable Truth: On Memoir and Memory; Fathers' Daughters: Breaking the Ties That Bind; Spinning Inward: Using Guided Imagery with Children; and The Heroine's Journey Workbook. She is the editor of an anthology of memoir writing entitled Monday Morning Memoirs: Women in the Second Half of Life and has published a Kindle short entitled The Emergence of Bipolar Disorder: A Mother's Perspective. Maureen volunteers for AVP (Alternatives to Violence Project), working with men in prison, and has presented short memoir pieces at Center Theater in Santa Barbara and Spark Theater in Los Angeles about the men she works with. Read her blog on www.maureenmurdock.com.
I am not presently a member, although I was for several years. I have been writing a "travel memoir" about a number of years when I experienced life in Native "Eskimo" villages in Alaska and eventually made a documentary film there. It is, of course, to an extent about me but it is also more about the people and culture I was living with. Several literary professionals have read the manuscript and have found it interesting and liked it (with reservations) but want me to write more about myself. Do you have guidelines for travel memoirs as you have about more personal memoirs? I am "stuck" in this process.
Thanks for replying, Barbara! Maureen isn't the one to reply to her blog post, but she did invite her webinar attendees to email her with any follow-up questions at murdockmaureen@gmail.com. Your memoir and documentary film sound fascinating.
Maureen Murdock has become my heroine because she taught me to know and understand my own heroine's journey!
The first time I read her book the Heroine's Journey I knew is was the most significant book I'd ever read. It's timeless and so important for every one to read, women and men alike.
The second time I re-read this book I took notes all the way through. Truly a life changing book!
Thanks for replying to this blog post!


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Q: How to create a dynamically scheduled task? I am trying to create an app that simulates opening a tab at a bar. I am running into one issue that I can't seem to figure out - it goes as follows:

*

*When someone opens a bar tab, dynamically create a scheduled task that executes code to close the tab after 24 hours.

*If the tab gets closed before the 24 hours, cancel the scheduled task.

*If the tab doesn't get closed after 24 hours, execute the code described in step 1 to initiate a payment on the card used to open the tab.

I was initially looking into Firebase Functions, and was thinking about using a setTimeout() callable function, but after doing some research I found that Firebase Function's cannot be invoked for longer than 9 minutes.
NOTE: I would like this to be dynamic. Meaning, having it account for a variable amount of users. There could be 100 or 1000 users on the platform, each of them needs the ability to have a unique scheduled task for them (sometimes multiple per user).

A: Please see the comments for the full solution.
There are multiple approaches to circumvent the 10 minutes rule (which is prevalent in the serverless code) but here's something that can help you. I suggest separating the task into three:

*

*A cloud function that close the tab when called.

*A schedule function that calls it (https://firebase.google.com/docs/functions/schedule-functions)

*A way to start and stop the schedule function.

I am not sure how firebase function work, but I worked with azure functions before and those can be controlled with command line (CLI) or with a sdk for your language of choice. To cancel using the command line, try something like this:
firebase functions:delete scheduledFunction

from How to cancel a scheduled firebase function?.
Now what's left is how to figure out how to start the function, and if it's possible to pass in a parameter to schedule it.
Good luck!


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Early colonists in South Australia were keen to expand into the vast lands of South Australia for food and fibre production for their own use out of necessity but also for trade. Cereals, especially wheat, grew well on newly cleared land, sheep were brought in from neighbouring colonies and horticultural crops, including many varieties of fruits and vegetable and vines, were established as favourable land was cleared.
All was well until the 1870s when declining soil fertility and drought threatened these fledgling industries. The government set up a commission in 1875 to develop ways of providing technical and agricultural education for the colonists. The commission recommended the formation of a Department of Agriculture, but this was not acted upon until the turn of the century. In the meantime a Professor of Agriculture was appointed and Roseworthy Agricultural College opened its doors in 1885.
Droughts in 1885 and 1886 accelerated the formation of an Agricultural Bureau system controlled by a Central Bureau. This bureau became the forerunner of the Department of Agriculture.
This site recounts the roles played by the Department of Agriculture, Agricultural Bureaus, learning institutions, agricultural producers and other innovators, and other government agencies through historical documents, manuscripts, personal accounts and transcripts in the development of the agricultural industries and the role of government in South Australia through to the present day.
In the early 2000s work commenced on capturing this history, sorting through many thousands of photographic images, conducting oral histories and presenting them in a structured way via this website. A small Working Group was initially established and a Steering Committee provided strategic direction and support.
Many people have contributed information to the site so far and we would like to thank those involved as well as encourage new users of the site to make a contribution. The key contributors have been Dr John Radcliffe, Arthur Tideman, Trevor Roberts, Barry Windle, Roger Wickes, Barry Philp, Tricia Fraser, Don Plowman, Phil Cole, Kevin Gogler, Rita Novia, Mark Barber, Bill Giles, Paul Moran, Neil Collins, Paul Heap and Bernie O'Neil.
The substantial work of volunteers Arthur Tideman, Trevor Roberts and Tricia Fraser in assembling and describing the large collection of photographs and related historical documents is recognised.
The contribution made by historian, Bernie O'Neil, in collecting much of the historical material used in this website and undertaking the oral histories.
The material contained within this website has been contributed by many volunteers, most former Department members. There are over 70 topic contributors and many more who have provided material for, and reviewed documents prepared. Their valuable contribution is acknowledged.
Page Last Reviewed: 18 Feb 2018


text:
Q: Authenticate on Realtime Database using an IdToken using the Go Admin SDK When using the Firebase Admin SDK in Go, I'm facing an issue where I can't authenticate on the Realtime Database.
Here's how I start the database connection:
option := option.WithTokenSource(tokenSource)
app, err := firebase.NewApp(context.Background(), &firebase.Config{
    DatabaseURL: "https://databaseName.europe-west1.firebasedatabase.app/",
    ProjectID:   "projectId",
}, option)
client, err := app.Database(context.Background())

The tokenSource is a custom TokenSource that return a ReuseTokenSource. I've override the Token() method to fit my needs, which is: get an IdToken from a custom endpoint at first and then when the IdToken is expired, refresh it from the securetoken.googleapis.com endpoint.
But with this method, whenever I try to access my Realtime database, I get the following error:
http error status: 401; reason: Unauthorized request.

Even if the Rules for the Database are fully open (read/write=true).
The Token being used is correct too as I can use it in a HTTP request, the only tweak is that I have to use ?auth=IDTOKEN instead of ?access_token=TOKEN (see here)
TLDR: How can I use an IdToken inside the Go Admin SDK to authenticate the service to the Realtime Database. (Just adding that I can authenticate the service on the Firestore Database with the same method and token).
Thank you !

A: The Admin SDK authenticates with backend services via OAuth2 (by passing an Authorization header with an OAuth2 bearer token). So you must use a TokenSource that produces OAuth2 tokens. ID tokens are generally only used for client-side auth. Here's an example that I've used in the past:
// jsonKeyBytes contains the bytes from a service account json file.
conf, err := google.JWTConfigFromJSON(jsonKeyBytes)

ts := conf.TokenSource(ctx)
firebase.NewApp(ctx, nil, option.WithTokenSource(ts))

However, typically you would directly initialize the Admin SDK with a service account or Google Application Default Credentials, in which case you don't have to do any of this.


Students perform a lot far better when they recognize what is getting asked of them. Produce a rubric in a easy format, such as a checklist that specifies what is essential in the assignment. Existing it to the youngster along with the assignment so it can be utilized as a tool to help the pupil in meeting the algebra math help needs.


A couple tips on coating with a "puddle pusher"
The ink helps you see how good your technique is and how much sensitizer will cover a given area well. On the left you can see a dropper in a cup for measuring out the exact amount I would use to coat with real sensitizer.
1. I love Bostick and Sullivan, but the prices for their glass coating rods are high. Find a glass blowing shop or supply store and they will see you about four feet of rod in almost any size you want, cut to lengths you like, for about five bucks.
2. Practice coating some cheap paper or toss offs using water mixed with food coloring or ink. I used the india ink I set to make glop for carbon printing. The tint will help you see how complete and smooth your coverage will be. This will give you good practice before you start coating with the expensive metals and paper.
This May I will be teaching an alternative process intro class through UT Informal classes. The class will be comprised of four three hours sessions and cover the basics of preparing images, making negatives for contact printing, making some salt and cyanotype prints, and more.
For more details check out the official class listing for Explore Alternative Photographic Printing. If you have questions about the course, just shoot me an email.
Want to party like it's 1869? I'm currently designing an introductory course to alternative process printing and film photography I plan to offer in Austin Texas in the fall of 2013. The course is designed for students who want to learn the fundamentals of taking an image from a film negative all the way through to a full size hand made print.
Course materials include your own piece of fantastic plastic.
Accordingly, the course will focus as much on foundational skills applicable to all alt process printing as it will the specific processes we employ in making our prints. To build confidence, emphasize basic skills, and have fun, we will take and develop pinhole images on medium format film, scan and create full size digital negatives from the film negatives, and create a cyanotype or vandyke print. Included in the course materials will be a Holga pinhole camera. However, students will be encouraged to shoot and develop film from their own small and medium format cameras. I'll be available to teach students to use cameras they are unfamiliar with or advise students in purchasing a film camera suited to their needs and budget. Students can also use digital images.
The course will be held in three weekly sessions and will be limited to six students. The course tuition will be approximately 250.00 and will include all materials.
The course materials and schedule are still under development. So, contact me directly if you are interested in enrolling.
This August I was fortunate to attend a five day photogravure workshop with Paul Taylor at Renaissance Press. I've been planning to attend for over a year, and it was worth the wait. Like carbon transfer, photogravure is difficult. There are nuances of the process and the materials that would have been fiendishly hard to learn on my own.
Paul inspecting positives with different contrast curves before exposing a photopolymer proof plate.
Well known as an atelier for his work in gravure, Paul was also an exceptional teacher. Over the course of five days I learned enough to carry on in gravure on my own. However, I was also happy that we when through the entire linerization process for producing high quality film positives for gravure. What I added to my knowledge of digital film was almost a workshop of material in itself.
The days were long, but we were also able to take a crack at photopolymer gravure as well. All in all, I was able to produce two copper and one photopolymer plate and spend most of one day printing all three on the press. The printing time was enough to make inking and wiping the plates feel familiar and allowed Paul to show us a few special techniques like retrosage, dodging with hand and chalk, and stipling defects on the plate.
Two copper gravures ready to be inked.
Stippling a defect in a plate. Photoshop 19th century style.
Beyond learning a specific process, I've found that attending a workshop is equally valuable for the exposure to exceptional prints, presentation, and working methods. As printers in high end niche processes, it's a rare and valuable opportunity to see exceptional work. Experiencing masterful work is inspiring and also offers a benchmark for where you are in your own craft. This was true for me when I took my first workshop from Sandy King and equally so at Renaissance Press.
I highly recommend Paul's workshops. His studio is in a beautiful, but very rural part of New Hampshire. I biked the entire trip having flown into manchester from Austin. However, if you are going to bike it, expect some long rides and steep hills. Otherwise, look at renting car and having a relaxing stay in Keene or Brattleboro.


Cool ! The dog featured in your set is fabulous !
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