Posted on October 25, 2017 by UMUC	in Cybersecurity, News, Press Releases and tagged Alumni, Current Students, Cybersecurity Awareness Month, Events, Faculty, Featured.
ADELPHI, Md. (Oct. 25) – The University of Maryland University College (UMUC) Cyber Padawans hacking competition team captured 2nd place, along with a $300 cash prize, at the "Catch the Ghost" Halloween-themed capture the flag (CTF) competition, held on Saturday, Oct. 21, at the Anne Arundel Workforce Development Corporation in Linthicum Heights, Maryland.
This event, sponsored by HackEd, along with the Maryland Tech Connection, The Hacker Ground, and Launch! Annapolis was a professional-level competition between approximately 30 teams that focused on the exploitation of Windows and Linux systems across multiple networks.
UMUC Cyber Padawans team members competing in the CTF competition included: undergraduates Andrew Valliere, Julian Pacheco, Paul Chilcote, Alex Barney, and Robert Webb; alumni Kwasi Robinson and Antonio Punturiero; and faculty member Jesse Varsalone.
On Saturday, Sept. 7, the UMUC Cyber Padawans competed in the Eastern Regional Collegiate Penetration Testing Competition (CPTC) at State College, Pennsylvania, where they earned a Judges Award, along with a $1,500 cash prize, for their exceptional oral communication skills demonstrated during the interview portion of the competition. The CPTC competition focused on hacking into Windows and Linux systems as well as submitting a Pentesting report 12 hours after the hands-on segment of the competition.
The Collegiate Penetration Testing Competition team consisted of five UMUC undergraduate students, including Joy Huggins, Leonid Burlachuk, Robert Webb and Aaron Robertson. Dale Goldson, Jesse Varsalone and Nischit Vaidya served as faculty mentors.
On Tuesday, Sept. 5, the Cyber Padawans earned the 3rd-place trophy at the Parsons competition in Columbia, Maryland, which featured challenges in forensics, network forensics, hacking, Internet research and reverse engineering. The team consisted of students Andrew Valliere, Julian Pacheco and faculty member Jesse Varsalone.
HackEd is a six-week, intensive hands-on-keyboard cybersecurity training program. Applicants with advanced technical and soft skills vie for 10 to 15 spots in each cohort, and then HackEd provides them with the balance of the skills they need for successful careers in cybersecurity through training and networking opportunities with employers that are hiring cybersecurity talent.
The Collegiate Penetration Testing Competition (CPTC) provides a vehicle for up and coming cybersecurity student teams to build and hone the skills required to effectively discover, triage, and mitigate critical security vulnerabilities. This competition is unique in offering a simulated environment that mimics real-world networks. The competition focuses on improving the security posture of a fictitious organization and reporting on risks in a manner that is similar to a real professional environment.
Parsons is a technology-driven engineering services firm with more than 70 years of experience in the engineering, construction, technical, and professional services industries. The corporation is a leader in many diversified markets with a focus on infrastructure, defense, security, and construction. Parsons delivers design/design-build, program/construction management, systems design/engineering, cyber/converged security, and other professional services packaged in innovative alternative delivery methods to federal, regional, and local government agencies, as well as to private industrial customers worldwide.


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10 Most Viewed YouTube Videos of All Time (And How They Did It)
by Nicole Martins Ferreira 6 Dec, 2020
1 Top 10 Most Viewed YouTube Videos of All Time
1. Despacito by Luis Fonsi featuring Daddy Yankee – 6.15 Billion YouTube Views
2. Shape of You by Ed Sheeran – 4.17 Billion YouTube Views
3. See You Again by Wiz Khalifa featuring Charlie Puth – 4.08 Billion YouTube Views
4. Masha and the Bear: Recipe for Disaster by Get Movies – 3.55 YouTube Views
5. Uptown Funk by Mark Ronson feat. Bruno Mars – 3.53 Billion YouTube Views
6. Gangnam Style by Psy – 3.3 Billion YouTube Views
7. Sorry by Justin Bieber – 3.1 Billion YouTube Views
8. Sugar by Maroon 5 – 2.94 Billion YouTube Views
9. Roar by Katy Perry – 2.8 Billion YouTube Views
10. Shake It Off by Taylor Swift – 2.76 Billion YouTube Views
2 So, How Can You Create The Most Viewed Youtube Videos?
From catchy songs to hilarious viral videos, YouTube is home to some of the most viewed videos of all time. If you're looking for the secret sauce of the most viral videos on the planet, you might find want to check out some of these videos. Don't worry, we do some of the legwork for you by breaking down what helped make these videos the most viewed YouTube videos of all time.
Top 10 Most Viewed YouTube Videos of All Time
So, How Can You Create The Most Viewed Youtube Videos?
If you take a look at Billboard's Hot 100 Songs of 2017, you'll find Despacito in the number two spot. It's pretty clear that popular songs can also become highly watched YouTube videos. And with over 6.15 billion video views, it's pretty clear why this is the most watched YouTube video. You have the music repeat factor where you watch it over again just to hear the song. And back in 2017 Spotify was popular, but not as popular as it is today. Despacito's video has all the trademarks of a popular music video: dance sequences, good-looking people, palm trees, naturescapes, club scene, and of course the catchiest song to sing along to. The song is entirely in Spanish, making it one of the three on this top ten most viewed YouTube videos list that aren't in English.
The second most viewed YouTube video is the Shape of You music video with over 4.17 billion video views. Another interesting tidbit is that it was actually the number one on Billboard's Hot 100 Songs of 2017, beating out Despacito. Unlike most videos, where the singer sings in front of the camera, Shape of You is like a 4-minute movie telling the story of an athletic couple, and the song is just background music. The movie style music video isn't too common, which makes it a compelling love story to watch. There are also some funny moments where Ed Sheeran and a sumo wrestler fight in the ultimate match. It also has a profound female empowerment message in it: Sheeran is a weakling compared to his love interest.
See You Again is the main song for the Fast and Furious 7 movie. One of the stars, Paul Walker, died in an infamous car crash shortly before its release. The song and music video are a tribute to Paul Walker and his journey in the Fast and Furious series. If you take a look at the video's comments, you'll see several notes about Paul Walker, suggesting that the video went viral because of his sudden death. The song in the video was also popular enough to earn a number three spot in the Billboard Hot 100 for 2015. The sad tone of the song and video make it worth watching over and over again. Emotions can play a big role in helping make a video go viral. Everyone can relate to the pain you feel from losing a loved one, which helps make this one of the most viewed YouTube videos of all time.
The only non-music video on this list, Masha and the Bear: Recipe for Disaster, is the fourth most viewed YouTube video with over 3.55 billion video views. Shockingly, the video somehow has a high percentage of dislikes, clocking in at about 2.4 million dislikes while only 4.4 million likes. What's made this Russian animation short so popular? It's likely that the short became popular because it's made for kids. Kid-friendly content tends to perform well on YouTube (you'll learn about another example later in this article). The storytelling element is understood even if you don't speak Russian, which makes this an easy watch. Plus, the story has some funny moments to entertain young children.
Uptown Funk was the number one song of 2015 on the Billboard Hot 100. According to Joe Bennett, a music professor at Bath Spa University, the song's popularity is due to two key elements: a lack of a chorus and a slower tempo. These two elements make the song stand out. And as we've seen with other songs on this list, a number one hit makes it easier to score one of the most viewed YouTube videos. Another interesting tidbit is that Bruno Mars performed at the 2014 Super Bowl halftime show, which helped elevate his popularity and make his video more viral. The video itself has an old-school feel to it which makes it a unique watch that you don't really see in music videos anymore.
Gangnam Style was once the most viewed YouTube video of all time, as it was the first YouTube video to reach one billion views. The song is undeniably catchy, but the video shines with a level of quirkiness mainstream American media hadn't seen before. The silly dance moves in unexpected places just makes this an all around fun video to watch. And let's be honest, you've probably tried Psy's dance moves yourself. The YouTube video has a carefree element which makes it easy to just allow yourself to be entertained while watching. With over 3.3 billion YouTube video views since it was published in July 2012, it's pretty clear that Psy's colorful personality is what helped make this video a raving success.
Sorry, the seventh most watched YouTube video, is quite a unique music video. Throughout the entire three minutes and 25 seconds, I waited… and waited… for Justin Bieber. It's basically a Waiting for Godot music video because *spoiler alert* the Biebs just never shows up. Instead, the entire music video features an all-female dance crew in neon outfits and expressive faces. One of the non-song related reasons why this video might've been popular is because you can literally dance along with the simple moves. Some might've chosen to add this to a workout playlist on YouTube which can help elevate the number of views it gets. But aside from that, Justin Bieber currently has four music videos with over one billion YouTube views, so it's likely that his 44.45 million YouTube subscribers help boost his videos' viral success.
I vividly remember the marketing of this music video. There were countless articles from top media outlets reporting that Maroon 5 made a viral video. How did they do that? They crashed a bunch of weddings and performed a mini concert for couples in Los Angeles. Of course, there was later some negative publicity about how the stunt was actually fake, though the band denies this. Regardless of whether it's real or fake, the reality is that it went viral anyway – I mean, there are literally only seven other videos more viral than the Sugar video.
Katy Perry is the first female on this list so far with her ever-catchy song and video for Roar. In the video, Perry is stranded in a jungle after a plane crash and is forced to survive on her own after her partner is eaten by a tiger. The comical video shows Perry constantly facing her fears, striving to survive, and taming animals while wearing scantily clad outfits. While Katy's song was popular, landing at number 10 on the top 100 songs in 2013, her sizable fanbase of 33 million subscribers helped launch her view to a 2.8 billion view count. Plus, as with any lead single, it usually gets the biggest budget and most hype, which helps her land the most viewed YouTube video for a female artist.
The legendary Taylor Swift also inched her way into the top 10 most viewed YouTube videos of all time with an epic 2.76 billion YouTube views. Her highly controversial music video received backlash for cultural appropriation as it perpetuates black stereotypes. However, this negative publicity may have actually helped Taylor Swift get more YouTube views to her video. Her 33 million YouTube subscribers, who heavily promote her music and videos on social media, surely didn't hurt either.
There are a few ways you can create your own viral videos using the strategies that top celebrities use. You might not be able to rake in the multi-billion YouTube views some of these artists get, but you can still create a super popular video. Here are a few ideas to help you create the most viewed YouTube videos:
Create videos you can watch multiple times: Songs have a repeat factor where you listen to it non-stop for hours. Videos can also have that effect. Workout videos like Justin Bieber's dance video can be a good blend between using popular music while having your own unique content. Check out Mark Kramer Pastrana's YouTube channel for repeatable workout inspiration. You can also create countdown timers, productivity timers, relaxation videos, and similar content with background noise or music that would encourage daily use.
Jump on viral trends: Like Maroon 5's wedding crashing video, we've seen a viral video types emerge over the years like flash mobs, lip dubs, prank videos, parody videos, ice bucket challenges, and others just like it. While it's always amazing to be the first to do something original, it can also be difficult to innovate. If you're up for it, you'll need to experiment a lot to inch closer to viral success. Otherwise, you could easily focus on jumping in on trends as they happen.
Have fun: Funny videos kept topping the list of the most watched videos. Being funny comes down to being yourself and carefree. So bust out those ridiculous dance moves, show off your expressive face, laugh at your own jokes, or tell a funny story. The more you let yourself enjoy the process of creating YouTube videos, the more people will enjoy watching them.
The most viewed YouTube videos of all time share a few common feats that are worth exploring. Music has a powerful way to make you watch something on loop. So don't be afraid to explore creating your own songs to help you skyrocket to YouTube success. If you focus on tying the common themes found in these videos like being controversial, throwing in some humor, and jumping on viral trends, you'll inch closer to the top of the most watched YouTube videos.
What's your all-time favorite YouTube video? Share it in the comments (feel free to share your own too!).
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redpajama_set_name: RedPajamaCommonCrawl


After ten successful years of business in the Comox Valley, we continue to pride ourselves on our fresh, locally grown menu items, with our ingredients coming from local farms, bakeries and small businesses all within a 100 mile radius.
Our menu combines a variety of fresh west coast choices, delicious appetizers and a mix of favourite dishes from all over the globe. We also have an extensive gluten free menu.
Whether you're warming up by our fireplace, enjoying the sun on our patio or joining us to watch a hockey game in the lounge, Fluid is your place for good friends and great food!
We're also thrilled to have earned your confidence in being awarded a Certificate of Excellence by TripAdvisor. Thank you for helping us get here, only better things to come!


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You are here: Home Page > Arts & Humanities > Music - Sheet Music > Vocal & Opera > Solo Voice > Collected Songs Volume 1
Order from Edition Peters
Difficulty: Easy - Moderately Difficult
Collected Songs Volume 1
Forces or Category: Medium voice & piano
This three volume series comprises the bulk of the solo songs which Vaughan Williams published with Oxford University Press. The songs span his ...
This publication is part of a three-volume collection that comprises the bulk of the solo songs that Vaughan Williams published with Oxford University Press. They span the whole of his long life, ranging from the early 'How can the Tree but Wither?' (composed around 1896) to the Four Last Songs (from 1954-8, his final years). Many of the composer's most popular songs are included, notably 'Greensleeves', 'The Woodcutter's Song' (Seven Songs from 'The Pilgrim's Progress', no. 6), 'The New Ghost', and 'The Water Mill' (Four Poems by Fredegond Shove, nos. 3 and 4).
Three songs from Shakespeare:
Take, O Take
When Icicles Hang by the Wall
Orpheus with his Lute
Three poems by Walt Whitman:
A Clear Midnight
Joy, Shipmate, Joy!
Four Last Songs:
Procris
Hands, Eyes, and Heart
Ralph Vaughan Williams (1872-1958)
Ralph Vaughan Williams, born in Gloucestershire on 12 October 1872, read History at Cambridge and went to the Royal College of Music where his teachers were Parry, Wood, and Stanford. Vaughan Williams believed in the value of music education and wrote practical competition pieces, serviceable church music, and with the 49th Parallel (1940-41) he found a new outlet in writing for film. His profoundly disturbing Symphony No.6 (1948) received international acclaim with more than a hundred performances in a little over two years. His great sensitivity to the 20th-century human condition, his flexibility in writing for all levels of music making, and his unquestionably great imagination combine to make him one of the key figures in 20th century music. Ralph Vaughan Williams had a long association with Oxford University Press; over 200 publications are available in the Oxford catalogue.
The Ralph Vaughan Williams Society
Folk Song Sight Singing Book 4
Edgar Crowe, Annie Lawton, W. Gillies Whittaker
Symphony No. 4
Hollow Fires
Michael Berkeley
Seventy degrees below zero
Cecilia McDowall
Winter Poem
Howard Skempton
The Lark Ascending
Adonis Images
Gabriel Jackson
Prelude and Fugue in C minor
Winter: My Secret
Drinking Song
Four Shakespeare Songs
Hodie (This Day)
Carol Songbook: High voice
Mack Wilberg
Arts & Humanities > Music - Sheet Music > Vocal & Opera > Solo Voice


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Home > NRC Library > Document Collections > NRC Regulations (10 CFR) > Part Index > § 74.59 Quality assurance and accounting requirements.
§ 74.59 Quality assurance and accounting requirements.
(a) Licensees subject to § 74.51 shall provide the quality assurance and accounting capabilities described in paragraphs (b) through (h) of this section.
(b) Management structure. The licensee shall:
(1) Establish and maintain a management structure that includes clear overall responsibility for planning, coordinating, and administering material control and accounting functions, independence of material control and accounting functions from production responsibilities, and separation of functions such that the activities of one individual or organizational unit serve as controls over and checks of the activities of others; and
(2) Provide for the adequate review, approval, and use of those material control and accounting procedures that are identified in the approved FNMC plan as being critical to the effectiveness of the described system.
(c) Personnel qualification and training. The licensee shall assure that personnel who work in key positions where mistakes could degrade the effectiveness of the material control and accounting system are trained to maintain a high level of safeguards awareness and are qualified to perform their duties and/or responsibilities.
(d) Measurements. The licensee shall establish and maintain a system of measurements sufficient to:
(1) Substantiate the plutonium element and uranium element and isotope content of all SSNM received, produced, transferred between areas of custodial responsibility, on inventory, or shipped, discarded, or otherwise removed from inventory;
(2) Enable the estimation of the standard deviation associated with each measured quantity; and
(3) Provide the data necessary for performance of the material control tests required by § 74.53(b).
(e) Measurement control. The licensee shall assure that the quality of SSNM measurement systems and material processing practices is continually controlled to a level of effectiveness sufficient to satisfy the capabilities required for detection, response, and accounting. To achieve this objective the licensee shall:
(1) Perform engineering analyses and evaluations of the design, installation, preoperational tests, calibration, and operation of all measurement systems to be used for MC&A purposes;
(2) Perform process and engineering tests using well characterized materials to establish or to verify the applicability of existing procedures for mixing and sampling SSNM and maintaining sample integrity during transport and storage. Tests must be repeated at least every three years, at any time there is a process modification that alters the physical or chemical composition of the SSNM, or whenever there is a change in the sampling technique or equipment; and
(3) Generate current data on the performance of measurement processes, including, as appropriate, values for bias corrections, uncertainties on calibration factors, and random error standard deviations. The program must include:
(i) The onging use of standards for calibration and control of all applicable measurement systems. Calibrations must be repeated whenever any change in a measurement system occurs which has the potential to affect a measurement result or when program data, generated by tests performed at a pre-determined frequency, indicate a need for recalibration. Calibrations and tests must be based on standards with traceability to national standards or nationally accepted measurement systems; and
(ii) A system of control measurements to provide current data for the estimation of the standard deviations that are significant contributors to the measurement uncertainties associated with shipper/receiver differences, inventory differences, and process differences.
(4) Utilize the data generated during the current material balance period for the estimation of the standard error of the inventory difference (SEID) and the standard error of the process differences. Calibration and measurement error data collected and used during immediately preceeding material balance periods may be combined with current data provided that the measurement systems are in statistical control and the combined data are utilized in characterizing the unknowns.
(5) Evaluate all program data and information to assure that measurement performance is so controlled that the SEID estimator is less than 0.1 percent of active inventory.
(6) Apply bias corrections by an appropriate procedure whereby:
(i) Bias corrections are applied to individual items if for any measurement system the relative bias estimate exceeds twice the standard deviation of its estimator, the absolute bias estimate exceeds 50 grams of SSNM when applied across all affected items, and the absolute bias estimate on an individual item basis exceeds the rounding error of affected items; and
(ii) All biases (regardless of significance) that are not applied as corrections to individual items are applied as a correction to the inventory difference.
(7) Investigate and take corrective action, as appropriate, to identify and reduce associated measurement biases when, for like material types (i.e., measured by the same measurement system), the net cumulative shipper/receiver differences accumulated over a six-month period exceed the larger of one formula kilogram or 0.1 percent of the total amount received.
(8) Establish and maintain a statistical control system designed to monitor the quality of each type of program measurement. Control limits must be established to be equivalent to levels of significance of 0.05 and 0.001. Control data exceeding the 0.05 limits must be investigated and corrective action taken in a timely manner. Whenever a single data point exceeds the 0.001 control limit, the measurement system in question must not be used for material control and accounting purposes until it has been brought into control at the 0.05 level.
(f) Physical inventory. The licensee shall:
(1) Except as required by part 75 of this Chapter, perform a physical inventory at least every six calendar months and within 45 days after the start of the ending inventory:
(i) Calculate the inventory difference (ID); estimate the standard error of the inventory difference (SEID); and investigate and report any SEID estimate of 0.1 percent or more of active inventory, and any ID that exceeds both three times SEID and 200 grams of plutonium or uranium-233, or 300 grams of uranium-235 contained in high enriched uranium.
(ii) If required to perform an investigation pursuant to paragraph (f)(1)(i) of this section, evaluate the significance of the inventory difference relative to expected performance as determined from an analysis of an appropriate sequence of historical inventory differences;
(iii) Investigate and report, by an appropriate method listed in § 74.6, to the Director, Office of Nuclear Material Safety and Safeguards, any difference that exceeds three times the standard deviation determined from the sequential analysis;
(iv) Perform a reinventory if directed to do so by the Commission; and
(v) Reconcile and adjust the plant and subsidiary book records to the results of the physical inventory.
(2) Implement policies, practices, and procedures designed to ensure the quality of physical inventories. These must include:
(i) Development of procedures for tamper-safing of containers or vaults containing SSNM not in process that include adequate controls to assure the validity of assigned SSNM values;
(ii) Maintenance of records of the quantities of SSNM added to and removed from process;
(iii) Requirements for signed documentation of all SSNM transfers between areas with different custodial responsibility that reflect all quantities of SSNM transferred;
(iv) Means for control of and accounting for internal transfer documents;
(v) Cutoff procedures for transfers and processing so that all quantities of SSNM are inventoried and none are inventoried more than once;
(vi) Cutoff procedures for records and reports so that all transfers for the inventory and material balance interval and no others are included in the records;
(vii) Inventory procedures for sealed sources and containers or vaults containing SSNM that assure reliable identification and quantification of contained SSNM;
(viii) Inventory procedures for in-process SSNM that provide for measurement of quantities not previously measured for element and isotope, as appropriate, and remeasurement of material previously measured but whose validity has not been assured by tamper-safing or equivalent protection; and
(ix) Written instructions for conducting physical inventories that detail assignments, responsibilities, and preparation for and performance of an inventory.
(g) Accounting. The licensee shall establish auditable records sufficient to demonstrate that the requirements of §§ 74.53, 74.55, 74.57, and 74.59 have been met and retain those records for at least three years unless a longer retention period is required by part 75 of this Chapter.
(h) Internal control. The licensee shall:
(1) Establish procedures for shipping and receiving SSNM that provide for:
(i) Accurate identification and measurement of the quantities shipped and received;
(ii) Review and evaluation of shipper/receiver differences on an individual container or lot basis, as appropriate, on a shipment basis, and on a batch basis when required by part 75 of this Chapter;
(iii) Investigation and corrective action when shipper/receiver differences exceed twice the estimated standard deviation of the difference estimator and the larger of 0.5 percent of the amount of SSNM in the container, lot, or shipment, as appropriate, or 50 grams of SSNM; and
(iv) Documentation of shipper/receiver difference evaluations, investigations, and corrective actions.
(2) Establish a scrap control program that assures that:
(i) Internally generated scrap and scrap from other licensees or contractors is segregated until accountability is established; and
(ii) Any scrap measured with a standard deviation greater than five percent of the measured amount is recovered so that the results are segregated by inventory period and recovered within six months of the end of the inventory period in which the scrap was generated except where it can be demonstrated that the scrap measurement uncertainty will not cause noncompliance with § 74.59(e)(5).
(3) Incorporate checks and balances in the MC&A system sufficient to control the rate of human errors in material control and accounting information.
(4) Perform independent assessments at least every 12 months that assess the performance of the MC&A system, review its effectiveness, and document management's action on prior assessment recommendations. Assessments must include an evaluation of the measurement control program of any outside contractor laboratory performing MC&A measurements for a licensee, unless the contractor is also subject to the requirements of § 74.59(e).
(5) Assign custodial responsibility in a manner that ensures that such responsibility can be effectively executed for all SSNM possessed under license.
[52 FR 10040, Mar. 30, 1987, as amended at 54 FR 6878, Feb. 15, 1989; 55 FR 5979, Feb. 21, 1990; 60 FR 24553, May 9, 1995; 67 FR 78148, Dec. 23, 2002; 68 FR 58822, Oct. 10, 2003]


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Showboat Atlantic City Hosting Weekend Millennial Expo Throughout Summer Months
Showboat Atlantic City is going all-in on the millennial. Starting Memorial Day weekend and repeating every Friday, Saturday, and Sunday throughout the summer, the hotel-only property will host an experimental gaming expo in its renovated 150,000-square-foot convention space.
Showboat Atlantic City will host 14 "con" experiences on weekends this summer. The Boardwalk property hopes to pack their convention floor, as was the case in nearby Philadelphia during the city's 2016 Wizard World event. (Image: Wizard World)
Dubbed the Atlantic City Fan Xpo (ACFX), the weekly event will bring esports, video games, innovative gaming machines, cosplay, and anime together under one roof. A total of 14 weekends and events will run through August.
Aiming to become a millennial playground of sorts, each weekend of ACFX will come with a specific theme, but the millennial will remain the primary focus throughout. In addition to the convention center space, ACFX will also takeover the former 3,000-seat House of Blues theater to hold live esports tournaments.
Much of the details are still being ironed out, such as speakers and meet and greet opportunities. Ticket costs for patrons are also being finalized.
"Gamers and esports is the largest sport in the world," Showboat Atlantic City owner Bart Blatstein opined in a release that was obtained byThe Press of Atlantic City. "It (ACFX) will evolve over time and grow organically."
Showboat Changes Tune
Caesars closed the New Orleans-themed casino resort in June of 2014 despite the property still turning a profit. The building was sold to Stockton University that December for $18 million, with the plan to transform the hotel into a dormitory and educational building for students.
Legal obstacles, mainly stemming from neighbor Carl Icahn's opposition to having students housed next to his then-owned Trump Taj Mahal, derailed the college's plan. Stockton sold the Showboat to Blatstein in January of 2016 for $23 million.
The Showboat reopened last July as a hotel-only facility. Blatstein showed little interest in trying to resurrect the gaming floor, opting instead to make the property a family friendly destination free of the typical nuisances that comes with a casino.
The child and pet-friendly hotel no longer implements a resort fee on guests who book through its website, and packages have been geared towards non-gaming activities. But with weekend gaming expos taking place throughout the summer, Showboat hotel guests will be swarmed with hundreds of teens and 20 and 30-somethings attending ACFX.
The Atlantic City Fan Xpo will be a non-gambling environment. Though esports competitions will take place, not unlike those at the recently opened esports arena in downtown Las Vegas on Fremont Street, wagers on outcomes won't be permitted.
While Nevada has passed esports gaming regulations, New Jersey hasn't. And regardless if the state had passed laws on the emerging gaming market, Showboat Atlantic City doesn't have a current gaming license.
Instead, the ACFX is likely a testing incubator for Blatstein to see whether esports and the other welcomed industries to the expo are as popular as the hype they're generating. Gaming companies recognize the importance of attracting the all-mighty millennial to their casinos, but are still trying to learn precisely which new technologies will get them in the door.
ACFX will presumably attract peering eyes from numerous Atlantic City and regional casino companies that are hoping to learn about the habits of the next gaming generation.
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Odin and Halla
The deal announced in early 2000 with Motorola was wide ranging. Not only would the two jointly develop a range of pen-based smartphones under the umbrella name "Odin", with the first of which scheduled to hit the market in mid-2001, they'd use an entirely new silicon architecture developed by Psion, a young Irish semiconductor company called Parthus, and Samsung. The "Halla" chip (officially known as InfoStream) would be the first ARM9 based processor, and was packed with multimedia features. In an extensive cross-licensing deal, Motorola would have first dibs on the resulting silicon.
According to Gretton, and his account is corroborated by others, much of Psion management and almost all the Psion staff, strongly opposed the deal.
"I was deeply against the Motorola contract — for me it was the final nail in the coffin," he says.
In addition to funding the burgeoning Symbian operation, Psion was now officially in the semiconductor business. So overnight, it placed itself in competition with two of the largest and fastest-growing companies on the planet. From duking it out with unproven newcomer Palm and Casio's handheld division, Psion was now set head on against Nokia and Ericsson on one side, and Texas Instruments and other chip manufacturers on the other. An even more dangerous enemy existed in its new partner's camp: Motorola had its own semiconductor division and began moving at once to kill the Psion deal.
Fear of competition is often cited by former staff as a Psion characteristic. But for an insane moment, Psion appeared to stand on the table and want to fight everybody in the pub.
The relationship with Ericsson deteriorated. Ericsson had long nurtured the idea of a pen-based smartphone, and was the first phone vendor to ship an Epoc device in 2000. The Swedish giant cancelled Psion's contract as its preferred PDA supplier. Ericsson had rebranded the Psion 5MX, with some additional phone-friendly software, as the MC218. The next stage would have seen Ericsson rebadge Psion's Revo. The cancellation of the deal was costly for Psion.
Odin brought a fresh set of anxieties. Psion management was paralysed as the prospect of the scale of the battle it had bought into, and fatalism set in.
"There was a feeling of 'what's the point?' Nokia's going to kill us anyway," says Gretton in an view echoed by many executives at the time. "Which was totally self-fulfilling and which I don't subscribe to, then or now."
He points out that Nokia has yet to master enterprise IT channel sales even today. By the time of Odin, Psion had amassed 15 years' experience selling handhelds as part of an IT infrastructure sale. He regarded the Motorola deal as one backstab away from termination — and in January 2001, his worst fears were confirmed.
"I was in Germany…when Margaret Rice-Jones took the call from Motorola — and her face went white. She told me Motorola had cancelled Odin, and that we were on our own," he recalls.
"I knew that was the end of our business. We had no other roadmap."
As a cathartic gesture, Psion staff made a bonfire of their Motorola mobile phones.
Nevertheless, the product pipeline was at last full, and would give a long-overdue lift to Psion's PDA business. A colour Bluetooth Revo and a cost-reduced model were in an advanced stage: a TV documentary filmed Psion's marketing team auditioning advertising agencies for the launch.
(One of the agencies, clearly having failed to read the brief, hilariously proposed to market the new Revo as a "one box solution").
However Levin had no intention to pursue this option. He moved quickly to abandon the Psion Computer moniker, moving the staff to the more ambiguously named Psion Digital.
A statement issued on 11 July 2001 read:
"The decision to implement a significant restructuring of Psion Digital has been driven by the division's continuing poor performance in weak and oversupplied markets for handheld computers and related cellular phone markets. Further commoditisation of these markets is expected next year. As a result of the Board's decision and in the light of slower than anticipated establishment of a mass market for Bluetooth products, Psion Digital will not launch its Bluetooth PDA or range of Bluetooth connectivity products planned for the second half of 2001.
David Potter is quoted:
"The IT industry is experiencing its worst downturn since 1985. Against this background, it is essential that we take the hardest approach to costs, control and a return to profitability while avoiding exposure to oversupplied commodity markets. The enterprise markets of Psion Teklogix offer sound long-term growth opportunities, while Psion Digital will be focusing on its core assets in innovation and exploiting new premium markets for mobile networked devices."
"It had been an awful two years," says Gretton, who'd had to build up Psion's software expertise after the Symbian spin-off. "We were getting to the stage where we had programming resources at last, a stable platform, and were able to start turning out some product at last. There was great spirit there — then people scattered far and wide."
Davies now agrees that Psion "overestimated the competition".
Psion's strategy had been established the previous autumn. The markets had finally smiled on the Psion Group's "horizontal" strategy, and thanks to its 28 per cent stake in Symbian, they gave it an astronomical valuation. Psion was trading on the FTSE 100, and its 28 per cent stake would give it a handsome reward from a Symbian IPO: some guesstimated at least £1bn.
But instead of using Psion's astronomical FTSE valuation to move into a new area, Levin shored up the defences to buy the established industrial IT vendor Teklogix for around £240m.
Setting a torch to 18 years of consumer electronics success wasn't cheap.
Levin spent £29.2m exiting the consumer business, while a further £11.2m was written off to general restructuring — adding up to over £40m in exit costs in the first half of 2001 alone. Two hundred and fifty of Psion's 1,200 staff were lost, in addition to the 100 shed when Odin was cancelled.
Psion's users have mourned the decision ever since, and subsequent events suggest the decision wasn't so much rational, as driven by fear.
"We had a pile of cash that the company didn't want to spend," bemoans one of Psion product development team.
"The arrogance came back to haunt us. Psion was offered Palm on a plate and we didn't believe in it — so we told them to get lost. We still didn't believe in it even when we were being hammered by them."
"In the end we got ourselves," says Gretton.
"There was so much we could have done; we could have been a handset and yes, we could have been TomTom, we could have been a handset vendor; we could have been RIM — but all the appetite and all the aggression was gone," says one manager who left at the time.
Potter, Davies, and many other senior management now agree Psion left the business too early. The "depression" that hit global telecoms sales so hard in 2001, turned out to be barely a frown on a credit-powered British economy. UK sales of PDAs rose again in 2003 to their highest level for three years — but Psion wasn't there to take advantage of the Indian summer.
Psion's unreleased Revo, with Bluetooth
Scheduled products such as the Bluetooth Revo and the modem-equipped Series 5MX would have made the product viable for much longer. Levin's anticipated "commoditisation" took much longer than a year to materialise. Even today, Palm sells two PDAs based on a a mainboard and OS whose spec hasn't changed since it was launched five years ago. Palm's belated addition of rich colour and Bluetooth in 2002 gave it a lasting lease of life. It's pure profit.
"David Levin had no feel for consumer electronics," says Gretton.
"The great stuff was done out of a can-do spirit that was gradually lost in the latter years… Psion died by a succession of blows, people with less and less ambition — and more fear."
Asked why management lost its confidence, Gretton suggests: "They got too rich probably and too involved in the City — that's another world that didn't understand Psion."
"There was so much waste, so many ideas, and so many talented people. It's amazing what was achieved — and then thrown away." ®
The Protea Story
After Protea: Psion from 1997 to 2001
In their own words: Mark Gretton; Martin Riddiford; Nick Healey; David Tupman; Sir David Potter;
Next page: "It's amazing what was thrown away." — Mark Gretton


If you are lucky enough to secure a mortgage, especially if you are a first time buyer, you should be aware that you have a number of financial responsibilities that will accompany the excitement of owning your own property.
Firm control of your personal finances is now more important than ever. The danger is that you may not have needed to exercise this control if you were living at home or in rented accommodation before you moved into your new house.
Finding yourself in arrears on your mortgage means the chance of losing probably the biggest investment that you will make in your life.
If you fail to pay one or more mortgage repayments, you may have to pay interest fees on top of the ordinary mortgage repayments. The amount of these fees depends on the mortgage contract you signed with your lender.
If you know in advance that you are going to fall into arrears, you should get in touch with your mortgage lender and give them a full account of your circumstance and your plans for dealing with it.
Mortgage arrears arise for a number of reasons, from redundancy or from major illness or from bad planning of your personal finances.
Obviously in today's recession, mortgage lenders are fully aware that increasing numbers of people are facing problems repaying their mortgages and it is better that you contact them first to let them know that you will be missing a repayment.
Above all else, do not ignore the issue because the mortgage lenders definitely won't.
If you don't feel you can explain or deal with the mortgage lenders yourself, try and get someone that can help you, talk you through the options available and write letters on your behalf .
Some mortgage lenders may offer you the option to pay a smaller amount each month for a fixed period of time. The extra amount that you should have paid will be added to your total mortgage.
The mortgage lender will probably insist that you continue to pay the premiums on the life and home insurance policies associated with your mortgage.
Recently, the major lenders agreed that some homeowners will be protected from repossession under a new scheme if they can work out a deal on repayments, but this arrangement will be reviewed every six months. The banks and other mortgage lenders will expect the house holders involved to repay some money each month towards the loan.


text:
package io.netty.handler.codec.spdy;

public interface SpdyDataOrControlFrame {
    // Tag interface
}

redpajama_set_name: RedPajamaGithub


Oron Peri was born in Jerusalem where he was fascinated from a tender age by the nature that surrounded his home, in particular the annual carpets of red Anemone coronaria and highly scented Narcissus. His main interests are bulbous plants particularly those of the Mediterranean and Central Asia of which he has a large and important collection. Oron has traveled extensively to these countries to see the plants in their natural habitats. Oron is a plantsman, Botanist, Garden Designer, photographer and is involved in a number of international forums and societies. He also leads botanical tours in different parts of the world. His book 'Bulbs of The Eastern Mediterranean is due to be published in 2014 by the AGS.


text:
Friends & Family Sale | 18% off Steve's blinds with code STEVESVIP SHOP NOW
Home > Blinds > Product
For immediate pricing assistance please call 1-800-548-5711 or email us.
Please Click Here to review pricing messages.
Brushstroke 3/4" Single Cell Shades
Bali Shades and Blinds
Bali Light Filtering 3/4" Single Cell
was $247.96 each
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Width: 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 144 0" 1/8" 1/4" 3/8" 1/2" 5/8" 3/4" 7/8"
Height: 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 144 0" 1/8" 1/4" 3/8" 1/2" 5/8" 3/4" 7/8"
Room: None Master Bedroom Bedroom Living Room Family Room Dining Room Kitchen Guest Room Office Basement Game Room Bathroom
Bronzite Taupe
Colonial Gray
Feather Gray
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Selected color is discontinued
Multiple Shades on One Headrail
2 on 1 Headrail
( + $39.56 )
Blind 1: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 144 0" 1/8" 1/4" 3/8" 1/2" 5/8" 3/4" 7/8"
Multiple Blinds widths must equal the total width of 18
Standard Lift Cord
Continuous Cord Loop
AutoView Motorization
( + $264.09 )
Cordless Top Down-Bottom Up
EasyView Motorization
Top-Down Only
Corded Sun Up/ Sun Down
Cordless Sun Up/Sun Down
Lifting System for 2 on 1
Control Position
CCL Control Position
Top Down Bottom Up Controls
Corded Sun Up/ Sun Down Controls
Skylight Pole
9.5 Foot
Control for Shade 1
Shade 1 CCL Postion
Shade 2 CCL Position
Bottom Blackout Shade
Spellbound Cottonwood Tan 0190
Spellbound Decorator White 0193
Spellbound Desert Taupe 0192
Spellbound Dove Gray 0191
Spellbound Sesame Beige 0194
Spellbound White Sugar 0195
Autoview Remote Control
Standard AutoView Control
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EasyView Remote Control
EasyView Control
AutoView Power Source
Unfilled Single Battery Case
Dual Unfilled Battery Case
EasyView Power Source
Unfilled Single Battery Tube
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Room Darkening Side Channel
Yes (inside mount only)
Cord Cleat
Standard Clear
Decorative Solid Brass
( + $8.55 )
Decorative Antique Brass
Cord Winder
Hold Down Brackets
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Brand: Bali Shades and Blinds
Measurements: 18 " 000 " X 30 " 000 "
Color: Colonial Gray | 0630
Mount: Inside
Multiple Shades on One Headrail: No
Lifting System: Standard Lift Cord
Lifting System for 2 on 1: Standard Lift Cord
Lifting System for 3 on 1: Cordless
Control Position: Left
CCL Control Position: Left
Top Down Bottom Up Controls: Standard
Corded Sun Up/ Sun Down Controls: Standard
Skylight Pole: No
Control for Shade 1: Left
Control for Shade 2: Right
Shade 1 CCL Postion: Left
Shade 2 CCL Position: Right
Bottom Blackout Shade: Spellbound Cottonwood Tan 0190
Autoview Remote Control: Standard AutoView Control
EasyView Remote Control: No
AutoView Power Source: Unfilled Single Battery Case
EasyView Power Source: Unfilled Single Battery Tube
Room Darkening Side Channel: No
Cord Cleat: Standard Clear
Cord Cleats: Standard Clear
Hold Down Brackets: No
Extension Brackets: No
Spacer Blocks: No
Room Name: None
Oversized Freight $95.00
Estimated Production Time: 23 Business Days
Top Down Only w/ Continuous Cord Loop
Cordless Top Down Bottom Up
Blackout Side Channels
Sun Up/Sun Down
Corded Shade
Single Shade
Width: 9" - 90"
Height: 9" - 144"
Width: 9" - max panel 90" max shade 192"
Height: 9" - 96"
Cordless Shade
Width: 15" - 90"
Width: 20.5" - 90"
Width: 20.5" - max panel 90" max shade 144"
Standard Shade
Width: 19 5/8" - 90"
Collection: Brushstroke 3/4" Single Cell Shades
Type: Blinds
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List Name:
Brand:Bali Shades and Blinds
Product Type:Cellular Shades
Style:Bali Light Filtering 3/4" Single Cell
Collection:Brushstroke 3/4" Single Cell Shades
Color:Colonial Gray
Width:18
Height:30
Mount Type:Inside
Room Name:None
Multiple Shades on One Headrail:No
Lifting System:Standard Lift Cord
Control Position:Left
Room Darkening Side Channel:No
Cord Cleat:Standard Clear
Hold Down Brackets:No
Extension Brackets:No
Spacer Blocks:No
Name: Cellular Shades
Type: Blind
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Limit one remake per line item with a maximum of 4 remakes per customer for life.
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No one has arrived in English would translate to Personne n'est arrivé in French.
In English we would use present perfect tense because it signifies something starting in the past and still going on to the present: no one arrived and they are still not here at the moment and this will continue on to the future.
In French it would be Personne n'est arrivé which to me is something happened once and complete in the past, such as Je suis rentré/sorti, Il m'a quitté. Why are we using it here for No one has arrived. For me if something started in the pass and continue to the present, I would think of imparfait : "Personne n'arrivait". So why are we not using it here and what would it mean if I say "Personne n'arrivait"?
I think my answer in the previous post might have been slightly incorrect in English and therefore confusing you. I personally don't make a real difference between "Nobody arrived" and "Nobody has arrived", and I think that's were I'm wrong. Actually, the real meaning of "Personne n'est arrivé" depends of the context.
J'attendais mes amis mais personne n'est arrivé.
I couldn't tell if both translations have the exact same meaning though, I would maybe mistakenly use either one or the other without further thinking.
J'attends mes amis mais personne n'est (encore) arrivé.
is an observation at point T in time. Nobody is there.
It gives the idea of continuously observing the situation. Nobody was coming. There is the feeling of waiting for it to happen. The imparfait has this notion of continuity. Well, at least in my mind and for this situation.
By the way, I'm a native french speaker, but not a professional linguist.
Is incomplete: it can be something that happened in the past but is still ongoing.
Not the answer you're looking for? Browse other questions tagged grammaire temps-grammatical passé-composé imparfait concordance-des-temps or ask your own question.
"Alors qu'il s'était allongé" or "alors qu'il s'était allongeait"?
Why use Conditionnel Passé "j'aurais voulu", not Conditionnel Présent "je voudrais"?
Vous savez qui on attend? Why "qui" and not "que"?


Decorating Ideas For The Home Prepossessing Idea Delightful House Decorating Ideas Home Decor For Small Houses Endearing Designs All About Interior Design is part of great design ideas. Decorating Ideas For The Home Prepossessing Idea Delightful House Decorating Ideas Home Decor For Small Houses Endearing Designs All About Interior Design was created by combining fantastic ideas, interesting arrangements, and follow the current trends in the field of that make you more inspired and give artistic touches. We'd be honored if you can apply some or all of these design in your home. believe me, brilliant ideas would be perfect if it can be applied in real and make the people around you amazed!
Decorating Ideas For The Home Prepossessing Idea Delightful House Decorating Ideas Home Decor For Small Houses Endearing Designs All About Interior Design was posted in June 8, 2018 at 10:33 am. Decorating Ideas For The Home Prepossessing Idea Delightful House Decorating Ideas Home Decor For Small Houses Endearing Designs All About Interior Design has viewed by 272 users. Click it and download the Decorating Ideas For The Home Prepossessing Idea Delightful House Decorating Ideas Home Decor For Small Houses Endearing Designs All About Interior Design.
Bedroom, Bed Decorating Ideas was posted March 3, 2018 at 8:31 am by Erinnsbeauty.com . More over Bed Decorating Ideas has viewed by 9182 visitor.
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text:
Photo: Andres Kudacki for The InterceptPhoto: Andres Kudacki for The Intercept
How a Ragtag Group of Socialist Filmmakers Produced One of the Most Viral Campaign Ads of 2018
June 5 2018, 2:05 p.m.
Bronx activist and community organizer Alexandria Ocasio-Cortez is challenging longtime New York Democratic Rep. Joe Crowley in his primary on June 26. By all measures, the former Bernie Sanders organizer is an underdog, going up against the powerful chair of the House Democratic Caucus who has more than $1.6 million in cash on hand (Ocasio-Cortez has raised around $200,000).
But in a social media-focused campaign video released on May 30, Ocasio-Cortez sought to turn this money gap into a liability for Crowley — telling a story about her life and the lives of thousands of other working-class New Yorkers who continue to be squeezed by the high cost of health care, education, and housing.
"This race is about people versus money," Ocasio-Cortez says in the ad. "We've got people. They've got money."
Within a day, the video had over 300,000 views.
It's time for a New York that works for all of us.
On June 26th, we can make it happen – but only if we have the #CourageToChange.
It's time to get to work. Please retweet this video and sign up to knock doors + more at https://t.co/kacKFI9RtI to bring our movement to Congress. pic.twitter.com/aqKMjovEjZ
— Alexandria Ocasio-Cortez (@Ocasio2018) May 30, 2018
It's not hard to see why. The video is tightly produced, crafting a narrative about an organizer-candidate who has the same sort of working-class background that is representative of the majority of New York's 14th Congressional District — the median income in the district is $53,512 — taking on a powerful incumbent backed by Wall Street dollars.
What you may be surprised to find out is that the video was produced not by Hollywood video production veterans or high-dollar political consultants, but by a ragtag pair of socialists based in Detroit.
Last year, Detroit-based Democratic Socialists of America activists Naomi Burton and Nick Hayes formed Means of Production, a media production company that works exclusively for the working class. (DSA has since endorsed Ocasio-Cortez.)
Both were veterans of other communications firms and were troubled by the fact that many of these firms worked both for progressive candidates and corporations working against the very same causes.
"It just didn't compute to us that the same people creating working-class propaganda are creating essentially propaganda for corporations," Hayes said.
"We did this, really, with the goal of building kind of an effective, functional left media structure," Burton explained.
She first reached out to the Ocasio-Cortez campaign in March, after she learned about the candidate on Facebook. "Her message was bold. It was unapologetic. It had a clear leftist vision that I could understand as just a normal person, that I thought other working people could identify with," she explained. "And after doing a little bit of digging, I realized she didn't have a campaign video."
So she sent Ocasio-Cortez a Twitter direct message explaining how Means of Production could help the campaign. A month later, the team went to New York City, and a month after that, the video was released. Thus, in less than 2 1/2 months, a pair of socialist upstart filmmakers in Detroit conceived, produced, and released one of the most viral campaign videos of 2018.
Hayes was hesitant to disclose the campaign's exact budget for the commercial, but told The Intercept that the entire project cost less than $10,000. Costs were kept low because virtually everyone in the ad was a community member, a volunteer, or a member of Ocasio-Cortez's family. Much of the video was produced simply by following Ocasio-Cortez around during the campaign. The closing shot of the film is set in an apartment.
One great thing about our campaign video: not a single consultant was involved.
I wrote the script. My family is the closing shot. That's my actual bodega.
Detroit DSAers @means_tv worked with our team to film and tell the story.
Volunteers coordinated the shoot. pic.twitter.com/xH30sGTFKC
"A lot of the footage, like following … the person putting up campaign posters and things like that, that's just people out doing work in the community for her, in the campaign," Hayes said.
The success of the video shoot raises the question: Why do candidates spend so much money on high-priced consultants who produce boring, safe videos, when ideologically aligned, camera-savvy activists can do it quicker, cheaper, and with more vitality?
"For a lot of these political candidates, who have nothing to offer people … staging a whole thing and creating this whole kind of fake world is necessary because, you know, you're working from nothing, you have nothing to work with," Hayes said, crediting Ocasio-Cortez's political vision with inspiring the themes of the video. "We're interested in working with people that are really trying to push forward working-class politics and these sort of basic social safety net programs. And they have things to offer people. So it allows us the flexibility to be a little bit more creative."
The video's crescendo is driven by Ocasio-Cortez's narration, which she also scripted:
This race is about people versus money — we've got people, they've got money. It's time we acknowledged that not all Democrats are the same. That a Democrat who takes corporate money, profits off foreclosure, doesn't live here, doesn't send his kids to our schools, doesn't drink our water or breathe our air, cannot possibly represent us.
What the Bronx and Queens needs is 'Medicare for All,' tuition-free public college, a federal jobs guarantee, and criminal justice reform.
To Hayes, movement candidates like Ocasio-Cortez and Means of Production are a natural fit.
"I don't think you could drop on the ground of, like, a Hillary Clinton campaign and find people so willing to be a part of a production," he said. "You really have to have someone who's charismatic and inspirational and leading that movement there on the ground in order to make that viable."
Correction: June 5, 2018, 5:20 p.m.
An earlier version of this story incorrectly stated that the closing shot of Alexandria Ocasio-Cortez's 2018 campaign video is set in a bodega. In fact, it is set in an apartment.
Top photo: Congressional candidate Alexandria Ocasio-Cortez poses for a picture in the Bronx on April 21, 2018.
Zaid Jilani[email protected]theintercept.com@ZaidJilani


Marshall P. Duke received his B.A. in general psychology from Rutgers University and his Ph.D. in clinical psychology from Indiana University. Following two years of service as a psychologist in the United States Army, he joined the Emory faculty in 1970.


So before I go further, I would like to send you over to the following blog - http://windowsitpro.com/hyper-v/easily-maintain-hyper-v-template-image. John Savill writes up the process pretty well. His example hints at just doing this in Hyper-V and excludes mention of SCVMM. This isn't too far off though since, even with SCVMM, performing certain tasks on either the Hyper-V host or the Hyper-V manager app is still much easier than trying to do it in SCVMM. Also I found that even with the Hyper-V Management feature installed on SCVMM, the powershell modules still don't work correctly. At Step 6, make sure you choose the Generalize option for SYSPREP. This will make it so the image can be used by SCVMM during the Create Virtual Machine from template. Otherwise you will get a big ol' error during a build. Step 8 I ran from the Hyper-V host as it was just easier to keep everything local. Once the export completed, I copied the file over to the SCVMM Library server directory so it can be connected to the Template Image. Once that is all set, you should be good to go for building more updated VMs. It would be best to incorporate this into your patch management process and perform this on a monthly basis. I'm sure if you are smarter than I, you can automate much of this process. I am also sure this is documented somewhere in some Technet blog but probably requires that you are using System Center for patching rather than WSUS.


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text:
SEA FISHING GUIDE TO CLEVELAND/ NORTH YORKSHIRE : Skinningrove to High Hawsker
Posted on June 18, 2014 by admin • 0 Comments
Clifftop walks above a chain of old fishing harbours
Red-grey crags climb to high cliffs at Boulby, then slope down to a rocky shoreline. Walkers can follow the Cleveland Way right along the coast, over cliffs and along the foreshore. The cliffs are breached by valleys that shelter fishing villages such as Staithes and Runswick, while on the broader valley of the River Esk lies the ancient port of Whitby. There, Captain Cook's statue overlooks a scene that has changed little since his day.
SKINNINGROVE
The village of Skinningrove lies beside a stream at the foot of a valley, where gaunt cliffs rise from a sandy bay. Skinningrove was built to house the men who worked the iron mines at the head of the valley. Though the mines have closed, steel works have taken their place and the stream is permanently stained with the rusty colour of iron ore waste. Though Skinningrove is hardly a holiday centre, the sandy beach on each side of the quay and the spectacular cliff scenery would be the envy of many resorts.
HUMMERSEA SCAR
Cut into the flat rocks of Hummersea Scar is a man-made channel that once formed a harbour in this inhospitable spot. The harbour, and the scars of mine workings on the cliffside, are relics of Britain's first chemical industry, the mining and purification of alum, that took place along the north Yorkshire coast between 1600 and 1870. Alum, a blueish stone, was used extensively in dyeing wool, tanning leather and sizing paper. In the days of James I, alum was a Royal monopoly, but this ended with the death of Charles I. The industry ceased when a way was found of making alum from coal shales treated with sulphuric acid.
To see the old mines, take the steep road up the hillside east of Skinningrove and, on the level ground above the village, turn left to Hummersea Farm, where cars may be parked with the farmer's permission. A track leads up to the headland, past a cottage, and the alum mines are near the highest point on the.
BOULBY
At their highest point, Boulby cliffs stand 666 ft above the sea, making them the highest cliffs on England's east coast. As such they are something of a disappointment, for they lack the drama of cliffs like Bempton in Humberside or Beachy Head in East Sussex that descend vertically to the shore. Boulby cliffs drop in stages; but from the summit footpath the effect is still exhilarating and the view magnificent. At the eastern end of the hillside a large potash mine disfigures an otherwise wild stretch of countryside.
Little houses cluster on the steep sides of a gorge that opens out like a funnel into the harbour at Staithes, which remains much as James Cook would have known it in 1744. As a lad of 16, Cook was apprentice to William Sanderson, a haberdasher at Staithes, but after 18 months the man who was to become one of the world's greatest explorers followed the example of many villagers and went to sea – as a servant aboard a Whitby ship.
The harbour is smaller than in Cook's day, but a fleet of fishing cobles is anchored in the shelter of the stream at the western end. From the harbour climb steep narrow alleys with quaint names such as Gun Gutter and Dog Loup, which is little over 18 in. wide.
The sandy bed of the harbour is revealed at low tide, creating a pleasant beach which is protected from the waves by the harbour piers. The only car park is at the top of the hill near the entrance to the village.
FORT MULGRAVE
The road ends a t a row of houses perched on a high clifftop, and several hundred feet below is the dilapidated harbour of Port Mulgrave. It is a long steep climb down the cliff path to the harbour, where a few small fishing boats are moored.
At first it seems strange that anyone should build a harbour in such an inaccessible place. A tunnel near the foot of the cliff provides the explanation, for it leads a mile inland to the old ironstone mines at Dale-house, south of Staithes. Until the mine closed in the 1920s, the iron ore was carried through the tunnel by a narrow-gauge railway and tipped into the holds of coasters in Port Mulgrave for shipment to the furnaces at Jarrow.
CAPTAIN COOK COUNTRY
The explorer James Cook was born in 1728 in the village of Marton, 2 miles south of Middlesbrough. The cottage where he was born is no longer there, but the site is marked by a granite vase in Stewart Park and near by is a Birthplace Museum. At Great Ayton, where Cook went to school, part of the school-house is now a Cook museum.
It was while working at Staithes that Cook first felt the urge to go to sea, but it is with Whitby that he is most closely associated. He was apprenticed to a Whitby shipowner, John Walker, and the house in which he lodged at this time -in Grape Lane – still stands; it is due to open as another Cook museum. All the ships used by Cook were built at the Fishburn shipyard in Whitby. A life-size statue of the explorer was erected on Whitby's West Cliff in 1912.
A crescent of sand stretches south-east from the village of Runswick, which consists of a collection of cottages set apparently at random at the foot of the cliffs. Narrow alleyways weave between the cottages, revealing pretty gardens separated by stone walls. In 1682 an earlier village of Runswick slipped into the sea.
A long row of fishing boats is parked above the shore, with a tractor to haul them down the ramp. There is a sailing club-at the southern end of the bay, and light dinghies can be launched from the sands.
KETTLENESS
This isolated community of red-brick houses on the clifftop still has several relics of the now disused coastal railway line. The redbrick Victorian station stands incongruously in a field. A footpath follows the railway track from Staithes until it plunges into a long tunnel to the east of the hamlet; at this point walkers should stay on the surface and follow the Cleveland Way along the cliffs. At Overdale Wyke, 1 mile north of Sandsend, this footpath passes the remains of large alum workings in the cliff face. These mines opened in 1615 and were worked until 1867.
Stretching from the west pier of Whitby harbour, 2 ½ miles of uninterrupted sands come to an end at Sandsend. There only a narrow pavement separates the road from the sea-wall, and at high spring tides the waves break violently against the wall, sending arches of spray over the road. Colourful boulders are scattered on the shore at the foot of the car park, north-west of the village, and diligent searchers occasionally find pieces of Whitby jet among them. Volunteer lifeguards patrol on Sundays in summer. Great care must be taken not to be cut off by the tide.
Near by, the stream of Mickleby Beck meets the sea, its valley lined by honey-coloured stone houses with pretty cottage gardens. There is a second stream, East Row Beck, a few hundred yards to the east, and near by is the yard of one of the few remaining coble builders in the north-east. A footpath beside each stream leads into the beautiful Mulgrave Woods, whose owner allows walkers to roam the paths on Saturdays, Sundays and Wednesdays, except in May. The romantic ruins of Mulgrave Castle, l>/2 miles into the woods, are girdled with ivy and overgrown with trees. Among the tumbled stones is the curious relic of a medieval stone lavatory seat.
Endowed with an incomparable setting on the steep banks of the estuary of the River
Esk, Whitby is a jewel among towns, its harbour and streets of ancient buildings imbued with a rich history, yet bustling with modern life. The jagged ruins of Whitby
Abbey surmount the East Cliff and provide an impressive landmark for miles along the coast. On the opposite clifftop, to the west, WHITBY DELICACY Herrings smoked over an oak the statue of Captain Cook surveys the fire produce the distinctive colour and flavour of harbour, which was the birthplace of three the familiar kipper. ships, Endeavour, Resolution and Adventure, that carried him around the world on his three great voyages of exploration. The two sides of the town are linked by a swing bridge. Built in 1909 it has a 70 ft centre span. Just below the Cook monument is an arch made from the jawbone of a whale – a reminder of Whitby's history as a whaling port. Between 1753 and 1833 some 2,761 whales were brought back to Whitby, and their blubber was boiled on the quayside to make oil. As early as 1825 the streets of Whitby were lit by a gas made from whale oil. Whitby's most famous whaling captain was William Scoresby, the inventor of the 'crows nest', who accounted for 533 whales in his career.
Scoresby's journals are among the varied items on display in Whitby Museum, which is set among the floral gardens of Pannett Park. Mementoes of Captain Cook and his journeys jostle with flint arrowheads, Roman inscriptions, fossils found on the Whitby shore, stuffed birds, oriental antiquities and even the wizened hand of a murderer; severed at the wrist after his execution, this was used as a charm by burglars and it was believed to have the power of sending victims into a deep slumber. Whitby Museum also has examples of jewellery intricately carved from the jet found on the local shore.
Whitby jet is fossilised wood which has been subjected to chemical action in stagnant water and then flattened by enormous pressure. It was used in the manufacture of ornaments in the Bronze Age and by the Romans, and in medieval times was considered a potent charm against witchcraft. In Victorian times jet-working flourished in Whitby, after Queen Victoria introduced jet jewellery into court circles as a mark of mourning for Prince Albert. It declined, however, after 1870 with the introduction of 'French jet' – black glass – and the import of jet from Spain, where children wore jet beads to ward off the evil eye.
Whitby has another connection with the occult: the author Bram Stoker set scenes of his novel Dracula on the 199 steps that lead up through the old town to the graveyard and church of St Mary on the East Cliff beside the abbey. This church has a unique wooden interior, crafted by 18th-century shipbuilders, with box pews, galleries and a towering three-storey pulpit.
The holiday activities of Whitby include bathing from safe sandy beaches, sailing from the marina in the harbour, sea and river fishing, or merely enjoying the taste of fresh fish at the restaurants by the quayside. There is a Lifeboat Museum in Pier Road which contains the last rowing lifeboat in the country. An angling festival is held in July and a three-day regatta in August.
A VILLAGE SHELTERED FROM THE STORMY BLAST
Bluff headlands protect Staithes like a hand cupped around a flame, bringing a backwater stillness to the creek where brightly painted cobles lie at rest and, beyond the bridge, the greysione lifeboat station stands at the head of its ramp. Between the jumble of tall houses and snug cottages runs a web of alleys, some tittle more than 18 in. wide.
SALTWICK BAY
Cradled between the rocky promontories of Saltwick Nab and Black Nab is the small stretch of sand in Saltwick Bay. Steps lead down to the beach from the cliffside, the vast hollows of which are the remains of alum workings. Good fossils, including ammonites, are sometimes found on the shore, but fossil hunters should beware of being cut off by the tide when exploring the rocks at the edges of the bay.
Above the bay is the Whitby High Light and fog signal station. The light is 240 ft above sea level and has a range of 22 miles. The foghorn, known locally as 'The Hawsker Bull', can be heard 10 miles awav.
HIGH HAWSKER
The moorland village is notable for its handsome stone-built farms. On the road from High Hawsker to Robin Hood's Bay a curious brick structure with a stone roof encloses an ancient spring. A notice in local dialect recalls that this was the well used by the Abbess St Hilda and the nuns of Whitby Abbey: 'Lang centuries aback,
This wor t'awd Abba well,
St Hilda, veiled i'black,
Supped frey it, an no lack.'
SEA FISHING GUIDE TO CORNWALL: Treyarnon to Port Quin
SEA FISHING GUIDE TO NORTH YORKSHIRE: Robin Hood's Bay to Filey
SEA FISHING GUIDE TO DEVON: Hallsands to Berry Head
SEA FISHING GUIDE TO TYNE AND WEAR / DURHAM / CLEVELAND: Whitburn to Saltburn-by-the-Sea
SEA FISHING GUIDE TO DYFED: Saundersfoot to Llanelli
SEA FISHING GUIDE TO DUMFRIES AND GALLOWAY: Auchenmalg Bay to Kirkcudbright
SEA FISHING GUIDE TO AVON: Weston-super-Mare to Severn Bridge
SEA FISHING GUIDE TO DYFED: Gwbert-on-Sea to Llansantffraid and Llanon
SEA FISHING GUIDE TO DEVON: Maidencombe to Lympstone
SEA FISHING GUIDE TO Maryport to Eskmeals
Fishing Guide to North East Yorkshire
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