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Common Crop Insurance Regulations; Cultivated Wild Rice Crop Insurance Provisions
A Proposed Rule by the Federal Crop Insurance Corporation on 06/06/2007
Information about this document as published in the Federal Register.
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Federal Crop Insurance Corporation
Written comments and opinions on this proposed rule will be accepted until close of business August 6, 2007, and will be considered when the rule is to be made final.
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Document Citation:
72 FR 31196
31196-31199 (4 pages)
CFR:
7 CFR 457
RIN:
0563-AC00
Document Number:
E7-10824
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List of Subjects in 7 CFR Part 457
PART 457—COMMON CROP INSURANCE REGULATIONS
(Appropriate Title for Insurance Provider)
Cultivated Wild Rice Crop Insurance Provisions
2. Unit Division
3. Insurance Guarantee, Coverage Levels, and Prices for Determining Indemnities
4. Contract Changes
5. Cancellation and Termination Dates
6. Insured Crop
7. Insurance Period
8. Causes of Loss
9. Replanting Payments
10. Duties in the Event of Damage or Loss
11. Settlement of Claim
12. Late Planting
13. Prevented Planting
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Start Preamble Start Printed Page 31196
Federal Crop Insurance Corporation, USDA.
Proposed rule with request for comments.
The Federal Crop Insurance Corporation (FCIC) proposes to add to 7 CFR part 457 a new 457.170 that provides insurance for cultivated wild rice. The provisions will be used in conjunction with the Common Crop Insurance Policy Basic Provisions, which contain standard terms and conditions common to most crops. The intended effect of this action is to convert the cultivated wild rice pilot crop insurance program to a permanent insurance program for the 2009 and succeeding crop years.
Interested persons are invited to submit comments titled "Cultivated Wild Rice Crop Insurance Provisions", by any of the following methods:
By Mail to Director, Product Administration & Standards Division, Risk Management Agency, United States Department of Agriculture, 6501 Beacon Drive, Stop 0812, Room 421, Kansas City, MO 64133-4676.
E-Mail: DirectorPDD@rma.usda.gov.
Federal e-Rulemaking Portal: http://www.regulations.gov. Follow the instructions for submitting comments.
A copy of each response will be available for public inspection and copying from 7 a.m. to 4:30 p.m., CDT, Monday through Friday, except holidays, at the above address.
Start Further Info
Linda Williams, Risk Management Specialist, Product Management, Product Administration & Standards Division, Risk Management Agency, at the Kansas City, MO, address listed above, telephone (816) 926-7730.
End Further Info End Preamble Start Supplemental Information
The Office of Management and Budget (OMB) has determined that this rule is non-significant for the purpose of Executive Order 12866 and, therefore, it has not been reviewed by OMB.
Pursuant to the Paperwork Reduction Act of 1995 (44 U.S.C. chapter 35), the collections of information in this proposed rule have been approved by OMB under control number 0563-0053 through November 30, 2007.
FCIC is committed to complying with the E-Government Act, to promote the use of the Internet and other information technologies to provide increased opportunities for citizen access to Government information and services, and for other purposes.
Title II of the Unfunded Mandates Reform Act of 1995 (UMRA) establishes requirements for Federal agencies to assess the effects of their regulatory actions on State, local, and tribal governments and the private sector. This rule contains no Federal mandates (under the regulatory provisions of title II of the UMRA) for State, local, and tribal governments or the private sector. Therefore, this rule is not subject to the requirements of sections 202 and 205 of the UMRA.
It has been determined under section 1(a) of Executive Order No. 13132, Federalism, that this rule does not have sufficient implications to warrant consultation with the States. The provisions contained in this rule will not have a substantial direct effect on States, or on the relationship between the national government and the States, or on the distribution of power and responsibilities among the various levels of government.
FCIC certifies that this regulation will not have a significant economical impact on a substantial number of small entities. Program requirements for the Federal crop insurance program are the same for all producers regardless of the size of their farming operation. For instance, all producers are required to submit an application and acreage report to establish their insurance guarantees and compute premium amounts, and all producers are required to submit a notice of loss and production information to determine the amount of an indemnity payment in the event of an insured cause of crop loss. Whether a producer has 10 acres or 1000 acres, there is no difference in the kind of information collected. To ensure crop insurance is available to small entities, the Federal Crop Insurance Act authorizes FCIC to waive collection of administrative fees from limited resource farmers. FCIC believes this waiver helps to ensure that small entities are given the same opportunities as large entities to manage their risks through the use of crop insurance. A Regulatory Flexibility Analysis has not been prepared since this regulation does not have an impact on small entities, and, therefore, this regulation is exempt from the provisions of the Regulatory Flexibility Act (5 U.S.C. 605).
This program is listed in the Catalog of Federal Domestic Assistance under No. 10.450.
This program is not subject to the provisions of Executive Order 12372, which require intergovernmental consultation with State and local officials. See the Notice related to 7 CFR part 3015, subpart V, published at 48 FR 29115, June 24, 1983.
This proposed rule has been reviewed in accordance with Executive Order No. 12988 on civil justice reform. The provisions of this rule will not have a retroactive effect. The provisions of this rule preempt State and local laws to the extent such State and local laws are inconsistent herewith. With respect to any direct action taken by FCIC or to Start Printed Page 31197require the insurance provider to take specific action under the terms of the crop insurance policy, the administrative appeal provisions published at 7 CFR part 11 must be exhausted before any action against FCIC for judicial review may be brought.
This action is not expected to have a significant impact on the quality of the human environment, health, and safety. Therefore, neither an Environmental Assessment nor an Environmental Impact Statement is needed.
FCIC offered a pilot crop insurance program for cultivated wild rice beginning with the 1999 crop year in the states of Minnesota and California. In the 2006 crop year, approximately 20,500 acres were insured under the pilot program. FCIC contracted with an independent firm to conduct an evaluation of the cultivated wild rice pilot program. The evaluation found the pilot crop insurance program to be a valuable tool for wild rice producers. The evaluation could not identify any instances where the pilot program adversely affected the wild rice market. The contractor's report did recommend updating the premium rates by utilizing the pilot program's experience, remove two definitions, and correct the termination date contained in the Crop Provisions. FCIC's Board of Directors concurred with the evaluation results and approved the conversion of the pilot status to that of a permanent crop insurance program.
FCIC intends to convert the cultivated wild rice pilot crop insurance program to a permanent crop insurance program beginning with the 2009 crop year. To effectuate this, FCIC proposes to amend the Common Crop Insurance regulations (7 CFR part 457) by adding a new section § 457.170, Cultivated Wild Rice Crop Insurance Provisions. These provisions will replace and supersede the current unpublished provisions that insure cultivated wild rice under pilot program status.
Cultivated wild rice crop insurance is an actual production history (APH) plan of insurance that protects against a loss in yield. If the number of pounds produced by the crop is less than the production guarantee, the producer will receive an indemnity if the producer is in compliance with all other policy provisions. The production guarantee is determined the same as other APH crops. The producer certifies the number of pounds of wild rice produced per acre for at least the previous four crop years building to a base period of ten crop years and these amounts are averaged to determine the approved yield. The approved yield times the coverage level determines the production guarantee. The covered causes of loss are the same as for other APH crops and include such causes as adverse weather, fire, wildlife, plant disease, etc. The production to count is also determined the same as other crops with all appraised and harvested pounds counting against the guarantee when determining whether there was an indemnifiable loss.
In this proposed rule, FCIC has revised certain provisions of the pilot program to be consistent with other Crop Provisions and to improve the policy. In section 1, FCIC has removed the definitions of "latest final planting date" and "processing." A definition of "latest final planting date" is not needed because separate fall and spring final planting dates are not provided for wild rice. Since the term "processing" is not used in the Crop Provisions it has been removed and replaced with the definition of "processor," a term which is referenced in other definitions. FCIC also revised the definition of "finished weight" to add a provision that would provide the finish weight for appraised production. Currently, the policy only has provisions for delivered production and stored for seed, both which presume the crop has been harvested. However, the finish weight must also be determined in situations where the crop has not been harvested.
The termination date contained in section 5 has been revised to November 30th for Minnesota and some California counties. The current termination date does not allow producers sufficient time to pay their premiums. In addition, the cancellation and termination dates for some California counties have been revised to accommodate the different growing seasons and will allow expansion of the cultivated wild rice crop insurance program.
FCIC has revised section 10 to specify representative samples are required in accordance with section 14 of the Basic Provisions. This is consistent with other Crop Provisions and allows FCIC to only have to revise the Basic Provisions if changes are required, instead of many Crop Provisions.
Additionally, section 11(a) has been reformatted to be consistent with the changes made in other Crop Provisions and the Basic Provisions.
Start List of Subjects
Cultivated wild rice
Reporting and recordkeeping requirements
End List of Subjects
Accordingly, as set forth in the preamble, the Federal Crop Insurance Corporation proposes to amend 7 CFR part 457, Common Crop Insurance Regulations, for the 2008 and succeeding crop years as follows:
Start Part
1. The authority citation for 7 CFR part 457 continues to read as follows:
Start Authority
Authority: 7 U.S.C. 1506(l), 1506(p).
End Authority
2. Section 457.170 is added to read as follows:
§ 457.170
Cultivated Wild Rice crop insurance provisions.
The Cultivated Wild Rice Crop Insurance Provisions for the 2009 and succeeding crop years are as follows:
FCIC policies:
Reinsured policies:
Both FCIC and reinsured policies:
Approved laboratory. A testing facility approved by us to determine the recovery percentage from samples of cultivated wild rice.
Cultivated wild rice. A member of the grass family Zizania Palustris L., adapted for growing in man-made irrigated fields known as paddies.
Determined recovery percentage. The recovery percentage for a sample, as determined by an approved laboratory.
Finished weight.
(a) The green weight delivered to a processor multiplied by the determined recovery percentage;
(b) The green weight stored for seed multiplied by either the determined recovery percentage or the standard recovery percentage in accordance with section 11(d); and
(c) Appraised green weight multiplied by either the determined recovery percentage or the standard recovery percentage in accordance with section 11(d).
Flood irrigation. Intentionally covering the planted acreage with water and maintaining it at a proper depth throughout the growing season.
Green weight. The total weight in pounds of the green cultivated wild rice production that was appraised, delivered to a processor, or stored for seed. Start Printed Page 31198
Harvest. Combining or threshing the cultivated wild rice for grain or seed.
Initially planted. The first occurrence of planting the insured crop on insurable acreage for the crop year.
Planted acreage. In addition to the definition contained in the Basic Provisions, land on which an adequate amount of seed is initially spread onto the soil surface by any appropriate method, including shattering for the second and succeeding years, and subsequently is mechanically incorporated into the soil at the proper depth, will be considered planted, unless otherwise provided by the Special Provisions or actuarial documents.
Processor. A business that converts green weight to finished weight using appropriate equipment and methods such as separating immature kernels, fermenting or curing, parching, de-hulling, and scarifying.
Recovery percentage. The ratio of finished weight to green weight of the cultivated wild rice. This is also known as percent recovery.
Shatter. Mature seeds that naturally fall to the ground from a cultivated wild rice plant.
Standard recovery percentage. The recovery percentage contained in the Special Provisions.
Provisions in the Basic Provisions that allow optional units by irrigated and non-irrigated practices are not applicable.
In addition to the requirements of section 3 of the Basic Provisions:
(a) You may select only one percentage of the maximum price election for all the cultivated wild rice insured under this policy in the county.
(b) The insurance guarantee per acre is expressed as pounds of finished weight.
In accordance with section 4 of the Basic Provisions the contract change date is November 30 preceding the cancellation date for counties with a February 28 cancellation date and June 30 preceding the cancellation date for counties with a September 30 cancellation date.
In accordance with section 2 of the Basic Provisions, the cancellation and termination dates are:
Mendocino, Glenn, Butte, and Sierra Counties, California; and all California Counties south thereof February 28 February 28.
Minnesota, All Other California Counties, and All Other States September 30 November 30.
(a) In accordance with section 8 of the Basic Provisions, the crop insured will be all the cultivated wild rice in the county grown on insurable acreage for which premium rates are provided by the actuarial documents:
(1) In which you have a share;
(2) That is planted for harvest as grain; and
(3) That is grown in man-made flood irrigated fields.
(b) Section 8(b)(3) of the Basic Provisions is not applicable to the cultivated wild rice seed that naturally shatters and is subsequently mechanically incorporated into the soil.
In accordance with section 11 of the Basic Provisions, the calendar date for the end of the insurance period is September 30 of the calendar year the crop is normally harvested for Minnesota, October 15 of the calendar year the crop is normally harvested for California, and for all other states, the date as provided in the Special Provisions.
(a) In accordance with section 12 of the Basic Provisions, insurance is provided only against the following causes of loss that occur during the insurance period:
(1) Adverse weather conditions;
(2) Fire;
(3) Insects, but not damage due to insufficient or improper application of pest control measures;
(4) Plant disease, but not damage due to insufficient or improper application of disease control measures;
(5) Wildlife;
(6) Earthquake;
(7) Volcanic eruption; or
(8) Failure of the irrigation water supply, if caused by a cause of loss specified in sections 8(a)(1) through (7) that occurs during the insurance period.
(b) In addition to the causes not insured against in section 12 of the Basic Provisions, we will not insure against any loss of production due to the crop not being timely harvested unless such delay in harvesting is solely and directly due to adverse weather conditions which preclude harvesting equipment from entering and moving about the field.
The provisions of section 13 of the Basic Provisions are not applicable.
Representative samples are required in accordance with section 14 of the Basic Provisions.
(a) We will determine your loss on a unit basis. In the event you are unable to provide records of production that are acceptable to us for any:
(1) Optional unit, we will combine all optional units for which such production records were not provided; or
(2) Basic unit, we will allocate any commingled production to such units in proportion to our liability on the harvested acreage for each unit.
(b) In the event of loss or damage covered by this policy, we will settle your claim by:
(1) Multiplying the insured acreage by its respective production guarantee;
(2) Multiplying the result in 11(b)(1) by the respective price election;
(3) Totaling the results of section 11(b)(2);
(4) Multiplying the total production to be counted, (see section 11(c) through (d)) by the respective price election;
(6) Subtracting the result of section 11(b)(5) from the result of section 11(b)(3); and
(7) Multiplying the result of section 11(b)(6) by your share.
You have a 100 percent share in 100 acres of cultivated wild rice in the unit, with a guarantee of 400 pounds per acre and a price election of $1.00 per pound. You are only able to harvest 20,000 pounds. Your indemnity would be calculated as follows: Start Printed Page 31199
(1) 100 acres × 400 pounds = 40,000 pound guarantee;
(2) 40,000 pounds × $1.00/pound price election = $40,000 value of guarantee;
(3) 20,000 pounds × $1.00/pound price election = $20,000 value of production to count;
(4) $40,000−$20,000 = $20,000 loss; and
(5) $20,000 × 100 percent share = $20,000 indemnity payment.
(c) The total production (finished weight) to count from all insurable acreage on the unit will include:
(1) All appraised production as follows:
(i) Not less than the production guarantee for acreage:
(A) That is abandoned;
(B) Put to another use without our consent;
(C) Damaged solely by uninsured causes; or
(D) For which you fail to provide records of production that are acceptable to us;
(ii) Production lost due to uninsured causes;
(iii) Unharvested production (mature unharvested green weight production must be adjusted in accordance with section 11(d)); and
(iv) Potential production on insured acreage that you intend to put to another use or abandon, if you and we agree on the appraised amount of production. Upon such agreement, the insurance period for that acreage will end when you put the acreage to another use or abandon the crop. If agreement on the appraised amount of production is not reached:
(A) If you do not elect to continue to care for the crop, we may give you consent to put the acreage to another use if you agree to leave intact, and provide sufficient care for, representative samples of the crop in locations acceptable to us (The amount of production to count for such acreage will be based on the harvested production or appraisals from the samples at the time harvest should have occurred. If you do not leave the required samples intact, or fail to provide sufficient care for the samples, our appraisal made prior to giving you consent to put the acreage to another use will be used to determine the amount of production to count); or
(B) If you elect to continue to care for the crop, the amount of production to count for the acreage will be the harvested production, or our reappraisal if additional damage occurs and the crop is not harvested; and
(2) All harvested production from the insurable acreage.
(d) Mature green weight for appraised or harvested production will be multiplied by the recovery percentage subject to the following:
(1) We may obtain samples of the production to determine the recovery percentage.
(2) The determined recovery percentage will be used to calculate your loss only if:
(i) All determined recovery percentages are established using samples of green weight production obtained by us or by the processor for sold or processed production; and
(ii) The samples are analyzed by an approved laboratory.
(3) If the conditions of section 11(d)(2) are not met, the standard recovery percentage will be used.
Start Signature
Signed in Washington, DC, on May 30, 2007.
Eldon Gould,
Manager, Federal Crop Insurance Corporation.
End Signature End Part End Supplemental Information
[FR Doc. E7-10824 Filed 6-5-07; 8:45 am]
Continuity Information


Two former Water Authority of Fiji technicians who are facing corruption related charges appeared at the Nadi Magistrates Court today.
Sairusi Nageti is charged with two counts of obtaining a financial advantage while Varayame Derlo is charged with one count of obtaining a financial advantage.
It is alleged that the two between July and October this year in Nadi, sold water tanks which were part of the Free Government initiative under the Rain Water Harvest Tank Project.
As a result of their conduct the two obtained an advantage of more than $6,000 from various individuals.
The matter has been adjourned to the 24th of this month.


Social Media Marketing (SMM) In this digital era, when web marketing constitutes a vital part of a company's overall marketing strategy, Social Media Marketing opens the door to genuine interaction with customers, both existing and potential. Creating specific interest communities, or groups, sharing content on social networking websites, and proactively responding to questions about your products allows you to enhance your brand equity in the market.
Procentris helps to devise and implement an effective social media marketing strategy with original content, posts and links in related social media networks to drive relevant traffic to your website. Increased visibility on social media sites attracts potential customers, resulting in higher conversion rates and better ROI.
Interacting with specific audience groups by posting and sharing content in different media, Procentris combines its experience in SEO and web marketing to optimize the flow of valuable traffic from the targeted groups.


The ELD Mandate is a complicated thing. Our Electronic Logging Devices help simplify it.
As the ELD compliance date nears, this white paper provides important information on how to successfully transition to ELDs.
Our guide can help you learn about all the differences and nuances between AOBRDs and ELDs.
A guide for companies to get the most return on investment from their fleets while complying with regulation.
The HOURS Act - Does it Have a Chance of Becoming Law?


Re: How to test if date is ISO 8601 type or not ?
Subject: Re: How to test if date is ISO 8601 type or not ?
> In Ruby how would I test if the date is `ISO 8601` type or not ?
> date object it is.
which has nothing to do with how a date is stored in a Date object.
only a string that represents the date can do that.
> Date.today.strftime("%V") # => "51"
> Date.today.strftime("%U") # => "50"
No idea what you are trying to say with this example.
and not surprisingly can therefore give different results.


I'm working on the Design Exam now and hoping to do my panel defense at Partner Exchange. Can you give more details on how the actual design submission process works? Is it a design you've actually done for a customer or do they give you criteria to submit a design around?
I did pass the defense and I am now a VCDX.
You can submit either a design you've already done or a hypothetical design. The KEY here is to know your design inside and out. I used a design from a customer of my former employer for this. I was involved in the entire "Assess, Plan, Design, Implement, Manage" process and I felt more familiar with it over a hypothetical design.
I thought the Design Submission Form was the toughest part of the entire process. You need to answer all of the questions completely. The flow of your Design Defense will follow the form.
Good Luck! Look me up at Partner Exchange. I should be there.
Congrats! How do you plan to use the VCDX in your current position?
Since there will never be TestKings for the VCDX defense, the certification will always have a rather respectable reputation. It demonstrates that you have the well-rounded knowledge necessary to provide a valid design and communicate that design effectively to the customer.
My official title is "Solutions Architect – Virtualization". I will be engaged with customers in every phase from assessment to deployment. I an also hoping to work with the PAVMUG to provide some "knowledge transfer" to attendees.


Christopher Dane spent fifteen years in advertising before he finally gave in to his desire to be come a professional actor. He trained at the prestigious Liverpool Institute for Performing Arts (LIPA) for three years, and left with a First and the Paul McCartney Award in his pocket. Since his move to London he has built up an impressive CV and has had industry recognition for his work including the Best Actor Award at the London Independent Film Festival 2011.


text:
Double Tap Agency
WHO & WHAT is Tomorrow Man?- one teacher's account of a workshop recently held in WA.
WHO & WHAT is Tomorrow Man? – one teacher's account of a workshop recently held in WA.
RE-INVENTING MASCULINITY ….through the disruption and re-invention of old school male stereotypes. Tomorrow man workshops explore how we can look after ourselves, our mates and families better while carving out their own version of the Aussie Man.
Gotcha4Life powers Tomorrow Man's facilitators to roll out these workshops through schools, sporting clubs and regional communities Australia wide as an initiative to have a positive impact on men's mental health.
"The workshops deconstruct gender stereotypes for a healthier and more sustainable expression of gender norms and provide students with a toolkit to have more meaningful conversations with emotional gravity." says Tom Harkin – Founder of Tomorrow Man.
Recently two of Tomorrow Man's facilitators visited the Margaret River, WA to run workshops with a group of year 10 boys. "Even before they stepped into the auditorium, the year 10 boys were boldly expressing their preconceived expectations of the 2 hour long program that they were being forced to endure, calling it 'The Hippy workshop", among other colorful epithets. The two hipster looking Melbournites definitely had their work cut out for them!" said Ben, their teacher.
Teachers at the school were taken by surprise when Ryder from Tomorrow Man said "Hey Ben, glad you could join us, oh and don't worry about any behaviour stuff…we can handle all of that".
In the first 10 minutes, the 50 or so boys tested the boundaries as they called out silly answers for the brainstorm group activity. For every ridiculous answer the facilitators, Ryder and Zac had a comeback that made these strangers slightly cooler in the eyes of the teenagers.
Then the next 90 minutes was nothing short of impactful. The only way to describe it would be as 'secret men's business'. In short, the session was set to go about challenging some of these gender stereotypes in a way that would demand the boys reflect on their own attitudes, behaviours and experiences.
"That 90 minutes would have been the most impactful session that I have ever experienced in my career" said Ben. "A pedagogical masterclass of cooperative activities that emotionally engaged the group. I think the fact that there were no disengaged boys, no misbehavior, no one off tasks for the entire session speaks volumes about this! There were awkward moments, uncomfortable silences, moments of
truth and at one point an estimated 25% of boys and teachers in tears. This is a testament to the impact that this process had on the group."
"I have had large groups of boys come up and shake my hand for no other reason than I had simply shared the experience with them." said the teacher.
Gotcha4Life has proudly partnered with Tomorrow Man and helped to deliver 156 of the 247 workshops delivered to Australian men and boys in the last 12 months.
We are working with many organisations to continue fundraising so that we can power more workshops and have all Australian males know who their Gotcha4Life mate is by 2025.
For more information on Tomorrow Man Workshops, contact workshops@ tomorrowman.com.au or visit www.tomorrowman.com.au
Newer PostJIMMY BARNES IN THE CONVERSATION THAT EVERY AUSTRALIAN MAN NEEDS TO HEAR
Older PostAustralian Drought and our farmers

redpajama_set_name: RedPajamaCommonCrawl


text:
Boana icamiaba es una especie de anfibio de la familia Hylidae. Es endémica de Brasil.

Referencias

Enlaces externos

icamiaba
Anfibios de Brasil

redpajama_set_name: RedPajamaWikipedia


text:
Design for living, traducida como Diseño para mi vida o La alegría de vivir, es una obra de teatro escrita por Nöel Coward y estrenada en 1933.

Argumento

Acto I
Este primer acto se desarrolla en París en 1932 en el decadente estudio de Otto.
Gilda es una diseñadora de interiores que convive con el pintor Otto, tras haber convivido con Leo, un autor.Gilda recibe la visita de Ernest Friedman, un marchante de arte, amigo de los tres, quien se encuentra bastante contento con su nueva adquisición un Matisse y viene a mostrárselo a Otto, pero Gilda le anuncia que se encuentra en cama enfermo y no debe molestársele.Asimismo, Ernest le informa a Gilda de que Leo ha regresado a París desde Nueva York en donde ha conseguido un gran éxito.Es en ese instante cuando entra por la puerta Otto con el equipaje, por lo que Ernest se da cuenta de que Gilda le ha engañado.Al enterarse Otto de la noticia, acudirán en busca de Leo al Hôtel George-V, en donde se supone que está alojado.Sin embargo, es Gilda la que pasa la noche con Leo, para acabar discutiendo de como se lo dirán a Otto, a quien ambos aman.Cuando este se entera monta en cólera y decide renunciar a ambos.

Acto II
Este acto se desarrollara 18 meses después en el apartamento de Leo en Londres y está formado por tres escenas.
En la primera, descubrimos que Gilda y Leo viven juntos en el más absoluto éxito. Un periodista y un reportero acuden a hacer una entrevista a Leo, durante la cual, el hará declaraciones de cuan superficial es el éxito.
En la segunda, unos días más tarde, mientras leo se encuentra de viaje Otto, quien también ha alcanzado el éxito es invitado por Gilda a cenar.Durante la cena ambos recordaran su viejo amor, para terminar abrazándose y besándose.
En la tercera y última, se produce en la mañana siguiente, en la cama Gilda le informa a Otto que dejará a Leo y volverá con él, cuando regresa Leo y les sorprende.Ambos discutirán y Gilda huira lo que hará que ambos ahoguen juntos sus penas en alcohol y terminan abrazándose impotentes.

Acto III
Este acto se desarrolla en dos años más tarde en la casa de Ernest en Nueva York.Dispone de dos escenas.
En la primera, Gilda está casada con Otto y es una diseñadora de gran éxito.Gilda da una recepcción con una gran cantidad d eimportantes invitados.En medio de la recepción, regresan Leo y Otto, ambos impecablemente vestidos.Ellos instan a los invitados a abandonar la recepción, pero finalmente Gilda también pretende echarlos con el resto de invitados, pero secretamente les da una clave a ambos y les promete que volverá a verlos.
En la segunda, Ernest regresa al apartamento y encuentra a Otto y a Leo en su apartamento, incluso este último con su pijama puesto.Sin embargo, Gilda no aparece por ningún sitio, sino que ha permanecido toda la noche en un hotel para poder pensar y ordenar sus sentimientos.Cuando Gilda regresa, Otto y Leo, le confirman a un incredulo Ernest, que su no les importa en absoluto el estatus formal de su esposa.Es entonces, cuando ella reconoce que la atracción que ejercen sobre ella los dos es absolutamente irresistible y no es capaz de elegir solo a uno de ellos.Ernest se apresura a denunciar lo asqueroso de la situación y Gilda, Otto y Leo caen juntos de un ataque de risa en un sofá.

Representaciones destacadas
 Theatre Ethel Barrymore, Broadway (Estreno, 24 de enero de 1933).
 Intérpretes: Lynn Fontanne (Gilda), Alfred Lunt (Otto), Noel Coward (Leo), Campbell Gullan (Ernest)

 Théâtre des Célestins, Lyon. 1948. (Sérénade a trois).
 Dirección: Jacques-Henri Duval.
 Intérpretes: Danielle Darrieux, Claude Joseph.

 Phoenix Theatre, Londres, 1973
 Intérpretes: Vanessa Redgrave (Gilda), Jeremy Brett (Leo), John Stride (Otto).

 Teatro Arlequín, Madrid, 1974.
 Adaptación: Conchita Montes.
 Dirección: Conchita Montes.
 Intérpretes: Gemma Cuervo, Carlos Larrañaga, Germán Cobos, Charo Zapardiel, Mimí Muñoz, Jesús Enguita, Amadeo Sans.

 Circle in the Square Theatre, Broadway, Nueva York, 1984.
 Dirección: George C. Scott
 Intérpretes: Jill Clayburgh (Gilda), Raul Julia (Leo), Frank Langella (Otto).

 Teatro Galileo, Madrid, 2011.
 Adaptación: José Ramón Fernández.
 Dirección: Francisco Vidal.
 Intérpretes: Candela Serrat (Gilda), David Villanueva (Otto), Fernando Escudero (Leo), Francisco Vidal (Ernest).

 Teatro Tabarís, Buenos Aires. 2015. (Otro estilo de vida).
 Dirección: Lía Jelin.
 Intérpretes: Inés Estévez (Gilda), Alberto Ajaka (Leo), Marco Antonio Caponi (Otto).

Versión cinematográfica
Titulada Una mujer para dos, se estrenó en 1933.

Referencias

Obras de teatro de Noël Coward
Obras de teatro de 1933


text:
Veliki Vrh Kamanjski – wieś w Chorwacji, w żupanii karlowackiej, w gminie Kamanje. W 2011 roku liczyła 65 mieszkańców.

Przypisy

Miejscowości w żupanii karlowackiej


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text:
Q: If $\| f\|_k = \sum_{r=0}^k \frac{1}{r!}$, proof that $\|fg\|_k \leq \|f\|_k \, \|g\|_k$. Let $X \subset \mathbb C$ be a perfect and compact. Denote the algebra of functions on $X$ with continuous $k$th derivative by $D^{k} (X)$. I'm trying to proof that if $$\| f\|_k = \sum_{r=0}^k \frac{1}{r!}\, |f^{(r)}|_X, \text{ where } |g|_X = \sup_{x\in X} |g(x)|,$$
then $\|f\|_k$ defines a norm in the algebra $D^{k}(X)$.
It's not difficult see that $\|f\|_k = 0 \iff f = 0$, $\|\lambda f \|_k = |\lambda| \, \|f\|_k$ and $\|f+g\|_k \leq ||f||_{k} + ||g||_{k}$. My problem is showing that $\|fg\|_k \leq \|f\|_k \, \|g\|_k$.
Given $f,g \in D^{k} (X)$, we have
$|(fg)^{(r)}|_X = | \sum_{j=0}^r \binom{r}{j} \, f^{(j)}\, g^{(r-j)} |_X \leq \sum_{j=0}^r \binom{r}{j} \, | f^{(j)}\, g^{(r-j)} |_X \leq \sum_{j=0}^r \binom{r}{j} \, | f^{(j)} |_X \, |g^{(r-j)} |_X$
hence
$$\|fg\|_k \leq \sum_{r=0}^k \frac{1}{r!} \, \left [ \sum_{j=0}^r \binom{r}{j} \, | f^{(j)} |_X \, |g^{(r-j)} |_X \right ] \leq \sum_{r=0}^k \sum_{j=0}^r \frac{1}{j! (r-j)!}\, | f^{(j)} |_X \, |g^{(r-j)} |_X$$
I'm stuck in this part. Help?

A: Change the order of summation. As $j$ ranges from $0$ to $k$, $r$ ranges from $j$ to $k$. Thus
$$\sum_{r = 0}^k \sum_{j = 0}^r \frac{1}{j!(r-j)!} \lvert f^{(j)}\rvert_X \lvert g^{(r-j)}\rvert_X = \sum_{j = 0}^k \sum_{r = j}^k\frac{1}{j!(r-j)!} \lvert f^{(j)}\rvert_X \lvert g^{(r-j)}\rvert_X = \sum_{j = 0}^k \frac{1}{j!}\lvert f^{(j)}\rvert_X \sum_{r = 0}^{k-j} \frac{1}{r!}\lvert g^{(r)}\rvert_X $$
For $0 \le j \le k$, $$\sum_{r = 0}^{k-j} \frac{1}{r!}\lvert g^{(r)}\rvert_X \le \sum_{r = 0}^k \frac{1}{r!}\lvert g^{(r)}\rvert_X = \|g\|_k$$
Hence
$$\sum_{j = 0}^k \frac{1}{j!}\lvert f^{(j)}\rvert_X \sum_{r = 0}^{k-j} \frac{1}{r!}\lvert g^{(r)}\rvert_X \le \sum_{j = 0}^k \frac{1}{j!}\lvert f^{(j)}\rvert_X \|g\|_k = \|f\|_k\, \|g\|_k$$

A: you can continue like this:
$$\sum_{j} \sum_{r} \frac{1}{j!(r-j)!} |f^{(j)}|_{X}|g^{(r-j)}|_{X} = \sum_{j} \frac{1}{j!}|f^{(j)}|_{X} \sum_{r} \frac{1}{(r-j)!} g^{(r-j)}|_{X} = \left \|  f\right \|_{k} \sum_{r} \frac{1}{r!}|g^{(r)}|_{X}|=\left \|  f\right \|_{k}\left \|  g\right \|_{k}$$
 If you got stuck with things like this is usually useful start from the other side of the inequality and meet in the middle.

redpajama_set_name: RedPajamaStackExchange


Make room among your summer skirts for the must-have Martine Trouser. These slim-fitted black bottoms feature an elasticated waistband and full length trouser legs, offering great coverage. The stretchy fabric offers the ultimate fit, creating a sleek silhouette. Add a pop of colour and texture to your outfit with the Bernie Lace Top.


Recently I saw a friend comment on Facebook that she was rethinking her pool membership this summer due to the amount of rain we have received. I decided to take a look at the Farmer's Almanac and it stated that we will be receiving a large amount of rain this summer. Guess we'll be likely to get the phone calls from Harford County Government WARNING of FLASH FLOODING in our area.
We have all seen the pictures on the news of homes with water up to the rooftops and cars floating down the street. Floods can have a catastrophic effect on your home and cars. Let's hope this wouldn't happen in Harford County but would you be covered? Homeowners' policies don't cover flood damage. Flood coverage must be purchased separately and is different from your homeowners' policy. Basically, flood insurance isn't as comprehensive as your homeowner's policy. Do you have a separate flood insurance policy? Have you ever talked to an insurance agent about a flood insurance policy?
I'm speaking from experience when I tell you that you are more likely to be affected by a flood than a fire in your life. Once my car was flooded in a parking garage next to the Jones Falls! All the cars in the garage where floating around bumping into one another. Luckily, my Erie auto policy did cover the flood damage to my vehicle.
After large storms many clients call in about claims where water has caused damage in their basements. 9 times out of 10 the damage is not covered by their homeowners' policy because it is caused by a flood.


By adopting Legislative Decree no. 35 of 15 March 2017 (Decree 35/2017) Italy implemented EU Directive 2014/26 on collective management of copyright and related rights.
The Directive and Decree 35/2017 identify two kind of entities which may be entrusted with the management of copyright and related rights: (i) collective management organisations and (ii) independent management entities.
Collective management organisations are owned/controlled by their members and/or are organised on a not-for-profit basis, while independent management entities are neither owned nor controlled by rightholders and are organised on a for-profit basis.
Art. 4 of Decree 35/2017 states that rightholders may entrust the management of their rights to a collective management organisation or an independent management entity, without prejudice to Art. 180 of the Italian Law on Copyright (Law no. 633 of 22 April 1941).
Until recently, Art. 180 of the Italian Law on Copyright provided the Italian Society of Authors and Publishers (SIAE) with a monopoly on intermediation activities relating to the management of copyright. However, last October 2017 Law Decree 148/2017 amended this provision so as to allow copyright intermediation activities to also be carried out by other collective management organisations.
The fact that Law Decree 148/2017 did not include independent management entities among the subjects who could carry out copyright intermediation activities caught the attention of the Italian Competition Authority (ICA).
Furthermore, Art. 20 of Decree 35/2017 provides that collection of rights revenue in Italy by foreign independent management entities shall be regulated by representation agreements. This forces such entities to enter into representation agreements with local collecting management organisations.
In this respect, the ICA publicly questioned the legislator through the issuing of a notice stating that since Law Decree 148/2017 removed the monopoly granted to SIAE by enabling other operators to enter the market, restricting such entrance to collective management organisations only and thereby excluding independent management entities (for profit), was not justified by any overriding reasons of public interest. Thus, such restriction raised serious proportionality issues as it discriminated between operators exclusively on the basis of the type of organisation.
In light of this, the ICA concluded that Law Decree 148/2017 amending art. 180 of the Italian Law on Copyright should be reformed by including also independent management entities among the subjects who can carry out copyright intermediation activities.
However, the Italian legislator, in approving the final version of Law Decree 148/2017 last December, did not include the amendments suggested by the ICA. It is yet to be seen whether these amendments will be implemented in the future. Of course, a critical factor will be the political landscape which will be shaped by the approaching elections.
An interesting attempt to circumvent this obstacle for independent management entities was recently made by Soundreef. More specifically, Soundreef established a non-profit entity in Italy (LEA) for collecting the rights revenues of its members, including the Italian singer-songwriter Fedez. This entity was established with the purpose of bypassing SIAE.
In this regard, SIAE objected that this mechanism set up by Soundreef does not comply with a correct interpretation of the law, since LEA is "controlled" by Soundreef and does not meet the transparency and monitoring requirements provided by law. Therefore, it remains to be seen whether such mechanism will prove to be lawful and whether other for-profit entities will choose to follow this path.
The Aspen case. Anti-competitive behaviour in price negotiations with AIFA.


text:
How to Deactivate Instagram
App Tips
How to View Instagram Story Without Them Knowing
Instagram Message Recovery – Learn How to Do It
How to Create Highlights on Instagram
Necessary Tips and Tricks for Instagram
Instagram, as you know, is one of the fastest-growing social media platforms. This photo-sharing app allows you to post moments in pictures and videos, connect with friends, and promote yourself or your brand. The platform also contains terrific marketing tools and features that allow users to create fascinating content and reach more audiences.
Although there are so many contents to enjoy on Instagram, it is possible to take a break from the overwhelming effects and craze of the platform, which could be spurred by different reasons. In order to stay away from this platform, you may need to deactivate your Instagram account for a while instead of deleting it completely. This article provides a detailed guide on how to deactivate your Instagram. Keep reading.
Part 1. FAQ on Instagram Deactivation
1. Can I temporarily deactivate my IG account?
2. How long can you deactivate Instagram?
3. What happens when you deactivate Instagram?
Part 2. How to Deactivate Instagram
1. How to Deactivate Instagram Temporarily
2. How to Delete Instagram Account Permanently
Can I temporarily deactivate my Instagram?
Sure, you can. If you are interested in staying off this platform for a while and wondering if it is possible to deactivate your Instagram, the answer is definitely Yes. However, it is vital to note that you must use a computer or mobile browser to achieve this because it is impossible to deactivate your Instagram using the mobile app.
How long can you deactivate Instagram?
Your Instagram account deactivation can be sustained for as long as you want. So be rest assured that all your personal information will be intact and available whenever you decide to reactivate your account.
What Happens When You Deactivate Instagram?
As soon as your Instagram account is deactivated, your profile, pictures, comments, and likes will all be concealed. Your followers and other Instagram users will be unable to view your profile and posts. Once you log in again or reactivate the account, all your information will be restored.
How to Deactivate an Instagram Account Temporarily
It is possible to choose to deactivate your account temporarily or permanently. Here is a detailed step on how to deactivate Instagram account temporarily.
Go to your browser and visit Instagram (Remember, you can only deactivate your Instagram from a browser).
Log in using your account details and click on the button located at the top-right corner, where you will find Profile.
Besides your profile picture and user name, you will see Edit Profile. tap on it.
Move down and tap the link that reads Temporarily disable my account.
Several possible reasons why you are disabling your account will pop up; choose one.
You will be asked to enter your password, type it in.
Click on the button that reads Temporarily Disable Account again and that's all.
Also, note that your Instagram account can only be deactivated once a week. You can also reactivate it at any time by logging back into your account.
How to Delete an Instagram Account Permanently
As mentioned earlier, there are several reasons why you might feel like deactivating your Instagram permanently. Although deleting your account may seem drastic or too extreme, some reasons are justifiable. If you have decided to delete your Instagram and want to find out how to go about it, follow these steps:
Go to your browser and visit Instagram's dedicated page for deleting accounts.
You will be asked to log in if you are yet to.
Several possible reasons why you are deleting your account will pop up; choose one.
You will be asked to enter your password.
Click on the button that reads Delete [username].
Your account will be permanently deleted.
And you can see a note below says your profile and account details will be deleted after 30 days. During this period, you are invisible on Instagram. However, if you change your mind, you can log back in before the deletion date and choose to keep your account.
Although Instagram has a lot of exciting features that make users get addicted to it, at the same time, it could be quite overwhelming. If you are interested in taking a break from this app, you may want to deactivate your account temporarily or permanently. This article has provided all the steps you need to understand how to deactivate Instagram. Just follow those steps to do whatever you want.
By Simon Marcus , to App Tips
App Tips >


Dwonload 2007 2008 2009 2010 Nissan Frontier Service Manual — Car Service Manuals all fashions: 2010 nissan frontier sprint package, nissan frontier recall 2010, 2010 nissan frontier recall, 2010 nissan frontier recollects, nissan frontier recollects 2010, 2010 nissan frontier king cab, new nissan frontier 2010, 2010 nissan frontier vs toyota tacoma. The 2011 Nissan Navara received the highest rating for Insurance Institute for Highway Safety. Utilizing this restore guide is a cheap solution to hold you car working correctly. It is available with petrol or diesel engines. Browse through our selection of Nissan repair manuals, which are equipped with all of the technical information and step-by-step guidance you need.
In some countries, Nissan automobiles were sold under the Datsun brand until 1983. Every guide offers step-by-step directions based mostly on the entire disassembly of the machine. . Nissan has been part of the Renault-Nissan Alliance since 1999 and it is among the top 10 largest automakers in the world. Both, manual and automatic transmission styles were produced. It is a front-engine car, built as a rear-wheel or four-wheel drive. Following in the footsteps of all Nissan trucks ever built, the D22 Frontier is a rugged and dependable truck which means many are still on the road working and having fun.
Nissan Frontier 2007 2008 2009 2010 Workshop Service Repair Manual — Reviews Specs This package deal covers all of the service and restore details about 2010 Nissan Frontier Service Manual. Its motorsport division is called Nismo and is being repositioned as a high-performance brand. Nissan Frontier 2008 2009 2010 Service Manual is very detailed and contains step by step instructions and repair info. Nissan has also sold luxury models under the Infiniti brand since 1989. Nissan has a variety of popular models, including the Altima, Maxima, Sentra and 350Z.
Troubleshooting and electrical service procedures are mixed with detailed wiring diagrams for ease of use. It is also the winner of several awards. The brand was founded in 1933 and currently sells its cars worldwide. This is identical sort of service guide your native vendor will use when doing a restore in your 2010 Nissan Frontier Service Manual. This was the first time a Nissan pickup truck received an actual name and the name was very fitting as the market for small trucks was changing. As a Nissan car owner, you can rely on our Haynes repair manuals for fully handling your own routine services and maintenance. Still available in 2 wheel and 4 wheel drive, the Frontier is a choice favorite for rock crawlers and off-road racers even to this day.
Sheet metal changes gave the D22 Frontier a bigger and bolder look. Please select your year to access the Factory Service Manual:. Is the same manual used by technicians at the dealerships to maintain, service, diagnose and repair your vehicle. Service Repair Manual Nissan Frontier 2008 2009 2010 Workshop Manual pdf download. As one of the most popular automotive brands worldwide, Nissan is a Japanese automobile manufacturer headquartered in Japan. Nissan made many changes while at the same time carried over many things that helped make the outgoing model so successful.


text:
Universal Lighting Hires Field Application Engineer
NASHVILLE, Tenn. — Universal Lighting Technologies, a member of the Panasonic Group, has hired Greg Wells as a field application engineer for the Midwest region of the U.S.
Professionally, Wells has worked in the architecture field for three years and within the lighting industry for two. Wells holds bachelor's and master's degrees in architecture from Lawrence Technological University in Detroit. There, he focused on environmental conditions and project management.
In his new role, Wells will act as the field technical resource contact, supporting Solid State Lighting (LED) systems and products in the Midwest. The addition of Wells' vast knowledge and expertise align with Universal's objectives to continue the expansion of its EVERLINE LED product and service offerings.
"We're excited to add Greg to our talented team, " said Donna Taylor, Universal's Central Region Vice President. "We believe Greg's track record of exceptional customer service, combined with the expertise of our engineering and product teams, will expand Universal's reach as the top choice for comprehensive lighting packages for our customers in the Midwest. "
Tagged with lighting, people, tED, Universal Lighting
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text:
Q: does nodemailer prevent fs.writeFile from working I m trying to write form data to a json database file, while also using nodeMailer to either before or after the writeFile, problem is that with my code, only the writeFile appears to be executing while the nodeMailer doesn't execute, however, if i omit the file Write, then the nodeMailer executes and i m able to send email.  can any one advice on how I can run both tasks?
const messageDB = {
    messages: require('../models/messageDB.json'),
    setMessage: function (data) {
        this.messages = data
    }
}

const { body, validationResult } = require('express-validator')
const fs = require('fs')
const path = require('path')
const nodemailer = require('nodemailer')

exports.message_controller_get = (req, res, next) => {
    res.render('index')
}

exports.message_controller_post = [
  body('name', 'Full names must be specified').isLength({ min: 2, max: 40 }).trim(),
  body('email', 'Email address must be specified').isEmail().isLength({ min: 3, max: 40 }),
  body('msg', 'Message must be specified').isLength({ min: 20, max: 1000 }),

  (req, res, next) => {

    const errors = validationResult(req)

    if (!errors.isEmpty()) {

        console.log('there are errors: ' +  errors.array())
        return
    }
    const message = {
        name: req.body.name,
        email: req.body.email,
        msg: req.body.msg
    }
    const transporter = nodemailer.createTransport({
        host: 'smtp.ethereal.email',
        port: 587,
        auth: {
            user: 'lila.greenfelder71@ethereal.email',
            pass: 'DQnhbPkHBRzPU1UkAt'
        }
    });

    const mailOption = {
        from: 'Fred Foo " <fred@homexclusiv.com>',
        to: 'payiyke@gmail.com',
        subject: `Message from ${req.body.email}:`,
        text: req.body.msg
    }

    messageDB.setMessage([...messageDB.messages, message])
    fs.writeFile(
        path.join(__dirname, '..', 'models', 'messageDB.json'),
        JSON.stringify(messageDB.messages),
        (err) => {
            if (err){
                return res.send(err)
            } else {
                transporter.sendMail(mailOption, (error, info) => {
                    if (error) {
                        console.log(error);
                        res.send('error')
                    } else {
                        console.log('Email sent :' + info.response)
                        res.send('success')
                    }
                })
               /*  return res.send('success') */
            }

        }
    )

    /* console.log(`${message.name}\t${message.email}`) */

  }

]

not to worry, password is temporary


text:
The Moka JS Runtime, Based On Spider Monkey

A companion library to [moka-rust](https://github.com/AffogatoLang/moka-rust), providing a (safer) wrapper around rust-mozjs to
enable executaion of JavaScript in the context of the Moka compiler pipeline.

JS executed in this context has access to the moka-js standard library (spec pending)

redpajama_set_name: RedPajamaGithub


DENVER -- A dropped popup by first baseman Derek Norris with two outs in the seventh inning Sunday changed the complexion of not only Ian Kennedy's start, but the entire game.
Before the Rockies polished off the Padres, 5-0, behind a shutout by Chris Rusin, the Padres trailed 1-0 with two outs and no one on base in the seventh inning.
Kennedy, who had only allowed a home run to Carlos Gonzalez in the fourth, was rolling along.
But Norris, normally the team's starting catcher who got his seventh start of the season at first base on Sunday, dropped Nolan Arenado's popup near the bag to extend the inning.
At that point, Kennedy figured he could still get out of the inning without issue.
"Right then, I said, 'I got you,'" Kennedy told Norris. "Two pitches later, it was a different ballgame. My whole goal was to pick him up. You're still trying to win that ballgame and not let it get out of hand."
Ben Paulsen doubled and the Padres intentionally walked DJ LeMahieu to get to McKenry, who knocked in three runs with a double to the gap in right-center.
"It's really unfortunate. Derek's played an awful lot of games for him, he's given us everything he's had, I'm sure he feels horrible about it," said Padres interim manager Pat Murphy.
"We've all had that happen to us. It's just unfortunate when it happens in the [seventh] with two outs in a close ballgame and the opposing team takes advantage of it so much. Derek plays very, very hard, and I'm sure he feels awful about it."
This was a rare time Sunday when the Padres' defense let down Kennedy, who allowed four runs, but only one earned, in 6 2/3 innings with eight strikeouts.
In the third inning, third baseman Cory Spangenberg fielded a McKenry's ground ball down the third-base line. With his momentum carrying him into foul territory he made a strong throw to get McKenry, with a nice dig out of the dirt by Norris.
One play later, second baseman Jedd Gyorko made a diving stab of a line drive by Matt McBride.
"Fastball location was good, curveball was good today," Kennedy said. "I was getting ahead of guys and my defense made some good plays behind me."


Our hotel features 158 spacious rooms and when you stay with us at our Baltimore area airport hotel your accommodations will be spacious well-equipped and will provide a luxurious place to rest after a busy day at work or sightseeing. All our hotel guest rooms include these amenities and more The Hilton Garden Sleep System bed and bedding for a restful night Herman Miller ergonomic chair for comfortable and productive stays Two telephones with voicemail Large work desks Microwave ovens... Read more Refrigerators Complimentary wired and wireless high-speed Internet access 32'' LCD Flat Panel TV with high definition programming Neutrogena bath products On-site Laundry/Valet Service. Hotel Facilities Include 24-Hour Complimentary Business Center to help you keep in touch Great American Grill is available for breakfast and dinner The Lobby Bar has your favorite beverage Room service for dinner is just a call away The Pavilion Pantry has a supply of quick and easy meals as well as needed sundries Indoor Pool and Jacuzzi State-of-the-art business center with complimentary printing and faxing Precor fitness center 24-hour shuttle service will pick you up Complimentary shuttle to/ from BWI/ Amtrak/ MARC Stations and 3 mile radius of hotel area Complimentary Parking. At the Hilton Garden Inn BWI Airport Hotel we are mindful of our conservation and preservation responsibilities to the community around us.


text:
Home / Blog / CRA goes on offensive against gifting tax shelters day before Halloween – scary stuff!
CRA goes on offensive against gifting tax shelters day before Halloween - scary stuff!
Published October 31, 2012 by Mark Blumberg
The Canada Revenue Agency has changed some of their procedures to deal with gifting tax shelter schemes. Below is a press release from CRA. What is interesting first of all is that they call them "gifting tax shelters" in the release and not the normal "abusive gifting tax shelters". They state "All gifting tax shelter schemes are audited and the CRA has not found any that comply with Canadian tax laws." I want to emphasize they used the phrase "not found any". After the CRA's victory's in Marechaux last year and the recent CRA victory in Kossow, CRA is reminding charities that you cannot make an investment in a donation scheme and expect that the courts will consider any part of it a gift. CRA reminds people "This is the time of year when promoters are heavily marketing their tax schemes to Canadians. For this reason, the CRA is reminding Canadians that if it seems too good to be true, it probably is. If a tax shelter promoter offers a tax receipt for a larger amount than the donation or payment, it is very likely not a valid donation." CRA states that "Starting with the 2012 tax year, the CRA will put on hold the assessment of returns for individuals where a taxpayer is claiming a credit by participating in a gifting tax shelter scheme. This will avoid the issuance of invalid refunds and discourage participation in these abusive schemes. Assessments and refunds will not proceed until the completion of the audit of the tax shelter, which may take up to two years." The CRA also noted "The CRA has to date denied more than $5.5 billion in donation claims and reassessed over 167,000 taxpayers who participated in gifting tax shelter schemes. In addition, the CRA has revoked the charitable status of 44 charitable organizations that participated in these gifting tax shelter schemes."
http://www.cra-arc.gc.ca/nwsrm/rlss/2012/m10/nr121030-eng.html
The Canada Revenue Agency: protecting Canadians from gifting tax shelter schemes
Ottawa ON, October 30, 2012 – The Canada Revenue Agency (CRA) is taking steps to better inform and protect taxpayers from gifting tax shelter schemes.
This is the time of year when promoters are heavily marketing their tax schemes to Canadians. For this reason, the CRA is reminding Canadians that if it seems too good to be true, it probably is. If a tax shelter promoter offers a tax receipt for a larger amount than the donation or payment, it is very likely not a valid donation.
Starting with the 2012 tax year, the CRA will put on hold the assessment of returns for individuals where a taxpayer is claiming a credit by participating in a gifting tax shelter scheme. This will avoid the issuance of invalid refunds and discourage participation in these abusive schemes. Assessments and refunds will not proceed until the completion of the audit of the tax shelter, which may take up to two years. All gifting tax shelter schemes are audited and the CRA has not found any that comply with Canadian tax laws. A taxpayer whose return is on hold will be able to have their return assessed if they remove the claim for the gifting tax shelter receipt in question.
The CRA has to date denied more than $5.5 billion in donation claims and reassessed over 167,000 taxpayers who participated in gifting tax shelter schemes. In addition, the CRA has revoked the charitable status of 44 charitable organizations that participated in these gifting tax shelter schemes. Since June 2000, the CRA has also assessed $63.5 million in third-party penalties against promoters and tax preparers.
The CRA urges Canadians who are considering entering into a tax shelter arrangement to obtain independent, professional advice before signing any documents. Independent advice means advice from a tax professional who is not connected to the tax shelter or to the promoter.
For more information on abusive gifting tax shelters and other tax alerts, go to http://www.cra-arc.gc.ca/taxshelters.
Related document:
FOR BROADCAST USE:
The Canada Revenue Agency is taking additional steps to protect taxpayers by auditing all gifting tax shelter schemes before a donation claim will be allowed. Starting with the 2012 tax year, the CRA will put on hold the tax returns of participants in these schemes and the payment of any refund until an audit of the tax shelter has been completed. The CRA reminds Canadians if it seems too good to be true, it probably is.
Noël Carisse
To receive updates when new information is added to our Web site, you can:
• Follow the CRA on Twitter – @CanRevAgency
• Subscribe to a CRA electronic mailing list.
• Add our RSS feeds to your feed reader.
You can also visit our YouTube Channel for tax-related videos.
Avoiding 'Charity' Scams Canadian Charity Law Ethics and Canadian Charities News What's New from the Charities Directorate of CRA
Major concerns for US tax breaks for donating to charity
Vancouver Sun article on Rick Hansen Foundation, receipting issues and transparency


The well-known logistic differential equation was originally proposed by the Belgian mathematician Pierre-François Verhulst (1804–1849) in 1838, in order to describe the growth of a population under the assumptions that the rate of growth of the population was proportional to the existing population and the amount of available resources.
Although, it can be considered as a simple differential equation, in the sense that it is completely solvable by use of elementary techniques of the theory of differential equations, it has tremendous and numerous applications in various fields. The first application was already mentioned, and it is connected with population problems, and more generally, problems in ecology. Other applications appear in problems of chemistry, linguistics, medicine (especially in modelling the growth of tumors), pharmacology (especially in the production of antibiotic medicines), epidemiology, atmospheric pollution, flow in a river, and so forth.
Nowadays, the logistic differential equation can be found in many biology textbooks and can be considered as a cornerstone of ecology. However, it has also received much criticism by several ecologists.
However, as it often happens in applications, when modelling a realistic problem, one may decide to describe the problem in terms of differential equations or in terms of difference equations. Thus, the initial value problem which describes the population problem studied by Verhulst, could be formulated instead as an initial value problem of a difference equation. Also, there is a great literature on topics regarding discrete analogues of the differential calculus. In this context, the general difference equation has been known as the discrete logistic equation and it serves as an analogue to the initial value problem.
 Analyse logistic models under different circumstances and values of the rate of population growth.
 Solve problems relating the structured populations to real life situations.


text:
package elasta.pipeline.transformation;

import io.vertx.core.json.JsonArray;

/**
 * Created by Jango on 2016-11-20.
 */
public interface JaJaTransformationAsync extends Transformation<JsonArray, JsonArray> {
}


We at Bamboo Massage believe everyone deserves to be pampered every now and again. We help in destressing after a hard days work, we can also assist in any post-operative therapy increasing the range of motion of a particular joint to decrease recovery time. We offer many ways to get the special treatment you crave. Located in Jonesborough, TN, Bamboo Massage is the natural choice for everyone who needs to take time out and rejuvenate.
We have some specialized treatments. Maybe you need to take a short break and enjoy a hand and foot massage or a facial. Or perhaps you'll luxuriate with a full body massage or body treatments with essential oils or warmed bamboo sticks.
We offer massage services for both women and men. Forget the tie or bottle of perfume and give the gift of relaxation. We offer gift certificates. Request to be on our mailing list we'll inform you about our upcoming specials.


text:
Sex & Drugs & Rock & Roll (2010)
There are a couple of ways to avoid death. One of them is to be magnificent, and this is my favourite way.
—Ian Dury
The viewer is greeted by an eerily empty theatre – dark, desolate and silent. Suddenly, a shuffling of feet, a startled pigeon, and our main man hobbles into the spotlight, sparking an explosion of sound.
As ringleader Ian Dury, Andy Serkis is obscenely hypnotizing, his eyes rolling about as he hunches over the microphone, satirical and lyrical in that "Mockney" accent. Serkis, best known for his performance capture roles as Gollum in the Lord of the Rings and Hobbit films, Captain Haddock in Steven Spielberg's The Adventures of Tintin, and others, here deftly captures Ian Dury's frenetic energy.
As well as being lead singer of The Blockheads, Ian Dury was an artist and actor who rose to fame in the 1970s, during the punk and new wave eras. The film, titled after Ian Dury's 1977 single of the same name, is an attempt to bridge the gap between the general public and Ian – to bring attention to a man often misunderstood – in a vibrant mélange of colour and movement. Often misinterpreted to this day, the song "Sex & Drugs & Rock & Roll" aims to offer listeners the option of alternative lifestyles:
Don't do nothing that is cut-price
You know what they'll make you be
They will try their tricky device
Trap you with the ordinary
Get your teeth into a small slice
The cake of liberty
And so the title sequence presents a variety of styles and approaches: the starry backdrop melds into pop-art animation, Peter Blake's hand-written typography trembles, and the scene oscillates between the raucous stage show, band practice, and a birth. Buffeted between public and private, the sequence is at once disorienting and cohesive, ultimately underlining Dury's unofficial modus operandi of boldly turning life into art.
A discussion with Creative Director MATT BATEMAN at Flat-e.
Give us a little background on yourself and Flat-e.
MB: Flat-e is a London-based studio. We make films and animation for music promos, advertising, feature films, and live events. I've worked with the studio as a creative director and animator since its conception in 2002.
And how were you first approached about Sex & Drugs & Rock & Roll?
I was initially contacted by Richard Bullock, the film's production designer. I had previously worked with him on the film Bunny and the Bull as an animator and back projection designer. Richard and Mat Whitecross, the director, had initially discussed using back projection for the title sequence and after our initial meeting it felt like we were on the same wavelength. Later, we decided against back projection although we did approach the sequence with that aesthetic in mind. After that, we arranged a meeting with Sir Peter Blake and began to sketch out ideas from there.
View 4 images
Sir Peter Blake artwork examples
Did you already know you wanted to use footage from the film? Was the film already in production?
No, and a great deal of planning and consideration had to be taken before any shooting took place because the title sequence transitions between filmed footage and animation. We had a pretty good idea of the sequence in the days leading up to the shoot. The closing credit sequence didn't begin to materialise until well into the production process and, for a while, we didn't have any idea of how it might work.
What was the timeline for the project?
We began discussing the animated sequences before shooting started in April 2009 and we finished in November of the same year. This involved multiple animation sequences in the film, as well as the front and end credits.
Backdrop concept board
What were the initial design stages like? How many different concepts did you go through?
Regarding the main title sequence, the initial meetings with Mat, Peter, and myself were very open and relaxed. We talked about Ian's life and career and Peter's memories of him, since he taught Ian painting at the Royal College of Art in the 1960s. Mat already knew he wanted the opening to be based around a live Ian Dury performance, but also wanted to introduce a Blockhead version of London.
So we would transition between the live performance, the birth of Ian's son Baxter, and the scenes of Ian and Russel driving to a gig. I took a variety of photos of the van and did some initial animatics of how I thought the animation could work. Once the shooting was done, Mat took the animatics and edited a rough cut of the whole sequence. These initial timings became the basis for the finished product.
Driving scene animatic
Talk about the research and references that went into the sequences.
The early stages of the project were very inspiring. We pulled elements from all over the place: Richard's set designs, Peter's archive of art, and my own designs.
Peter's personal archive is vast, so getting the opportunity to have a guided tour was unbelievable! We began sharing imagery and ideas with which to populate the animated version of London.
We were drawing from all aspects of the art, design, and animation of the time. I specifically remember Mat showing me the original video for the Beatles song "Eleanor Rigby" and some early Terry Gilliam sequences. There is a definite charm in those animations which we tried to draw on without making it too much of a pastiche.
Also, Peter's daughter Liberty had a personal collection of Blockheads memorabilia which was extremely useful, particularly the illustration by Ian Dury that became the catalyst for the end credits.
We placed his music, performance, and painting within the first few minutes to help establish the breadth of his creativity. For me, his paintings are a visual echo of that creativity. The bright colours and textures seemed perfect to finish the film with and the illustrations provided a perfect framework with which to show the cast.
Ian Dury collages and end title treatment
Talk a little about the collaboration with Sir Peter Blake – how did it transpire? How did it evolve?
After initial discussions and reference swapping, Peter set about creating a type treatment for the main title. He visited our studio on a number of occasions where we would look at how the type was developing and insert it into the sequence.
Then, he would comment, make notes, or suggest changes. He would also bring materials from his archive which were scanned and used to build our mixed media, pop art vision of London. His approach was very deliberate and considered, which was inspiring to see. For me, I grew my practice working with computers and tools where things are infinitely changeable and trial-and-error is a large part of it. But Peter would do it differently – he'd think long and hard about decisions regarding colour or composition before physically committing to them. Strangely, although it would feel slow and leisurely, we would achieve a lot in our sessions together which is testament to his great talent as an artist.
Main title treatment
What was it like working with the director, Mat Whitecross?
From the first meeting with Mat, it was clear that he not only had a vision for the title sequence and animations in the film, but that he wanted to collaborate. Mat has an unbelievable energy and he was often on hand to help with questions regarding the work we were doing, which included some very late night visits to our studio. Even though he was very much involved, it still felt like we had plenty of freedom to come up with things that were personally satisfying. I think this was because our initial meetings were so warm and open and I had a good understanding of what he wanted.
Which tools and software did you use to put it all together?
We used Adobe CS with After Effects for the animation. We also used many non-digital tools: hand-drawn typography, inks, paints, felt-tip pens, and photocopies.
And finally, what is it about Ian Dury that drew you toward this project?
Ian was an inspiring character. I was acquainted with his music before the project but knew little of his life, so when I was first contacted about the job, I began to watch some of his live performances.
"I Want To Be Straight" (1980) music video
He had such an amazing stage presence: confident, understated, at once raucous and calm. This, combined with his extraordinary talent as a songwriter, completely hooked me. He was also a very visual person so the way he dressed and the style of his paintings gave me plenty of inspiration.
The footage we filmed with Ian and Russel in the van shows them on the way to a gig sometime around 1974. London at this time was quite a grim place – the Three-Day Week was being implemented and the economy was in serious trouble.
The Three-Day Week was one of several measures introduced in the UK by the Conservative Government to conserve electricity, the generation of which was severely limited due to industrial action by coal miners. From January 1st until March 7th 1974 customers were limited to three days of electricity per week.
Despite this and dealing with his disability, Ian saw the world in such a colourful way. In a BBC interview, he was asked whether living with a disability affected his life. He replied,
"Although I'm severely disabled in some ways, I'm not restricted that much by it. I can't run for buses but I don't really mind missing a few buses."
End Credit sequence
View the credits for this sequence
Visual Effects: Matt Bateman/Robin McNicholas (animation and visual effects)
Animation: Matt Bateman/Robin McNicholas
Title Sequence Lettering: Sir Peter Blake
Production Studio: Lipsync Productions
Client: New Boots & Panties 2 Ltd
SLC Punk
Matt Bateman
animation, live action, main title, main-on-end, mixed-media, montage
Mat Whitecross
DJ Films, Tribeca Film
Lola Landekic
Ian Albinson


Which Burna Boy Do You Prefer? | Zikoko!
Yes. This post is dedicated to Burna Boy's hair.
Why? Because the Nigerian Don Gorgon got locs literally overnight a few months ago.
We are wondering about the drastic style change.
Well, he can do no wrong in our eyes. He's got swag and style you know?
So, it's actually hard to choose.
But we'll let you decide.
[zkk_poll post=9212 poll=content_block_standard_format_9] Featured image via Not Just Okay.
I adore horror movies. I mean, who doesn't love being scared shitless.
From Chris Rock to Oprah Winfrey, we are excited.


text:
Home/World News/Middle East/Saudi Arabia/3,500 well-educated unemployed in Saudi Arabia: Report
3,500 well-educated unemployed in Saudi Arabia: Report
As many as 3,500 men and women holding doctorate and master's degrees from prestigious European and US universities are reportedly unemployed in Saudi Arabia.
According to English-language newspaper Saudi Gazette, the rate of joblessness among Saudi elites could triple.
The highly educated Saudis argue that no university in the country has offered them a job even though there were vacancies. They say that Saudi universities prefer foreigners to Saudi nationals without any cogent reasons.
The unemployed Saudi elites have compiled a list of more than 5,000 foreigners who are employed at various universities in the kingdom.
They maintain that authorities prevent them from taking positions already held by foreigners in violation of the constitution.
Saudi universities purportedly put conditions that are impossible to meet so as to avoid employing Saudis, and also recruit academics that do not have specializations in the respective categories.
Private companies also practice blatant discrimination against Saudis.
A Saudi company dismissed a Saudi employee recently and hired a foreigner to replace him. The company justified the act by making up stories against the man and four other Saudis, who were sacked along with him.
The sacked employee is reportedly well versed in four languages, and invented a unique device before dismissal from service. A French company later invited him for a demonstration of his device, and asked to train its employees how to operate it.
Recently, a five-member delegation — representing jobless Saudi university graduates — sought an appointment with Minister of Higher Education Khalid bin Muhammad al-Anqari.
They were eventually promised a meeting with the minister on December 15.
But later they were informed that the meeting was postponed due to the minister's busy engagements and they were not given a new date for the meeting.
Counter-displacement: Evacuees return to their district in Homs
Justice rose up against cruelty in Muharram
Demise anniversary of Imam Khomeini marked in Sydney
SIMILARITIES OF LATE IMAM KHOMEINI AND USTAD BEDIUZZAMAN SAID NURSI


text:
Potential Use of Halophytes and Salt Tolerant Plants in Ruminant Feeding: A Tunisian Case Study
DOI link for Potential Use of Halophytes and Salt Tolerant Plants in Ruminant Feeding: A Tunisian Case Study
Potential Use of Halophytes and Salt Tolerant Plants in Ruminant Feeding: A Tunisian Case Study book
BookHalophytic and Salt-Tolerant Feedstuffs
Moujahed Nizar,1,* Guesmi Hajer 1 and Hessini Kamel 2
This review summarizes the main results of studies related to the fodder potential of some halophytes and salt-tolerant species in Tunisia and highlights the main constraints and opportunities for better valorizing them in ruminant feeding. In Tunisian livestock extensive systems, small ruminant herds, mobility and productivity are severely affected by several devastating factors, such as overgrazing and mismanagement of pasture, in addition to climate changes inducing frequent drought periods and soil salinization. Considering this alarming situation, new strategies and practices are being developed and applied with the aim to promote sustainable management of natural resources and to enhance livestock production. In connection with this, several native or cultivated fodder species such as xerophytes and halophytes could play an important role in the rehabilitation of pasture and the feeding of ruminants in saline lands and/or in arid and semi-arid regions, thereby increasing rural incomes and improving the livelihood of smallholder farmers. The main importance of these plants is their capacity to produce considerable amounts of biomass on saline soils and during drought conditions. The major limitations to be considered when planning halophyte plantation and/or exploitation are
1 Institut National Agronomique de Tunisie, LRAA, 43 Av. Ch. Nicolle, Tunis, Tunisia. 2 Centre de Biotechnologie de Borj Cedria, Hammam Lif, Tunisia. * Corresponding author: [email protected]
high salt (limiting intake and digestibility of the diet) and plant secondary metabolites, moderate energy value, low levels of biomass production and the possibility of inducing mineral imbalances. Most of these feedstuffs are best considered as a supplement rather than forage to be fed as a sole diet. Several strategies to valorize halophytes in ruminant feeding, such as (i) free grazing or cut and carry with supplementation (ii) mixing them with other fodders in shrub mixed diet (iii) using them as alternative feed supplements (iii) and (iv) in alley-cropping to supplement cereal stubble have been reported.


Rich Reviews Everything: A la carte a reality?
A few weeks back, I posted some thoughts on the state of cable television, wherein I stated that the only way a la carte could ever happen would be through an act of Congress. Because any single cable company who attempted this would be fighting a losing battle against the channel providers.
Cable operators want to go "a la carte"
U.S. cable operators are privately working on a plan to force programmers to unbundle their networks and allow customers to subscribe to channels on an individual basis.
Wow. The cable companies are working together to force this on the channel providers. I did not see this coming. And I am very impressed.
The FCC has been mulling mandating A la carte since 2004, I think this is just to move before it is mandated. If they can offer the service with no mandate, they can control the terms. The FCC moves slowly, but is dangerous when it does.