Just a quick post to let you know about a treatment that I have been trying for the past five months.
It is called EECP and is most commonly used with patients who have had a heart attack or are suffering from angina, but it has been found quite recently to be effective for those of us with cfids.
The treatment is non-invasive. You lie on a bed and have what looks like large blood pressure cuffs attached to your legs and across your hips. The machine then inflates these cuffs at regular intervals when your heart is at rest (between beats), this is the time your heart usually gets its oxygen supply and the machine has a number of sensors to check your heart rate and oxygenation levels. Most sessions last for an hour or 45 minutes and can be done once a week for cfids. The whole process feels a little strange at first but after a few sessions you get used to it. I actually fall into a light sleep during my sessions!
As I said, I have been doing this treatment for 5 months and I have to admit to being extremely skeptical at first. I have been through so many treatments, years of IVs, antibiotics, anti-virals etc etc with limited effect.
After about a month on the EECP, I began to notice improved sleep and increased daytime energy levels. I dismissed it as a fluke at first but the effects continued and, as I had started no other new treatments in the same time period, I eventually realized that the EECP was responsible for the improvement in my condition.
This assumption was proven when I took a three week EECP break during the summer. By the beginning of the third week many of the old familiar cfids symptoms were beginning to return in full force: increased fatigue after exercise, general lack of energy and sluggishness, brain fog etc. After re-starting the EECP machine these symptoms eventually subsided.
EECP is quite a new technology and isn't widely available across the country, although it is worth checking with all of your local cfids specialists.
I get my EECP treatments at the office of Dr Enlander in NYC.
I personally recommend trying out EECP therapy to see if it works for you. Obviously you have to consult with your doctor first and make sure that you don't have any conditions that would preclude you from using the machine, but it is a therapy I would strongly recommend fellow cfids sufferers to try. As I said, it's available for those of you in commutable distance of the NYC area at Dr Enlander's office and may be available in other parts of the country also.
-- AHCC Gold immune supplement-- this is another treatment I strongly recommend, especially for those of you who have low NK cell function. It has been a lifesaver for me. I don't see any doctors out there recommending it but I have seen through blood testing that it has increased my NK cell count by 50%. I should probably write another post on this alone, it is that effective!
I have no financial interest in the EECP treatment protocol, Dr Enlander's practice or in the supplement AHCC Gold.
I hope you find this information helpful and pass it along to other cfids sufferers -- we need all the help we can get!
Can you tell us your percent of improvement based on Bell's disability scale?
I'm glad you brought this up as I didn't know it was offered as a treatment anywhere medical with a real name.
In the late 80's and early 90's I could get something vaugely like this as a "beauty" treatment at clinics in the UK. They offered it as "spaceboots" and I found it very helpful. The "boots" were used with me being horizontal in some places and vertical in others. They only went up my legs to my hips. Some went only to the top of the legs. They filled with air and compressed the legs and hips.
A few years ago I was lucky enough to buy a version from a catalogue. It really helps with circulation problems. Obviously the proper version in the doctors office is probably far, far better and more powerful.
Very interesting....I hope you continue to improve and post on your progress. Thanks for sharing on this.
I did the AHCC 10 years ago when it first hit center stage. It didn't do a thing for me symptomatically...not sure about NK cell count because back then I couldn't get a doc to do those labs. I have noticed that my response to things change over time.....so, maybe it's worth another try. I hope you do start a thread on this since you've had such a great response. I cannot take immune stimulants, but certain modulators are helpful. The best I have found to date is Modu-Care (plant sterols).
This sounds intriguing. I looked up a UK site and found this video at a private clinic.
Not sure if I would be strong enough for the treatment as it looks a little uncomfortable. Although they're talking about treatment for Angina they do suggest 35 sessions!
These are venous compression devices -- very commonly used to prevent blood clots in some hospitalized patients.
increased blood flow. Compression stockings are suggested for POTS and since POTS is common in CFS, I would think that the devices help CFS potentially by helping at least with POTS.
An interesting point from Dr. Peter Rowe's handouts on POTS is it doesn't just manifest as dizziness and lightheadedness but also fatigue, brain fog, etc.
Thank you. I was wondering if that was safe. Do you know if it's covered by Medicare, or how much the co-pay is?
citybug: It is covered by my insurance and I'm fairly sure it's covered by medicare. If you have a doctor in your area that has the machine you can call and find out, or if you live in the NYC area, you can give Dr Enlander a call and ask.
Diva55: It feels a little strange at first, maybe slightly uncomfortable but if you start out slowly you adjust quickly. I wouldn't be worried about trying it, especially if you're cleared by a doc to use it, you can always do 30 minutes the first time and work your way up -- that's what I did and now I fall asleep on it!
@Cloud: I will start a thread on AHCC as soon as I can, I agree it would be good to put that out there as I discovered it on my own and no doctor I've seen has ever heard of it. I'm curious, did you take AHCC or AHCC Gold? Both exist and the AHCC Gold is the product I reference in the thread. The products are made by the same company but regular AHCC is nowhere near as powerful...btw: iherb has the cheapest prices on it right now if you're thinking of giving it another shot.
ukxmrv: That's really interesting! It sounds like a primitive version of the EECP machine for sure. I wonder if you'll be able to use the EECP machine in the UK? I know that its primary medical use is for heart problems and that using it as a treatment for cfids is "off-label" but maybe you could find a doc that would do it...I was born and raised in the UK so hoping you can access the EECP there too!
caledonia: I don't use the Bell's Disability scale, although I did just take a look online when I saw your post, but I think the categories are too broadly defined. I have been "functional" for the past couple of years, meaning I can work part-time in a (non-strenuous) job as long as I get plenty of sleep and have low stress. I can "sometimes" exercise without feeling post-exertional malaise. I sleep fairly poorly and wake up fatigued and feel fatigued most days.
I also tried this EECP treatment with Dr. Enlander.
But, unfortunately have not been well enough to continue going in. The travel from my house is very exhausting.
I only tried it twice so I can't comment on results.
I wish i was well enough to travel in to get more sessions.
Wishing you the best and hoping that you find the right treatment.
I like to offer a glimmer of hope for CFS patients.
My daughter who is now 15 years of age, came down with CFS 5 years ago. Like many sufferers of CFS she was misdiagnosed with numerous other diseases and herded from one doctor to another. She finally received the diagnosis of CFS from one the most respected Pediatric Rheumatoid Specialist in the country. Unfortunately he provided no treatment and no guidance. This may sound familiar. Her cognitive ability, her energy were seriously compromised as well doing the basics such as walking and dressing herself. She slowly was able to go to school though with many absences or leaving early and of course her course work suffered and being in a competitive academic environment did little for her self esteem.
Luckily we found Dr. Derek Enlander,of NYC a little over 2 years ago. After doing exhaustive blood work and a exhaustive examination, he concluded that she did indeed have CFS. He has been building up her immune system with a variety of supplements.
But the two most important factors to her improved health, I would say is the course of LDN (low dose Naltrexone) which she has been on now for a year and a half. This drug has given her greater energy, and less pain. And the other is EECP treatment which was first developed for heart patients who could not stand the rigors of vigorous exercise.
She started the EECP back in Late May, since then her energy level is up, her blood pressure is almost normal, her pressure prior to this was extremely low, her cognitive abilities have an 100 fold increase. Having met her teachers for Parent teacher conferences recently, each one noticed her ability to concentrate, openly discuss things in class, retain what was just taught and most importantly doing A work in most of her classes, with the lowest grade being B. I can't begin to tell you what difference this is from just a year ago. The difference is night and day and for a father who has watched his daughter suffer and struggle for the last five years, I can't begin to tell you what this means for me, my wife and of course my daughter.
I will preface my excitement knowing that this is not a cure and she still has a long road ahead, but for the first time in years I can say that her improvement is exponentially greater than anytime since the onset of her illness.
This is brilliant news and I can only dream of how you must feel. I hope the improvement continues and your daughter can live as good a life as possible.
So pleased to hear about your daughter. Another of Dr Enlander's patients posted a week or so about her own improvements with EECP. I'll see if I can find the link and add that here.
Fantastic news about your daughter.
Thank you very much for your post. I'm going to visit my Osteopathic physician this afternoon, and I plan to give a copy of yours and Jane's post about her own EECP experience to him. Perhaps he will know if this is available locally here in southern Oregon.
Congratulations on your persistence in looking for and finding something that helped your daughter so significantly. I'm sure it feels like a huge blessing in your family.
I'm glad your daughter is improving.
a couple of questions: did Dr Enlander prescribe the LDN? what dose does yr daughter take?
what tests does Dr Enlander use to monitor results on LDN?
Congratulations! I had never heard of EECP before and I wish your daughter continued success Thanks for spreading the word on a promising new treatment.
I merged the threads together by the way.
Bumping this up for those who may have missed this. Could be very significant for some PWCs.
For people in the UK I used this at a beauty salon. They told me the origianl purpose was to improve circulation for heart patinets but they used it for lymph drainage and to reduce fluid retention in tissues.
You can choose the pressure and I think the interval of compression, so it doesn't have to be uncomortable, to me it felt a bit odd but ok.
I reacll it was fairly inexpensive, tho can't remember the precise price, say around 20 a session in today's money.
2nd and 3rd times I didn't notice much, though I think I may have felt a bit hyped and decided against a 4th session. I live elsewhere now and have previosuly looked for another salon offering this but not in a committed, no stone unturned way.


We added a Friday post so that we could feature Steve Nelson, Head of School at the Calhoun School, on Manhattan's Upper West Side. (We sincerely apologize for not getting this post up earlier this week; we were pretty excited by the books in our Beyond the Marches post and well, forgot.) In addition to serving as a Valley News columnist, Mr. Nelson has been a regular contributor to the Huffington Post and worked as an administrator at Vermont Law School and Landmark College.
Mr. Nelson will visit the Norwich Bookstore in Norwich, Vermont at 7 pm on February 8th to discuss First, Do No Harm. The event is free and open to the public. However, reservations are recommended as space is limited. Call 802-649-1114 or email info@norwichbookstore.com to save your seat.
The books are more about shaping the way I think about things than they are about me as an author.
The Magic Years by Selma Fraiberg – I read this as an undergraduate and it inspired a lifelong interest in children (including my own), how they develop and how we should love and nurture them.
Amazing Grace by Jonathan Kozol – As with other Kozol books, Amazing Grace is beautifully written and should inspire loving outrage in any human.
Frames of Mind: The Theory of Multiple Intelligences by Howard Gardner – Mr. Gardner's work should have changed how we see other humans and how we educate children. It hasn't, and it's a shame.
Tom Robbins – because the coffee might be spiked with something that could make me as imaginative a writer as he.
American War by Omar El Akkad and The Noise of Time by Julian Barnes.


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Home > Countries > Ireland > School of Philosophy, University College Dublin
School of Philosophy, University College Dublin Ireland
About School of Philosophy, University College Dublin
University College Dublin is located on 133 acres of parkland campus in Dublin, Ireland. UCD School of Philosophy is ranked in the Top 100 for Philosophy in QS Rankings 2017.
University College Dublin has its origins in the mid-nineteenth century under the leadership of the renowned educationalist John Henry Cardinal Newman. Since its foundation in 1854, the University has flourished and made a unique and substantial contribution to the creation of modern Ireland, based on successful engagement with Irish society on every level and across every sphere of activity.
The international standing of UCD has grown in recent years; it is currently ranked within the top 1% of institutions world-wide. UCD is also Ireland's most globally engaged university with over 30,000 students drawn from over 120 countries, and includes 5,500 students based at locations outside of Ireland. The University's main Dublin campus occupies an extensive parkland estate of more than 130 hectares and offers world-leading facilities.
UCD offers courses across 6 colleges and 35 schools with a diverse offerings. UCD School of Philosophy offers 6 subject areas for postgraduate students: Contemporary European Philosophy, Philosophy (General), Philosophy & Public Affairs, Philosophy & Literature, Cognitive Science and Consciousness & Embodiment.
Admissions Requirements for courses at UCD School of Philosophy:
For postgraduate study at the UCD School of Philosophy: Second class honours, Grade 1 or equivalent in Philosophy or related subject.
Other Courses You May Be Interested In
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Courses at School of Philosophy, University College Dublin
There are 6 courses listed from School of Philosophy, University College Dublin. These are displayed below in alphabetical order:
MA in Consciousness & Embodiment Masters Degree MA in Philosophy Masters Degree MA in Philosophy & Literature Masters Degree MA in Philosophy & Public Affairs Masters Degree MLitt in Philosophy Masters by Research
PhD in Philosophy PhD

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Homeworld-newsRussian President Vladimir Putin Orders Mass Coronavirus Vaccinations From Next Week
Russian President Vladimir Putin Orders Mass Coronavirus Vaccinations From Next Week
Russian President Vladimir Putin has ordered officials to begin mass vaccinations next week and to open up the inoculation program to all Russians.
'I ask you to start mass vaccinations of the entire population as early as next week,' Putin told officials during a government meeting by video link on January 13, touting Russia's homemade jab as 'the best in the world.'
Putin said Russia should 'get relevant infrastructure ready' to boost production of its Sputnik-V vaccine.
Russia, which has the world's fourth-highest number of COVID-19 cases, began large-scale vaccinations last month even though it was still in its third phase of clinical trials.
Deputy Prime Minister Tatyana Golikova said the authorities would be ready to broaden the program from January 18.
The RDIF sovereign-wealth fund has said 1.5 million Russians have already been inoculated with Sputnik-V.
Russia health authorities have reported more than 3.4 million coronavirus cases since the pandemic began, with over 63,300 deaths. However, the death toll is believed to be much higher.
Based on reporting by AFP, AP, dpa, and Reuters
Copyright (c) 2018. RFE/RL, Inc. Republished with the permission of Radio Free Europe/Radio Liberty, 1201 Connecticut Ave NW, Ste 400, Washington DC 20036
Russia world-news
Iran's Revolutionary Guards Unveil Underground Missile Base Near Persian Gulf Coast - Photos, Video
Bars, cafes and restaurants in France to remain shut


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Presented as part of our commitment to education in our profession, BAFTA Los Angeles welcomes one of the UK's leading talents for an evening of discussion.
After making her film debut in Joe Wright's Pride & Prejudice, Carey went on to feature in Anand Tucker's When Did You Last See Your Father?, Shana Feste's The Greatest, Michael Mann's Public Enemies, and Jim Sheridan's Brothers.
In recent years, she has won acclaim for her performances in Mark Romanek's Never Let Me Go, Oliver Stone's Wall Street: Money Never Sleeps, Nicolas Winding Refn's Drive, and Steve McQueen's Shame.
She was awarded the BAFTA Award for Best Actress for her starring role in Lone Scherfig's An Education, and this year can be seen in Sarah Gavron's Suffragette.


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Tag: the biz
Interview with Eleanor Coppola
I first met Eleanor Coppola when I moderated a Q&A with her after a screening of her latest film, "Paris Can Wait" (opening in Chicago theaters May 19). Usually when I moderate these events, I meet the filmmakers, we have a blast during the panel, grab a beer afterward, and I wish them all the best on their next screening. But there was something about Eleanor that was different. When you have a conversation with her, she really listens to you. She takes your questions to heart and gives you genuine answers. I soon realized these are all qualities that go into her being a great filmmaker. She probably connects this way with everybody on set, and it shows in her work. As a film director, I'm always looking for people I want to emulate and write about, so I set up an interview with Eleanor. I hope it inspires you as much as it did me.
Oriana: As I had mentioned at the screening, I am the Director of Programming for Women in Film Chicago. And, of course, we always take a strong interest in women filmmakers and how they got where they're at, what obstacles they face, and how they see women in filmmaking in the future. So, I first want to ask you, how did you see yourself, before making the film, as a woman in the industry?
Eleanor: Well, I have to say, I'm not the usual person who lives in Los Angeles and is focused on film. I'm an outlier, really, because I live in the Napa Valley and I mostly made documentaries. I've made like seven or eight documentaries. But before this film, I was always on location with Francis' films, or Sophia's, or our son Roman's films, and I am looking forward to the day when we as women don't have to identify as being a separate thing. We're human beings and we make films. I think I may have mentioned this to you in Chicago, I loved having this strong team of women for my film.
O: Right, you talked about your crew and how many of the main positions were filled by women.
E: Yes, which I was very happy about. It made for a wonderful experience. We worked well together, so very cooperative.
O: Is there something about being a woman, or is there some quality of womanhood, that makes you good at working on set with a bunch of people? You know, it's a really complex process, and somehow women are able to do it pretty seamlessly.
E: I think women are, by nature, collaborators and peacemakers. I have three kids, and they're always fighting and scrabbling, and you're constantly trying to negotiate and make the peace and make it all right between them. You're fixing things all the time between members of your family and really trying to make the peace. And when there are so many people on a crew trying to get their own department to shine, you're constantly trying to balance and make the peace and collaborate. I think women are a little more effective at that than men.
O: It's interesting you say that because as I'm sure you've seen in the media recently, there's been some attention paid to how women are called "bossy." You know, as soon as they have any sort of authority, they're like, "Oh, well, she's bossy" or even worse, "She's a bitch." But men rarely get that, even though they're in that director position very frequently.
E: Yes, I mean, very occasionally they will be called a tyrant, or something, but, it's kind of said affectionately. Or they'll say, "He's a genius, he just does things that way." They direct from a position of authority, I think, and women direct more from the collaborative perspective, with exceptions, of course.
O: Do you think, given the attention some actresses have put on the studios to demand equal pay, that we're moving in the right direction?
E: Yes, it's just inevitable that people will, whatever their background, be judged on their ability. Regardless of ethnicity, or gender, or sexual orientation, ultimately, we're human beings, and I think that realization is moving that way. It's slower than we want. There are a lot of snags. Especially right now, we're having a moment of confusion –going backward before we go forward. But I think inevitably, we're going to go forward.
O: I wanted to ask you about the investment part of this because you mentioned it took six years to get the finances for your film. And from my vantage point, financing is definitely one of the major barriers to more women entering the industry. It's just hard to get the investments. What is your take on why men are able to get the money faster than women?
E: Well, when you look around, most of the people who control the money, the people, the banks, the different financing companies, they're still predominantly run by men. And they have a different perspective on what's going to make money. It's an investment, after all. They want to invest their clients' money in what they think will have the best return. A film of my type, which has no car chases and no guns and no knives and no special effects and no robots and nobody dies of cancer, it may not seem like a good investment for them. So, I think I was walking upstream in that regard.
O: Yeah, it's interesting. I think I mentioned this to you, but the film that I'm trying to shoot in Sicily, is in a way, very similar to yours. It deals with the inner woman, her conflicts and some of the things that go on inside of her emotionally. My films are not always car crashes and apocalyptic situations. And it seems that perhaps investors still don't believe that women's stories, and more importantly a woman's inner story, can be just as important –and lucrative— as a car crash. Which, if you've asked a woman who's had an emotional breakdown what it's like, I'm sure "car crash" comes to mind. So, for your next project, would you still go down this route of true, emotional stories, or would you go with something that was maybe a little bit easier to finance, but also a little bit more car crashy?
E: I financed for myself two short films — I'm just finishing the second one now — that involve a 50-plus-year-old couple, but in two separate stories. And I just made them because I didn't want to wait on others to finance them. You know, I may not have another six years ahead of me to wait to push something through, so I'm taking a sideways out and just making these short stories myself. I think everybody has to make up their way forward because it's not a nice clear path for women. Everyone does it a different way. I mean, there's Hurt Locker, which is very much a "man-style" film, and that worked for Kathryn Bigelow. I think Sophia [Coppola] took a different route, she told a story that was personal to her, and that film was well-regarded. I think women are trying to find their own ways to go forward in this business.
O: What would you say to the youngest group of women who have an interest in film?
E: I think the main thing is just to do it, to not sit back, but to go forward, whatever it is. If you want to be a filmmaker, get your iPhone out and just do it. Just keep moving because if you hesitate and wait for that perfect offer, it might take forever. Find your talent, find your passion, and just go in that direction any way you can.
In which you decided to not pay (or defer pay to) your actors
February 15, 2014 January 18, 2017 Leave a comment
I get it. You're making a movie with – like – *no* budget. My god, what a crazy thing to do. No one has ever done this before. What are you going to do? OH, here's a great idea. Don't pay the people who are going to make or break your ability to tell your story. After all, actors are the most desperate people in the biz. They'll do anything, right? And they don't have any equipment to bring in, and most of the time they're just sitting on set not doing anything, while the rest of us are moving machines around and wearing carpenter pants, why should they get paid? They should be HONORED to be in my movie.
Only now you've "hired" unprofessional actors, and/or you've belittled your actors by not treating them as professionals, and you've enabled them to lose a piece of their integrity, and you've assumed they are plug-and-play robots that will just show up and grovel at your feet, and… oh crap. Why aren't they behaving professionally on your set? Why do they have a glint of "if I just get through this crappy movie, I'll get something on my reel and finally get to do REAL movies" behind their eyes? Your movie shows that you didn't work with professionals. It shows that you didn't value the craft they brought to the set enough to give them a few bucks. And before you say, what craft? They're beginners, they're just lucky to have been chosen — THINK. You held an audition session, and you CHOSE THEM. So they must hold some value, right?
Now obviously, I'm not talking about situations where you and your friends decide to make a flick, and everyone pitches in a few bucks for beer, and you run the camera and do your thang. That's a fun, creative, social experience. I'm not talking about student films, because that's a learning experience, and the actors you're using are learning their craft as well. I'm talking about when you are producing a movie that you intend to showcase with the goal of furthering your career as a filmmaker. I'm talking about when you have a producer (even if it's you) going to vendors (even if they're people you happen to be friends with) and creating a budget (even if it's minuscule). In that budget should be pay for your hired actors.
Now some of you may be thinking — wait a second. My actors weren't paid and they did an amazing job. Or — wait a second. I'm an unpaid actor and I acted my heart and soul out on that flick. Fine. But then make honest people of yourselves. Dear filmmaker, you are past the stage of student films. You are making films to display your vision publicly. You are making films to get on a bigger, better stage every time. Eventually, you will have to pay your actors, so just get used to that budget line now. The business aspect of this is inevitable. Accept it. You need to put money out there to see more of it in the future.
My favorite is when I see castings listed as "Paid" but it's really deferred pay. Let me put this right out there. "Deferred pay" means the actor is going to see zero dollars. Because we all know your seven-minute movie isn't going to make money. At least be honest about what that really means.
Many people will look at the SAG-AFTRA rates and say, "Gee, if SAG-AFTRA allows deferred pay under these contracts, then that must mean I should defer pay." WRONG. SAG-AFTRA puts that in there to encourage filmmakers to use Union actors, but it doesn't mean it's a wise decision that will make your film better.
So what to pay? Well, the minimum daily rate for Union contracts that require pay is $100. Think about that. One Hundred Measly Dollars to make sure the Face that will Tell Your Story feels respected enough to Tell Your Story Right.
How to find that money? Guys, seriously? We have so many crowdfunding opportunities nowadays. IndieGoGo, Kickstarter, RocketHub, Peerbackers… Pick one and hustle.
Take care of your actors. Feed them. Pay them. Help them with transport. Bring your pride down. If you chose them, then you consider them an integral and invaluable part of your project. It means you cannot make your film without them. It mean they are just as important as any piece of equipment, any crew member, any pizza you order. For crying out loud, show them that you know that. The magic they will make for you is priceless.
And yes, this goes both ways. Actors need to learn to keep their integrity and resist doing every non-paying gig out there. Such a level of desperation will just bring everyone down. But that's for another post…
In which you hired an actor who sucks
February 6, 2014 January 18, 2017 Leave a comment
You did your job. You booked a studio, got a video camera with a tripod. You settled yourself into your seat for 2 hours of auditions. And then she walks in. She's exactly what you had pictured. Button nose, butterfly eyes, and wait… what's that… her monologue was recited with the pointed, timed precision of someone who just finished conservatory? BINGO! You just cast your female lead! Only you forgot to have her do a cold read of your work or something similar, nor did you do a chemistry read with your leading man, and now you're on set shooting your movie after you slaved and struggled to raise as much money as you possibly could, and you have an entire crew assembled, and all eyes on her — SHE SUCKS.
What happened? You forgot that, these days, monologues don't matter for your film/webseries/pilot etc. You need to throw the material at your auditionees and see if they embody the character pretty much off the bat. Ever see an audition for network TV? It's efficient. They don't want to see a girl recite something she memorized for her 1st year conservatory showcase. They don't care about that story or those characters. Those TV show creators want to see their characters brought to life here and now. That's it. And to throw the actors a bone, I have yet to meet an actor who is elated when they have to do a monologue for an audition.* Why? Actors want to play as much as they possibly can. They too want to bring new characters to life. It excites them. They want to connect with YOU, the casting director. They want to please. And because doing a monologue doesn't give them that opportunity, you will not see all that they can do for you.
And frankly, every time I see a film/webseries/pilot is seeing monologues, my confidence that production knows what they're doing decreases substantially. It suggests production is out of touch, and good actors don't bother with those productions.
*Theater aside, of course. That's a whole other beast I don't deal with here.
In which I explain the purpose of this blog
February 5, 2014 January 18, 2017 1 Comment
Filmmaking (to include TV, web series, etc.) is a dirty, filthy business, but one that is a necessity for many of us because we love it more than anything. It is also an easy path to insanity, greed, resentment, and overall losing your cool. The level of dirtiness could vary by location (New York and LA being the dirtiest by virtue of volume), but I do believe it is useful to talk about some of the pitfalls of "the biz" in general. This blog aims to address a wide variety of opportunities for disgrace and generally douchebaggery to arise, and ways you can manage them. If you feel an issue is missing, please write me about it, and I will attempt to address them. The overall mission is to introduce a bit of reality and humanity back into your filmmaking world to make the process less abhorrent to all. This is a place for directors, writers, producers, actors, crew, really anyone who has to work on a set, bless your hearts.


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THE SELF-TITLED INTERVIEW: Sleigh Bells
Sleigh Bells @ Market Hotel in October 2009 (Photo Credit: Turkishomework)
A few months ago, we wrote something on our Twitter account just to fuck with people and prove a point. Sleigh Bells had just dropped the digital version of their debut, Treats, and far too many self-anointed critics had already made their mind up about the Brooklyn duo. On one side: the hype mongers, the ones who think Sleigh Bells are here to rewrite the rules and rewire the sound of pop music. And on the other: the cynics, the ones who think Sleigh Bells are yet another example of a blog-driven obsession with being "first."
Outside of seeing them at SXSW and sending one of our photographers to cover their show with Surfer Blood last fall, we largely avoided listening to Sleigh Bells. At least until the pressure became too great and we caved in, firing up a press copy of Treats and finding it exhilarating but, well, really fucking loud. Or as we wrote into the Web's vast void, "It's giving us a headache. This would have worked well on Korn and Limp Bizkit's Family Values tour in the '90s, though."
Sure enough, a fan of Sleigh Bells saw our tweet and forwarded it to guitarist/producer Derek Miller. He then responded to us, basically saying it's funny that we're slamming the record after asking to interview the band several times. We explained that we weren't slamming the record, that we were just giving a knee-jerk reaction in response to all of the hoopla that was happening that week. As for us asking about an interview in previous weeks, the idea there was to discuss what all of this Next Big Thing nonsense means in the scheme of things, not feeding the blog-fueled beast even more.
"I don't really like to consider myself an 'artist,' but we work in a creative field and are sensitive to that shit"
"It's funny, when I saw your tweet, I actually thought to myself, 'Yes!'" says Miller, when we reach him during a tour overseas, "We actually joked about being a new-metal band during Major Lazer's tour. [Diplo] was like, 'You guys are the new Limp Bizkit.' And we said, 'Yeah! We kinda are!'"
To bring that point home even further, Miller played the moronic Korn song "A.D.I.D.A.S." (a.k.a. "All Day I Dream About Sex") during a WFMU radio show.
"I'm not running away from any of that," he explains. "Dude, I saw Korn on the Life Is Peachy tour in Orlando. I was 14 or 15, and it was one of the best shows I've ever seen."
The lack of pretension in the music and general mood of Sleigh Bells is why we were ultimately drawn to them. Unlike their label boss M.I.A., the prickly pair knows they aren't here to change the world. They're here to deliver rock candy that'll rot your speakers from the inside out, and to play shows that'll reduce most rooms to absolute rubble, largely thanks to Alexis Krauss, easily one of the most exciting frontwomen in music today.
The following is easily the most extensive Sleigh Bells interview that's been published yet, and the only self-titled feature that's ever arisen out of a reported "Twitter feud." So yeah–shit's about to get real…
So are you ready to argue about how much we hate each other?
Yeah man, I'm ready for it. I've got my old Yankees cap out and everything.
Isn't it a little weird how something so harmless can spread so quickly on the Web?
Dude, it's kinda ridiculous. A couple minutes after [we talked], I had this funny exchange where someone was like, "Woah dude, this is crazy!" I actually deleted my Twitter app after that…
Yeah, I noticed you delete comments here and there.
We've been doing that since the beginning because we're not huge fans of social networking sites. Any of them, really–like our MySpace has nothing on it, and I haven't logged into our Facebook account in forever.
But you're aware that's how a lot of this nonsense spreads right?
Absolutely. It'd be ridiculous to pretend that I'm ignorant to it. The whole thing just makes me feel pretty uncomfortable. Something about it's just really weird. First of all, I don't see the need to tell someone whether or not I'm enjoying my hamburger. That's just fucking ridiculous. There's some value in reigning yourself in a bit and not getting on your knees at every opportunity for a little exposure. I don't think it's healthy for bands–for everything that's good or bad about your band to be at your fingertips…literally. It's terrible.
Right. As much as artists say that doesn't influence them, it has to to some degree.
Yeah, man. I don't really like to consider myself an "artist," but we work in a creative field and are sensitive to that shit. We care; we want people to like what we're doing. So [criticism] bugs us. Anyone that tells you it doesn't is probably lying a little bit.
A lot of your positive press has been based on really backhanded compliments, too. Like the New York Times said, your riffs are "so audaciously straightforward they verge on brainless."
Well, you know, critics have to be so on top of everything. We get a lot of 'it's like this meets this…but in a good way'. Or someone always has to mention how quickly this could all go away.
People also consider Sleigh Bells a guilty pleasure. I assume you don't even believe in the concept of that…
Of course not. That's ridiculous. I understand what [critics] are doing. That tone is so common, and so old, that we try not to take it very seriously.
So tell me a little bit about Alexis and her background in pop music–how it helped with your creative process for Sleigh Bells.
She used to do a lot of random session work, whether it was a jingle or demos that ended up going to Britney [Spears] or something. So she's very patient. From a production standpoint, she's good with abstract directions, like, 'Okay, this has got to be sparkly'.
You used the word "sparkly" in the making of this album?
Sure. And you can use that against me. That's fine. I deserve it. [Laughs] But yeah, it was probably a little embarrassing for her, because she was going out of her comfort zone. We were both vulnerable, and therefore, equal. It wasn't too painful.
"You know how it is when you're 15–that shit becomes your identity because it's all your looking for."
Vice's Creators Project, June 2010 (Photo Credit: Andrew Parks)
I love that you were literally going up to girls asking them if they were a singer, leading up to meeting Alexis. That did happen right?
Oh yes. As evidenced by me meeting her at a restaurant where I was waiting tables.
That happened when again?
November of '04 was when I first started looking [for a singer] in earnest. I had just quit my hardcore band (Poison the Well), and moved from California back to Florida. I really wanted to work with a girl because I prefer female vocalists and had been surrounded by sweaty metal dudes for the past six years of my life. So yeah, it took a while. I moved back to California and played music with some friends. I never found anyone [for Sleigh Bells], so I moved back to Florida.
Were you playing Poison the Well-like music when you moved back to California then?
No, I don't know what it was, man. It was all pretty mediocre. I was pretty dead-set on not contributing to the noise of another band. That's just static. I'd rather be waiting tables. So anyway, when I moved back to Florida, I hooked up with some friends and a different girl, and it was good. Sonically, the material I was coming up with was closer to the standard of what I was holding myself up to. It was close, but not quite there. There was like a band version of "Infinity Guitars," for instance.
This was when the Surfer Blood guys were in the band?
Yeah, exactly. They're all old friends of mine. It was [Surfer Blood frontman] J.P. [Pitts], [drummer] T.J. [Schwarz], and JP's sister. We played a bunch of music together for a while. It was pretty cool. I had my ideas of what I was trying to do, and they had theirs. It was all band stuff. I didn't get into programming until I moved to New York. So I was mostly playing guitar, T.J. was playing drums, and J.P. was playing bass and singing. It was fun. West Palm doesn't have much of a scene, so you usually end up playing together at some point and trying stuff out. It's been cool to watch them get their shit together, make a record, and have everyone love it.
What part of Florida are you from?
I was born in Pahokee, but I was raised in Jupiter, which is an hour and a half up the coast from Miami. So I surfed a lot growing up, right up until I got a guitar and quit surfing to focus on that.
What was Miami like for you? Did it fulfill a lot of the girls-in-bikinis stereotypes?
Miami's fucking diverse. Jeffrey [Moreira], the singer from Poison the Well, grew up in a tough area, actually. Jupiter was a small little beach town with nothing, really. I think we got a Taco Bell in '91 and it was a huge deal. Like a lot of other parts of the country, there's a real cultural void. My family's still there, so I got back all the time.
Going back there must keep you grounded.
We don't have any trouble with that. Not to be plain Jane or boring about it, but we're extremely humble and critical of ourselves. I don't need to go to a destination to feel grounded.
Well, it must be relaxing at least.
Yes. It's super relaxing. My sister lives there with her family, about 200 yards from the beach, so I'll just go crash with them, hang out with my niece and my nephew. It's pretty dope.
Was Poison the Well an anomaly in your part of Florida then?
There were actually a fair amount of hardcore bands, mostly in, like, Fort Lauderdale. I was 15 when I went to my first hardcore show in West Palm Beach, at this place called Happy Days. And every once in a while, a band from Lauderdale or Miami would come up and just shred up the place. So the second I turned 16 and had a license, I was down in Lauderdale every weekend, for every show.
They were the cooler town then?
So much cooler. I don't know if the music was necessarily good, but it was a lot better than what was going on in West Palm. So that's how I got involved with the Poison the Well dudes.
And you were pretty much immersed in that music at that point?
Totally. That was the first exciting thing I'd ever found in Jupiter. You know how it is when you're 15–that shit becomes your identity because it's all your looking for. I don't know if you've even been into hardcore.
I have, actually. I'm from Buffalo, so that's all we had too.
Snapcase then, right?
[Laughs] They were a great fucking band, actually–Snapcase.
Come to think of it, I may have seen Poison the Well when you were still in the band.
That's possible–we played up there a bunch. Man, I'm still extremely close with the Poison the Well guys. They're like my brothers, for sure.
"You just start thinking hardcore's kinda ridiculous and restrictive–that you want to grow but your fans won't let you"
The Fader Fort 2010 (Photo Credit: Aaron Richter)
What was the breaking point where you decided you needed to leave then? Poison the Well was getting more experimental around the time you quit…
I started becoming more controlling. You Come Before You came out in '03, and that was pretty collaborative, but after that, I wanted to do everything. We all wanted to diversify the sound, but a lot of times, we spread ourselves a little too thin.
Looking back, we were a pretty cool hardcore band when we were being straightforward and heavy. I feel bad saying this, but a lot of the melodic stuff we did is pretty fucking corny. But it's where we were at. What the band used to be disappeared, and when one person is doing everything, all of the sparks go away. It wasn't like a really shitty split. There were no fights. I was just unhappy. Everyone knew that. My involvement with the band had run its course.
As a listener, were you drifting away from that music, too?
Totally. All of us were, around '01 or something. Once you hear something like OK Computer, it's like, 'Wow!', and then that leads into something like Björk, and so on. It's all just a gateway into something other than just Converge records. Then you just start thinking hardcore's kinda ridiculous and restrictive–that you want to grow but your fans won't let you.
My personal turning point was going to see Hellfest in 2003. Metalcore–that style Poison the Well helped pioneer–was becoming really trendy and watching that for an entire day made me want to kill myself. It was just the same…fucking…band, over and over again. Which must be what touring felt like for you towards the end–just really repetitious.
Absolutely man. I had wanted to leave the band for so long. It wasn't a snap decision. It was a long time coming. We had been doing it since we were 16. Not to be all fucking misty-eyed about it, but we were a family. It was also my job–what fed me and paid my rent. And since I didn't have any savings, I had to be ready to wait tables once I left. I just knew that if I wanted to move forward creatively, I needed to make that break. The sooner the better.
You've gotta push through all of the shit, all of the mediocrity. I feel like that's what I've been doing for so long. Sometimes I'm afraid that I'm still doing that.
What do you mean? That you're always second-guessing yourself?
Yeah, like with a lot of musicians, everything's exciting when you're in the moment, but the second it's done, I start to hate it. I'm not there with Treats yet, but I know that after a year of playing it, I'm never gonna want to hear it again. I already want to get back into the studio, because we have so many new ideas. I wish I could live there, but now's where the real work starts.
Is part of the problem that you're worried about this ending any day now, because things move so quickly now?
No, I actually have a lot of faith in the material's ability to stick around. I really do. That's the only thing that saves a band from a hype cycle–does a record actually resonate? Is there anything exciting or memorable about it? For me, it meets that criteria. I don't think it's that great, but it's the best we could do. And I'll stand behind it.
Well, one of the best decisions you made was to produce it yourselves. I feel like one of the selling points with your label was the way you sound–that it's this kind of anti-pop music.
Yeah, we spoke to a lot of labels and whittled it down to people who wanted to facilitate what we're doing and trust our artistic decisions. It's ridiculous to me that labels actually work with bands that they don't trust creatively. When we were wrapping the record up, I actually wanted people's opinions on the mixing and the mastering because they're not just label jerks. They're really good dudes. Michael Goldstone at Mom & Pop has been involved with some really great records, you know? Like he signed Rage Against the Machine and Pearl Jam. And then there's Q Prime [Management], the people who back the label. And of course, Maya (M.I.A.). At the end of the day, we go with our instincts and they say, "That's good; you guys know what you're doing better than we do. That's why you're the one making the records." I can't really ask for much more from them.
Well, you're an artist that essentially makes them look cool, too.
Sure, although I don't think coolness isn't a currency they trade in. Alexis and I aren't really cool people. We're too honest for that. And those dudes aren't super hip, either. It's not like we're working with Pedro Winter from Ed Banger or something. It's…different. [Laughs]
"Since it's M.I.A., we thought they'd listened to it through a huge sound system. But no, Spike played it for her through his iPhone."
Vice's Creators Project
So when did all of this label attention really start?
Maya got involved in September. The only people who were listening to our band then were our initial circle of friends. We'd played two shows…
Who were you hanging out with then?
No one "of note." My oldest and best friend is a guy by the name of Will Hubbard. He now co-manages us. He's actually the one who got me to come up to New York. Will and I have known each other since we were 13. He's my best friend and a smart guy, so I trust him.
Was he involved with Poison the Well at all?
No, he was teaching at NYU for a while and really grounded in academics. I sorta sidetracked him. He was like, "You can throw a rock in Brooklyn and hit an idiot musician. Just come up here and start looking for people. You've been in Florida for a year and don't have anything going on. What do you have to lose?" So that was a huge help. And as we got our shit together slowly, it made sense [for him to be our manager]. He co-manages with a guy named Bill Folds. I've known him for 10 years. He worked with Poison the Well forever, is a little older, and has a shit load of experience….
But anyway, I'm going to go back to the original question, about our circle of friends. That included a girl named Molly Young. Molly is a friend of mine now, but she was originally a friend of Will's. She heard our music through him, loved it, and wanted to write about it for Spike Jonze's Where the Wild Things Are blog. Spike and Sasha Frere-Jones–another early supporter–both heard about us through Molly's post, actually. So Spike liked it, and wrote us an E-mail saying he might want to use the demos on a future project. That was so encouraging, because I love what that guy does. And then a week later, we got an E-mail out of the blue from Maya. I still have it. In all-caps, she was like, "HEY, I'M SITTING HERE AT MY HOUSE, AND SPIKE JUST PLAYED ME YOUR SHIT. I LOVE IT. AND I WANNA SIGN YOU." She didn't beat around the bush.
It's funny because we were wondering how she heard it–the context and the sound. Since it's M.I.A., we thought they'd listened to it through a huge sound system. But no, Spike played it for her through his iPhone. She literally showed up in New York unannounced and said she wanted to go into the studio after that. It was intimidating, but I was up for it.
"It's so unpretentious and single-minded in its goal–just so skeletal"
It was bad enough when you had limited equipment with Alexis, but you must have felt especially intimidated at the prospect of working with M.I.A.
Yeah, it was a major turning point I was totally unprepared for. But it worked, it contributed to the sound and the creative process. You realize that people like her are actually looking for that.
Did you have a lot of ideas for her before you went into the studio and worked on M.I.A.'s record?
I had a bunch of beats, some of which I didn't think would work with Alexis, and some that I did want to use with Sleigh Bells. She came over on a Sunday, on her bike, and listened to it all–picking out parts that she liked about different songs. Man, I thought she was gonna come by in an armored car or something. I've seen people with less interesting careers walk around with bodyguards, you know? So I didn't know what to expect with her. It was really cool.
So she selected some sounds and then…
We went into the studio the next day. We had a week booked, but we were there for three or four days. They were pretty long sessions, especially compared to Sleigh Bells. It really fried my ears because I work at a really high volume and can only take it for like six hours at a time. We'd have to go home because we couldn't hear anything after a while. The song I did on her album is called "Meds and Feds." We were supposed to get together to do more, but the timing never happened. I'd love to get back in the studio with her, because it's amazing to watch her work.
The Sleigh Bells sound came out of working with simple equipment to some degree. How did you approach going into the studio, when you could have fleshed it out with so many other instruments and techniques?
I generally have a very clear of what I want, so the main process is digging through sounds. Like I know I need a clap, snare or kick, and I have 900 to go through until I find the right one. That's how most of the days were–getting into the studio around 12 and then just triggering all of [the samples]. A lot of, "Nope. Nope. Nope." I remember turning to [engineer] Shane [Stoneback] and saying, "Is this okay? Are you going to pull your hair out?" And he was like, "Dude, this is normal. This is what production is like." He definitely had a big impact on the record, sonically and technically. I hate working in Logic and Pro Tools because it involves sitting at a computer and can inhibit the creative process. So having an engineer that works like lightning was huge.
And Alexis could adjust to your ideas quickly too?
Yeah, she was so quick. It's amazing. She showed me up every time.
What were some breakthrough moments in the studio?
"Tell 'Em" was one of our first collaborations. I had no idea what to do with it. I was just like, "Okay, here's this double kick pattern and these guitar harmonies…I don't know where to begin." And she was like, "Oh, it's just simple," came up with the melody and I loved it. That was a definite a-ha moment.
Did she tell you about her pop background right away?
Yeah, the night I met her at the restaurant, she went home and E-mailed me immediately with some of the tracks she'd done. They were like Kelly Clarkson or something, though, so she said, "This is not indicative of what I want to do creatively, but this is my voice." It was exciting–vocally, she's just do diverse. I didn't feel like we'd hit any walls.
And because of that range, there's so many other types of records you could do, right?
I don't see any end to it anytime soon. I feel like we're just getting started. "Tell 'Em" and "Riot Rhythm" are our two newest songs, and they came together the quickest. I really like "Riot Rhythm." It's so unpretentious and single-minded in its goal–just so skeletal.
That's why people love the band–because it's so minimal.
I hope so. That's what I wanted to do so badly. I throw a lot of shit away, which can be disheartening. You can write 50 bad songs in search of that one good one. It can make you feel like a total failure, a total fake who has no talent–knowing about those 50 godawful ones no one else has any idea about.
Either way, the record's out there. It is what it is. I don't know if it's good, but I do know it's not terrible.
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The Fountainhall congregation originated in 1828 when 75 members left old Bristo (Burgher / United Associate) Church in a dispute over the appointment of Revd. William Peddie as successor to his father. Presbytery allowed them to become a separate congregation at first called 'Society of Worshippers in Bethel Chapel'. Later that year the fledgling congregation purchased the large Cowgate Episcopal Chapel, and lumbered themselves with a huge debt that was not cleared for 40 years.
Cowgate Chapel, shown in the photograph, is now St Patrick's Roman Catholic Church.
They then moved to a smaller and more economical building in Infirmary Street in 1856.
Migration of the city centre population to the suburbs and limited space available for expansion seems to have prompted another move in 1897 to a new church in Fountainhall Road.
Later, congregational numbers suffered from the curtailment of its hinter land following the opening of Reid Memorial Church in 1935. So on Sunday 4th May 1958 Fountainhall church joined with Mayfield North church to become Mayfield & Fountainhall. After union with Mayfield the Fountainhall Road building was used as a Christian education and training centre. it was demolished in 1975 to make way for the Newington Library.


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Patients with disorders of T-cell proliferation and/or dysregulation may be eligible to participate in a new clinical trial at the NIH Clinical Center.
All types of blood cells develop from hematopoietic (blood-forming) stem cells in bone marrow. T cells, a type of white blood cell, develop from stem cells and mature in the thymus gland. They play a key role in human immunity by protecting the body from infection and may also help to fight cancer. People whose T cells fail to properly develop or function can develop imbalances in the immune system that lead to cancer, autoimmune disease and other problems. Jennifer Kanakry, M.D., of the Experimental Transplantation and Immunology Branch is leading a study that transplants allogeneic blood-forming stem cells from healthy donors into patients with T-cell disorders. Although transplant may cure patients with these T-cell problems, these patients may be at higher risk for transplant rejection as a result of their underlying T-cell problem. The aim of this study is to use a novel approach to transplant to see if this risk of rejecting the transplant can be overcome so that patients can hopefully overcome their T-cell problem through the successful transplantation of a healthy, new immune system.


text:
Allan Hall and Alliott Global Alliance stand strong in 2020
Allan Hall | December 1, 2020
Despite the challenges of the year, Allan Hall Business Advisors along with our professional global network, Alliott Global Alliance, experienced continued growth as part of our aim to offer support and enable our clients to remain robust in the face of COVID-19.
The nation's best accounting firms revealed – Allan Hall moves up 2 places in Australia-wide ranking
The Australian Financial Review again recognised Allan Hall Business Advisors as one of Australia's Top 100 accounting firms.
We are very pleased to announce that our firm moved up two spots to position #40 in this year's Top 100 Accounting Firms table, after being ranked #42 in 2019.
AFR Professional Services Editor Edmund Tadros said that the COVID-19 pandemic resulted in accountants becoming a lifeline for clients endeavouring to keep their businesses afloat.
"Accountants have had to navigate the ever-changing rules around programs such as JobKeeper to ensure their clients are best positioned to weather the pandemic crisis," he said.
We would like to congratulate our team on their achievements, which is a testament to the value they provide to our clients and our whole business at Allan Hall Business Advisors.
Allan Hall Partner Scott Jago named Alliott Global Alliance APAC Chair
At the end of what has been confronting and challenging year, it has had a silver lining with the appointment of Scott Jago as the APAC Chair for the Alliott Global Alliance.
Allan Hall Partner Scott Jago
With three consecutive quarters of strong growth, the Alliott Global Alliance is expanding fast, and has its sights set firmly on growing its legal and accounting membership to 100 countries (the current tally is 185 member firms in 225 cities in 80 countries).
This is great news for clients wishing to expand their business into international markets as we have an increasing number of people on the ground in other jurisdictions who can help clients with all their business, finance, legal and HR needs.
It also benefits our local clients as we are able to benchmark our offerings against international standards and continue to expand our knowledge through the network and resources available to us through the alliance.
Alliot Global Alliance members work with a spirit of generosity and openness — working together as one to continue to fulfil our ambitions, gain greater experience and drive mutual success.
Alliott Global Alliance COO Giles Brake COO said, "While the business environment remains challenging, we are keeping alliance members connected to relevant information and to each other to ensure they have the resources to steer their clients out of the crisis and into the new normal."
We congratulate Scott and look forward to his leadership of alliance members throughout the Asia-Pacific region.
Read full Alliott Global Alliance update here
To view the full Australian Financial Review article, click here
Peruse the Financial Review Top 100 Accounting Firms table here
Together as One. Allan Hall Business Advisors is a Member of the Alliott Global Alliance of independent professional firms.
Chartered Accounting


About the Firm — Vitale and Levitt, P.C.
We are attorneys dedicated to serving the interests of our clients.
By Applying our Experience, Knowledge and Judgement, we find the right solutions for you.
Margaret represents clients in employment matters.Margaret applies her years of experience in litigation, legal writing and research to thoroughly represent her client's interests in every case.


SINGAPORE - After a traffic accident with a motorcyclist, a police senior staff sergeant accessed a police computer system to retrieve the biker's report without authorisation.
However, when he was seen doing it, the 35-year-old deleted the photos.
Yap, who was with the Choa Chu Kang Neighbourhood Police Centre (NPC), was jailed for four weeks on Tuesday (Jan 8).
He had pleaded guilty to one count each of accessing a computer without authorisation, and destroying documents in order to prevent them from being used as evidence.
Deputy Public Prosecutor Thiagesh Sukumaran said the accident happened along Yishun Avenue 8 at around 4am on April 16, 2017.
The motorcyclist, whose details were not revealed in court documents, was sent to Khoo Teck Puat Hospital. He made a road traffic accident report about four hours later.
At around 3.30am on April 17, Yap turned up at the Bukit Panjang NPC to lodge a traffic accident report.
He produced his warrant card and identified himself as a police senior staff sergeant.
The court heard that about 40 minutes later, Sergeant Quek Jun Cai, who attended to him, realised that he could not print out the photographs of the accident scene that Yap had e-mailed over.
Sergeant Quek, 28, had his colleague - Sergeant Joel Lin Weiliang, 24 - help finalise the report while he left the area to print the photos.
When he was done, Sergeant Lin moved the monitor of the computer terminal closer to Yap for him to verify the report.
However, Yap claimed that he was unable to see it and insisted on using the computer terminal.
Sergeant Lin allowed Yap, his senior in rank, to have access to the computer but continued to monitor him. But Yap used it to access the motorcyclist's report without authorisation and snapped some photos of it with his mobile phone.
When Sergeant Lin caught him doing this, he immediately alerted his team leader - Assistant Superintendent of Police (ASP) Jasper Chua Qi Long, 31.
DPP Thiagesh urged District Judge Chay Yuen Fatt to sentence Yap to between four and six weeks of jail, stressing that this case involved a "significant abuse of authority".
For accessing the computer system without authorisation, Yap could have been jailed for up to two years and fined up to $5,000.


Retirement Saving Starts Today, Stop Procastinating!
Your retirement is not your age, it is your financial wealth status. Retirement is completely about enjoying the life after you have put in the work and saved your money to get here. The sooner you put in the effort of saving, the quicker you'll get there and be able to enjoy the fruits of your labor. So start saving today!
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Take 15% of your gross income and invest it into a Roth IRA (a post-tax retirement account), and pretax accounts. Mutual funds with excellent records are a great place to put your money.
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Compound interest can grow dramatically if you keep your investments in place longer. Research both your investment pro and the retirement fund(s) thoroughly prior to making any investment decision.
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In the summer of 2014 I had an opportunity to "rescue" discarded flowers. I would come home from work with armfuls of flora and foliage that I scavenged from the bins of a local florist. Very quickly, I began to accumulate quite the collection of left over Eucalyptus Gunnii stems, these are quite popular in floral bouquets. I was drawn to the blue/silvery toned stems which I let dry out and was so pleased to find that they still maintained that pretty sheen.
At this point of my personal photography growth I was still finding my way and my voice. I wanted to keep my set up as simple as possible, often just the model and I, and to create any dresses or props from the materials I had laying around me.
Cloaks are often featured in the fantasy genre. They represent a journey, an adventure, mystery, status, evasiveness, power, and so much more. I found this piece of garment to be quite fascinating and wanted to build upon it with my own take. I ordered a simple black velvet cloak from eBay and decided that I would use all the leaves that I'd collected (let's be honest hoarded!), and together they would create a piece that would introduce a sense of status to my initial, delicate characters.
I wanted my character to connect with the earth as well as step into a new power of her own. I realised that vision in my picture titled Summer Lingers created at the cusp of Autumn in 2014.
The location was in a tiny alleyway in a country village. I'd been waiting for the perfect moment to capture this wall, green ivy leaves clinging to summer while giving way to deep red and purples. The light was fading as we captured this. I found myself completely submerged in the bush opposite so that I could capture the frame I envisioned. It was a tight squeeze, disrupted a few spiders I'm sure, but completely worth it!
In 2015 as the warm spring winds pushed winter away, I held my first workshop. It was the first time I was going to teach and share all that I'd learnt so far in my photography journey. I wanted to bring a little bit of magic to it, to keep it as real and authentic as possible. The upcoming Spring season inspired me to build upon the next phase of this cloak.
Dead hydrangea heads from my garden lead the way towards bright coloured flora. Spring, my favourite season, was coming and I wanted to celebrate it.
I knew I wanted to create a piece that welcomed the power of my personal bloom too. After being immersed in my In Bloom project for about 9 months I was finally finding strength and power in my own abilities and a soft feeling of self belief that had been elusive for so long. That's not to say that I was suddenly confident in myself, actually far from it, but I was done holding myself back. This was the year I committed to being a full time artist.
New Queen Rising was born along the back wall of Chestnuts Park, London. If you've been there you might notice it's mostly just grass and overgrowth along the edges. I found beauty in the creeping ivy and hanging winter branches with their unfurling baby leaves. I could already see in my mind how the dark and light tones would compliment the character I wanted to bring to life in this unlikely location. I get so excited when I feel a spot has potential.
When I finally worked this piece up, a picture celebrating growth, strength, nature, rising, I nearly cried. It was everything I wanted it to be and so much more. And it couldn't have existed if it wasn't for that initial idea in 2014.
Later that year this picture, and Summer Lingers, were selected to be sold as limited editions at Transform gallery in New York.
2016 saw my flower collection continue to grow and grow. I created art in the moments between travel and commissioned work and by the end of the year I was left with an abundance of dried roses and all kinds of foliage.
Winter doesn't offer much when it comes to fresh blooms and new life. I decided to combine all my leftover flowers with the cloak to create an evolution of the character from the last couple of years. A picture that captures my love of Spring, of new journeys and the strength of womanhood.
A quiet Spring in Winter is how I like to think of the concept of this picture. There's a particular tree in the UK that blooms tiny little flower buds in mid January. I noticed it happened last year too. Seeing those little buds unfurling bravely in the frost lifts my heart.
I quite like thinking of Spring beginning in January. We make resolutions and start thinking about the steps we need to take to make our big, and small, dreams come true. We sow the seeds for the year's growth.
For this picture I reached out to Ella Rose, a friend and model whom I've worked with before. She has such lovely striking eyes and I could see her fit this role perfectly.
Videographer Richard Wakefield captured the behind the scenes video so beautifully that frosty morning. Working with him is always a pleasure. He's like a little ninja in the background, discretely filming all the little moments. He's so good that a control freak like myself feels completely comfortable focusing all my attention on my role and I know that he will deliver a video that will take my breath away.
A memorable moment that morning was running into Andrew Walmsley as he flew his drone. Neither Richard and I knew him, but we decided to introduce ourselves and ask if he would mind capturing some drone footage for us. He very kindly agreed and as we talked further we discovered him to be a fellow photographer with a passion for trees and wildlife. Needless to say, I liked him immediately! All of us meeting like this at eight something in the morning at the same location felt like those lovely moments in life when everything synchs together beautifully. We were all where we were supposed to be.
And so the shoot began!
To me, Winter's wildflower is a tale of strength, empowerment, resolution, journeys, new adventures, explorations, and untold stories.
It is my love letter to Spring.
The quality of the Phase One camera system is truly in a class of its own. The detail and sharpness of the image brings a level of sophistication that truly makes it a pleasure to edit with. I also love the leeway it gives me in the colour toning process. I can push, pull, and layer colour tones until I reach a point that I'm happy with. I mention it because I can honestly say that it's taking my work and attention to detail to another level.
I didn't have enough flowers to completely create the vision I had, and that's where Photoshop came in! Each picture took about two days each to edit.
I've come a long way from the first picture with this cloak in 2014 and I'm looking forward to seeing what lies ahead.
Thank you Phase One for all your support in my artistic endeavours. Thank you to Richard for capturing the moments so beautifully. Thank you Ella for channelling your inner Queen despite your fingers going numb. Thank you Andrew for saying yes to perfect strangers. Thank you Pratik my love, for your support and endless light. And Thank You to all of you! For all your kind words, encouragement, and support! I'm very blessed to have an awesome internet family!


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Q: Unexpected behavior of linked questions when sorted by recent activity For any question I can view questions linked from/to it by from the url of the form: https://meta.stackexchange.com/questions/linked/id where id stands for the number of question. If some question has many linked posts, then this link is even available - by clicking on "see more linked questions..." at the bottom of linked questions list.
When I get the list of linked questions, I can choose from the tabs: hot, newest, votes, active, unanswered. I occasionally use this list ordered by recent activity if I am curious about something like this: Why were there recently upvotes on this relatively old post of mine? Did somebody link to it recently? Was something interesting related to this  topic posted recently?
Today I noticed that when I left the list open in one tab, and did something in another one, the number indicating new questions appeared.  It seemed a bit surprising that several posts would be linked to quite old post in such a short period. When I got back to this tab, I saw the gray banner: "3 questions with new activity". After clicking on it, new questions appeared on list. (It seems to be the recently active question on the given site.) After refreshing the page, this new questions disappeared and only questions which are really linked to the original one were shown again.
I should add that probably people will be using links like this very seldom and it can be corrected by refreshing the displayed page, so it is definitely not much of a problem. But I guess it is still a bug worth reporting.

I will add screenshots showing this behavior on this question: https://math.stackexchange.com/questions/linked/213639?sort=active (This is where I observed it. I tried this both in Mozilla Firefox and Google Chrome.)
Here is what I saw after coming back to the tab:

Here is screenshot after clicking on the gray banner:

After refreshing the page it all went back to normal.
When I tried the same thing with two questions from the same site opened in two tabs (namely this question and this question) I noticed that the same questions appeared in the list. I do not know why, but in this case it took much longer time before I saw this happening. I do not know whether this might depend on the size of the site, or on what I was doing in other tabs, or something else. But for the questions I tried, it seems to take much longer on meta.SE than on math.SE. Based on what I tried so far, it seems that questions which are shown are the recently active questions of the site. In the other words, if I wait a bit, the beginning of the pages https://meta.stackexchange.com/questions?sort=active and https://meta.stackexchange.com/questions/linked/123097?sort=active (replace any question id here) and will become the same.

redpajama_set_name: RedPajamaStackExchange


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