Ether will not be getting a new coin.
The upgrade is made up of five Ethereum Improvement Proposals.
The upgrade makes miners' work harder, less profitable, and reduces the influx of new ether.
What about the price? The short answer is, nobody knows.
Updated on January 18th: New date for the upgrade is February 27th.
Updated on January 16th: Ethereum's developers have decided to postpone the network's much-anticipated hard fork after a smart contract auditor flagged a potential vulnerability in the upgrade.
Popular decentralized application and smart contract platform Ethereum is getting an update (Constantinople) these days, most likely on January 16th. Since the update will not be backwards compatible - meaning that it is not compatible with previous versions of Ethereum - it is also known as a hard fork. As for the date, the upgrade will roll out at block height 7,080,000, which will most likely fall on January 16th, and this is the reason why nobody is 100% sure about the date.
This means that Ether will not be getting a new coin. For a split to happen, a sufficient number of miners who disagree with the upgrade are needed, but there is no risk of such a thing happening now. However, there have been a number of malicious actors trying to take advantage of the confusion on Twitter, asking for people to send them their ETH so they can "replace" it with "new" coins.
Two alleged "hard fork" versions are trying to steal money from users of both Ethereum and Ethereum Classic. Ethereum Nowa claims to be forking away from ETH. Ethereum Classic Vision claims to fork away from ETC. These forks are allegedly in response to regularly scheduled network upgrades in both blockchains. Both these forks are scams, and so are the official web wallets that they provide. They attempt to capture private keys. Unsuspecting users may have already lost money using this method.
Ethereum node operators and miners will have to update their software ahead of the upgrade. As for anyone else, there's literally no need to do anything: your ETH holdings will, barring any unforeseen circumstances, stay exactly the same before and after the fork, regardless of where they're located.
The upgrade is made up of five Ethereum Improvement Proposals (EIPs), which are documents explaining a new feature or change in Ethereum's code. Out of those five, four are quite technical and will improve the quality of life, but they're also not something the average user will notice. The fifth is the only one that will openly affect everyone. Regardless, we will explain all of them in this article.
"Without getting too technical, the proposed fixes and updates will result in shifting the cost of operations. Currently the "gas" (gas effectively is equivalent to a transaction charge) cost is 35 to make an operation, this will drop down to a cost of 3. In addition, there will be a lowering of cost toward running a node- Block time should stay at about 15 seconds, with transactions per second remaining at a similar average rate. In short, the changes are there to make the cost of running the network cheaper," according to Piers Courtney, analyst at GlobalBlock, a London based cryptocurrency broker.
EIP 145: Bitwise Shifting Instructions (Efficiency & Speed): EIP 145 will add Bitwise shifting instructions to the Ethereum Virtual Machine (EVM). The instructions allow for bits of binary information to move to the left and to the right. This improvement means the execution of shifts in smart contracts will be 10x cheaper.
EIP 1052: Smart Contract Verification (Speed & Energy): EIP 1052 allows for smart contracts to verify one another by pulling just the hash of the other smart contract. Before Constantinople, smart contracts would have to pull the entire code of another in order to verify, which took time and energy to perform.
EIP 1014: CREATE2 (Scalability): EIP 1014, known by CREATE2, was developed by Vitalik Buterin. The upgrade improves the enablement of state channels, an Ethereum scaling solution based on off-chain transactions.
EIP 1283: SSTORE (Cost): This proposal , the full name of which is 'Net Gas Metering for SSTORE Without Dirty Maps' - reduces the gas cost for the SSTORE operation. This reduction enables multiple updates to occur within a transaction more cheaply.
EIP 1234: Block Rewards & Difficulty Bomb Delay: EIP 1234 is one of the most highly-discussed Constantinople upgrade. It is comprised of two components: Block Reward Reduction and Difficulty Bomb Delay. Block Reward Reduction (aka the Thirdening) will see the reward for mining go down from 3 ETH to 2 ETH, in an effort to reduce the inflation of Ether in basic supply and demand economics. The Difficulty Bomb is a mechanism that, if activated, would increase the difficulty of mining a new block until it becomes impossible and no new blocks can be mined. This EIP postpones that for another twelve months, at which point it will be voted upon again.
Only EIP 1234 is obviously important for the average user, especially if they are also a miner. Delaying the Difficulty Bomb is partially due to the shift that Ethereum wants to make from the Proof of Work (PoW) consensus algorithm to Proof of Stake. The "bomb," effectively a timer that progressively makes miners' work harder, reduces the influx of new ether, and also makes mining ETH less lucrative. It is partially designed to chase away PoW miners and welcome the new mentality of staking coins to create new blocks. However, since the Casper protocol, which will make the shift, is not ready yet, the delay keeps the old way of mining still running.
But not all is completely lost for miners. Recently, developers from Ethereum's open-sourced community have tentatively agreed to implement ASIC (application-specific integrated circuit) mining hardware resistance into the project following further testing on the proposed code. Mining using ASIC chips would be blocked with this update dubbed ProgPoW (Programmatic Proof-of-Work) and instead replaced with general purpose, or GPU (graphics processing units) hardware. This would ensure that GPU mining remains competitive.
The short answer is, nobody knows. Markets are unpredictable and previous patterns don't have to repeat.
The long answer is that theoretically, reducing the influx of new ether should drive up the price thanks to supply and demand laws. However, history suggests that the price could drop following the hard fork. Still, the coin has been going through difficult times in terms of price throughout 2018, and speculating on the price would be just that - only speculation.
"In the short term, shortly before and during the fork expect to see price volatility pick up although we would expect to see things steady out after there is consensus on the chain. It has been widely reported that this hardfork is expected to relieve some of the tensions that have been building regarding ETH and is likely to be positive for the valuation of Ether in the foreseeable future," Courtney said.
"The Constantinople hard fork will be an exciting evolution for the Ethereum community. With the implementation of efficiency, speed, and lower costs, we are moving closer towards the full realization of Ethereum's potential," writes Everett Muzzy, Content Marketer at blockchain software technology company ConsenSys.


text:
Oak Bay Barbers boys volleyball team undefeated at AAA provincials
Oak Bay's Leon Young
The Oak Bay Barbers boys volleyball team made no assumptions about how far it could go this year.
At least, not out loud.
But it's no shock to co-coach Rick Wutzke, as the Barbers repeated as the 2012 AAA champions at UBC-Okanagan.
The Barbers defeating the Kelowna Owls in three straight sets of the final on Saturday (Dec. 1), finishing the provincial tournament undefeated despite going in ranked third.
"We lost some games this year but I'm not surprised (we are B.C. champs)," Wutzke said. "Eight of the 12 Barbers are from the same group from Lansdowne middle school that won the national club championship in their Grade 8 year.
"It's been a fun ride with these guys, it's quite the talented group."
For the Barbers, it's the second straight B.C. title and the third in seven years, having won it in 2006.
This year may have started different, but it ended the same.
"We told the guys, you have to remember everybody wants to knock us off; as soon as you let your guard down they're ready to jump on you," Wutzke said.
That's been the mentality from the outset this year, as the Barbers entered every gym wearing a target, the talk of the province.
The key was finding a way to replace the graduated stars from the 2011 team such as 6-foot-6 Alex Swiatlowksi to the UBC-Okanagan Heat, Ryan Marcellus to the Camosun Chargers and Nick Stefanakis to the VIU Mariners.
That was done with 6-foot-7 middle Graeme Prendergast (Grade 12), and the continued growth of players such as Dan Phillips, Sawyer Stein and Talon Rimmer.
They all supported the team's big three of setter Leon Young, power hitters Elion Wong and Lars Bornemann, who was named the most outstanding player of the provincial tournament for the second-straight year.
Though the 2012 Barbers weren't able to run undefeated through the tournament and regular season as they did in 2011, they were just as good.
"We lost about four games along the way, at crucial times," Wutzke said, "spots where we shouldn't have lost but we did, but it's all character building."
By crucial, Wutzke is referring to the Barbers getting knocked out of the UBC and Thompson Rivers tournaments early this season.
The route to the provincial final saw Oak Bay defeat Island rivals Dover Bay in Game 1 of the playoffs on Thursday, Elgin Park in the quarterfinals on Friday morning and, Moscrop in the semifinals on Friday night.
It set up a rubber match final between the Barbers and Kelowna Owls, with each having defeated each other once in previous meetings this season.
Oak Bay won in straight sets, 25-16, 25-22, 25-22.
The Lansdowne pipeline
Wutzke, a retired teacher who co-coaches the Barbers with Oak Bay science teacher Al Carmichael, has brought many players through the Lansdowne pipeline, and there's another crew coming to the Barbers, led by budding Grade 10 star Kyle Borden.
It's where Young, Wong and Bornemann all came from.
"Six of the guys on the junior team that won the B.C. Summer Games last year (U15) and were second in the club provincials will be Barbers," Wutzke said.
Barbers Noah Harris, Kieran Atkinson, Chris Dzoiba and Isaac Walters were also key members of the 2012 championship.
Heat goalie coach Sigalet reaches out to Harding after MS diagnosis

redpajama_set_name: RedPajamaCommonCrawl


Terms and conditions may apply to financial planning services. Associated Banc-Corp and affiliates do not give legal, tax or accounting advice; please consult your professionals in those fields for information specific to your situation.
This information does not serve, either directly or indirectly, as legal, financial or tax advice. Always consult a qualified legal, financial and/or tax advisor when making decisions related to your individual situation.
This is a summary of available coverage options and is not a contract. Coverage and is subject to the terms, limitations and exclusions of each policy type. Your AFG representative can provide additional brochure information for each of the insurance products. Refer to your policy and/or certificate for exact coverage details, provisions, limitations and exclusions.
INSURANCE PRODUCTS are offered by licensed agents of AIS. These products may include annuities, life, disability and long-term care insurance for individuals. Insurance products are the obligations of the issuing insurance companies. • AB-C and its affiliates do not provide tax, legal or accounting advice. Please consult with your tax, legal or accounting advisors regarding your individual situation.
Investors should read the Prospectus carefully and consider the fund's investment objectives and risks before investing. Links to prospectuses are available above or by contacting the fund directly. Mutual fund performance data and ratings represent past performance and are not a guarantee of future results. Funds in the Health Savings Investment Account are NOT deposits or obligations of, insured or guaranteed by Associated Banc-Corp or any other bank or affiliate, are NOT insured by the FDIC or any agency of the United States, and involve INVESTMENT RISK, including POSSIBLE LOSS OF VALUE. Contract administration services are provided by Associated Trust Company, N.A. to Associated Bank, N.A., for which an HSA Investment Account is charged $7.50 per quarter quarter plus a service fee of $0.90 per $1,000 in investment account balances per quarter. Associated Trust Company, N.A. is an affiliate of Associated Banc-Corp.
Associated Banc-Corp and its affiliates do not give tax, accounting, or legal advice. Consult with your tax and/or legal advisor for information specific to your situation.
Fiduciary, administrative and planning services are provided by Associated Trust Company, N.A. ("ATC"). Investment management services are provided to ATC by Kellogg Asset Management, LLC® ("KAM"), an SEC-registered investment adviser. • ATC and KAM are all affiliates of Associated Banc-Corp. • Associated Private Client Services and Associated Institutional Trust Services are marketing names Associated Banc-Corp uses for products and services offered by ATC and KAM.


This is a placeholder page for Joe Spangler, which means this person is not currently on this site. We do suggest using the tools below to find Joe Spangler.
You are visiting the placeholder page for Joe Spangler. This page is here because someone used our placeholder utility to look for Joe Spangler. We created this page automatically in hopes Joe Spangler would find it. If you are not Joe Spangler, but are an alumni of Carthage High School Carthage, IL, register on this site for free now.


Workers who smoke cigarettes are more expensive to employ. Why? Because smoking negatively affects the health of smokers which increases the cost of health care insurance—to the tune of $193 billion between 2000 and 2014. Consider that lost productivity accounted for $97 billion and health care expenditures accounted for $96 billion. Wow! No wonder employers are interested in hiring workers who do not smoke and the Affordable Care Act, commonly known as Obamacare, actually paves the way for employers to screen applicants and employees for Cotinine, a metabolite of Nicotine that proves that a person has been smoking.
Whether you are considering cotinine testing for employment or as part of a corporate wellness program, to screen job applicants or deter smoking as part of a cessation program you need to consider testing for cotinine.
In 1984, Surgeon General C. Everett Koop presented the first of a series of reports revealing the health consequences of tobacco use including involuntary exposure. While the United States has not overcome the challenges of the the "smoke-free" society that Koop hoped for by the year 2000, industries across the country now recognize the importance of testing.
For over 20 years, OraSure Technologies has offered a wide range of tobacco (cotinine) testing products for multiple specimen types and 20 years, OraSure Technologies has offered a wide range of tobacco (cotinine) testing products for multiple specimen types and thus is well qualified to meet today's challenges.
OraSure Lab-based Saliva Cotinine Test will give you an exact measurement of cotinine which you can access on an Internet system 24/7.
1. Why test for cotinine and not nicotine?
2. Which sample types can be tested for cotinine?
OraSure manufactures laboratory-based cotinine tests for urine, serum and oral fluid samples. Concentrations will vary depending on sample type but each provide comparable positive rates. For oral fluid testing, oral fluid is collected with the OraSure® Oral Specimen Collection Device and screened by the laboratory with our corresponding test.
3. Will a second-hand smoke exposure produce a positive result?
4. Can the cotinine level be used to determine the type and volume of tobacco used?
5. What practices or other substances may be used that could generate a positive cotinine test result?
Certain cultures found in India or Asia are known to chew and ingest betelnuts. The preparation of this product is commonly mixed with tobacco producing a positive cotinine test result.8 Additionally, certain vegetables contain small concentrations of nicotine like eggplant or tomatoes. Only copious amounts consumed could trigger a cotinine positive test result.3 Finally, cotinine may also be found amongst tobacco workers who strip the tobacco leaves from their stalks. Absorption through the skin can produce a positive result even if the worker does not in fact smoke. There are a few other examples where a positive result may occur from a non-smoker but theses circumstances are very rare. Investigation of the individual's lifestyle or occupation typically uncovers these anomalies.
6. Which testing method is the most accurate?
The different cutoffs in the three test types generate similar sensitivity and specificity for the cotinine tests with similar windows of detection. The better question to ask is which method best suits my testing purposes. If a flexible, non-invasive format is what you need for your testing program, then the OraSure® Oral Fluid Specimen Collection Device offers the same performance as our urine and serum tests while providing optimal versatility in the cotinine testing industries.
7. How is the sample collected?
The donor controls his or her own sample under direct visual supervision. The "collector" really is an observer and not in the "chain-of- custody" – the process most often legally challenged. If the donor wants to challenge the collection, the only person to challenge is the donor. The entire process can be completed anytime – anywhere and takes just minutes to administer.
8. What is the stability of the sample and how is it shipped?
Specimens stored in the Oral Fluid Specimen Vial may be kept at 39ºF to 98ºF for up to 21 days (including the time for shipping and testing). Shipping of the specimen is generally done via overnight courier as part of your arrangement with the laboratory.
9. How is the sample analyzed?
Oral fluid samples are screened in a certified laboratory using the OraSure® MICRO-PLATE tests which use enzyme immunoassay technology (EIA), proven reliable for routine cotinine testing. Studies have shown that there is good agreement between test results and confirmation testing by gas chromatography/mass spectrometry (GC/MS or GC/MS/MS). Your laboratory can help you set up confirmation strategies in accordance with your testing policy.
10. What is the detection window for oral fluid?
Just like traditional urine drug testing, the window in oral fluid testing is similar for cotinine. What we have found is that oral fluid screening identifies recent usage that can be missed by urine testing. Oral fluid samples provide a close match to drug levels in blood, identifying donors that are under the influence at the time the sample is collected. Since the OraSure® testing system detects the nicotine metabolite, the window of detection in oral fluid starts almost immediately after tobacco use and can last up to about three days.
11. Can oral fluid be adulterated?
OraSure Technologies has studied a wide range of compounds and techniques available today, and has not identified any that can alter the results of the test. Furthermore, the risk of the donor introducing any compound into the vial is highly unlikely since every collection is directly and easily observed. These facts will cut all costs associated with adulterant and dilution testing common with urine testing.
12. What are the economic advantages of using oral fluid?
Oral fluid drug testing, with its "anywhere / anytime" collection process, results in significantly lower costs associated with collections, scheduling fees, and lost time on the job. Oral fluid collections reduce the labor costs for gender-specific collectors and shy-bladder syndrome (can't go), and eliminate dilution testing – all of which contribute to the higher costs of urine testing.
13. How soon can you expect your results?
The lab receives samples via overnight courier. Testing is performed the day samples arrive and positive or negative results are reported within 24 hours. Should confirmation testing be required, an additional 24 to 48 hours should be expected.
14. Is oral fluid a biohazard?
No. OSHA does not consider oral fluid collection hazardous. In addition, oral fluid specimens are not subject to the same handling and disposal procedures that are issues with other bodily fluids.
Millions of OraSure® Collection Devices have been utilized nationally and internationally by large and small organizations over the past 20 years. These include insurance companies for insurance risk assessment, hospitals and businesses for health and wellness programs, as well as companies conducting research or clinical trial applicant evaluations.
16. How is training done?
Test administrators can be trained and certified in about an hour by our OraSure sales and technical staff. This can be done by phone, in person, or with a webbased training class.
17. Who is OraSure Technologies?
OraSure has a 20-year legacy of offering accurate and precise enzyme immunoassay (EIA) products for laboratory testing. We have a long history of meeting the needs of the substance abuse testing industry. Our team of scientists pioneered oral fluid testing and has led the industry with innovative and cost-effective solutions. OraSure manufactures and sells products for testing drugs, alcohol, Flu, HIV, and HCV.
References: 1) CDC. Tobacco Use–Targeting the Nation's Leading Killer, 2011. 2) National Library of Medicine. The C. Everett Koop Papers. Tobacco, Second-Hand Smoke, and the Campaign for a Smoke-Free America, http://profiles.nlm.gov/ps/retrieve/narrative/QQ/p-nid/85, accessed 9/21/11. 3) Benowitz, N. Cotinine as a Biomarker of Environmental Tobacco Smoke Exposure. Epidemilogic Reviews, 1996; 18(2):188-204. 4) Zuccaro, P. et al. Serum Cotinine as a Marker of Environmental Tobacco Smoke Exposure in Epidemiological Studies: The Experience of the MATISS Project. European Journal of Epidemiology, 2003; 18(6):487-92. 5) Jenkins, R. et al. Personal Exposure to Environmental Tobacco Smoke: Salivary Cotinine, Airborne Nicotine, and Nonsmoker Misclassification. Journal of Exposure Analysis and Environmental Epidemiology, 1999; 9(4):352-63. 6) Haufroid, V. et al. Urinary Cotinine as a Tobacco-Smoke Exposure Index: A Minireview. International Archives of Occupational Environmental Health, 1998; 71:162-68. 7) OraSure Technologies, Inc., Auto-Lyte® Cotinine EIA Serum, Auto-Lyte® Cotinine EIA Urine, Cotinine Urine Micro-Plate EIA, Cotinine Serum Micro-Plate EIA, OraSure® Oral Fluid Cotinine Micro-Plate EIA Package Inserts. On file at OraSure. 8) Hu, Chiung-Wen, et al. High-Throughput Siultaneous Analysis of Five Urinary Metabolites of Areca Nut and Tobacco Alkaloids by Isotope-Dilution Liquid Chromatography-Tandem Mass Spectrometry with On-Line Solid-Phase Extraction. Cancer Epidemiology, Biomarkers & Prevention, 2010; 19(10):2570-2581.
As company-sponsored wellness programs strive to encourage improving health outcomes among employees, many employers provide financial benefits for employees who pass certain screening measures. It is especially common for employers to place Outcome-Based Rewards™ around financial incentives for employees who do not use tobacco products or who are trying to quit using tobacco products. Some employers rely on their employees to accurately self-report their smoking status, but studies have shown that approximately 20% of employees that self-report as "non-tobacco users" actually test positive for the presence of nicotine. Many employers are now testing cotinine to more accurately assess employee tobacco use.
What yields a positive cotinine result?
Quest Diagnostics Health & Wellness utilizes a specific immunoassay to test for the presence of cotinine in a blood specimen. In order to test positive for cotinine, a level of 10ng/mL or greater must be present in the specimen. This level is set 20 to 30 times higher than what is expected for non-users exposed to second-hand smoke, ensuring an accurate depiction of tobacco use.
Can someone who does not use tobacco test positive for cotinine?
Although our studies have not found any substances capable of causing false-positives, in rare circumstances, some employees with a positive result claim they are not using tobacco products. Quest Diagnostics Health & Wellness believes it is appropriate for employers to have an appeals process and plan in place for employees wishing to challenge the result of their cotinine result, or for employees who are in the process of quitting tobacco with the use of nicotine patches or gum. The suggested appeals processes can include cotinine retesting or a signed physician affidavit stating the employee does not use tobacco or is in the process of quitting. Persistent concerns about a repeated false-positive immunoassay result can be excluded, if warranted, by confirmatory testing using liquid chromatography/tandem mass-spectroscopy (LC/MS/MS).


The following case study chronicles Scott Belsky, a young entrepreneur who followed his passion and grew a bootstrap company into a thriving business that connected millions of creative people around the world before being sold to a software company. Scott had not set out to build a business for sale, let alone craft it for sale to a specific buyer. But luck favors the prepared. Scott had been building his company to scale, had raised capital from a highly regarded venture firm, and had been proactive in building a relationship with the new firm. With the lucrative sale of his firm, Scott was able to take steps to provide opportunities for himself, his employees and the firm.
Scott grew up in Boston. His father was a surgeon, and his mother was an educator. Design fascinated him as a way of communicating and helping people to understand the world. At college, Scott started as a business major but quickly added design and environmental analysis to his areas of study. Adept with tools like Photoshop and Illustrator, Scott notes that throughout his life, whenever he has grappled with problems, he has used design to create solutions.
Graduating college in 2002, his first job was at a prominent investment banking firm. After almost two years in a finance position, he moved to the executive office to work on special projects around succession planning and leadership/organizational improvement. Scott was able to see how an executive team worked. He also saw the importance of design and used it to show executives how to grasp their problems in new ways. One of his favorite projects involved using design to help build leadership capability. He developed a tool that clearly showed the questions leaders should ask as they were making a decision.
Scott knew that his mission was to organize the creative world. He hired a freelance designer to work with him to flesh out the concept for a new business and at the same time applied to Harvard Business School, as a hedge. In April 2006, he left the investment banking firm and started Behance, a website where people could "Showcase & Discover Creative Work." Behance comes from the word "enhance," which means making one's self or something else better.
Scott was so passionate about his mission and building the company that he had little thought for anything else. He never pondered the endgame.
In September 2006, he started at business school, created an LLC for Behance and hired the freelance designer as his first full-time employee. At business school, he quickly found a professor known for her work on creativity in business. He did all of his second-year research under her and lived in New York. At the same time, he worked on building Behance, studied the creative community, and attended classes on Mondays and Tuesdays.
His research encompassed people in all disciplines — musicians, entrepreneurs, and graphic designers who had a history of execution and were especially prolific. That research became Scott's book, published in 2010 and entitled Making Ideas Happen: Overcoming the Obstacles between Vision and Reality. Scott published this book for creative professionals and was surprised when it became a national bestseller. His research also clarified the core values for him and his company.
He finished business school in the trough of the economic meltdown in 2008. He remembers that 2008 was a very difficult year for Behance, with many sleepless nights. Behance survived, however, and Scott intensely bootstrapped its growth by using only resources at hand. His motto is that "resourcefulness is better than resources." Behance became the LinkedIn for creatives, connecting millions of creatives all over the world. It is a place where creative professionals post their portfolios and connect with opportunities.
From the beginning, Scott hired only people who wanted to transform the creative community and build something that would give creative people more opportunities. He avoided people who just wanted to be part of a hot startup, and preferred initiative over experience. He would employ the person who wanted to be the incredible front-end developer, not the person who was that already.
Over the years, Scott made his first employee his cofounder/partner and told his team members that he could raise their salaries — or he could give them equity and have funds to hire more people to work with them. The team always asked for equity. From the beginning, Scott wanted his team to think and act as owners.
From 2006 to 2012, he had no more than a few hundred thousand dollars of "friends and family" money come into the company. During this time, Scott was so passionate about his mission and building the company that he had little thought for anything else.
He never pondered the endgame. Even when he made his first employee a partner, they did not discuss the exit plan for another five years.
Eventually the team made it clear to Scott that Behance needed money. If the team was to do the very best, they needed more people, faster servers and a long list of other items. Scott knew that if he wanted to keep the excellent team he had hired, he had to bring in capital.
Scott personally handled the fund raising. He crafted the road show and negotiated its details. He admits that he almost ran out of money before closing with investors. Three months before the close, he was confident that the funds would come in, so he encouraged his team to start running the company as though they already had the investment. He sought long-term funders who valued network growth over returns, who had experience with social networks and who were "founder friendly." He rejected some investors who offered higher valuations, but with restrictive terms and board control.
It was a close call, but in early 2012, Scott found the right backers. Behance closed on its first round of funding. They raised about $6 million on a $36 million valuation. Scott notes that they did not have to sell as much of the company as is typically sold in a Series A round of financing, and the majority of the "cap chart" was Scott and his team.
In hindsight, Scott asks himself whether he bootstrapped too long and possibly starved the business of some earlier opportunities. But he concludes that the early austerity allowed Behance to clarify its mission and purpose without the distortion of outside investment. The positive outcome was that Scott and his team were able to own a larger portion of the business through the financing and eventual sale than is typical. He also believes the bootstrapping created a more creative and capital-efficient company.
At the time of the investment, Scott had no clear exit strategy, and the goal was to use the funds to grow. The team grew from twelve to 32 people and focused on the product they were offering, eliminating things like ads previously used to bootstrap them. Behance now had a purer product for its customers, which significantly boosted its growth. The Behance network of creatives quadrupled in one year.
Scott felt that he had control and could take some steps that would benefit his team financially.
Scott initially thought that it was way too early to be acquired. But the software company kept raising the price, and the more Scott learned about the company's plans, the more comfortable he felt. He used his partner, a couple of key employees and one of his angel investors, a serial entrepreneur, as a sounding board and then took the offer to the team. It was a very lonely time, and he used graphics to help him sort out his thinking. He did not use any paid advisors, as he felt they would be void of emotion. He stresses that only a real entrepreneur who has gone through this ordeal can really give sound advice at this time. In the end, he felt there were four reasons to merge with the software company.
First, financially, the Behance team was in the enviable position that there had been only one capital raise with limited dilution to their ownership. They had two choices. They could say no to the software company but would have to do another raise later for $10–$15 million with further dilution and could build the business for a possible $300+ million valuation down the road. The software company was offering $150 million now. In Scott's view, taking further dilution and market risk into account, this was virtually an apples-to-apples financial choice.
Second was what this meant for customers. The next step in Behance's mission was to connect the creative community through the creation tools themselves, and the software company was the key maker of these tools. Scott believed that integrating Behance's services into that company's tools and cloud offering could make a great impact on the creative process of millions of professionals.
Third, and most important to Scott, was what was best for the team. Scott could see that there were other possible strategic buyers, but he felt they would be unlikely to keep the team together. He felt like this had to be the right move for him, both from a career perspective and financially and culturally. He saw that the software company prized the team exactly as it was and wanted them to continue.
Last, Scott felt that he had control and could take some steps that would benefit his team financially. He believed that the software company's offer was the best investment for Behance's future. The deal closed in late 2012. Twelve members of the 32-person team became millionaires. Scott and his partner continue to work together. In fact, all 32 people who were with Behance at the time of the acquisition were still with the company two years later (at the time of this writing). This is Scott's ultimate litmus test of a successful merger. Two years later, Behance has maintained its culture and is still in the same workspace.
Money has not made much difference in how Scott and his team work and live. The team has stuck together and has been given more opportunities, and the new company continues to reward Scott and the team for doing extraordinary work.


The Coleman Patio Sling Chair brings you the convenience of a folding chair with the comfort and features of a deluxe deck chair. The Sling Chair is made of weather-resistant outdoor fabric over a sturdy powder-coated aluminum frame, so it-Inchs great for use on the patio, at the campsite, and beyond. It supports 225 pounds comfortably. The Sling Chair features the patented Glassp beverage holder, cleverly designed to hold a regular drink glass, wine glass, beverage can or bottle. The Sling Chair folds compactly into the included carry bag, so it-Inchs easy to pack and bring along.


text:
Marina Rose Martinez
I do what I want.
Erotica Reviews
The Ballad of April O'Neil – Review of Teenage Mutant Ninja Turtles (2014)
September 15, 2014 September 16, 2014 by marina	/
Friend Lauren and I went to see Teenage Mutant Ninja Turtles today, and it was a whole lot better that I was thinking it would be. With a 19% on Rotten Tomatoes, I was expecting Lucy levels of terrible (which, hilariously, got a 66%).
It must be said that I enjoy Michael Bay. Since Bad Boys, the Michael Bay name does more to sell me on a movie than it could ever deter me, although I did have to bored-quit Pain and Gain. I just couldn't, hard as I tried.
A lot of other reviewers are bitching about the changes to the storyline. Do they mean the changes from the comic, the 1980s TV show, the 1990s movies, early millennial cartoon, 2012 animated series, or the manga? Anybody who lays a claim on the Ninja Turtles better be a reader of the original comic and no other iteration, or they're going to look pretty silly.
The changes they made this time are a little heavy-handed, but I don't mind. This entire franchise is aimed at children. Wild coincidences come with the territory. As do fart jokes, with this movie also has.
I was pleasantly surprised with April O'Neil. I have to say that I can't remember anything about her from the 80s cartoon, except that I hated her. It could have been as simple as the fact that her jumpsuit is yellow, my least favorite color.
And, as much as I love the action movie stylings of Michael Bay and his ilk, I have to say that lady characters in summer blockbusters tend to have one universal rule: The less screentime the better. They're either screaming to be rescued, or getting eye-raped by the camera.
Surprisingly, April only deals with one of these issues. She is frequently an object of the male gaze, but she at least gets to express some small feminist outrage over not being taken seriously, although it seems to be for the distinctly unfeminist reason that she's too pretty to be a real reporter. Not, for example, that the misogynistic, heteronormative old boys club feels strongly that women aren't capable of hard-nosed reporting. Adding to the argument that her real struggle is one of being too attractive, her no-nonsense boss is played by Whoopi Goldberg, one woman of color to prove all your feminist and racist arguments are for shit.
At no point does April come across as a helpless victim. If anything, she appears to be more than a little bit stupid, but extremely well meaning. The fact that she seems to have no actual friends does make me a little sad. Her roommate is afraid of her, and her sidekick thinks she's crazy and only hangs out with her because he wants to fuck her.
Will Arnett, who plays the sidekick in question, is basically phoning it in, but there's not a lot more anybody could have done with that role. His entire motivation as a character seems to be April O'Neil's ass.
As for the turtles, they are awesome. Character design is amazing.
The bother interaction is awesome, as is the animation. It's worth the ticket price just to see them swing, jump, and skate around New York. Not to mention the combo chase/fight scene that is the show-piece of the whole film.
There are also some pretty great jokes, which I loved.
The plot is more than a little bit crap. It makes absolutely no sense, even the five year old who was non-stop kicking my chair realized who the (should have been a surprise) bad guy was right off the bat. At least, it seemed that way when he shouted "He's evil!" in my ear.
The worst part of Teenage Mutant Ninja Turtles were the children. In addition to the junior can-can dancer behind me, there was an entire family sitting beside us who decided that their infant really needed to experience the joy of CGI. The baby babbling along happily wasn't actually that bad. The toddler chattering constantly through the whole thing and shouting over the baby did make it hard to hear the dialog on the screen.
On the bright side, it gave me implicit permission to talk to Lauren on and off throughout the movie. Because if your kid is shouting, I'm going to make fun of the dialog. And the plot.
Category: Favorites, Review
Previous PostIf You Can't Take the Heat – Review of "In the Raw"
Next PostThe Status Quo
Bad Movie Theater
Instalife
Jake and Jessica
Space Princess
Twitter Hall of Fame
Twitter Tells Me
© 2019 Marina Rose Martinez	/ Powered by WordPress / Theme by Design Lab


Hunter returns for her second time to CBTandBallbusting, this times she brings her girlfriend Victoria along. They are super cute and are still learning the ropes when it comes to domming. They come in with an antique medical electric device.


text:
Apple profits surprise investors as company launches charm offensive
Company offers seven-for-one split stock and raises dividend
Share prices jump after $45.6bn revenue announced
Tim Cook with an iPad Air. Photograph: Justin Sullivan/Getty Images Photograph: Justin Sullivan/Getty Images
Heidi Moore in New York
@moorehn
Wed 23 Apr 2014 18.09 EDT Last modified on Fri 14 Jul 2017 18.23 EDT
Tech giant Apple chose a bombshell solution to the problem of its struggling share price, launching a full-on charm offensive to win over investors with a financial candy basket of stock splits and huge dividend increases to win back those who may have been disillusioned by the company's lagging growth.
In the first three months of the year, Apple grew its revenue to $45.6bn, well above analysts expectations of $43.5bn in revenue for the first three months of the year.
Among the biggest of Apple's moves was a seven-for-one stock split so that every investor will get six additional shares. Apple has done stock splits before – in 1987, 2000 and 2005 – but they have been on a much smaller scale. The company has done only two-for-one stock splits in the past, meaning that investors received two shares for every one they owned.
On news of the stock split, Apple's stock rapidly jumped 8% – or $42 – in after-hours trading, landing at $566 before the stock was halted.
Apple also offered another palliative to investors by growing its spending on dividends and share buybacks by one-third to $130bn. Stockholders like dividends because they promise easy and reliable income, and Apple is already generous, raising its dividend twice in two years and paying $11bn annually to its shareholders.
Investors like share buybacks because it allows them to get premium prices for their stock; it also means companies use their cash, which otherwise lays fallow unless it is invested somewhere.
"We are planning for annual dividend increases," promised CEO Tim Cook on a conference call with investors.
The stock split, which comes as a shock, will achieve several of Apple's financial goals to please investors, who have been looking to the company to dazzle with new product offerings. including creating more buzz around the stock and making it easier for small investors to buy shares of the company, which will now be cheaper.
The split will also make it paradoxically more expensive for large investors to gain a large stake in the company, which may go towards some way towards fending off activist hedge fund managers like Carl Icahn and David Einhorn, who have dogged the company in recent years to force it to boost the price of its stock.
Icahn pushed the company to use some of its infamously large cash hoard of over $140bn to pay dividends and buy back its own stock. His efforts helped raise Apple's stock to $529, but that is still well below the peak of $702 in September 2012.
While Apple has successfully faced down those activist investors – who were looking to change the company's use of its cash – the company has not dazzled on its growth or results.
Cook, for instance, made his now-customary promise that Apple is working on innovation: "The thing that drives us are the next iPads, if you will, the things in the pipeline."
"People want something great – insanely great," Cook said of the company's plans for acquisitions. "And that's what we want to deliver."
Apple in some ways may be a victim of its own success; analysts worry that the company's iPhone and iPad are so ubiquitous that they are reaching the saturation point where sales won't grow by much.
There's some evidence for those fears. In the first three months of the year, for instance, sales of the iPad tablet, at 16.4m units, slowed considerably – falling by 16% – and it was no longer selling out. Apple spent a good portion of its conference call with investors explaining the shortfall in expectations for the iPad and offering investors a pep talk about the tablet's future prospects.
"It's the only one of our products that was instantly a hit," Cook reminisced on the conference call, saying the company sold 210 iPads since the product's launch, which was twice as many as the company's iPhone sales and seven times as much as its sales of its music player, the iPod. Cook said Apple is focusing on getting the iPad into more classrooms all over the world.
"Virtually all of the Fortune 500 are using the iPad," Cook added about the iPad's use among corporate, or "enterprise", customers. "We have to focus on penetration – it has to be deeper and broader."


← What does your online profile say about you?
I once worked in a sea of grey suits, an office populated by identikit colleagues, who had managed to find as many shades of grey to wear to work as I imagine is humanly possible. Air conditioning up there on the seventeenth floor ensured we cultivated a pallor to match the suits. One colleague would deliberately wear a flamboyantly coloured, new item of clothing every day. "Dress for the job you want. Not the job you have" she responded curtly with a smile on her face when asked why. I doubt she's still there.
If you find yourself feeling stifled in an environment like this, it might just be telling you something about the organisation's culture (stick to the rules, don't take risks, we value conformity) and also about your own personality (I want to express myself and be an individual or just 'dress down' for the rest of my born days) and ultimately your match with the job or the organisation.
Research into 'Dressing to Impress' from Joy V. Peluchette, Katherine Karl and Kathleen Rust published in the Journal of Business & Psychology 'examined individual differences in the beliefs of MBA students and their attitudes regarding workplace attire including: the value placed on clothing, the impact of attire on workplace outcomes (e.g., promotions, raises) how their clothing made them feel and whether they used their attire to manage the impression of others in the workplace. Results indicated that those who valued workplace attire used it to manage the impressions of others and believed that it positively impacted the way they felt about themselves and their workplace outcomes. Dressing to impress appeared to have particular utility for high self-monitors and those in management/executive positions'.
In reality, this often gets translated into a uniform of sorts where the unwritten rule appears to be 'leave your real personality at home'. Conform or risk being sidelined. Count the number of identical suits, colours and sensible shoes on your next commute and draw your own conclusion.
Turn this uniform orthodoxy on its head and like the woman who was dressing for the job she wanted, it doesn't take much to stand out (said the woman who once wore a pair of green suede wedges with pink flowers on them to an interview and no, I didn't get the job). Swap the 'grey' and let a little bit of 'you' shine through instead. Shallow? Irrelevant? Well, yes but if it's a game and you're going to play it anyway you might as well bend the rules in your favour and see what comes your way as a result.
This entry was posted in Business Psychology, Psychology, social networking and tagged business, employment, Personal development, personal impact, Psychology, social networking. Bookmark the permalink.


Because none of your target audience has Microsoft Project.
However, help is at end, in the form of the Community Version of an app that goes by the name of Project to Excel.
Want to share your MS Project schedule with those who don't have MS Project? No worries mate. Read on.
How can you do it? Easy!
There are plenty of tools to help you to achieve this. Here is one example. Project to Excel (Community Version).
Many thanks for reading and have much fun.


text:
Inmate assaults 3 staff members at Tecumseh State Correctional Institution
Two corporals need medical attention
Updated: 9:47 AM CDT Apr 20, 2017
KETV Staff Report
KETV
SOURCE: KETV
An inmate assaulted three staff members Wednesday night at the Tecumseh State Correctional Institution, authorities said.The staff members were removing several inmates who appeared to be under the influence of homemade alcohol from the housing unit around 7:45 p.m. when they were attacked, according to a news release sent Thursday.One inmate swung out at a corporal when he approached to put handcuffs on him. The corporal was knocked to the ground and suffered injuries to his head.The inmate assaulted another corporal who was restraining a second inmate. That corporal suffered head injuries and needed stitches and also chipped a tooth.Staff subdued the inmate with pepper spray. He bit a caseworker in the thigh in the process, authorities said.The two corporals were treated at a hospital and later released. The caseworker did not need medical attention.The unit was not locked down and the facility is operating normally.
TECUMSEH, Neb. —
An inmate assaulted three staff members Wednesday night at the Tecumseh State Correctional Institution, authorities said.
The staff members were removing several inmates who appeared to be under the influence of homemade alcohol from the housing unit around 7:45 p.m. when they were attacked, according to a news release sent Thursday.
One inmate swung out at a corporal when he approached to put handcuffs on him. The corporal was knocked to the ground and suffered injuries to his head.
The inmate assaulted another corporal who was restraining a second inmate. That corporal suffered head injuries and needed stitches and also chipped a tooth.
Staff subdued the inmate with pepper spray. He bit a caseworker in the thigh in the process, authorities said.
The two corporals were treated at a hospital and later released. The caseworker did not need medical attention.
The unit was not locked down and the facility is operating normally.


I took office in 2007, just as the real estate boom was turning into the subprime meltdown. In the last six years, we've learned a lot about the root causes of that financial collapse — from unscrupulous salespeople to Wall Street's investment in risky loans to ineffective regulations and regulators.
Unfortunately, we have already begun to see this similar behavior in another growing industry — for-profit colleges and trade schools. And since the vast majority of funds used to pay tuition comes from federal taxpayers, we all have a stake in fixing it before it is too late.
Dramatic expansion driven by aggressive marketing. In the subprime mortgage industry, we saw the predatory and deceptive marketing of loan products that were destined to fail. When a majority of those loans inevitably went into default, the lending crisis went into overdrive.
For-profit schools are now using similar tactics to market to populations with increased access to federal funds such as our veterans and low-income families. They often exaggerate the quality and scope of the training at the school, and the job placement rates after graduation. In one recent case, a school was advertising a job placement rate for medical training graduates of 70 percent, but it was actually closer to 25 percent. That is in part because the school was counting jobs in fast food restaurants and big box stores toward their "success" rates.
The state said the school was deceptive, making misleading claims about job-placement success rates.
Wall Street involvement. For-profit schools are expensive, with many certificate programs costing four to five times more than at public schools. They are frequently owned by Wall Street investors and have developed into a multibillion-dollar industry. With that has come an overwhelming focus on profit, not instruction. In 2009, 41 percent of for-profit revenue went to marketing and profit, and just 17 percent went to the actual instruction of students. That should give you a clear sense of their priorities.
Thousands of unsustainable loans. High tuition costs, combined with aggressive and deceptive recruitment, has created a flood of unsustainable student loans. Students at for-profit schools account for 47 percent of all student loan fund defaults, and an alarming quarter of students defaulted within three years. For comparison sake, the default rate at the worst subprime lenders at the height of the mortgage crisis was much lower. This is a growing and unsustainable crisis.
The government stands to lose from private market misconduct. The final unfortunate comparison between for-profit schools and subprime lending is that taxpayers are left to pay the price. Fifteen of the largest for-profit schools received 86 percent of their revenues from federal student aid programs like the GI Bill and Pell grants. In 2009, federal taxpayers paid for more than $32 billion in student loans and grants to for-profit institutions. The schools make their money no matter what. But because of the heavy taxpayer funding of these loans, it is the students and taxpayers who are on the hook when these loans inevitably default.
My office is bringing enforcement actions to seek accountability for predatory tactics by for-profits. We also must make common-sense reforms at the state and federal level to better protect students and taxpayers. The federal government should restrict for-profit schools from using federal funds toward marketing. On the state side, we should similarly restrict these funds and establish clear teaching/instruction ratios that schools must adhere to. We should also require the schools to disclose accurate job placement statistics and clearly advertise their for-profit status. State agencies should be updating regulations to further protect against unfair and deceptive marketing tactics. Our office will do the same.
Finally, we urge prospective students to do their homework before entering one of these schools. Make sure what you are signing up for is what you expect and is a better value than our community colleges and other nonprofit institutions.
Just as when the first clusters of foreclosures appeared in 2007, the warning signs on for-profit schools are beginning to surface. We reacted too slowly to the subprime meltdown. If we learned anything from the past, we must act now to prevent another crisis for our students and for taxpayers.
Martha Coakley is the attorney general of Massachusetts.


text:
Pitchfork Music Festival 2021: Sunday Preview Guide
In chicago, lineup, live music, music, music festivals, pitchfork music festival, pitchfork music festival 2021, show preview
And just like that, the 2021 Pitchfork Music Festival officially kicks off tomorrow afternoon. It's been a long road to get here, and things will certainly feel a bit different this year, but let's appreciate the fact that it's able to happen. My introduction to the Sunday preview guide always includes tips on how to enhance your festival experience, so here's the 411. If this were happening in mid-July as usual, I'd say that your top priority should be staying hydrated. Technically that remains true in September too, just the temperatures will be more manageable and you won't be sweating as much. Drink plenty of water and you'll feel better every day. Wear sunscreen and bug spray. It seems obvious, but people forget. Bring a poncho, ideally one you can keep folded in your pocket. Rain is always a possibility, even if it's just a pop up shower. And of course have your mask and either a proof of vaccination or recent negative COVID test at the ready because you won't get in without them.
If you're not interested in watching performances all day long and need a bit of a respite, there are other activities on the grounds of Union Park to distract yourself. There are lots of food and beverage options. You can stop by sponsored tents/kiosks with games you can play or free stuff being given away. The CHIRP Record Fair has plenty of vinyl and other music goods you can check out. The Flatstock Poster Fair brings in artists from all over the country showing off and selling posters they've created for concerts and other things. There's also the Renegade Craft Fair, which showcases a bunch of handmade goods from artisan crafters. You may just find a cool little tchotchke to carry around with you for the duration of the festival and beyond. So yes! If you're headed to Union Park this weekend, I hope you'll have a blast and stay safe for this year's Pitchfork Music Festival. For those of us focused on the music, here's the guide to what you'll see and hear on Sunday.
Easy Access: Lineup Playlist, Friday Preview Guide, Saturday Preview Guide
Tomberlin [1:00 – 1:40, Green Stage]
Unfortunately, Cassandra Jenkins had to cancel her tour at the start of September, which included her Sunday opening slot at Pitchfork. Tomberlin has been booked as a replacement, and if you ask me that's a pretty strong trade off. If you're not familiar with Tomberlin's music, you could place it firmly within the traditional singer-songwriter category. Think Julien Baker or Soccer Mommy or even early Angel Olsen as a good comparison, though as with other artists of this particular ilk it's less about crafting an original sound and more about amplifying an original voice that has something important to say. Sarah Beth Tomberlin grew up in the Baptist church, and turned to music as a way to fill the hole left when her faith began to erode away. Many of her songs are about that crisis and how she's handled the fallout with family and friends. Her 2018 debut album At Weddings was a strong, personal statement, while a follow-up Projections EP last fall expanded her sound a bit with production work from Alex G. Her hushed and intimate songs may not get you going at the start of Sunday, but chances are you'll be a bit tired anyway and could use her set to spread out on the grass and stare up at the beautiful blue sky with an emotionally stirring soundtrack.
Special Interest [1:45 – 2:25, Red Stage]
If Cassandra Jenkins is a soothing balm to start your Sunday, Special Interest are going to fuck up the vibe immediately after. Their record The Passion Of was one of 2020's finest, an aggressive and unapologetic art-punk LP that managed to come across like a sound collage of industrial, techno, and glam rock. At the center of this maelstrom is Alli Logout, howling at the moon one moment and embracing vulnerability the next. There's a very real chance Special Interest's Pitchfork Music Festival performance explodes outward to match the chaos of their records, and if that's the case we're all in for a wild time with the potential to make a mark as one of the best sets of the weekend.
KeiyaA [2:30 – 3:15, Green Stage]
oso oso [2:45 – 3:30, Blue Stage]
Fans of R&B will find plenty to love with KeiyaA's Pitchfork set. This will be a bit of a homecoming for her, as she was born and raised in Chicago before moving to New York a few years back. During her time here she collaborated with everyone from Vic Mensa to Noname. Her solo debut album Forever, Ya Girl landed last spring just as the pandemic was taking hold, and its woozy, lo-fi approach matched the collective haze we all found ourselves in at the start of lockdown. She produced the entire thing herself and released it on her own independent label, resulting in something that also felt fresh and wholly unique without any outside input or influence. Expect KeiyaA's performance to embrace the relaxed, jazz-infused atmosphere of her record, which might not be super exciting to watch but will most definitely help you find a greater peace within yourself.
There's something immensely familiar about oso oso's sound, especially if you grew up listening to a lot of alt rock and emo in the early '00s. Bands like Jimmy Eat World and Death Cab for Cutie could serve as reference points for this singer-songwriter project from Jade Lilitri, though he manages to carve out a space all his own thanks to smart lyrics and immensely catchy hooks. oso oso's fantastic 2019 record basking in the glow was an energetic look at what happens when you commit to staying positive and upbeat at all times. It automatically puts you in a better mood, but upon closer inspection there are always a few cracks in the façade. If the live show manages to channel that same energy from the record, it'll be a really fun early afternoon set over at the Blue stage. You'll be able to jump around and everything, which we kind of need in these trying times.
Mariah the Scientist [3:20 – 4:10, Red Stage]
There are a lot of great artists making R&B right now: Solange. Amber Mark. SZA. Tinashe. Jorja Smith. Victoria Monet. I could go on. Mariah the Scientist falls right in line with that list, while utilizing strong production and vivid storytelling to carve out her own corner of the world. She's exactly the sort of artist you can tell is poised to do great things and achieve massive global popularity, but it just hasn't happened quite yet. It's difficult to pinpoint exactly what might be holding her back, particularly since she's signed to a major label and managed to secure guest verses from the likes of Young Thug and Lil Baby. But the fact that Mariah isn't yet a huge name works to the advantage of Pitchfork, where her mid-afternoon set with no other real time slot competition should earn her a lot of fresh ears and eyes to convert. Check her out now so you can play tastemaker and say you saw her "back in the day".
The Weather Station [4:00 – 4:45, Blue Stage]
Caroline Polachek [4:15 – 5:10, Green Stage]
One of the most difficult conflicts of the entire weekend arrives halfway through the Sunday lineup. The Weather Station's Ignorance can easily be called one of the best albums of 2021, and seems likely to secure a spot near the top of many year-end lists (including mine). It's a level up for the Tamara Lindeman project, which after four records of mostly ornate acoustic-based folk, expanded outward to incorporate saxophone, flute, synths, strings, and multiple drummers. Things are jazzier and more lush than ever before, almost reaching the amount of immense care and detail Lindeman puts into her lyrics, which are always the strongest parts of Weather Station songs. It will be a genuine treat to hear how the new material translates on stage, and given how many of the songs celebrate the natural beauty of our world, should feel particularly at home in the shaded tree-lined area of the Blue stage. I can't say it'll be the most exciting, fun, or intense set of the day, but it'll definitely be one of the most emotionally meaningful.
Hopefully you're familiar with the band Chairlift, however if you're not now's a great time to stop reading and pull up their music to enjoy a couple of their songs. Unfortunately Chairlift called it quits a few years ago, but singer Caroline Polachek has ventured out on her own and continues to make music very much in the same vein. She knows her way around a pop song and a strong hook, and has even contributed lyrics to Beyoncé in the past. Her debut solo record Pang arrived in the fall of 2019, and included a number of fantastic songs that are catchy, fun, and showcase her exceptional voice/vocal range. A couple of months back we were also gifted the standalone single "Bunny Is A Rider", which is an absolute blast and should send a crowd into a frenzy when performed live. If you catch her Pitchfork set, it should be a very good and very fun time.
Thundercat [5:15 – 6:00, Red Stage]
Yves Tumor [5:15 – 6:00, Blue Stage]
A little jazz, a little soul, a little R&B, and a little pop all come together in Thundercat's (aka Stephen Bruner) music. If you've heard a few of his songs, then hopefully you already know that he's an exceptional bassist who writes and sings poetic songs about everything from cosmic forces in the universe to hanging out with his cat. Most everything is fun or funky in one way or another, and even though his most recent record, 2020's It Is What It Is, felt a little unfocused and lackadaisical at times, there were still enough strong tracks on it to make it thoroughly enjoyable and worthwhile. He's carved out quite the place for himself in the music world as well, from working with Flying Lotus and Kamasi Washington to collaborating with rappers like Ty Dolla $ign and Lil B, not to mention convincing superstars like Michael McDonald and Ariana Grande to guest on some songs. Thundercat previously performed at Pitchfork back in 2016, and if I recall correctly it sounded like a cool breeze on a hot day, which is to say it was very nice and kept a strong groove going the whole time. Expect more of the same in 2021.
Yves Tumor thrives on defying expectations. When something sounds a bit "off" in a song, that's a feature and not a bug. It starts out with an air of familiarity, like something you've heard before but can't quite place it, but then slowly degrades into repetitive and rote nonsense. But then just as you're ready to give up on it, the song transforms into a bastardized version of itself. Tumor has starved it to the point of near death, then unleashed its ravenous hunger upon us where it will do whatever it takes to survive. You get the extended metaphor here. Things get weird and experimental and somersault through genres with the ease of an Olympic gymnast. A couple of months back Tumor released The Asymptomatical World EP, which played around in the worlds of goth rock, dream pop, and shoegaze. It felt like a natural follow-through on many of the rock sounds explored on last year's Heaven Is A Tortured Mind, a loud and obtuse record that oozed with sex and charisma. If you're into flashy costumes and leaning into the idea that a person can be called "A LOT" but also incredibly awesome, Yves Tumor functions as a refreshing shock to the system. At times you may want to turn and walk away from Tumor's Pitchfork set, but hopefully it'll be so engrossing you'll feel a little disgusted with yourself. And a little turned on too.
Danny Brown [6:15 – 7:15, Green Stage]
Andy Shauf [6:30 – 7:15, Blue Stage]
Every couple of years like clockwork, Danny Brown returns to Pitchfork Music Festival. The man has become one of the few mainstays at Union Park, and we're probably all the better for it. Danny Brown makes fun, funny, and occasionally weird rap records. He's got a ton of energy on stage, and knows how to strike a pose for the cameras (tongue out as much as possible). Most importantly, he's got a personality. Brown is a lovable scamp who causes all kinds of mischief, but you always forgive him for it because he's so damn charming. I am certain he wouldn't punch anyone in the face, but if he did, seconds later he'd have his arm around that same person offering to buy them a drink. So yes, Danny Brown doing Danny Brown things is the main source of attraction for checking out his set. But the music itself is pretty damn good too. Brown is a bit of an outlier in the rap world, mainly because he carves his own path and doesn't care about styles or trends among his peers. None of his records sound outdated or from another era, but they also don't feel completely at home in the present day either. That's kind of the vibe of Pitchfork in general anyways, which may be why he seems so at home on the lineup every couple of years.
Canadian singer-songwriter Andy Shauf is a born storyteller. His songs feel immensely personal and detailed, aided by the inclusion of names, places, and even (sung) pieces of conversation. Simply listening to the strummed melodies on his acoustic guitar and his soft vocals is pleasant and rewarding enough, but the lyrics create new depth and meaning that help to set him apart from his peers. He reminds me a bit of Sufjan Stevens. Less "states albums" Sufjan, more Carrie & Lowell Sufjan. Shauf's 2020 album The Neon Skyline was one of the year's best. It's a concept record that takes place over a single night where our narrator discovers his ex is in town and eventually ends up running into her. But the stories and reflections on their past relationship come from a place of distance and understanding, so that final meeting between the two is less about the hope of reconciliation and more about acknowledging their time together was a meaningful part of a larger journey. The whole thing comes together quite nicely. No clue how it'll play out on stage at Pitchfork, but for those tired or in need of a break from a long weekend of live music, Shauf's set might be a welcome respite for you to find some shade and relax a bit.
Flying Lotus [7:25 – 8:25, Red Stage]
Cat Power [7:45 – 8:30, Blue Stage]
Flying Lotus has built his reputation on being a bit of a musical polymath. His records always start with an electronic base, but he incorporates so many different styles and genres into them that sometimes it's just fun to play spot the reference. For example, his album Yasuke from earlier this year functioned as the soundtrack to a Netflix anime series about a Black samurai in Japan. He's worked on music for video games and crafted bumpers for Adult Swim. He directed a film in 2017 called Kuso that inspired walk-outs at Sundance because of the amount of gore and body horror in it. Yet he's also worked with and even produced a lot of music for rappers over the years. There's plenty of jazz influences in his work as well, often using brass sections to punctuate melodies and venture out into psychedelic directions. Despite the constant evolution of his sound, it all manages to coalesce as part of the Flying Lotus live experience. You'll dance a lot and generally have a great time while watching him mix together tracks from across his vast catalog. And while watching someone stand on a stage and essentially DJ for an hour isn't the most exciting visual, he deploys all sorts of projections and lighting techniques that will leave you tripping whether you've taken drugs or not. Let's be glad the sun is mostly set by 7:30pm in September so things can really pop at Pitchfork. Maybe he'll even have a guest or two join him on stage for what will hopefully be one of the more exciting sets of the weekend.
Every Cat Power show that I've ever attended has been a gamble. Chan Marshall has notoriously bad stage fright, and how good her set is always depends on how she's feeling that particular day. Performing with a full band absolutely helps however, as she deflects focus onto others and understands that they have her back should anything go wrong. That mostly leaves her responsibilities to just singing rather than playing guitar or piano, which often acts as an additional stressor. I guess what I'm saying is that we'll be getting the full Cat Power band experience at Pitchfork, which bodes well. And when Marshall is operating at her full capacity, the show is always great. She moves around a bit and engages with the crowd, uses her legendary voice to sing a bunch of classic songs from her vast catalog, and may even throw in a couple of covers for good measure. A lot of her early material was written and recorded solo, so the full band version definitely enhances the arrangements quite a bit. Her more recent records like Sun and Wanderer explored some new sonic territory with elements like synths and Auto-Tune, which also boosted the energy a little bit as a majority of her records are sleepy slow burners. The set may wind up being a bit boring for the festival type atmosphere (it works like magic at a smaller indoor venue), but if the band boosts the energy of the slower stuff and the more upbeat material gets a spotlight, this could be a great start to wrapping up this year's festival.
Erykah Badu [8:30 – 9:50, Green Stage]
Like Ms. Lauryn Hill before her in 2018, Erykah Badu holds the status of a neo-soul legend headlining the final night at Pitchfork Music Festival. Also like Ms. Lauryn Hill, Erykah Badu has a reputation for not always starting her set on time. I'm not going to get into any speculation about that, except to say that I hope she's on stage before 9:00pm so we can get at least an hour of music. Unlike Ms. Lauryn Hill, Erykah Badu has a moderately large catalog of music to pull from. Almost all of her records are great too, meaning there's a strong chance she'll shine no matter the set list. A quick glance at some of the festivals she's headlined in the last few years seems to indicate she selects a pretty even mixture of songs across her albums, but you can count on my level of excitement to rise significantly whenever anything from Baduizm or Mama's Gun gets played. What else can I say? I've never seen Erykah Badu perform before, and am immensely looking forward to the experience. We should be grateful she's still around and performing. I don't know that she'll blow the proverbial doors off of Union Park, but it should be an absolutely lovely way to end the weekend. Find an open spot in the grass somewhere and let Ms. Badu pull you into her world.
chicago musicconcertlineuplivelive musicmusic festivalmusic festivalspitchfork music festivalpitchfork music festival 2021show preview
Pitchfork Music Festival 2021: Saturday Preview Guide
Pick Your Poison: Thursday 9-9-21


The Groden Center Home Therapeutic Services (HTS) Department supports children and youth with developmental disabilities by partnering with families to provide effective therapeutic services and learning opportunities which promote greater independence in home and community settings. The HTS Department provides home, community and clinic based services to individuals with ASD and other developmental delays.
Our programs are founded on the philosophy that there are significant benefits to children and youth when their families are active participants in their educational and therapeutic programs.
Individualized Treatment Plans address behavior management, basic academics, play, language and communication, daily living skills, socialization, and parent education.
Medical/Behavioral Health needs covered through Medicaid or are covered by commercial insurance that provides the Enhanced Autism Benefit.
A diagnosis of Autism or other qualifying Developmental Disability.
Provides support in behavior management and skill development.
Offers 10 to 25 hours of one to one structured teaching.
skills, socialization, and parent education.
Medical/Behavioral health needs covered through Medicaid.
Families identify the goals and objectives for the service plan and the related activities with the Families identify the goals and objectives for the service plan and the related activities with the help of a licensed clinician .
Families are required to recommend direct service worker.
Families are required to meet with a licensed clinician on a on-going basis.
Children can receive up to 20 hours weekly of direct support.
Typically community based although activities may take place at home.
Serves children from 3 to 21 with a diagnosed developmental disability.
Children 3 - 6 years of age require funding permission.
Intakes for potential ABA/HBTS and PASS families are available at all locations.
Life Skills/HBTS Clinics are offered at the Smithfield location.
Parents & guardians may contact HTS at The Groden Center directly for ABA, HBTS and or PASS referrals.
Children that are covered by commercial insurance with the Enhanced Autism Benefit may have access to ABA through their commercial insurance.
Commercial insurance does not cover HBTS or PASS.
Children with access to Medicaid, through either SSI, Katie Beckett, or Healthsource RI(i.e. some plans with NHPRI, Tufts, or United) may have access to ABA, HBTS and/or PASS.
A telephone interview will be conducted between a member of our staff and the family to determine if the services offered are covered and if they will meet the family and child's needs.
Once it is determined that the program is appropriate, the Clinical Team will meet with the family to identify appropriate goals for the Treatment Plan. HTS prepares the Treatment Plan and submits it with supporting documentation to the funding agency for approval. Once approved, and staff are identified, services will begin.


text:
January 2006 - Blabbermouth Archive
JUDAS PRIEST To Begin Writing New Album In February
JUDAS PRIEST guitarist Glenn Tipton told Greg Prato of Billboard.com that the band will reconvene next month to begin writing the follow-up to 2005's "Angel of Retribution", which was the band's first album with singer Rob Halford since 1990's "Painkiller". "We've had a break — we've been out for almost two years," Tipton ...
Former Adult Film Star JASMIN ST. CLAIRE To Host L.A.'s New Heavy Metal TV Show
Former adult film and wrestling star Jasmin St. Claire has reinvented herself once again, this time as host of "The Metal Scene TV Show", L.A.'s hottest new heavy metal television show. Commented St. Claire: "I've been immersed in the extreme metal scene for years — both a fan and a personality via my work as ...
New DANZIG Guitarist Speaks: 'I Really Worked Hard To Do Justice To Everybody's Playing'
The official DANZIG fansite The 7th House recently conducted an interview with the band's new guitarist Joe Fraulob (also of Sacramento's DECONSTRUCT). An excerpt from the chat follows: The 7th House: When and how did you get the call to play on the "Blackest of The Black Tour 2005"? Joe: "I've known Jerry ...
FATAL SMILE To Perform On Swedish TV
Swedish "traditional" heard rock/heavy metal band FATAL SMILE will appear on the Swedish TV show "TV4 Nyhetsmorgon" (morning news on Channel 4) on Wednesday, February 1 between 6:00 a.m. and 9:30 a.m. The group will be interviewed on the program and will perform two songs live in the studio. The show is available on the ...
MOONLYGHT: New Album To Be Mixed By DAN SWANÖ
Quebec City's progressive dark metallers MOONLYGHT will enter Nokturn Studio at the end of February to record their second album, tentatively entitled "Two". The CD will be mixed by mastermind Dan Swanö (EDGE OF SANITY, NIGHTINGALE, BLOODBATH) at his legendary Unisound studio in Sweden. Songtitles set to appear on the CD include "Middle", "Hazard" and ...
AC/DC: Interview With Original Bassist Posted Online
AC/DC fan site AC/DC Highway To Hell has posted separate interviews with original AC/DC bass player Larry Van Kreidt (who was in the group from their inception in 1973 through part of 1974) and the band's first recording bassist, Mark Evans. Check out both interviews at www.acdccollector.com (in the "Interviews" section). As previously ...
SMASHING PUMPKINS Staying Smashed?
Launch Radio Networks reports: When the lineup for this year's Coachella Valley Music & Arts Festival is revealed later today (Monday, January 30), rumors are rampant that the reunited SMASHING PUMPKINS will be one of the headliners. But according to FMQB.com, a spokesperson for frontman Billy Corgan's record label told a San Diego radio station ...
Former BONHAM Singer Featured On EMERALD MONKEY EP: Audio Samples Available
Former BONHAM singer Daniel MacMaster has contributed his vocals on an upcoming EP from unsigned Connecticut-based hard rock solo artist EMERALD MONKEY. The CD features new vocal versions of songs from the group's "Loud" release, plus one brand-new track writen by Monkey and Daniel. Check out audio samples at this location. ...
New AUDIOSLAVE Album Coming In June
Launch Radio Networks reports: AUDIOSLAVE will release its third album this June, a spokesperson for the band's label has told Launch. An exact release date, title and track listing are not available yet, although it is known that the band began working on new music as early as last summer, with work picking up again ...
← Previous 1 2 … 5 6 7 8 9 10 11 12 13 … 150 151 Next →


text:
// Copyright 2013 Google Inc. All Rights Reserved.
//
// Licensed under the Apache License, Version 2.0 (the "License");
// you may not use this file except in compliance with the License.
// You may obtain a copy of the License at
//
//     http://www.apache.org/licenses/LICENSE-2.0
//
// Unless required by applicable law or agreed to in writing, software
// distributed under the License is distributed on an "AS IS" BASIS,
// WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.
// See the License for the specific language governing permissions and
// limitations under the License.

package dfa.axis.v1_20;

import com.google.api.ads.common.lib.auth.OfflineCredentials;
import com.google.api.ads.common.lib.auth.OfflineCredentials.Api;
import com.google.api.ads.common.lib.utils.Media;
import com.google.api.ads.dfa.axis.factory.DfaServices;
import com.google.api.ads.dfa.axis.v1_20.CreativeAsset;
import com.google.api.ads.dfa.axis.v1_20.CreativeAssetSaveResult;
import com.google.api.ads.dfa.axis.v1_20.CreativeRemote;
import com.google.api.ads.dfa.lib.client.DfaSession;
import com.google.api.client.auth.oauth2.Credential;

/**
 * This example creates a HTML creative asset in a given advertiser. To create
 * an advertiser, run CreateAdvertiser.java.
 *
 * Credentials and properties in {@code fromFile()} are pulled from the
 * "ads.properties" file. See README for more info.
 *
 * Tags: creative.saveCreativeAsset
 *
 * @author Joseph DiLallo
 */
public class CreateHTMLAsset {

  // Set the parameters of the new HTML asset.
  private static final String ASSET_NAME = "INSERT_SWF_ASSET_NAME_HERE";
  private static final String PATH_TO_FILE = "INSERT_PATH_TO_SWF_FILE_HERE";
  private static final String ADVERTISER_ID = "INSERT_ADVERTISER_ID_HERE";

  public static void runExample(
      DfaServices dfaServices, DfaSession session, String assetName, String pathToFile,
      long advertiserId) throws Exception {
    // Request the service.
    CreativeRemote service = dfaServices.get(session, CreativeRemote.class);

    // Create the HTML asset.
    CreativeAsset swfAsset = new CreativeAsset();
    swfAsset.setForHTMLCreatives(true);
    swfAsset.setName(assetName);
    swfAsset.setContent(Media.getMediaDataFromFile(pathToFile));
    swfAsset.setAdvertiserId(advertiserId);

    // Save the asset.
    CreativeAssetSaveResult creativeAssetSaveResult = service.saveCreativeAsset(swfAsset);

    // Display the new asset file name.
    System.out.printf("Asset was saved with file name of \"%s\".%n",
        creativeAssetSaveResult.getSavedFilename());
  }

  public static void main(String[] args) throws Exception {
    // Generate a refreshable OAuth2 credential, which replaces legacy passwords
    // and can be used in place of a service account.
    Credential oAuth2Credential = new OfflineCredentials.Builder()
        .forApi(Api.DFA)
        .fromFile()
        .build()
        .generateCredential();

    // Construct a DfaSession.
    DfaSession session = new DfaSession.Builder()
        .fromFile()
        .withOAuth2Credential(oAuth2Credential)
        .build();

    DfaServices dfaServices = new DfaServices();

    long advertiserId = Long.parseLong(ADVERTISER_ID);

    runExample(dfaServices, session, ASSET_NAME, PATH_TO_FILE, advertiserId);
  }
}

redpajama_set_name: RedPajamaGithub