The lack of IBIS does not make the 50 a waste with the R. It might be more applications where you can shoot with that combo, but what I meant is that you can absolutely get the most out of the 50 when using the R, no other body will make that lens better than the results you get with the R.
Agreed when using a tripod or high shutter speed, but I mainly do hand held low light shooting, and can't achieve 5 stops by just holding the camera more steady, like I could with IBIS.
Hmm. Even if the system transmutated sewage water into unicorn tears, it would not become everyone's.
Why couldn't Canon build a more compact body instead? I don't need to transmute sewage, so neither should anyone else!
There's always the M for compact. It looks like the R is already decent size and is certainly more compact than my 5D Mark III. I might have to find a local store and hold one to see for myself. Have you held one yet? I need to get out and do that. Below is from Camerasize.com Looks pretty compact to me. I don't see how it can be made much smaller with the FF mount.
Been thinking about this R camera thing and M cameras.
I dont think we never see R mount consumer camera . M is consumer and canon dont want R user photorgraphers to use cheap M lenses on their camera .
To ensure this M flange distance is shorter.
I think canon wants sell only 5k priced bodyes RP sport and Highpixel R5. There wont be anymore low pixel 5 or 6 or 7 cameras,cause they eat profit and increase only design expenses.
Perhaps the person wanting something small and light with interchangeable lenses would be drawn to the M system. I know I am and am saving to get the next iteration of the M5. The 7D and L lenses are great but at times are heavy for snapshots around the house and other occasions. Also it is less intimidating. Not everyone needs a full blown and pro featured camera.
I think they should change whole viewfinder consept on cameras .
Viewfinder should be moved to left corner so you can get better vision for left eye .
There would be old fashioned mechanical cross hair aimer for left eye to center camera.
you know how difficult its aim flying bird with long tube.if you dont get it immediately to view ,then you need check with other eye where it went.
Electrical viewfinder for right eye would be just 1000 pixel one to show profile lines for composition and AF red dots .
Like two different viewfinder mode ,normal mode and low resolution sketch mode ,would be nice option.


text:
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Marc Galin, MBA'99J
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Marc has an extensive experience in business aviation spanning engineering & product development to strategy, marketing, product & program management. A graduate of McGill university in Mechanical (B. Eng '93) and Aerospace Engineering (M. Eng `97), he worked for Bombardier, Aeroplan (Air Canada), RUAG, and now Jet Aviation. A Canadian, he now resides and works in Switzerland for the last seven years. He is President of the Basel INSEAD Alumni Chapter since the beginning of 2013.
Monika Naef, IEP F/S'02 D
Treasurer Basel Chapter
Monika E. Naef is Partner & Owner of DUFOUR Advokatur (Dufour Attorneys). Her focus areas are business law, business development and R & A, international business relations, and trade law. After earning a degree in Law from the University of Basel and passing her bar-exam, Monika became in-house legal counsel for a multinational pharmaceutical and chemical group, with global leadership responsibilities as well as simultaneously heading the multifunctional M&A review team and the Trademarks Department. She founded DUFOUR Advokatur in 2005 together with three partners and is now in private practise. She is a Certified Global Negotiator (CGN-HSG). Born in the UK, her formative years were spent on three continents (UK, USA, Switzerland and Japan). She loves offshore sailing and has recently acquired a Harley Davidson. She has been engaged with the INSEAD Alumni Association since 2012 as member of the committee of the Basel chapter (treasurer) and was elected as treasurer for the INSEAD Alumni Association Switzerland in 2018.
Steven Morales, GEMBA '10
Steven, originally from Pasadena, California, was director of U.S. Equity Investments at Bankia Asset Management since 2001, where he managed Ultra High Net Worth client and institutional portfolios with macroeconomic views and proprietary quantitative long/short investment strategies, helping one fund into a U.S. top 10 performance ranking in the Large Cap Growth category. After studying Economics and Mechanical Engineering at U.C. Berkeley in 1991 Steven began his career in corporate finance at Montgomery Securities. At Merrill Lynch, he initiated and promoted the Technology Investment Group as a technology product specialist. In Spain, Steven took on the role of Head of European Equities, a strategic initiative to expand the footprint of a leading privately held Spanish financial group, later passing to the Asset Management division as Global Equity Fund Manager. Steven has been President of Berkeley Alumni Spain since 2008. In his spare time, he organizes equestrian events via a recently founded firm in Basel, BlackRoc Polo and plays tennis, knees and lungs permitting.
Matthias Schneider, MBA'98D
Matthias is a strategy consultant with IMS Consulting Group, with over 15 years experience in consulting and the pharma and healthcare industry. Prior to joining IMSCG he raised CHF 2m and set up a healthcare company, hiring 12 physicians and paramedical staff. Matthias has an MBA from INSEAD and a European Masters in Management from ESCP Europe (Oxford/Madrid/Paris). Since 2005 he lives in Basel with his wife and two children.
Radoslav Vasilev, MBA'12J
Radoslav is experienced in project management, corporate finance, marketing and business development. He started his career at KPMG, the global accounting firm, and spent four years leading financial audit, due diligence and interim management engagements across a variety of industries spanning from industrial goods manufacturing to utilities, from real estate development to airport operation, tourism and hospitality. During this time, Radoslav started his own renewable energy investment company and developed a project for wind and solar power plant. After KPMG, he joined Honeywell International where he helped the company assess its commercial, operational and financial performance, its regulatory compliance and risk management practices. At the same time, Radoslav also served as a marketing and finance advisor to a couple of start-up companies. After completing his MBA, he joined Abbott Laboratories in Switzerland where he currently holds a position within the established pharmaceuticals business and manages division-wide projects in the areas of profitability improvement, resource allocation, new product introduction and geographical expansion. Radoslav has personal interests in the areas of renewable energy, sustainable development, macroeconomics and foreign policy. In his spare time, he enjoys playing volleyball and swimming.
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text:
A slur or point of pride? The Slants' journey to litigate their band name
September 02, 2019 · 2:00 PM EDT
By The World staff
Producer April Peavey
The Slants' Tyler Chen (left), Ken Shima, Simon Tam, Joe X. Jiang in Portland, Oregon, on Aug. 21, 2015.
Courtesy of The Slants
When Simon Tam decided to name his dance-rock band "The Slants," he did not know that this decision would land him in a legal battle, and eventually in the US Supreme Court.
The band has said it wanted to reclaim what is often seen as a slur against Asian Americans. But the US Patent and Trademark Office refused the registration of "The Slants" in 2011 and rejected the band's appeal, citing the Lanham Act, which prohibits trademarks that could "disparage ... or bring ... into contemp[t] or disrepute" any "persons, living or dead."
After a federal court sided with Tam and "The Slants," the Patent and Trademark Office sued. The case was taken to the US Supreme Court which, in 2017, ruled unanimously in favor of the band on First Amendment grounds. Tan released a memoir this year titled "Slanted: How an Asian-American troublemaker took on the Supreme Court."
Simon Tam, a child of Asian immigrants to the US and The Slant's bassist, grew up in San Diego, California in the early '80s. Since age eight, Tam says he helped serve customers at his family's restaurant. "I think it gave me a lot of lessons about hard work, seeing my parents work so hard from morning to night every single day, gave me a view of entrepreneurship and drive," Tam told the World's Carol Hills. "But ultimately, I also saw how hard it was to operate in society as Asian-Americans."
Related: Before BTS, the Kim Sisters were America's original K-pop stars
Carol Hills: Simon, how did you come up with the name of the band The Slants?
Simon Tam: I actually had the idea for an Asian-American band well before I had the name of the band. But as I started asking the people around me, all my non-Asian friends in Portland, I said, 'What's something you think all Asian people have in common?' They would always come back to me and say 'slanted eyes,' which I thought was interesting because, first of all, it's not true, not all Asian people have slanted eyes and we're not the only people on the planet with slanted eyes. But I also reflected back on my childhood experiences, because it was these eyes, it was these facial features, that got me bullied time and time again. I always associated my slanted eyes with a sense of shame and because Asians [are among the most bullied demographic in America]. I knew that I couldn't possibly be alone in this. I thought what if we changed it, what if we talked about our slant on life of what it's like to be people of color and inject a sense of self-empowerment and pride into the term instead.
When you suggested that name, what did your bandmates think? Did they instantly like it?
People loved it. I actually had the band name before I had any band members. So as people were auditioning and I was telling them about the idea, they actually thought it was entertaining. Several of the initial band members also had similar childhood experiences to mine so they just thought, 'this is kind of a punk-rock in-your-face way of throwing it back at people who use racism against us.'
Related: Steve Von Till of the metal band Neurosis also teaches fourth grade.
Did you get any pushback from anybody about it in those early years?
Not anyone from the Asian-American community, no. I think it's also important to understand that Asian-Americans had been using the term for about 30 years. We had everything from the Slant Film Festival, which was the second biggest Asian-American Film Festival during its time period, The Slanted Kings of Comedy tour, Slant Magazine, Slant TV, it was a widely adopted term and people wanted to use it in this empowering kind of way.
Simon, prior to the Supreme Court what reason did the various other courts give for not allowing you to trademark your band's name?
For many years, the trademark system argued that my name was disparaging to persons of Asian descent and therefore that it could not be registered because there was an old bit of law from the 1930s called Section 2 of the Lanham Act. That law said you can't register trademarks that are considered scandalous immoral or disparaging. But it has to be considered disparaging by what they call a substantial composite of the reference group. So in this case, a whole lot of Asian people had to be upset by our name for the government to deny us this registration. The problem was, they didn't find a single Asian person who was actually disparaged, so they ended up relying on things like UrbanDictionary.com and using websites like AsianJokes.com to justify their decision.
The Supreme Court ultimately ruled in your favor you could keep the band's name The Slants. What was their reasoning?
They declared the law unconstitutional. They said it was unconstitutionally vague and under the First Amendment, the government doesn't have the right or the ability to decide which kinds of speech are good and which kinds of speech are bad. Because trademarks are private speech, you as a business owner or artists choose to use the words however you wish and they become your property, not the government's property.
Related: Micropixie expresses alienation of immigrant experience with music, sci-fi
What was it like for you and the band to be there before the justices?
I will say it was probably one of the most surreal experiences of my life. But I will say that even though they're referring to me and my band, I never felt so invisible because the government was arguing — they were talking about a racist band, a band that was doing horrendous things to its own community. And all the while as I'm sitting there I'm thinking, 'That's not me, you don't know me, you don't know my work, you don't know the fact that we actually work with over 140 different social justice organizations across this country and that whenever the government needed outreach to the Asian-American community, whether it was the Department of Defense or the White House under President [Barack] Obama, they called us they asked us to do that outreach for them.' So it just seemed absurd that I was there in the nation's highest court, being called a racist, in a sense.
Simon, if you had to, would you do it all over again?
I think if someone told me that it would take up almost a decade of my life and countless resources, that I would be on the brink of bankruptcy, if you told me that at the age I applied, where I was and who I was, I don't think I would have done it. But in hindsight, I realize how important it was to move this conversation forward. Now, I have an office wall full of letters from gay and trans attorneys who've felt the sting of the government, the indignity of the process that they were put through when they wanted to re-appropriate words. Now, I have all these letters of people saying 'Thank you, thank you for doing this because I wanted to have my own voice, I wanted the ability to decide what was right for me and for my community and not to have someone working in a government office, who has no connection to these experiences, making that decision for me.'
So, when I look back and look at all of this, I, of course, would do it again. I wouldn't wish it upon anybody because it's a very long, tiring process, it'll drain you and it'll kind of define who you are for the rest of your life. But still, I'm glad I did it.
Census 2020 ads don't do enough to dispel immigrant fears, advocates say
US immigration politics make their mark on Grammy-nominated J.S. Ondara
Alyona Alyona breathes new life into Ukrainian rap scene
Arts, Culture & MediaMusicCultureArts


text:
Where are the missing song royalties?
By Music Business Worldwide
The following MBW op-ed comes from the CEO of the Music Managers' Forum (MMF), Annabella Coldrick (pictured). Since its inception in 1992, the MMF has worked to educate, inform and represent UK managers. The organization's membership currently stands at almost 700 managers based in the UK with global businesses and a wider network of over 2,700 managers in the US.
If there's been one constant in the music business over the past decade, it's been recurring complaints from songwriters that they are not receiving fair compensation for use of their work online.
In 2019, such views have become even more pronounced with ferocious debates around Article 13 (now 17) and the proposed changes to European copyright law, as well as the controversies stirred in the US following appeals by Amazon, Google, Pandora and Spotify to royalty rates set by the Copyright Royalty Board (CRB).
However you look at it, and whoever you talk to, everyone comes to the same conclusion: songwriters are getting a raw deal.
Yet proportionately, the percentage of publishing revenue collected on a stream is considerably greater than the ratio collected on physical sales. With CD consumption stalling and audiences embracing streaming and subscription services en masse, songwriters should be in clover. Something, it seems, is going very, very awry.
"We estimate that British writers are potentially left unpaid tens of millions of pounds each year, with the situation particularly pronounced for upcoming and non-mainstream writers."
While there are clear failings in the digital economy for songwriters, it has also become clear that the industry itself, and its arcane licensing practices, should also assume a significant portion of responsibility. Quite frankly, if the global music publishing business were a house, its plumbing would be the leakiest, most bizarre, inefficient and complicated imaginable. The research indicates that it's here, within the structures of the industry, that a huge proportion of value is leaking away.
How much value? That's still unclear. But we estimate that British writers are potentially left unpaid tens of millions of pounds each year, with the situation particularly pronounced for upcoming and non-mainstream writers.
From personal experience, I can see the dilemma close at hand: my husband, as a sideline, writes and records his own music, and self-releases through a distributor to Spotify, Apple, Deezer and other DSPs.
For a DIY artist, this kind of setup is empowering. However, if his record royalties were hitched to a speeding Bullet Train, his songwriting revenues appear to be stuck on an ancient handcar, trundling slowly down the track. After two years of releasing music, his digital music publishing is still seemingly stuck between stations, yet to arrive home.
My husband's digital song royalties are a microcosm of a much wider problem, which is why the MMF board commissioned CMU's Chris Cooke to research the music publishing ecosystem – to map out how publishing revenues flow from streaming services to publishers and CMOs, to understand where value is being lost or deducted, and to establish why it can take several years for a songwriter to receive payment. [This research is included in the MMF's new $ong Royalties Guide, part of its Dissecting The Digital Dollar series.]
What Chris uncovered was a mess of complexities – what he defines as 'royalty chains' – with the performing and mechanical rights of songwriters frequently flowing through a succession of collecting societies, hubs, publishers and sub-publishers.
Even under a relatively straightforward scenario, where a track is composed by a single UK writer and streamed only in their home territory, the result will be three different royalty payments over differing time periods – triggering a statement from PRS for the composer's performing rights, and then separate reports from their publisher for performing rights and mechanical rights.
Throw in the involvement of local overseas collection societies and sub-publishers, plus a multitude of writer splits, and the royalty chains get ever more complex.
That's before we get to data disputes – which might stop the royalty flow completely – and deductions (many international societies extract a fee to fund 'cultural diversity') and unmatched or unattributable distributions. The latter end up in the notorious 'Black Box'.
If unclaimed, this money is typically distributed on the basis of publisher market share. It's therefore no wonder that payments can be delayed by 2-3 years, and no wonder that songwriters are up in arms. Incredibly, it is estimated that more than 20% of song streaming royalties globally may go missing, unmatched or severely delayed through this system.
PRS for Music recently announced that UK songwriters and composers generated a record £746m in music royalties in 2018. However, after costs increased by 8.8%, the overall revenues paid to songwriter and composer members actually decreased by 0.2% to £603.6m. At the end of 2019, PRS have also announced that admin fees will be increasing significantly.
It must be acknowledged that PRS now processes over 11 trillion uses of music per year. But the question still burns: how much more could songwriters have been paid if global royalty chains were overhauled and revenues were allocated more efficiently? How can we reduce admin payments to intermediaries?
At the very least, it is imperative that songwriters (and their managers and accountants) can have easy access to the data and information that can help them understand their own royalty chains.
Also, it should be mentioned that there are many initiatives currently attempting to make the system fit for purpose. Through their joint venture, ICE, PRS for Music, STIM and GEMA have built what they describe as 'the world's first integrated music copyright, licensing and processing hub', looking to bring efficiencies to data processing and issue more direct licences at a regional level. Elsewhere, SongTrust is helping DIY songwriters collect royalties at source, while AMRA (owned by Kobalt) is moving towards global licensing for leading songwriters as a new society.
Undoubtedly there will be other potential solutions. However, fixing this issue feels increasingly like solving a Chinese Puzzle. Rather than searching for silver bullets, we need an urgent and wide-ranging plan of action – led by songwriters and their managers, alongside music publishers, PROs, DSPs and others in the industry.
What needs to happen now?
Laying down the gauntlet, Annabella and the MMF suggest the following areas as an immediate priority:
1. Shine a light on global royalty chains
Given the complexities of the global digital licensing landscape,
it has become too onerous and expensive for all but the most successful songwriters to track and trace their royalty chains.
This needs to change. Collecting societies and music publishers must embrace transparency and move towards making data freely available as standard practice.
2. Reveal the disputes
Music publishers and PROs currently control the flow of data and information, and therefore are the first to see data clashes or disputes. It is unacceptable that they sit on these issues.
3. Shorten the chains by embracing global licensing
If you were starting from scratch, no-one would invent the current territorial licensing framework for online streaming. It is the byproduct of default, not design – and built upon reciprocal partnerships from an analogue era. As well as efforts to disentangle current practices, there must also be a shift towards global licensing of songwriters' repertoire.
4. Speed up the flow of payments
It frequently takes writers years to receive song royalties. Thisis completely unacceptable. Even in the current environment, we should be setting goals that writers get paid, at an absolute minimum, within nine months of their compositions being played.
5. Reduce Black Box collections and distribute unattributed revenues fairly
In theory, unattributed digital revenues should not even exist. There should be no 'Black Box' for streaming. But, there is – and it is filled mostly with royalties owed to smaller writers and publishers towards the end of the long tail. The current 'reverse Robin Hood' system, whereby unclaimed 'Black Box' monies are distributed on the basis of market share is therefore untenable. We need greater incentives for these royalties to be identified – and for societies to take a more proactive approach to locating IP owners.
6. Campaign for change
Finally, we need songwriters, managers and accountants to push their publisher and collecting society partners to actively and urgently address these issues and spotlight those who are making positive changes to ensure that the growth of the industry is equitably shared by all. That conversation began at The Great Escape, but the clock is ticking. For the sake of our entire business, we need chains to be broken and songwriter revenues to be set free.
This article originally appeared in the latest (Q2 2019) issue of MBW's premium quarterly publication, Music Business UK (pictured), which is out now.
MBUK is available via an annual subscription through here.
All physical subscribers will receive a complimentary digital edition with each issue.Music Business Worldwide
Blog United Kingdom Annabella Coldrick MMF
MMF report identifies 'need to explore new commercial models between managers and their clients'
European Music Managers Alliance launches pan-European mentorship program for music managers
MMF – Membership Secretary (UK)
Jayne Stynes appointed General Manager of UK's MMF
APG bolsters leadership team with slew of promotions, including Miles Beard to SVP, A&R


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text:
The 25 Most-Viewed YouTube Videos of All Time: August 2018
In a truly shocking amount of time, Luis Fonsi's "Despacito" has become the most-viewed YouTube video of all time. The international hit and undisputed song of the summer in 2017 passed "See You Again," Wiz Khalifa and Charlie Puth's ode to the Fast and the Furious, on Aug. 4, and it's since become the first video to shatter 5 billion views.…
Psy's "Gangnam Style" enjoyed a five-year reign atop YouTube's charts, but it was dethroned in June 2017. The list of the top 25 most-viewed YouTube videos of all time is changing constantly, but no video has shown the velocity we've seen from "Despacito"—and it won't let up anytime soon.
YouTube tends to be perceived as the domain of insipid vloggers, pranks gone awry, and TV clips. But the truth is, the most popular videos on the site are overwhelmingly music videos.
A look at the top 25 most-viewed YouTube videos reveals that nearly all of them are recent music videos. In fact, only two don't fit that mold: one is a clip from a Russian children's show and the other is an hour-long compilation of classic children's songs. Justin Bieber's "Baby," (the second video to surpass 1 billion views after "Gangnam Style") is the oldest video in the Top 25, having debuted in February 2010. Nearly half of the Top 25 videos are less than 3 years old. Seven videos from 2015 and nine from 2014 populate the list. Three videos from 2016 made the cut: "Work From Home" by Fifth Harmony featuring Ty Dolla Sign, "This Is What You Came For" by Calvin Harris featuring Rihanna, and "Closer" by the Chainsmokers featuring Halsey.
Luis Fonsi's "Despacito" featuring Daddy Yankee was the first video from 2017 to crack the Top 25 list. (The original video from Fonsi is not to be confused with Bieber's popular remix, which came out in April.) But Bieber still reigns supreme with three of the Top 25 spots, trailed by Taylor Swift and Katy Perry both holding two top positions, and Ed Sheeran, whose "Shape of You" surpassed "Gangnam Style" in January 2018 for the third spot.
One major component in the success of these videos is Vevo, YouTube's music video partner, a joint venture between some of the top record companies: Universal Music, Sony Music, Google, and Abu Dhabi Media. Vevo hosts and distributes music videos on its own platform and other sites, with ad revenue shared between Google and Vevo. That extra promotional push is more than most YouTube videos receive, but it's a necessary function for recording artists to make money. Take some time to click through this list and enjoy the music (plus one Russian cartoon).
Screengrab via LuisFonsiVEVO/YouTube
The top 10 most-viewed YouTube videos of all time
1) "Despacito" — Luis Fonsi ft. Daddy Yankee
Will there ever be another song as popular as "Despacito" on YouTube? It's hard to say. We've never seen anything like it. It's the undisputed hit of 2017 and proved that international audiences can make a huge impact on YouTube and in U.S. markets.
Views: 5.44 billion
Uploaded: January 2017
2) "See You Again" — Wiz Khalifa ft. Charlie Puth
Wiz Khalifa's Furious 7 anthem has had a surprisingly long shelf life, in part because the video pays tribute to the late Paul Walker.
Uploaded: April 2015
When "See You Again" eclipsed Psy's "Gangnam Style" in July 2017, it was quickly noticed.
3) "Shape of You"— Ed Sheeran
Since it's release in June 2017, Ed Sheeran's "Shape of You" has quietly made its way into the top 10 YouTube videos of all time, and it shows no signs of slowing down.
Screengrab via Ed Sheeran/YouTube
Views: 3.7 billion
Uploaded: June 2017
4) "Masha and the Bear" — Get Movies
Here's the one video on this list of YouTube's most popular videos that you probably haven't seen. Masha and the Bear is a Russian animated children's show that's been translated to 25 languages and can now be watched on Netflix. What's truly incredible about this video is that it's not even an original—it's an unauthorized copy.
5) "Gangnam Style" — Psy
Remember "Gangnam Style"? Honestly, how could you forget? This viral hit spawned a thousand parodies and a silly dance craze that swept the world—all while providing from subtle class commentary.
Screengrab via officialpsy/YouTube
Uploaded: July 2012
6) "Uptown Funk" — Mark Ronson ft. Bruno Mars
You know a song is huge when you see it performed during a Super Bowl halftime appearance. This anthem helped cement Bruno Mars as a household name.
Uploaded: November 2014
7) "Sorry" — Justin Bieber
No one dominates YouTube's charts quite like Justin Bieber. Part of that is because he delivers major pop hits, but he also has a loyal following from his earliest days on the platform.
Uploaded: October 2015
8) "Sugar" — Maroon 5
Maroon 5's video for "Sugar," the third single off the band's 2014 album V, was inspired in part by the 2005 rom-com Wedding Crashers. The song peaked at no. 2 on the Billboard Hot 100, but it continues to gain traction on YouTube.
Screengrab via Maroon5VEVO/YouTube
9) "Shake It Off" — Taylor Swift
Taylor Swift's "Shake It Off" was an instant hit on YouTube, despite causing some controversy over its twerking scenes.
Screengrab via TaylorSwiftVEVO/YouTube
Views: 2.62 billion views
Uploaded: August 2014
10) "Roar" — Katy Perry
Screengrab via KatyPerryVEVO/YouTube
Uploaded: September 2013
The most viewed videos on YouTube
11) "Bailando" — Enrique Iglesias ft. Descemar Bueno and Gente De Zona
Before "Despacito," there was "Bailando," Enrique Iglesias sexy hit with Descemar Bueno and Gente de Zona, which paved the way Latin artists on YouTube.
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12) "Thinking Out Loud" — Ed Sheeran
Screengrab via EdSheeranVEVO/YouTube
13) "Dark Horse" — Katy Perry ft. Juicy J
Uploaded: February 2014
14) "Hello" — Adele
Screengrab via AdeleVEVO/YouTube
15) "Counting Stars" — OneRepublic
Screengrab via OneRepublicVEVO/YouTube
Uploaded: May 2013
16) "Lean On" — Major Lazer and DJ Snake ft. MØ
Screengrab via majorlazor/YouTube
Uploaded: March 2015
17) "Blank Space" — Taylor Swift
18) "Chantaje" — Shakira ft. Maluma
Screengrab via shakiraVEVO/YouTube
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19) "All About That Bass" — Meghan Trainor
Screengrab via MeghanTrainorVEVO/YouTube
20) "Wheels on the Bus Plus Lots More Nursery Rhymes (54 minutes)" — Little Baby Bum
Screengrab via LittleBabyBum/YouTube
21) "Closer"— The Chainsmokers ft. Halsey
Screengrab via ChainsmokersVEVO/YouTube
22) "This Is What You Came For" – Calvin Harris ft. Rihanna
Screengrab via CalvinHarrisVEVO/YouTube
23) Waka Waka (This Time for Africa) — Shakira
Views: 2 billion
24) "Let Her Go" — Passenger
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25) "Mi Gente" — J Balvin and Willy William
J Balvin/YouTube
Editor's note: This article is regularly updated for relevance.
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text:
module TwitterConnect
  if !defined?(SocialNewsConfig)
    require 'yaml'
    mydir = File.dirname(__FILE__)
    RAILS_ROOT = "#{mydir}/.."
    RAILS_ENV = FeedParser.rails_env
    require 'twitter'
  end

  twitter_config = "#{RAILS_ROOT}/config/twitter.yml"
  @@oauth_config = YAML.load(File.read(twitter_config))[RAILS_ENV] if File.exists?(twitter_config)

  def self.authed_twitter_client(dummy_url)
    access_token, secret_token = $1, $2 if dummy_url =~ %r|dummy_newsfeed_url/(.*)/(.*)|
    oauth = Twitter::OAuth.new(@@oauth_config['consumer_key'], @@oauth_config['consumer_secret'])
    oauth.authorize_from_access(access_token, secret_token)
    Twitter::Base.new(oauth)
  end
end

redpajama_set_name: RedPajamaGithub


Our team of knowledgeable professionals has pioneered groundbreaking formulary outcomes and rebate strategies for over 20 years. The foundation of these strategies has always been value for both payers and manufacturers. Our team of clinical experts has proven success in formulary development, administration and management in Commercial, Medicare and Medicare. We have the expertise to manage all aspects of development from pipeline to pull-though. Balancing lowest net cost with outcomes research and data, our team of clinical and financial experts has more formulary, pricing and rebate contracting experience than any other pharmaceutical consulting firm.


The age of 3D printing and personal fabrication is upon us! You've probably heard of the incredibly sophisticated, yet inexpensive 3D printers that can produce almost any creation you give them. But how do you become part of that revolution?
Sandeep Singh takes you through the skills you need to learn and the services and technologies you need to know—explaining what 3D printing is, how it works, and what it can do for you. You'll find yourself rapidly prototyping and learning to produce complex designs that can be fabricated by online 3D printing services or privately-owned 3D printers—in your hands in no time.
Beginning Google SketchUp for 3D Printing starts by explaining how to use SketchUp and its plug-ins to make your design products. You will learn how to present and animate 3D models, and how to use Google Earth and 3D Warehouse to sell and market your 3D models. You'll also catch a glimpse of the 3D printing's future so you can plan ahead while mastering today's tools.
Welcome to the era of 3D printing and personal fabrication!
3D designers, hobbyists, woodworkers, craftspeople and artists.


The Independent Evaluation Service (IES) is part of the Independent Evaluation and Audit Services of UN Women. IES is the custodian of the evaluation function in accordance with the Evaluation Policy of UN Women and in line with Norms and Standards of the United Nations Evaluation Group (UNEG). It deploys quantitative and qualitative approaches to evaluate transformative changes in gender equality and human rights and UN Women's contribution therein. It undertakes corporate evaluations and promotes their use at decision making levels; supports decentralized evaluations for improved programming and evidence generation on what works for gender equality; supports evaluation capacity development within the organization and of regional and country partners, and promotes coordination with the UN system on joint evaluation of gender equality and the inclusion of gender in system wide evaluation.
Under the guidance and supervision of the Director of the Independent Evaluation and Audit Services, the Chief – Independent Evaluation Service is responsible for leading the development of the four years rolling corporate evaluation plan ; planning and implementation of the annual workplan; oversight and management of all corporate evaluation initiatives and activities and for overseeing all technical support and services provided to decentralized evaluation activities; supporting initiatives to promote gender-responsive evaluation in the UN system, including representing UN Women in the United nations Evaluation Group; developing and leading partnerships of national evaluation capacities for gender-responsive evaluation; and strengthening gender-responsive evaluation use.
Lead the development and implementation of the of Evaluation Strategy.
Lead new strategic initiatives, and continuous improvement of evaluation processes and gender responsive methodologies.
Establish and maintain an effective evaluation quality management and assurance over the activities and outputs of Service, to ensure that they conform with UNEG norms and standards as well as Evaluation Policy.
Plan, manage, and directly participate in the corporate evaluation initiatives and activities, ensuring their proper execution.
Develop four years rolling corporate evaluation plan; identify in consultation with management the programmes, themes and initiatives to be evaluated and prioritize the work of the evaluation team.
Develop, implement and monitor Annual Work Plan and budget.
Lead or oversee the planning, management and implementation of comprehensive corporate evaluations as well as regional, sub-regional and country level.
Guide and supervise evaluation team in the systematic conduct of independent evaluations and assessments.
Facilitate and manage corporate dialogue in evaluation matters and assessment as needed.
Provide strategic advisory support and guidance to field offices and headquarter units on evaluation matters as needed.
Provide guidance on the gender responsive evaluation designs and methods for research, data collection, analysis and reporting.
Assume lead role in preparing summaries of evaluation results, best practices and lessons for presentation or dissemination to field offices, Headquarters and other key stakeholders.
Prepare an annual report on evaluation function to the UN Women Executive Board.
Guide and supervise the evaluation team on developing initiatives on gender responsive evaluation in the UN System and in national evaluation capacity development for SDGs.
Build strategic alliances and partnership with key stakeholders within and outside UN Women to further the gender-responsive evaluation and provide substantive input to evaluation communities of practice and share lessons of experience.
Represent the evaluation function in various UN Women meetings and working groups on corporate issues.
Build and maintain close working relations with UN Women managers, including at the senior level.
Work closely together with UN Women offices and units in the implementation of evaluations.
Work closely together with and contribute to the United Nations Evaluation Group.
Lead and collaborate with multi-stakeholder partnerships for gender responsive national evaluation capacity development.
Cooperate with UN-Women designated evaluation service providers as needed.
Manage human and financial resources of a multi-disciplinary evaluation team to ensure the delivery of complex and concurrent evaluations that are conducted in an independent, cost-effective and timely manner.
Provide support to the evaluation team in the achievement of their career goals, ensuring appropriate learning, training and development, and actively participating in timely planning and assessing staff performance.
Plan efficient and effective deployment of the internal evaluation human and financial resources including as necessary recruitment and procurement of additional resources (individual consultants, firms).
Oversee security requirements for the team.
Promote the mandate of the evaluation function and contribute to the creation of an evaluation culture in the organization.
Contribute to workshops and training on gender responsive evaluation.
Promote the use of evaluations and that the findings and recommendations of evaluations are followed up.
Disseminate lessons learned from UN Women evaluations.
Participates in the implementation of personal learning and training development plan.
Perform any other tasks as requested by the Director of the Services.
Contributions to evaluation culture and sharing of lesson learned.
Ability to effectively manage and/or perform comprehensive evaluations of offices and corporate functions, including experience in managing human and financial resources.
Excellent knowledge of gender equality and women's empowerment issues.
Excellent analytical skills; string grasp of methodological and operational dimensions and the ability to link corporate and country level issues.
Ability to lead multidisciplinary team effectively and in coaching and mentoring staff.
Ability to build networks and partnerships.
Good understanding of results-based management principles.
Ability to lead development of clear strategies and to provide strategic advice to senior management.
Ability to communicate effectively both in written and oral.
Ability to develop innovative solution.
Advanced university degree in Business Administration, Public Administration, Economics, International Development, Sociology, or any other related field. A degree, certificate or diploma in Development Evaluation or Programme/Project Planning, Management and Evaluation is an advantage.
A minimum of ten years of progressively responsible professional experience in corporate and other evaluations.
At least 5 years working experience in an International Organization.
Experience in the design, implementation and management of evaluation programmes.
Experience in effective management of outsourced evaluation activities.
Field experience is an advantage.
Proficiency in French or Spanish is desirable.
Knowledge of other United Nations official languages is an advantage.
All applications must include (as an attachment) the completed UN Women Personal History form (P-11) which can be downloaded from http://www.unwomen.org/about-us/employment. Kindly note that the system will only allow one attachment. Applications without the completed UN Women P-11 form will be treated as incomplete and will not be considered for further assessment.


text:
verify.codeFixAvailable([
    { description: 'Wrap the following body with parentheses which should be an object literal' },
    { description: 'Remove unused label' },
]);


16 December 2014. Published by Benoît Labourdette.
Facets of a vision of the feminine, fragmentary.
A film by Benoît Labourdette (2'12s, 2014).
How the image associated with the sound, can it be synaesthetic ? Does a film can give the sensation of touch, the grain of a skin under the fingers, for example ?
2015 : Café/Ciné # 10 (Les Sables d'Olonne - France).


text:
Development of thin film-based detectors with high sensitivity employing giant magnetoimpedance effect for magnetic detection in the field of biomedical applications
Курляндская, Галина Владимировна (PI)
Бляхман, Феликс Абрамович (CoI)
Сафронов, Александр Петрович (CoI)
Щербинин, Сергей Витальевич (CoI)
Лепаловский, Владимир Николаевич (CoI)
Волчков, Станислав Олегович (CoI)
Мехдиева, Камилия Рамазановна (CoI)
Михневич, Екатерина Андреевна (CoI)
Членова, Анна Александровна (CoI)
Голубева, Елизавета Владимировна (CoI)
Institute of Natural Sciences and Mathematics
Department of Magnetism and Magnetic Nanomaterials
Department of Condensed Matter Physics and Nanoscale Systems
Department of Fundamental and Applied Chemistry
Academic Laboratory of Biological and Medical Physics
Section of Solid State Magnetism
Laboratory "Recovery and Selection Technologies in Sports"
Project: Award Project
The aim of the project is to develop magnetic sensors for biomedical applications with increased sensitivity by elaboration of stable technology of deposition of thin film detectors based on a giant magnetoimpedance effect (GMI) being adapted to the present day semiconductor electronics. The creation of highly sensitive film sensors for biomedical applications is an engineering problem strongly demanded by the society. Its solution is only possible in frame of a multidisciplinary approach joining together engineering sciences, physics, chemistry, materials science, nanotechnology, biology and medicine, provided that the fundamentals are developed.
One of the fundamental characteristics of a magnetic biosensor is sensitivity to the external magnetic field. The GMI provides a very high sensitivity to the magnetic field. There are GMI detectors of weak fields (up to 1 nT with a resolution of up to 1 pT) based on amorphous wires operating under pulsed excitation. However, in comparison with sensors excited by a harmonic current, such detectors have a number of disadvantages: the inability to register signals at a signal-to-noise ratio of less than 0 dB; the design is not well matched with semiconductor integration technology; the possibility of using digital signal processing is limited. It is known that the maximum sensitivity to an external magnetic field is achieved in the symmetric GMI structures. The applicants have own experience in the field of technology for the preparation of film nanostructures of the [FeNi/Cu]x/Cu/[FeNi/Cu]y and [FeNi/Ti]x/ Cu/[FeNi/Cu]y. The aim of this project is: to develop technologies for the production of thin film GMI structures of the appropriate architecture on rigid or flexible substrates, providing a the highest of existing sensitivity for the detection of the biomedical signals.
Film geometry is most adapted to the semiconductor electronics. Sensors excited by a high-frequency harmonic signal provide faster measurements: when operating at a frequency of about 80 MHz, it is possible to record changes in the magnetic field occurring in hundreds of nanoseconds. The flat form of film structures allows to vary the active surface area of the sensor, but the main technological advantage is the existence of stable technologies for obtaining multilayer structures. The project proposes to develop a sensor based on a quadrature demodulator. The latter is characterized by the presence of an additional synchronous detector, to which the signal is shifted in phase by π/2 as the reference. Both in-phase and quadrature components of the signal reflect slow changes in the external magnetic field, and can be converted to digital form using analog-to-digital converters. The use of a quadrature demodulator will allow an extreme increase in the signal-to-noise ratio (SNR) in the measurement of weak magnetic fields due to the transfer of the spectrum of the measured signal to the region of relatively high frequencies, where the effect of noise is much lower. It is supposed to create a magnetic field detector based on a film-based GMI sensor and a quadrature demodulator operating at room temperature and providing a sensitivity of 0.5 nT in the magnetic field induction measurement range B = ± 10 μT. To establish a more accurate position of the sensor operating point, increase stability of operation and reduce dependence on fluctuations in ambient temperature, a bridge or differential switching circuit is planned.
To study the parameters of the sensors, the systems based on the Agilent E4991 impedance analyzer and the vector network analyzer ZVA-67 Rohde & Schwarz (VNA) will be used to in the power range from microwatts to tens of milliwatts. It is possible to measure the parameters of films using a high-frequency signal with amplitude modulation, as well as using a regime of connecting a constant component of the current of different polarity. VAC ZVA-67 is equipped with four independent channels, which allow to measure the parameters of differential and bridge high-frequency magnetic field sensors. It is planned to develop a film detector with a sensitivity comparable to the sensitivity of SQUID, but operating at room temperature and with dimensions of a cell phone that has a combination of technological characteristics that do not have world analogues. Extreme sensitivity of the order of 0.5 nT will be achieved due to the excitation of a high-frequency harmonic signal and the use of circuitry solutions that compensate the external noise.
The use of quadrature detection of a stable high-frequency harmonic signal determines important advantages over pulsed excitation: the possibility of operating under conditions of considerable external electromagnetic interference exceeding the amplitude of the signal; the ability to apply digital signal processing; extremely low level of own noise; the possibility of increasing the speed of the detector, etc.
It is assumed that the GMI sensors of the new class will be tested in the mode of detecting biomedical signals. To do this, biomimetics of biological tissues based on synthetic polymers (gels) filled with magnetic particles will be created and conditions for the synthesis of stable suspensions of nano/microparticles of iron oxide and hydrogels based on them will be worked out. To increase the biocompatibility of the tested materials, gels will be synthesized with chemical and physical grids, the latter of which will be represented by biological polysaccharides and/or proteins. It is supposed to obtain the dependence of the intensity of the GMI sensor response on the concentration of magnetic particles in the gel, its physicochemical structure and functional properties (viscoelastic and electrical characteristics). In addition, in vitro experiments, an evaluation of the proliferation potential of cells in ferrogels will be performed, by describing the relationships between the features of cell culture on gels and the parameters of the GMI signal. At the final stage, experiments are planned on animals in vivo in the processes of regeneration of damaged sections of the tissues of the locomotor system of animals.
It is expected that the developed film detector will become the basis of a line of sensor magnetic detection devices in the field of biomedical applications
RNF
Kuibyshev Research Division


The most stubborn fat accumulate in our body is that bulge beneath navel. No matter how hard you try it just never goes away at least not with diet or exercise. So what should one do…? Give up certainly not but tummy tuck is for whole abdominal so now what, new solution is mini tummy tuck. Mini tummy tuck unlike full tummy tuck is suitable for those who has who has a slim midsection and only desires to change the shape of their tummy by reducing a limited amount of bulging or saggy skin.
What are the Procedure of Mini Tummy tuck / Mini Abdominoplasty?
During a VASER Tummy Tuck, specific generated sound waves are passed through the body skin to liquefy fat which is then removed gently using suction. Areas that can be sculpted are the chest, tummy, back, flanks, waistline and buttocks.
A Tummy Tuck is then performed by making an incision in the abdominal crease to remove skin and tissues Dr. Prashant Yadav uses a much smaller incision that does not require detachment of the belly button. The rectus muscles, better known as the 'six pack', are tightened with sutures and the extra skin, tissue and fat are removed through the incision. To remove excess fat, liposuction is frequently used to achieve the desired result.
Understanding the patient's goals is very important to achieving a customized procedure, which is why Dr Prashant Yadav , a board certified Plastic Surgeon, will take the time during your consultation to find out what your expectations are and answer all your questions and concerns about a mini tummy tuck.
You should discuss your medical history, and regular medications including over-the-counter medicines with your doctor.
You will undergo a series of medical tests to determine if the Tummy Tuck procedure is suitable for you.
You should stop smoking about four weeks before your Tummy Tuck surgery as it may lead to post surgical complications.
You should stop alcohol consumption two weeks before the procedure.
You must cease taking anti-coagulants and anti-inflammatory medicines for about two weeks before the surgery as it may lead to excessive bleeding and slow recovery.
You should take multivitamins about two weeks before your Tummy Tuck surgery.
You should reduce the intake of salt as it may lead to swelling after the procedure.
You should not eat or drink anything after midnight on the night before the surgery.
You may take your regular medicines with a small sip of water.
You should walk bent forward and place pillows under your head and knees for the first two to three days.
You should sleep in a fetal position and get up from the bed in stages to reduce pain and discomfort.
You should empty the drain that has been placed to remove the excess blood and fluid two to three times a day.
You should avoid taking a bath for about two weeks after Tummy Tuck surgery or, until the drains and sutures have been removed and the incision has properly healed.
You should avoid whirlpools and swimming pools for about a month.
You should wear the Tummy Tuck belt at all times for the first three weeks. You should continue wearing the Tummy Tuck belt during the day for the next three weeks.
You should avoid taking anti-coagulants and anti-inflammatory medicines for about two weeks after the procedure.
You should avoid consuming alcohol for about two weeks after the Tummy Tuck surgery.
You should avoid strenuous exercises for six weeks after the surgery.
You should avoid using hot or cold compressors as it may lead to frostbite or burns without your knowledge.
You should have adequate rest but not be confined to bed completely as it may cause vein clots in the legs.
There are certain discomfort after every surgery hence yes there will be some discomfort which can be sorted easily by prescribe medicines. It is important to slowly walk around within the first two to three days, slightly bent forward to prevent any tension on the incision. You'll be required to wear a compression garment for three weeks after the surgery. This controls swelling and helps the skin in the area conform to its new sleeker contour. It also helps with proper healing of mini tummy tuck scars. Recovery from a partial abdominoplasty is relatively short. It takes 7-14 days to fully recover. Patients usually become normally active and return to work within two weeks after the operation.
Dr Prashant Yadav is highly trained surgeon he has performed mini tummy tuck many times successfully. This procedure is completely safe and results are long lasting.
Prices depends on how much fat has to be removed hence it varies from person to person. For estimate cost of your surgery or any other query kindly call us on +919272007896, +918485084716 to schedule your consultation or mail us dezireclinicindia@gmail.com.
1. First and foremost question – Is mini tummy tuck worth it?
Yes! It is worth it. Even if you have slim waist that extra bulge on your lower abdomen can make you feel self conscious, not only that because of this unwanted stubborn bulge you won't be able to wear desired clothes and mini tummy tuck is totally safe, minimal invasive and result oriented.
2. Is mini tummy tuck is painful?
Yes it can be painful but that pain is minimal and can easily sort by prescribed medicine.
3. Who should have a Mini Tummy Tuck?
A Tummy Tuck is best suited for men and women who have an ideal body weight but, are unable to get rid of abdominal fat and skin redundancy despite a balanced diet and a healthy lifestyle.
4. One can consider a Mini Tummy Tuck after c section?
One should definitely wait for at least 6 months after giving birth before having any procedure on your abdomen. The skin and muscles need to contract so that a proper plan can be made.


On the off chance that you are looking for payment receipt formats that you can use as a guide making your own one-of-a-kind payment receipts, then you have landed on the correct website. No compelling reason to look on different sites since we have seven Sample Receipts you can browse through.
Individuals use payment receipts to establish that an exchange between two parties involving money happened and that both gatherings have built up a comprehension with respect to the payment. People who make use of payment receipts are basically entrepreneurs who offer items and services to their clients.
Payment receipts will vary per business since everything relies on the preference of the business and the perceived needs of the customer. Whatever industry you might be in, utilizing payment receipts can help you have a sensible association with your customer. Regardless, even with the slight complexities in arrangements, most payment receipts basically have and gather practically a similar data.
The date of trade or exchange.
Each receipt issued will be designated a receipt number with the target of tracking of trades regularly less perplexing ought to there be varieties in stock or issues that may arise on account of the exchange.
The basic bits of knowledge about the business including the name of the business, logo, the address of business, and contact data of the business.
Customer information that consolidates the customer's name, address, and contact data. A database can be made with the guide of this data and customers can be made aware of the promos and discounts that the business may have.
Specifics about the exchange. This will consolidate the codes relegated for the items/material/benefit, the number of things acquired, cost per unit, and the total amount paid. This can help with looking out for the affiliation's stock.
Signature of the payer and payee. This is reflected in the receipt to make it clear that both sides have conceded to the terms and states of the exchange.
You may also check out our Contractor Receipt Samples.
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You may also be interested in Acknowledgement Receipt.


Hyderabad is the capital of Andhra Pradesh, India, and is one of the largest metropolitan cities in the country with an area of 650 square kilometres (250 sq mi). The city has a population of 6,809,970 with a further 7,749,334 living in the metropolitan area, making Hyderabad the fourth most populous city and the sixth-most populous urban agglomeration in India. However, there has been public criticism that the figure is an undercount, and that the population of the Greater Hyderabad area would be about 10,000,000. The city is often known by the sobriquet The City of Pearls.
Hyderabad was established in 1591 AD on the banks of the Musi River located at the crossroads of North and South India on the tip of the Deccan Plateau, leading it to develop a unique culture.The twin cities of Hyderabad and Secunderabad come under the ambit of a single municipal unit, the Greater Hyderabad Municipal Corporation.
Hyderabad was once a global center of the diamond and pearls trade, and, during late 20th and early 21st century, the city emerged as a major global center for the information technology (IT) industry, and biopharmaceutical industry. The city is home to the Telugu Film Industry, known popularly as Tollywood.
Hyderabad is home to many historical sites, including the UNESCO Asia Pacific Heritage site of Chowmahalla Palace. The city is a regular tourist hotspot and carries many places of interest.


text:
Q: Postgresql function doesn't work properly Why is my function returning only half the zip codes?
I mean if i do
insert into address(zip_code) values(99-100)

it's doesn't work properly, because it's adding only "99-".
CREATE FUNCTION normalize_zip_code() RETURNS trigger AS $$
BEGIN
    if length(NEW.zip_code)<=4 and length(NEW.zip_code)>=6 then
         RAISE EXCEPTION 'Wrong zip code!';
    elsif length(NEW.zip_code)=6 and (SUBSTRing(NEW.zip_code, 3, 1)='-') then
         NEW.zip_code:= concat((SUBSTRing(NEW.zip_code, 1, 2))::varchar(2),(SUBSTRING(NEW.zip_code, 3, 1))::varchar(1), (SUBSTRING(NEW.zip_code, 3, 5))::varchar(3));
         return NEW;
    else
            NEW.zip_code := concat((SUBSTRing(NEW.zip_code, 1, 2))::varchar(2),'-' (SUBSTRING(NEW.zip_code, 3, 5))::varchar(3));
            RETURN NEW;
        end if;
        END;
        $$ language plpgsql;

redpajama_set_name: RedPajamaStackExchange


For over 40 years sonpura has manufactured high quality rest sets, which turn into an authentic pleasure. Those daily brakes where we replenish our strength and renew our mind. We need to sleep well so that we can live fully and with maximum intensity so that we can enjoy a better life.


The changing nature of work and the workforce is driving HR to modernize its current programs and optimize existing spend, with a focus on creating a differentiated talent experience and talent value proposition that meets employees where they are – and, where they want to go.
To evolve the organization, HR must be the catalyst – first modernizing itself before it can lead the change within the business.
John Bremen is Managing Director of Human Capital & Benefits, North America, at Willis Towers Watson. He is a recognized global business leader, C-suite and board consultant, and thought leader on the future of human capital, purpose-driven organizations, and the modernization of human resources and Total Rewards programs. John works with boards and senior executives to align human capital and benefit strategies and practices with business strategies in order to drive broad-scale organizational performance.


text:
Q: Why is selenium not applying "click" to a popup? I know the xpath of this popup tabs element is correct, however when I do filters_language_dropdown.click() and then .send_keys(Keys.Enter. It doesn't do anything.
However the same popup (press 'filters' button on this page to view) works with the xpath of the initial button press element instead (see code + images below) so with filters_button.send_keys.... Whats going on?

        # Initialize the browser and navigate to the page
        browser = webdriver.Chrome(service=Service(ChromeDriverManager().install()))
        browser.get("https://www.facebook.com/ads/library/?active_status=all&ad_type=all&country=ALL&q=%22%20%22&sort_data[direction]=desc&sort_data[mode]=relevancy_monthly_grouped&search_type=keyword_exact_phrase&media_type=all")
        # (In working order): Look for keyword, make it clickable, clear existing data in box, enter new info, keep page open for 10 seconds
        search_box = WebDriverWait(browser, 10).until(EC.element_to_be_clickable((By.XPATH, "//input[@placeholder='Search by keyword or advertiser']")))
        search_box.click()
        search_box.clear()
        search_box.send_keys("" "" + Keys.ENTER)
        time.sleep(3)

        # Activating the filters (English, active ads, date from (last 2 days) to today)
        filters_button = WebDriverWait(browser, 10).until(EC.element_to_be_clickable((By.XPATH, "//body[1]/div[1]/div[1]/div[1]/div[1]/div[1]/div[1]/div[5]/div[2]/div[1]/div[1]/div[3]/div[1]/div[1]/div[1]/div[1]/div[1]/div[1]/div[1]")))
        filters_button.click()
        filters_button.send_keys(Keys.ENTER)
        time.sleep(3)

        filters_language_dropdown = WebDriverWait(browser, 10).until(EC.element_to_be_clickable((By.XPATH, "//div[@id='js_knd']//div[@class='x6s0dn4 x78zum5 x13fuv20 xu3j5b3 x1q0q8m5 x26u7qi x178xt8z xm81vs4 xso031l xy80clv xb9moi8 xfth1om x21b0me xmls85d xhk9q7s x1otrzb0 x1i1ezom x1o6z2jb x1gzqxud x108nfp6 xm7lytj x1ykpatu xlu9dua x1w2lkzu']")))
        filters_language_dropdown.click()
        filters_language_dropdown.send_keys(Keys.ENTER)
        time.sleep(3)

A: Use following xpath to click on the filter and then click on all languages and then click on English if you want to change other language you need to pass let say 'French',you need to change instead of English.
Code:
browser.get("https://www.facebook.com/ads/library/?active_status=all&ad_type=all&country=ALL&q=%22%20%22&sort_data[direction]=desc&sort_data[mode]=relevancy_monthly_grouped&search_type=keyword_exact_phrase&media_type=all")

search=WebDriverWait(browser,10).until(EC.visibility_of_element_located((By.XPATH,"//input[@placeholder='Search by keyword or advertiser']")))
search.click()
search.clear()
search.send_keys("" "" + Keys.ENTER)

WebDriverWait(browser,10).until(EC.element_to_be_clickable((By.XPATH,"//div[text()='Filters']"))).click()
WebDriverWait(browser,10).until(EC.element_to_be_clickable((By.XPATH,"//div[text()='All languages']"))).click()
WebDriverWait(browser,10).until(EC.element_to_be_clickable((By.XPATH,"//div[text()='English']"))).click()
time.sleep(10) # to check the operation

Browser snapshot:


Formulate® Designer Series 10ft Fabric backwall Kit 09 has unique stylistic features and shapes, is portable and is easy to assemble. The two aluminum tube frames features spigot connections and zipper pillowcase fabric graphics. A curved panel draws the eye, and integrated monitor mount makes it easy to incorporate digital messaging into the backwall. Designer Series Kit 09 comes in two portable, expandable wheeled transit cases for easy storage and transport. Assembly is easy – simply connect the tubes, pull the pillowcase fabric graphics over the frame and zip.


text:
Transnational Anarchism in Latin America
Guest Editor / Edición a cargo de: Steven Hirsch
Steven Hirsch
Without Borders: Reflections on Anarchism in Latin America
Kirwin Shaffer
Contesting Internationalists: Transnational Anarchism, Anti-Imperialism and US Expansion in the Caribbean, 1890s-1920s
Anton Rosenthal
Radical Border Crossers: The Industrial Workers of the World and their Press in Latin America
Geoffroy de Laforcade
Federative Futures: Waterways, Resistance Societies, and the Subversion of Nationalism in the Early 20th-Century Anarchism of the Río de la Plata Region
John Hillman
A White Elephant in Asphalt: The United States and Transport Policy in Bolivia, 1941-1951
Kurt Weyland
ADRIAN J. PEARCE (ed.): Evo Morales and the Movimiento al Socialismo in Bolivia: The First Term in Context, 2006-2010. London: Institute for the Study of the Americas, University of London, 2011.
Javier Astudillo
SEBASTIAN EDWARDS: Left Behind: Latin America and the False Promise of Populism. Chicago: The University of Chicago Press, 2009.
Cristóbal Kay
ENRIQUE MAYER: Ugly Stories of the Peruvian Agrarian Reform. Durham, NC: Duke University Press, 2009.
John Crabtree
ROBERT L. SMALE: I Sweat the Flavor of Tin: Labor Activism in Early Twentieth-Century Bolivia. Pittsburgh: University of Pittsburgh Press, 2010.
Biorn Maybury-Lewis
WENDY WOLFORD: This Land is Ours Now: Social Mobilization and the Meanings of Land in Brazil. Durham & London: Duke University Press, 2010.
Samuel Schmidt
PABLO PICATO: The tyranny of opinion. Honor in the construction of the Mexican Public sphere. Durham & London: Duke University Press, 2010.
Agustín Vaca
STEPHANIE J. SMITH: Gender and the Mexican Revolution. Yucatán Women and the Realities of Patriarchy. North Carolina: The University of North Carolina Press, 2009.
JOHN MRAZ: Looking for Mexico: Modern Visual Culture and National Identity. Durham & London: Duke University Press, 2009.
Angela Alonso
ORI PREUSS: Bridging the Island. Brazilians' Views of Spanish America and Themselves, 1865-1912. Madrid: Iberoamericana, 2011.
Ana Cecchi
AMY CHAZKEL: Laws of Chance: Brazil´s Clandestine Lottery and the Making of Urban Public Life. Durham & London: Duke University Press, 2011.
Alejandro Campos García
LARS SCHOULTZ: That Infernal Little Cuban Republic: The United States and the Cuban Revolution. Chapel Hill: The University of North Carolina Press, 2009.
O. Hugo Benavides
RAFAEL DE LA DEHESA: Queering the Public Sphere in Mexico and Brazil: Sexual Rights in Emerging Democracies. Durham & London: Duke University Press, 2010.
Apen Ruiz
HENDON, JULIA A: Houses in a Landscape: Memory and Everyday Life in Mesoamerica. Durham & London: Duke University Press, 2010.
Tamar Herzog
LAURA GIRAUDO (coord.): Derechos, costumbres y jurisdicciones indígenas en la América Latina contemporánea. Madrid: Centro de Estudios Políticos y Constitucionales, 2008.
Héctor Fernández L'Hoeste
JUANA SUÁREZ: Sitios de contienda: producción cultural colombiana y el discurso de la violencia. Madrid: Iberoamericana Vervuert, 2010.
Juan J. Rojo
JOANNA DREBY: Divided By Borders: Mexican Migrants and Their Children. Berkeley: University of California Press, 2010.
Yael Mabat
ERICK D. LANGER: Expecting Pears from an Elm Tree: Franciscan Missions on the Chiriguano Frontier in the Heart of South America, 1830-1949. Durham & London: Duke University Press, 2009.
Alex Kerner
ANDREW B. FISCHER & MATTHEW D. O'HARA (eds.): Imperial Subjects, Race and Identity in Colonial Latin America. Durham & London: Duke University Press, 2009.


The 2011 federal budget was surrounded with drama as all political parties postured for an impending election.
If there's one thing that's sure to dampen business investment and growth in an advanced industrial economy, it's uncertainty.
And that's exactly what was created on budget day 2011 mere minutes after the plan was announced, when all three opposition parties stated their unwavering contempt for the policy document.
In an ironic twist of fate, the 2011 federal budget represented the first time in years when the plan contained numerous items aimed to help manufacturers and other small businesses. Read an outline of the goodies here.
The biggest boon to the manufacturing sector would have been the accelerated Capital Cost Allowance (CCA), which was extended by an additional two years. This measure alone would have saved manufacturers nearly $620 million over the two year span of the program, and Jayson Myers, president and CEO of Canadian Manufacturers and Exporters (CME) says it's no sure thing we'll see that tax measure implemented again.
"A lot of companies are looking past December, and this would have given them a vote of confidence to continue investments," says Myers.
Myers contends this will slow growth because business investment and export competitiveness will likely be the key drivers of the economy over the next few quarters.
"Even just delaying [the CCA] until after an election and a new budget is in place still means lost months in terms of investment planning," he says.
Any delay would be poorly timed, as companies are currently in the midst of an investment window where planning and capital spending decisions will result in spending that occurs past the end of 2011, when the current CCA will expire.
"The extension of the capital cost allowance is particularly important now as the auto industry is still climbing out of the big recession of 2009," says Steve Rodgers, president of the Automotive Parts Manufacturers Association.
Any uncertainty on this front means firms will likely think twice about investing in machinery for productivity and new products in an economy where many global competitors are hamstrung with economic recovery measures.
Add to that the uncertainty of corporate tax rate reductions, also included in the budget document so loudly denounced by the opposition.
First off, removing the CCA for manufacturing equipment would probably offset any benefit the sector would get from corporate tax rate deductions already booked over the next couple of years.
But what would happen if that move was combined with a new government putting an end to the corporate rate reduction scheme currently being implemented?
Myers says that could probably cost manufacturers more than $3 billion over the next five years.
Indeed, just when it looked like the government finally understood that a strong manufacturing base was a critical node in our economic matrix, you get tossed another round of guess work.


We update this page on a regular basis, if the product you are interested in is out of stock at the moment check back later for an update.
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For efficient downloading, ua-downs.zip contains all files linked below.
Information and key references on Down's.
Leads the user through the needs assessment process for Down's.
Used for entering numerical data estimates and calculations for Down's in Ukraine.


Pam MacEwan is the Chief Executive Officer for the Washington Health Benefit Exchange. Prior to joining the leadership team at the Exchange, Pam served as Executive Vice President for Public Affairs and Governance for Group Health Cooperative. She directed Medicare & Medicaid program performance and strategy, government relations, public policy, communications, and consumer governance serving on Group Health's leadership team for 16 years. Previously, Pam served as a Commissioner with the Washington Health Services Commission implementing the Health Services Act. She worked with a broad coalition to pass health reform legislation.
Pam has served on several health policy initiatives in the public and private sector, chairing the Association of Washington Health Plans, serving on the Washington State Hospital policy committee, the King County Health Action Plan, and the Children's Health Initiative.
She holds an MAT in history from Brown University and a Bachelor of Arts degree in economics from the Evergreen State College.


It's the first time since the stroke that your family with aphasia will be seeing friends or family. Your friends and family will mean well, but may be unsure of what to say or how to act.
Families often ask "can I use my insurance for intensive aphasia therapy?". Unfortunately, the answer is 'no', and there's a reason for that. It may be helpful to have an overview of how your insurance works.
Aphasia. No one has heard of it before they experience it. All you know is that your life has suddenly coming crashing to a halt.
I can't say it. This is one of the most common things we hear from our clients with aphasia.
I meet a LOT of families with aphasia—younger, older, married, divorced, executives, soldiers, students—you name it, anyone can have aphasia.
Two different families. Two different states. Two different strokes. And independently of each other, they decided to travel to The Aphasia Center for intensive aphasia therapy and booked overlapping sessions.
I'm always amazed by the number of families with aphasia who come to the Aphasia Center and report that they have no contact with other families with aphasia in their areas.
We have all seen them. Reality competition shows have taken over the networks. From American Idol to Survivor, Project Runway to Dancing With The Stars.


text:
What is MIPEX
MIPEX is a unique tool which measures policies to integrate migrants in 56 countries, including all EU Member States and the UK, OECD countries, Albania, Argentina, Brazil, China, India, Indonesia, Jordan, Moldova, North Macedonia, Russia, Saudi Arabia, Serbia, South Africa, United Arab Emirates, and Ukraine.
Who Produces MIPEX
The fifth edition of the MIPEX rests on the extensive and long-term collaboration of trusted partners, experts and supporters of the project. See their structure and their role.
MIPEX History
The Migrant Integration Policy Index was first published in 2004 as the European Civic Citizenship and Inclusion Index. Read more about the previous four editions of the Migrant Integration Policy Index. You can also download previous editions.
MIPEX Methodology
There are 58 policy indicators on migrant integration in the MIPEX. These have been designed to benchmark current laws and policies. Read more about the methodology.
Who is running the study? Are they credible? Has MIPEX been useful? Any many other frequently asked questions...
Labour Market Mobility
Access to Nationality
Play With The Data
Dig into MIPEX data and create custom graphs
Save information from MIPEX in PDF format. Create a custom PDF.
MIPEX cited in the Economist
In a recent article in the Economist, MIPEX was cited in reference to Denmark's "halfway favourable" access to nationality. This reliance of the media upon MIPEX data demonstrates the continued demand for the objective, benchmarkable and comparable measurement of policies across countries.
You can read the full article in the Economist here.
MIPEX Team
MIPEX team is formed by the members of CIDOB and Migration Policy Group, the leading organization of the Migrant Integration Policy Index project.
The index is the most comprehensive, reliable and used tool to compare what governments are doing to promote the integration of migrants across Europe and the world.
Academic citation:
Migrant Integration Policy Index 2020
Solano, Giacomo and Huddleston, Thomas (2020)
To stay up to date on MIPEX developments you can sign up to our newsletter, or follow us on Facebook and Twitter.
MIPEX YouTube Channel
Copyright © 2020 MIPEX. All rights reserved.
New results of MIPEX
We are pleased to announce that the new results of MIPEX (2014-2020) will be published by the end of 2020. MIPEX 2020 will include 52 European and non-European countries: Australia, Brazil, Canada, China, EU28, India, Japan, Mexico, US and much more. Stay tuned!


text:
Encyclopedia > Hrolf Ganger
Redirected from Hrolf Ganger
Rollo was the Frankish-Latin name taken by (probably) Hrolf Ganger (Hrolf the Walker, or G�nge Rolf). He has also been called "Rollo the Gangler" in some works, or occasionally "Robert".
Rollo (c.860 - c.932) was a Viking leader, probably (based on Icelandic sources) the son of Ragnvald, Earl of Moer[?]. With his followers (known as Normans, or northmen), Rollo invaded the area of northern France now known as Normandy.
Concluding the Treaty of Saint-Clair-sur-Epte[?] (911) with the French king Charles the Simple, Rollo pledged feudal allegiance to the king, changed his name to the Frankish version, and converted to Christianity. In return he was granted the lower Seine area (today's upper Normandy) and the titular rulership of Normandy. There exists some argument among historians as to whether Rollo was a "duke" (dux) or whether his position was equivalent to that of a "count" under Charlemagne.
In 927 he passed the dukedom to his son, William Longsword[?].
He was a direct ancestor of king William I of England.
See also: �lesund, Viking Age
References and external links
Rosamond McKitterick, The Frankish Kingdom under the Carolingians, 751-987, (Longman) 1983
North Lindenhurst, New York
... males. The median income for a household in the town is $59,022, and the median income for a family is $63,642. Males have a median income of $42,403 versus $31,296 for ...


text:
At RJI, we've been working to improve how we share information with our readers.
Judd Slivka named n...
Judd Slivka named new RJI director of aerial journalism
Freedom of speech and information Innovation Journalism education Technology
RJI Online | February 1, 2018
The Missouri School of Journalism's Donald W. Reynolds Journalism Institute has created a new program that will explore drones and other journalism opportunities in the sky. Judd Slivka, assistant professor of convergence journalism, has been named its first director of aerial journalism.
"This new position will examine the different facets of this emerging area," says Randy Picht, executive director of RJI. "Drones are just the beginning and we want to lead the way to help journalists understand and utilize the various technologies and issues to tell their stories. Judd is the perfect pilot for this effort."
Slivka teaches mobile journalism, including drone training, at the Missouri School of Journalism and serves on the graduate faculty.
"We're looking to move the drone journalism program forward, beyond the basic how-to-fly-a-drone," says Slivka. "We won't just limit ourselves to drones. There are opportunities with satellite images and things we haven't yet thought of. The space above our heads is vast and we're just beginning to understand the opportunities and challenges."
The roots of the school's drone journalism program began with Bill Allen, assistant teaching professor emeritus, who began teaching "Civilian Drone Issues: Applications and Flight" back in 2012. Rick Shaw, former director of RJI's Pictures of the Year International program, sat in on one of Allen's classes and would later co-teach the course with Allen. In 2015, Shaw completed safety and instructor certifications for drones, and later bought and operated RJI's first drone. Both Allen and Shaw recently retired.
"The beauty of drone journalism — with both visual and non-visual data — is that most any news organization can do this, even the small ones," says Slivka. "While a helicopter might cost a TV station $1,000 an hour, operating a drone can cost less than a couple of dollars an hour."
This spring, Slivka is teaching an Emerging Technology class that includes 28 students, two police officers, faculty and staff. The first eight weeks include classroom instruction on the basics of drone safety: rules, regulations and aviation practices. During the second eight weeks, students will operate drones in a faculty-controlled environment while studying ethics, storytelling, privacy issues and technical challenges. Students who complete the first eight weeks will be better prepared to take the FAA Section 107 test for their remote pilot certification.
Next year Slivka hopes to find ways to resolve many of the issues the new, fast-developing technology is bringing to the forefront: controlling drone traffic at news scenes; protecting First Amendment and airspace rights while using drones for news coverage; and creating a culture of safe, responsible drone operators in the media.
aerial journalism bill allen convergence journalism drones emerging technology faa federal aviation administration judd slivka pictures of the year international poyi randy picht reynolds journalism institute rick shaw rji school of journalism university of missouri
How I spent my summer: Drone camp
RJI 2018: Strengthening local journalism, testing practical innovations, and trust and transparency
Winners announced in the 70th annual Pictures of the Year International competition
Pictures of the Year International to celebrate milestone at Newseum; POYI director Shaw to retire
Reynolds Foundation endowment for RJI
Dean Mills' remarks at announcement of $30.1 million gift from Reynolds Foundation
Talk Story, Write Story
Missouri high schoolers in Talk Story, Write Story offered more than $700,000 in scholarships


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text:
Q: Is there a __builtin_constant_p() for Visual C++? Is there some function like GCC's __builtin_constant_p() for Microsoft Visual Studio?  As I understand, the function returns non-zero if the argument is constant, like a string literal.
In the answer here (How to have "constexpr and runtime" alias) is a nice use case of it.
EDIT:
My idea was instead of writing something like:
#include <string.h>
int foo() {
   return strlen("text");
}

I could write:
#include <string.h>
// template_strlen() would be a function that gets the length of a compile-time     const string via templates
#define STRLEN(a) (__builtin_constant_p(a) ? template_strlen(a) : strlen(a))
int foo() {
   return STRLEN("text");
}

(I guess that is about what was written in the linked question.)
All I need for that is a variant of __builtin_constant_p().

A: If is_literal_type is not what you want, the following function might be of use. With it I was able to tell the difference between a char string that was defined as follows and one that was allocated on the heap.
LPCTSTR constString = _T("Hello World!");

My implementation of constant_p is as follows.
int constant_p(const void *p)
{
    static bool s_init = false;
    static ULONGLONG s_TextSegmentStartVirtualAddress = 0;
    static ULONGLONG s_TextSegmentEndVirtualAddress = 0;
    static ULONGLONG s_RDataSegmentStartVirtualAddress = 0;
    static ULONGLONG s_RDataSegmentEndVirtualAddress = 0;
    if (! s_init)
    {
        s_init = true;
        PIMAGE_NT_HEADERS pNtHeaders = ::ImageNtHeader(
            reinterpret_cast<PVOID>(::GetModuleHandle(NULL)));
        if (! pNtHeaders)
        {
            return 0;
        }
        ULONGLONG ImageBase = pNtHeaders->OptionalHeader.ImageBase;
        PIMAGE_SECTION_HEADER pSectionHeader = (PIMAGE_SECTION_HEADER)(pNtHeaders + 1);
        for (WORD i = 0; i < pNtHeaders->FileHeader.NumberOfSections; ++i)
        {
            char *name = (char*)pSectionHeader->Name;
            if (0 == ::strcmp(name, ".text"))
            {
                s_TextSegmentStartVirtualAddress = ImageBase
                    + pSectionHeader->VirtualAddress;
                s_TextSegmentEndVirtualAddress = s_TextSegmentStartVirtualAddress
                    + pSectionHeader->SizeOfRawData;
            }
            else if (0 == ::strcmp(name, ".rdata"))
            {
                s_RDataSegmentStartVirtualAddress = ImageBase
                    + pSectionHeader->VirtualAddress;
                s_RDataSegmentEndVirtualAddress = s_RDataSegmentStartVirtualAddress
                    + pSectionHeader->SizeOfRawData;
            }
            pSectionHeader++;
        }
    }
    if (0 == s_TextSegmentStartVirtualAddress)
    {
        // Something went wrong. Give up.
        return 0;
    }
    ULONGLONG test = reinterpret_cast<ULONGLONG>(p);
    if (
        s_TextSegmentStartVirtualAddress <= test
        && test <= s_TextSegmentEndVirtualAddress
    )
    {
        return 1;
    }
    else if (
         s_RDataSegmentStartVirtualAddress <= test
         && test <= s_RDataSegmentEndVirtualAddress
     )
    {
        return 1;
    }
    return 0;
}

Note you need to include DbgHelp.h and link with DbgHelp.lib in order for this to work.
I hope one of my proposed solutions works for you. I would like to know.

A: In Visual Studio 2012 and Visual Studio 2013 there is the _IS_LITERAL_TYPE macro which makes use of std::is_literal_type, which is documented at http://www.cplusplus.com/reference/type_traits/is_literal_type/.
The following is a relevant excerpt from the documentation of is_literal_type.
"""Trait class that identifies whether T is a literal type.
A literal type is a type that can qualify as constexpr."""
Perhaps this would suffice.
The following excerpt from the documentation for __builtin_constant_p leads me to believe it will.
"You can use the built-in function __builtin_constant_p to determine if a value is known to be constant at compile-time..."
To me the phrases "is a literal type," "constexpr," and "known to be constant at compile-time" have the same meaning. Perhaps I am mistaken.
Then again, I will be the first to admit that I am not certain.

A: Here is an example about how to get compile-time detection of string length (which is not the answer to the initial question but to the second one)
Please notice however that most compiler already replace strlen("bob") by 3 in the very first optimization level, so I doubt it has any use in reality.
   template <typename T>
   struct StrLenHelper
   {
       static constexpr size_t len(T) { return 0; }
   };

   template <size_t sel>
   struct StrLenHelper<const char (&)[sel]>
   {
       static constexpr size_t len(const char (&a)[sel]) { return sel-1; }
   };

   template <>
   struct StrLenHelper<const char*>
   {
       static size_t len(const char * a) { return strlen(a); }
   };

   #define StrLen(X) StrLenHelper<decltype(X)>::len(X)

Proof that it works on a recent compiler:
template <size_t A>
struct Test { enum T { value = A }; };

// Outputs "5 5 4" if your program is called "test"
int main(int a, char**b)
{
   printf("%u %u %u\n", Test<StrLen("bobby")>::value, StrLen("bobby"), StrLen(b[0]));
   return 0;
}

Some strange coding practice will not trigger compile-time behaviour like in constexpr const char * b = "bob";, this will call the run-time version because the type, at the time of call is const char* (constexpr is not a modifier you can select upon in a template, or I don't know how)