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Fahrenheit 451: An Instructional Guide for Literature Ebook
Motivate students to dive into this dystopian novel and make connections to the past, the present, and the future. Fahrenheit 451: An Instructional Guide for Literature is the perfect resource to aid students in...
Hamilton: An American Musical: An Instructional Guide for Literature Ebook
Excite and engage your students with this instructional guide for Hamilton: An American Musical. This classroom resource provides rigorous activities and questions for students studying Lin-Manuel Miranda's hit Broadway...
Lord of the Flies: An Instructional Guide for Literature Ebook
Challenge students with engaging activities and lessons as they undertake a rich and deep exploration of this classic young adult fiction novel. Written by William Golding, the winner of the 1983 Nobel Prize in Literature, this...
Of Mice and Men: An Instructional Guide for Literature Ebook
Of Mice and Men: An Instructional Guide for Literature supports the instruction of this classic story about friendship and loss. Encourage students to analyze the struggles that Lennie and George face in their friendship by...
The Great Gatsby: An Instructional Guide for Literature Ebook
Use this guide to familiarize students with the classic novel, The Great Gatsby, and encourage them to connect the story with actual events and issues from the 1920s. Students will enjoy analyzing this complex...
The Odyssey: An Instructional Guide for Literature Ebook
The Odyssey: An Instructional Guide for Literature is the perfect resource to aid students in analyzing and comprehending Homer's epic poem. Encourage students to analyze various story elements through the fun, challenging...
The Outsiders: An Instructional Guide for Literature Ebook
Encourage students to make connections in history concerning social classes and divisions in societies while becoming familiar with this well-known novel. Written to support instruction of The Outsiders by S.E...
Their Eyes Were Watching God: An Instructional Guide for Literature Ebook
Readers will enjoy analyzing this novel while reveling in the life lessons they take away from it. Written to support instruction of Their Eyes Were Watching God by Zora Neale Hurston, the lessons and activities in...
To Kill a Mockingbird: An Instructional Guide for Literature Ebook
Introduce students to this classic novel as they complete activities and lessons that will encourage them to explore social issues within the story, and make connections to current and historical events. To Kill a...


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Archetype – piąty album studyjny amerykańskiej grupy muzycznej Fear Factory. Wydawnictwo ukazało się 19 kwietnia 2004 roku nakładem wytwórni muzycznej Liquid 8 Records. Album ukazał się również w limitowanej wersji z dołączoną płytą DVD. Płyta zadebiutowała na 30. miejscu listy Billboard 200 w Stanach Zjednoczonych.

Nagrania zostały zarejestrowane w studiu Rumbo Recorders w Lanoga Park w Kalifornii pomiędzy październikiem a listopadem 2003 roku. Miksowanie odbyło się w The Green Jacket w Richmond w Kolumbii Brytyjskiej w grudniu 2003 roku. Natomiast mastering wykonano w studiu Masterdisk w Nowym Jorku w styczniu 2004 roku.

Album był promowany trzema teledyskami: "Cyberwaste" w reżyserii Dalea Resteghiniego, "Archetype" w reżyserii Cesario "Blocka" Montano oraz "Bite the Hand That Bleeds" w reżyserii Erica Chasea. Ponadto kompozycja "Bite the Hand That Bleeds" została wykorzystana w ścieżce dźwiękowej filmu Piła w reżyserii Jamesa Wana.

Nagrania spotkały się z niejednoznacznym przyjęciem ze strony krytyków muzycznych. Redaktor serwisu Allmusic - Johnny Loftus przyznał płycie trzy punkty i określił ją jako dobry i porywający powrót Fear Factory po odejściu gitarzysty Dino Cazaresa. Z kolei Łukasz Maciuba na łamach serwisu Nuta.pl napisał: "Nowy album to niejako wypadkowa "Demanufacture" i "Digimortal" - ulepszona i zbrutalizowana wersja Fear Factory, gdzie obok twardych, mechanicznych aranżacji pozostawiono wiele miejsca i przestrzeni dla melodyki i wokalnych umiejętności Burtona C. Bella. Tak jest w mantrycznym "Act Of God", czy w niezwykle nośnym tytułowym "Archetype"".

Lista utworów
Opracowano na podstawie materiału źródłowego.

Twórcy
Opracowano na podstawie materiału źródłowego.

Wydania

Listy sprzedaży

Przypisy

Albumy Fear Factory
Albumy Roadrunner Records
Albumy muzyczne wydane w roku 2004

redpajama_set_name: RedPajamaWikipedia


I hope you've enjoyed a peek into the world of Givenchy, a man who not only designed beautiful clothes but also lived a beautiful life surrounded by beautiful things. Have a wonderful weekend and Enjoy!!!
By Tab Byrum on March 15, 2018 .


Only Performing persons need to RSVP.
1 RSVP Registers entry to an act (Solo/Duet/Group).
Bring your story and skill to our stage and spotlight. Share, talk, play and celebrate the abundance of music, dance styles, poetry, stand-up and more we have available around us in what is a creatively growing world. If you have a project that's contributing to making the world a better place (as subjectively as can be), come to showcase it under The Spotlight at Fandom at Gilly's Redefined. This free event is open to amateurs, as well as veterans and spectators of all ages. Instrumentalists, singers, dancers, storytellers, poets, jugglers, magicians and others are all welcome.
Registration closes at 2.00 PM on the day of the event. All registered acts must be present at the venue to confirm and verify their slot between 5:00 pm - 8.00 pm. The first 20 to confirm will be given performance times and slots on the day of the event. The schedule will be published online on all of their social media platforms.
Performances will begin at 8.00 PM. Registration is open to everyone. You will be asked to provide your ID to confirm your slot.
A total of 20 slots are up for grabs on the night.
TnC applies and rights of admission reserved.
Performing times and slots are given out on the day of the event. Performances will begin at 8.00 pm.
Registration is open to everyone. Entries cannot be verified via online methods. Please use the registration form on BookMyShow to send your request and meet us in person to verify the same.
You will be asked to provide your ID to confirm your slot.
TnC apply and Rights of admission reserved.
Band: 10 min + 3 min line check.
- 1 Guitar Amp, 3 x Wireless Mics.
- 1 x 5 piece Drum Kit. (No Cymbal and No Cymbal stands available).
- 2 x DI boxes.
- Aux input will be provided at the sound console for backing tracks.
Bring your own instruments/gear. We do not have a DJ mixer.


Lyft set the price for its stock at $72 per share late Thursday, setting the stage for the ride-hailing pioneer's hotly anticipated stock market debut.
The price is at the high end of a revision Lyft made after high investor demand prompted the company to increase its initial goal of fetching $62 to $68 for each of the nearly 31 million shares sold in the IPO.
The San Francisco company still hasn't turned a profit since co-founders Logan Green and John Zimmer started the service in 2012.
Since then, Lyft and Uber combined have popularized the trend of summoning a ride on a smartphone app that connects them to drivers who use their own cars to pick up passengers. The fares are split between the drivers and the ride-hailing companies that make the connections.
The trend has turned into a worldwide cultural phenomenon with plenty of room with future growth, the key reason why so many investors appear to want a slice of the action now. Uber is expected to price its IPO later this spring.
Lyft's pricing adjustment comes after the company's management bankers spent a week meeting with investors to explain why buying into the IPO makes sense even though the company has an uninterrupted history of losses totalling nearly $3 billion so far. What's more, Lyft has acknowledged it may be many more years before it starts making money, especially if it is unsuccessful in its efforts to develop a fleet of self-driving cars so it can lower its costs.
The stock will begin trading Friday morning under the ticker symbol "LYFT."
Despite its losses, Lyft has other impressive numbers to dangle in front of prospective investors. Its revenue doubled last year to $2.2 billion, as its share of the U.S. ride-hailing market rose to 39 per cent in December, up from 22 per cent at the end of 2016, according to its IPO filings.
Those market gains came at the same time that Uber was being sullied by a variety of unsavoury revelations, including evidence of rampant sexual harassment within its ranks, allegations that it stole some of its self-driving car technology and a yearlong coverup of a massive computer break-in that heisted personal information about millions of passengers and drivers. Uber is expected to go public later this spring.
Lyft tried to position itself as the kinder, gentler ride-hailing service, a strategy that appears to be paying off in spades. Even before the IPO pricing, some stock market analysts have already released research reports asserting the company's stock is worth $75 to $80 per share.


The office has been invaded!!!
Joust was one of my favorite games growing up.
I see a tomato foe and I must inflate him….inflate him until he bursts! Screw you PETA!
My homage to the classic NES game DUCK HUNT. Two ducks and one laughing dog.
Anyone missing a Tri-force? A tribute to Zelda for the NES.
It's Ukyo from the Neo Geo pocket version of the game!
Here is Glass Joe from Punch Out. Over 8 feet tall and 1400 blocks of wood!
Here is a Metroid from……Metroid. I like the open spaces in the middle and the green stain.
Excite Bike was one of the first complex pixel art pieces I tried. Multiple colors, lots of edges, some floating pixels...this one was quite a bit more difficult than the earlier ones like Space Invaders and Joust. I watched Indiana Jones on a loop as I cut the wood, stained it and glued it all together. I really enjoyed Excite Bike when I was younger, the feeling of speed as you would launch off a ramp or hit a turbo pad was unlike anything else at the time. This one reads really well from a distance and I dig the action of him being in the middle of a wheelie or a jump.
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This License Agreement governs the terms by which you obtain the right to use music tracks, sound effects, loops and all other media content available at BeepCode Media Production through the web site located at www.beepcode.net (the "Site"). This is a fairly lengthy document, and it contains many important provisions that affect your rights and obligations.
This BeepCode Media Production Content License Agreement is a legal and binding agreement between you (hereinafter referred to as "You" or "Licensee") and BeepCode Media Production (hereinafter referred to as "BeepCode Media Production" or "Licensor") which governs your use of all Content made available for license to you by BeepCode Media Production at the Site.
Please read the Agreement carefully prior to licensing any Content here. By licensing Content here, you hereby consent to and do become a party to this Agreement and you agree to be bound by and comply with the terms and conditions contained herein. If you do not accept and agree to all of the terms and conditions of this Agreement, please do not license any Content here.
When Licensee purchases music, sound effects, loops, ringtones, (hereinafter referred to as "Content" or "Licensed Material") at BeepCode Media Production, Licensee is actually purchasing a license to use the Content. Licensee chooses the type of license to purchase a Content. The license Licensee purchases provides a varying degree of rights for commercial uses, potentially including, but not limited to, use in television production, feature-length films, radio or audio production, commercials, theatre, multimedia, games, products, toys and all other types of creative and commercial media projects. Depending on the specific type and scope of license Licensee purchases, the Content can be used in virtually any type of commercial, personal or educational project or production, whether for local, regional, national or international use, and whether broadcast, distributed, performed live or utilized otherwise.
GRANT OF RIGHTS
Subject to the terms of this Agreement, BeepCode Media Production grants to Licensee a direct, non-exclusive, non-transferable, non-sublicensable, right, inclusive of the various specific rights as selected by Licensee (per the "Commercial Use Rights" section below) to access the BeepCode Media Production web site and use the Content as licensed by Licensee via the Pay-Per-Subscription option or, for qualified Licensees, via the Free-License option (as more fully described below), for use in the specific media(s)
Licensee selects, or all media if Licensee selects an "unlimited license" option, other than those uses prohibited under the Restrictions section of this Agreement.
Licensee may edit, modify or alter the Licensed Material as necessary for its intended use, provided that: (i) any such editing, modification or alteration does not give rise to any ownership rights or claims, including copyright, on the part of Licensee in or to the Licensed Material; and (ii) Licensee agrees that, if requested byBeepCode Media Production, Licensee will, without any payment or other consideration, execute a written assignment of any such rights toBeepCode Media Production.
Permitted modifications of the Licensed Material including editing the Content to fit the needs of Licensee's production, including fading in, fading out, cross-fading, adjusting duration, volume, equalization, tempo and pitch.
Licensee may have the Licensed Material reproduced by subcontractors of Licensee (including Purchaser) for preparation of the Licensee Work, provided that such subcontractors agree to abide by the provisions of this Agreement. Licensee may store the Licensed Material in a digital library, network configuration or similar arrangement to allow the Licensed Material to be accessed by employees, partners and agents of Licensee.
LICENSING MODES
All Content available at BeepCode Media Production is licensed, not sold, to Licensee by BeepCode Media Production and is available at the BeepCode Media Production Site on a Pay-Per-Subscription basis. Additionally, all music Content is available for use by qualified Licensees for qualified projects on a Free-License (or Free-Licensing) basis.
PAY-PER-SUBSCRIPTION LICENSING MODE
All Content available at BeepCode Media Production can be licensed on a Pay-Per-Subscription basis, meaning Licensee can purchase a license for just the entire library by BeepCode Media Production. For Content purchased in this way, Licensee can purchase one Full Access License, limited by the time of use but not by the number of tracks.
A limited by the time license ("YouTuber Subscription Plan" for one year) and unlimited by the time license ("Unlimited Subscription Plan") provides for use of the Content in just the specific media(s) that Licensee chooses, and without various media-specific limitations such as, for example, a limited term, or limited territory, or a limited number of units, etc. On the other hand, an Full Access License provides for Licensee's use of the Content in all media, in perpetuity, throughout the world and Universe.
FREE-LICENSING MODE
All music Content available at BeepCode Media Production can be used by qualified Licensees for qualified projects on a Free-License (or Free-Licensing) basis, meaning that Licensee pays no up-front license fees in order to utilize the music in your productions. Free-Licensing is available strictly to clients creating video content for a broadcast debut on any national TV network or cable broadcast, or for a national theatrical debut followed by broadcast on a national TV network or cable broadcast, who also meet the following criteria:
Free Broadcast Uses – For clients producing creative or commercial video content which debuts on or debuts within a U.S. broadcast on any national U.S. TV network or cable broadcast, as well as later rebroadcasts of the same within the U.S., wherein the TV network or cable channel holds a current valid ASCAP, BMI and SESAC annual blanket license (hereinafter "Blanket Performance License" as more fully described below).
Permitted Internet and Foreign Uses – Free-Licensing permits that your video content may also be broadcast on the Internet and/or in TV broadcasts outside the U.S., as long as the programming first debuts on either national U.S. network TV or cable broadcast TV wherein the TV network or cable channel holds a Blanket Performance License from ASCAP/BMI/SESAC.
Permitted Commercial Uses – Free-Licensing permits thatBeepCode Media Production's music may also be used in commercial advertising such as in TV commercials, promos, and infomercials as long as the advertising is broadcast initially on any national-scope U.S. network TV or cable broadcast TV wherein the TV network or cable channel holds a Blanket Performance License from ASCAP/BMI/SESAC. Additionally, the commercial must be aired on U.S. TV prior to any Internet use or any use on TV broadcasts outside the US. And finally, you must provide a valid ISCI number and media buy schedule for each commercial or infomercial that includes the music.
Blanket Performance Licenses – To qualify for the Free-License option, the U.S. TV network or cable channel(s) broadcasting your programming or production must possess a valid and currently active performing rights blanket license from ASCAP, BMI and SESAC. A blanket license shall be defined herein in the manner as defined by ASCAP, BMI and SESAC, respectively. A blanket license from one of these societies provides a broadcaster the right to use the society's entire catalog, and obligates that broadcaster to pay fees and file cue sheets for its programming. For the purposes of this agreement, blanket licenses shall not include so called "interim" licenses or other conditional or limited licenses.
Free Theatrical Uses – For clients creating feature-length films for U.S. theatrical release by a major U.S. film studio as generally understood in the industry (i.e. Disney, 20th Century Fox, Universal, Warner Bros, etc) to be followed by broadcast on a national U.S. TV network or cable channel. If you are unsure whether an individual film studio qualifies as "major", please contact BeepCode Media Production via this form option at the top of the web site to discuss the situation.
Cue Sheets are Required to be Filed – In relation to any Free-License use of music from BeepCode Media Production, completed cue sheets (or for commercial programming, commercial data worksheets or similar) must be filed in accordance with the terms and conditions of ASCAP, BMI, and SESAC's license agreement for all BeepCode Media Production music used in broadcast programming content. If ASCAP, BMI, or SESAC's blanket license agreement does not require the filing of cue sheets on a regular basis, cue sheets must be filed on no less than a calendar-quarterly basis. Copies of all music cue sheets containing any BeepCode Media Production tracks must also be sent to BeepCode Media Production via email (cuesheet[@]beepcode.net) or uploaded to our web site in order for you to qualify for the Free-License use of BeepCode Media Production's music catalog. Failure to either file the cue sheets or to simultaneously send copies of such cue sheets to BeepCode Media Production shall void this agreement. Such termination shall render your use of BeepCode Media Production's music to be an infringing use, actionable under the remedies provided under U.S. copyright law.
Free-Licensing Impermissible Uses – Free-Licensing strictly excludes any and all other uses that do not result in the creation and filing of a cue sheet to ASCAP, BMI or SESAC in relation to the broadcast of your production on U.S. national-scope network or cable TV, either initially when the program debuts, or as a follow-on to a theatrical release. Specifically, the following uses are excluded and are not eligible for Free-Licensing:
Local-only TV, regional-only TV, public and community access TV, and closed-circuit TV
Any local, regional, national, standard or cable broadcast that does not have an ASCAP/BMI/SESAC blanket license as defined above.
Advertising and promo or other similar uses on local-only TV, regional-only TV, public and community access TV and closed-circuit TV
Advertising and promo or other similar uses where you are unable to provide both an ISCI code and the media buy schedule for each campaign
Radio broadcast uses
Television use premiering outside the U.S.
Mechanical uses including direct-to-video, DVD, CD, CDR DVDR, downloads or other similar media, including replication, distribution, promotional, or sale, including games and toy uses, non-broadcast multimedia, software applications, books, e-books, and magazines
Live events, Broadway uses, live dramatic theatre uses, Powerpoint presentations, trade shows and conventions and other similar live uses
On-Hold music, background music for use in a business or facility
Internet-uses without a corresponding national-scope U.S. TV broadcast, including but not limited to personal websites, any website used to promote a business, product, service, organization or club, any videos uploaded, posted or otherwise disseminated to a web site, YouTube or other video-sharing site, gaming, shareware, freeware, podcasting, blogs, email, greeting cards and brochures
Theatrical-only releases where there will be no national-scope TV broadcast
Film festivals and competitions
Any use of the music that affects a creative change, addition, modification or other creative alteration for the purposes of the creation of a new copyright or the creation of a derivative work. (Please note that this does not include a restriction on editing Content for inclusion in your production, such as fading, cross-fading, changing EQ, speeding up or slowing down, etc.)
Grant of License – For clients meeting the above conditions, and upon the execution of this BeepCode Media Production – Content License Agreement, BeepCode Media Production grants a free blanket license for synchronization and master-use for use of the music catalog available at BeepCode Media Production in your qualified commercial and creative productions strictly meeting the above conditions.
CUE SHEET FILING REQUIREMENT
For any Content licensed by you which is utilized in a production that is to be broadcast on radio or TV, you are required to provide a completed cue sheet information to BeepCode Media Production and the publishing agent for the Content so that a cue sheet can be filed with ASCAP, BMI or other society in the country (or countries) where the music is to be used. This is true whether such music Content is licensed via our Pay-Per-Subscription licensing or via our Free-Licensing.
For creative long-tail video formats such as feature-length films, TV shows, documentaries or similar, you agree to provide a fully completed cue sheet.
Please note that radio and TV broadcasters actually pay the performance royalties; you as our client do not ever have to pay performance royalties.
Each track has one composer (BeepCode, BMI IPI: 696636782) and one or more publishers. We provide detailed information for each track about that track's composer(s) and publisher(s), including their performing rights organization (PRO) affiliation (e.g. ASCAP, BMI, etc.).
COMMERCIAL USE RIGHTS
The Content available for license at beepcode.net is fully owned or controlled by BeepCode Media Production. This includes both the the sound recording ("Master") and, for music tracks, the underlying musical composition ("Composition"), together known as the "Track". The rights granted for the commercial use of a Track are based upon the licensing methods available on the beepcode.net Web site, and the licensing option and licensing parameters selected by you. The rights associated with Full Access License includes one or all of the following, depending on the specific licensing option and parameters selected by you:
Master use license – A master use license provides the right to use the sound recording as downloaded from BeepCode Media Production for the specific use selected in the licensing options.
Mechanical and Videogram licenses – Mechanical and videogram licenses provide the right to re-record, duplicate and release the Track as part of your production in whatever medium required (i.e. CD, DVD, record, mini-disc, or embedded in a hardware product, game or similar product or production).
Synchronization license – Also known as a "sync license", this provides the right to use the Track as a soundtrack "synced" with visual images as part of your production.
Electrical transcription license – This type of license provides the right to integrate the Track into productions for audio-only broadcast, such as for radio advertisements and public announcements, as well as for background music purposes and for music on-hold.
Public Performance license – This may take the form of a "Direct License", provided by BeepCode Media Production directly to Licensee providing public performance rights for the Track, eliminating the need to file cue sheets with any Performance Rights Organizations. Or it may take the form of an "indirect license", requiring that, for Licensee will provide cue sheet information to BeepCode Media Production and the publisher's agent so that a cue sheet may be filed with the appropriate Performance Rights Organization in the country where Licensee uses the music tracks.
See details further below for the usage details and Full Access License granted for each type of commercial licensing option available at BeepCode Media Production.
Corporate, Theater and Competition Use
Licensee has the non-exclusive right to synchronize the Track in timed relation with other audio and/or visual elements within a production, or to use the original sound recording, for purposes of business-related viewing, business meetings, corporate videos, employee orientation, in-house training, and instructional and training videos. Depending on the "audience type" selected for this licensing option, the production may be displayed, or the original sound recording may be played, within one of the following settings:
In-House:
Meaning for an in-house audience such as Licensee's personnel, job seekers and other types of on-site guests. This option provides a master use license, a synchronization license, and a limited mechanical license for in-house use only. Licensee may make copies on any media necessary for distribution, exhibition and exploitation solely as it pertains to the use of the Track on an in-house basis.
Business-to-Business:
For a business-to-business environment, meaning for the display to or performance for actual or potential business clients, whether in an internal setting or an external non-public setting. This option provides a master use license, a synchronization license, a limited mechanical license, and a right of non-public performance. Licensee may make copies on any media necessary for distribution, exhibition and exploitation solely as it pertains to the use of the Track on a business-to-business basis, NOT for use in products to be sold or given away (instead use the "Products for Sale or Giveaway" licensing option such uses)
General public viewing of the created production, or performance of the track, is permitted at trade shows, theatrical performances, competitive performances and for music-on-hold. Licensee may make copies on any media necessary for distribution, exhibition and exploitation solely as it pertains to the use of the Track on a public performance basis, NOT for use in products to be sold or given away (instead use the "Products for Sale or Giveaway" licensing option for such uses). This licensing option provides a master use license, a synchronization license, a limited mechanical license and a direct license for public performance. Additionally for situations where music is to be used as phone system on-hold music, this option includes an electrical transcription license. Licensee does not have to pay performance royalties to any Performance Rights Organizations.
Product for Sale or Giveaway Use
Licensee has the right to synchronize the Track in timed relations with other audio and/or visual elements in a software or hardware product, and reproduce this product up to the licensed number of units allowed in the User License Agreement's "Per Project Reproduction Allowance", and make these units available for sale or giveaway. Products for sale or giveaway include Videograms (Videos, CDs, DVDs or similar), Games, Kiosks, Toys, hardware devices, as well as software or other productions that are available on CD, DVD or for download via the Internet. This licensing option provides a commercial master use license, a synchronization license, a mechanical license (for audio and non-visual products) or a videogram license (for CDs and DVDs or similar) and the right to manufacture and distribute said product up to the number of times (units to manufacture) selected during licensing. It does not express a right to broadcast the production, nor any public performance rights. Since such products are not for public performance or broadcast, Licensee does not have to pay performance royalties to any Performance Rights Organizations, nor filoe cue sheets for such uses.
Television Show Production
Licensee has the right to synchronize the Track in timed relations with other audio and/or visual elements within a production, as part of the soundtrack, for broadcast throughout the Licensed Territory. Licensee may make copies on any media necessary for distribution, exhibition and exploitation solely as it pertains to the use described in this paragraph. Licensee may utilize the Track as part of the soundtrack only for non-theatrical broadcast viewing by the general public on the licensed form(s) of television (as selected during licensing), including network TV, cable TV, pay TV, free TV or other television broadcast medium now known or hereafter devised. This licensing option provides a master use license and a synchronization license only, and optionally a videogram license if Licensee selects such option during the license configuration process, for the manufacturing of DVDs or other similar mechanical media. If the videogram license option is not selected by Licensee, manufacturing and distribution of physical media is prohibited with this license (use the "Product for sale or giveaway" license option instead for such purposes). Any broadcast of the Track on television will have performance royalties collected by the appropriate Performance Rights Organizations, typically paid by the TV network or Cable channel that broadcasts the productionwork, and licensee SPECIFICALLY AGREES TO PROVIDE CUE SHEET INFORMATION to BeepCode Media Production or its designated agent to facilitate the collection of performance royalties for the composer and publisher of this Track. Licensee must ensure that the TV network or cable channel broadcasting the production has a current active public performance blanket license in place from ASCAP, BMI and SESAC, and if not, then Licensee must purchase an additional public performance license from BeepCode Media Production prior to the broadcast of the production.
Short Film or Commercial Video
Licensee has the right to synchronize the Track in timed relations with other audio and/or visual elements for use in a short film or video production less than 25 minutes in length. Commercial use of film/video is permitted within the selected territory, or for display at film festivals, or for any other video use that is NOT a feature-length film or major motion picture and is not intended for major theatrical release or television broadcasting. Distribution (as in DVD distribution) and/or Internet use is also permitted if either of these options are selected for this license. This licensing option provides a master use license, a synchronization license and a direct license for public performance. Licensee does not have to provide cue sheet information unless the video is broadcast on TV, in which case a completed cue sheet must be provided toBeepCode Media Production.
Film or Motion Picture Production
Licensee has the right to synchronize the Track in timed relation with other audio and/or visual elements in order to create a feature-length film, documentary or similar long-tail video (hereinafter the "Film") for display in the Licensed Territory. Licensee may make copies of the Film on any media necessary for distribution, exhibition and exploitation solely as it pertains to use of the Track in the Film within the Licensed Territory. Licensee may exhibit the Film in theatres or broadcast the Film on television. This licensing option specifically provides a master use license and a synchronization license only. A public performance license is also required for the TV network or Cable channel that broadcasts the Film, and may be obtained by the TV network or Cable channel by procuring a public performance blanket license from the appropriate Performing Rights Organization such as ASCAP, BMI, PRS, or other society (hereinafter "PRO") in the country in which the Film is exhibited or broadcast. Performance of the music by virtue of a broadcast of the Film shall have, as applicable, performance royalties earned and collected from the broadcaster by the appropriate PRO in the country of broadcast. Or if the production is shown in a theatre outside the U.S., the performance royalties are typically paid by the cinema company or theatre chain that actually renders the performances. Licensee SPECIFICALLY AGREES TO PROVIDE CUE SHEET INFORMATION to BeepCode Media Production or the designated publishing administrator to facilitate this collection of performance royalties for the composer(s) and publisher(s) of this Track.
Internet Non-Commercial Use
Licensee has the right to synchronize the Track in timed relations with other audio and/or visual elements in video, HTML, Javascript, Flash, Real Audio, Shockwave, Quicktime and other similar presentation formats for use on the Internet. The Track may be embedded in an internet presentation file, synchronized with other audio and/or visual elements, or be embedded directly into a web page as a stand alone audio file. This licensing option provides both a master use license and a synchronization license, as well as a direct license for public performance and Licensee does not have to pay performance royalties to any performing rights organizations such as ASCAP or BMI. This license is strictly for personal, student, non-profit, educational or informational uses only. Commercial Internet uses such as advertising, marketing, selling and other commercial for-profit use is prohibited (instead use the license option for Internet Advertising or Internet Commercial Use).
Internet Commercial or Advertising
Licensee has the right to synchronize the Track in timed relations with other audio and/or visual elements in Flash, Real Audio, Shockwave, Quicktime or other similar internet presentation formats for use on the World Wide Web (Internet): The Track may be embedded in an internet presentation file, synchronized with other audio and/or visual elements, or the embedded directly into a web page for background music or sound purposes. This licensing option provides a master use license, a synchronization license and a direct license for public performance. Licensee does not have to pay performance royalties to any Performance Rights Organizations. Note: Mechanical License Excluded – All Internet commercial uses permitted except for download of product with track embedded in product, which requires a mechanical license. Select the Product For Sale or Give-Away licensing option for such use.
Radio Advertising and Production Use
Licensee has the right to synchronize the Track in timed relation with other audio elements in order to create and broadcast commercial advertisements or promotional announcements on radio within the Licensed Territory. Licensee may make copies on any media necessary for distribution, exhibition and exploitation solely as it pertains to use of the Track in a radio commercial, radio production or promotional announcement within the Licensed Territory. This includes broadcast radio, cable radio and satellite radio. This licensing option provides a master use license and an electrical transcription license only. Any broadcast of the Track as part of a radio ad, announcement or production will have performance royalties collected by the appropriate Performance Rights Organizations, paid by the company that broadcasts or transmits the production, and licensee agrees to provide cue sheet information to BeepCode Media Production or its designated agent to facilitate this collection of performance royalties.
Television Advertising Use
Licensee has the right to synchronize the Track in timed relation with other audio and/or visual elements in order to create and broadcast commercial advertisements and/or promotional announcements on television within the Licensed Territory. Licensee may make copies on any media necessary for distribution, exhibition and exploitation solely as it pertains to the use of the Track in a television commercial or promotional announcement in the Licensed Territory. This licensing option provides a master use license and a synchronization license. Any broadcast of the music as part of a television commercial will have performance royalties collected by the appropriate Performance Rights Organizations, typically paid by the company that broadcasts or transmits the production, and licensee agrees to provide cue sheet information to BeepCode Media Production or its designated agent to facilitate the collection of performance royalties as applicable.
Motion Picture Trailer Use
Licensee has the right to synchronize the Track in timed relation with other audio and/or visual elements in order to create a Motion Picture Trailer for display in the Licensed Territory. Licensee may make copies on any media necessary for distribution, exhibition and exploitation solely as it pertains to use of the Track in a Motion Picture Trailer for display in the Licensed Territory. This license option provides a master use license and a synchronization license only. Public performances of the music as part of a Motion Picture Trailer will have performance royalties collected by the appropriate Performing Rights Organizations, typically paid by the cinema company or theatre chain that actual renders the performances. Licensee agrees to provide cue sheet information to BeepCode Media Production or its designated agent to facilitate this collection of performance royalties.
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(iv) sell, rent, lease, sub-lease, sub-license, assign, share, assign, or otherwise transfer the Licensed Material except as incorporated in a derivative product or production. The Licensed Material may not be transfered, shared, assigned, sublicensed, leased, rented or sold among independent or different companies or operating divisions or companies owned or controlled by a common parent company.
(v) sell or sub-license the Licensed Material contained herein outright to any other individual or party, although the Licensed Material can be sub-licensed as embodied in Licensee's Work;
(vi) trade or otherwise directly exploit the Licensed Material for profit or any other reason
(vii) download Tracks from the BeepCode Media Production web site by utilizing automated downloading methodis via software control, robots, spiders or crawlers. This activity is strictly prohibited and will result in termination of the offending access to the BeepCode Media Production Site.
(viii) edit, modify or alter the Licensed Material in such as way as to give rise to any ownership rights or claims, including copyright, on the part of Licensee in or to the Licensed Material. For clarification, for music tracks (i.e. tracks found under the "Music" section of the BeepCode Media Production web site), License may not use the Licensed Material as a component of a larger musical composition, including but not limited to sample-based musical productions; You may not re-record or artistically or creatively change or alter any music Tracks licensed by this Agreement in any way without Licensor's written consent. You may not integrate any music Tracks represented in this Agreement into your own music tracks or compositions for the purpose of creating a new derivative music production without Licensor's written consent.
(ix) reverse engineer, decompile, or disassemble any part of the Licensed Material.
(x) use the Licensed Material in a defamatory, illegal or unlicensed way, whether directly or in context or juxtaposition with specific subject matter. Licensee shall also comply with any applicable regulations and/or industry codes.
Licensee may not, without obtaining the prior written consent of BeepCode Media Production and the payment of additional License Fees:
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(ii) use or display the Licensed Material on websites or in any other medium designed to induce or involving the sale, license or other distribution of "on demand" products, including, without limitation, electronic greeting cards, voicemail greetings, ring tones, multi-media albums or presentations, or similar items;
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(iv) use the Licensed Material to manufacture, distribute or sell audio-only products, whether in the form of compact discs (CD), cassettes, phonographs, digital downloads or any other format or media now known or hereafter devised, except where such audio product is embedded or contained within a larger derivative work (e.g. a gift basket, self-help book containing a CD, audio greeting card, etc.);
(v) sub-license, re-sell, rent, lend, assign, gift or otherwise transfer or distribute the Licensed Material or the rights granted under this Agreement;
(vi) use the title or subtitle of the Licensed Material as the title of any Licensee Work or any item that incorporates the Licensed Material.
(vii) alter or delete any "watermark" or other ordinarily imperceptible identifier embedded within the Licensed Material.
For exceptions to these use restrictions please contact support[@]beepcode.net to discuss the details of your specific needs.
Purchasing Agent Obligations – Where Purchaser is licensing Licensed Material on behalf of a Licensee, Purchaser hereby represents and warrants that: (i) Purchaser is authorized to act as an agent on behalf of Licensee and has full power and authority to bind Licensee to this Agreement; and (ii) if Licensee subsequently disputes such power or authority, Purchaser shall be bound and liable for any failure of Licensee to comply with the terms of this Agreement. Nothing in this Section shall serve to excuse Purchaser's obligation to make payment to BeepCode Media Production of the License Fee.
Web Site Posting – If the Licensed Material is Reproduced on a website, Licensee shall post terms and conditions on the website that include restrictions on downloading the Licensed Material for other than personal use, and prohibit republication, retransmission, reproduction or other use of the Licensed Material.
PRODUCTION CREDIT REQUIREMENTS
If any music Tracks licensed herein are used in an audio/visual production where credits are accorded to other providers of licensed material, then for such Tracks a production credit shall be accorded in equal size and comparable placement to other such music credit(s), substantially in the form "Music provided by beepcode.net" with additional credits for the composer(s) and publisher(s) of each Track. Failure to provide the production credit as required herein shall render this agreement null and void and Licensee's use of the Tracks licensed herein shall immediately become an infringing use, subject to legal claim for copyright infringement. For sound effects and instrument sounds, a production credit is optional and shall be provided at Licensee's sole discretion in the format of Licensee's choosing.
CUE SHEET INFO
For any uses of music Tracks licensed herein within a production that is broadcast on television or radio, Licensee is strictly required to provide to Licensor a completed cue sheet detailing the use of all music tracks utilized in Licensee's production, including each music Track licensed herein that is used within the production, so that Licensor may file the cue sheet with the appropriate PRO(s). For the avoidance of doubt, no such cue sheet is required in connection with in-theater showings or via internet streaming for any and all purposes including, without limitation, educational uses.
By licensing and downloading music Tracks herein, Licensee hereby agrees to provide required cue sheet information to Licensor. Any failure to provide required cue sheet information to Licensor within not more than two months after Licensee's production work has been completed and the production has been released for broadcast in any country shall render this agreement null and void and Licensee's use of the Tracks licensed herein shall immediately become an infringing use, subject to legal claim for copyright infringement.
The relevant track-specific composer and publisher information for music Tracks licensed herein is listed to facilitate Licensee's inclusion of this information within their production's cue sheet.
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Provided Licensed Material is used only in accordance with this Agreement and Licensee is not otherwise in breach of this Agreement or any payment obligations to BeepCode Media Production, and as Licensee's sole and exclusive remedy for any breach of the representations and warranties set forth in the section regarding Warranty and Limitation of Liability above, BeepCode Media Production shall, subject to the terms of Warranty above, defend, indemnify and hold harmless Licensee and its parent, subsidiaries and commonly owned or controlled affiliates and their respective officers, directors and employees from damages, liabilities and expenses (including reasonable outside attorney's fees), arising out of or connected with any actual lawsuit or legal proceeding alleging that BeepCode Media Production is in breach of its warranties set forth above. The total maximum aggregate liability of BeepCode Media Production under this Agreement and any other agreement with BeepCode Media Production pursuant to which Licensee has licensed the same content (regardless of the file size, or the use or exploitation of any or all of the content in any manner whatsoever), and the obligation of BeepCode Media Production under this Section, shall be limited to an aggregate of one thousand ($1000) US dollars for all of Licensed Material. For greater clarity, BeepCode Media Production liability to Licensee in respect of the Content shall not exceed one thousand ($1000) US dollars for all of Licensed Material regardless of the number of times that Licensee has licensed the same content fromBeepCode Media Production. The foregoing statesBeepCode Media Production's entire indemnification obligation under this Agreement.
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Condition of Licensed Material – Licensee should examine all Licensed Material for possible defects (whether digital or otherwise) before sending any Licensed Material for Reproduction. Without prejudice to the sections above, BeepCode Media Production shall not be liable for any loss or damage suffered by Licensee or any third party, whether directly or indirectly, arising from any alleged or actual defect in any Licensed Material or its caption or in any way from its Reproduction.
Electronic Invoice and Interest on Overdue Invoices – Licensee and Purchaser agree to receive invoices from BeepCode Media Production electronically via the email address associated with Licensee and/or Purchaser BeepCode Media Production account. If Licensee fails to pay the Invoice in full within the time specified in the Invoice, BeepCode Media Production may add a service charge of one-and-one-half percent (1.5%) per month, or such lesser amount as is allowed by law, on any unpaid balance until payment is received. Licensee's agreement(s) with Licensor may be terminated with no notice if payment is past due, regardless of the dollar amount that is owed. Further, Licensee agrees to pay Licensor all reasonable attorney's fees and costs incurred by Licensor to collect any past due amounts. The right to such payment is in addition to any other remedies available to Licensor under this Agreement or at law. Licensor reserves the right, at any time, to change its fees and billing methods, including changes in pricing for Content.
Unauthorized Use and Termination – Any use of Licensed Material in a manner not expressly authorized by this Agreement constitutes copyright infringement, entitling BeepCode Media Production to exercise all rights and remedies available to it under copyright laws around the world. Licensee shall be responsible for any damages resulting from any such copyright infringement, including any claims by a third party. In addition and without prejudice toBeepCode Media Production's other remedies under this Agreement, BeepCode Media Production reserves the right to charge and Licensee agrees to pay a fee equal to five (5) times BeepCode Media Production's Subscription-plan price for each unauthorized use of the Licensed Material. BeepCode Media Production reserves the right to terminate this Agreement in the event Licensee: (i) enters the Agreement after having received notice of unauthorized use from BeepCode Media Production relating to the Licensed Material; (ii) fails to pay the License Fee in full within the time specified in the Invoice; or (iii) otherwise breaches the terms of this Agreement. Upon termination, Licensee must immediately (I) stop using the Licensed Material; and (II) destroy or, upon the request of BeepCode Media Production, return to BeepCode Media Production the Licensed Material and, in the case of termination by BeepCode Media Production for cause, the Licensee Work in the possession or control of Licensee.
Electronic Storage – For all Licensed Material that is delivered to Licensee in electronic form, Licensee must retain the copyright symbol, the name of BeepCode Media Production, the Licensed Material's identification number and any other information and metadata as may be embedded in the electronic file containing the original Licensed Material. Licensee shall maintain a robust firewall to safeguard against unauthorized third-party access to the Licensed Material.
Withdrawal – Upon notice from BeepCode Media Production, or upon Licensee's knowledge that any Licensed Material may be subject to a claim of infringement of another right for which BeepCode Media Production may be liable, BeepCode Media Production may require Licensee to immediately and at its own expense (i) stop using the Licensed Material; (ii) delete or remove the Licensed Material from its premises, computer systems and storage (electronic or physical); and (iii) ensure that its clients do likewise. BeepCode Media Production shall provide Licensee with comparable Licensed Material (which comparability will be determined by BeepCode Media Production Images in its reasonable commercial judgment) free of charge, but subject to the other terms and conditions of this Agreement.
Inadvertent Errors and Out-Of-License-Scope Uses – For any Content used by Licensee in a manner outside the scope of the license purchased by Licensee, BeepCode Media Production reserves the right to adjust Licensee's license to correct it for Licensee's actual use of the Content. Licensee agrees that BeepCode Media Production has the right to correct its license in this situation and if additional monies are due and owing to BeepCode Media Production, Licensee hereby agrees to pay the difference in order to obtain the correct license for Licensee's intended or actual use of the Content.
Non-Payment – Should Licensee receive and use the Tracks licensed herein in advance of making payment for this license (i.e. a purchase on credit), if payment is not disbursed by Licensee and received by Licensor within ninety (90) days after Licensee's production or project integrating the Tracks licensed herein has been completed and released for broadcast, distribution or other live production use, in any country, this shall render this agreement null and void and Licensee's use of the Tracks licensed herein shall immediately become an infringing use, subject to legal claim for copyright infringement.
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Entire Agreement – This Agreement is intended for business customers of BeepCode Media Production and contains all the terms of the license agreement. No terms or conditions may be added or deleted unless made in writing and either signed by an authorized representative of BeepCode Media Production or issued electronically by BeepCode Media Production and signed by an authorized representative of Licensee. In the event of any inconsistency between the terms contained herein and the terms contained on any purchase order sent by Licensee, the terms of this Agreement shall govern.
Taxes – All License Fees are exclusive of any applicable sales, use, withholding or other transactional taxes, which are the sole responsibility of Licensee or Purchaser (if any).
The Definitions presented below are for general information only, and do NOT grant any additional rights not specifically defined elsewhere in this License Agreement.
Cue Sheet: Used by performance rights organizations for distribution of royalties collected from licensed TV networks and Cable channels. These royalties are paid by the TV networks and Cable channels and are generally not paid by the producers of video programs. For both creative and commercial broadcast productions, cue sheets information should always be provided to BeepCode Media Production or its designated publishing agent.
Performance Rights Organizations: An organization (ASCAP, BMI, SESAC, SOUNDEXCHANGE, SOCAN, PRS, etc.) that represents its members (composers and publishers) by licensing, collecting and distributing performance royalties for certain types of public and broadcast performances of copyrighted works.
Motion Picture: As it is used in this License Agreement, a motion picture is defined as a production whose primary function is non-broadcast theatrical presentations where showings of the project occur on the same day(s) in multiple theaters and a fee for viewing is charged to the general public.
Motion Picture Trailer: As it is used in this License Agreement, a motion picture trailer is defined as a film advertisement. They are typically shown before the screening of another movie, at a cinema where the films will be exhibited, and/or in the lobby, and/or on the Internet. They are commonly known as "previews of coming attractions", although they could be any type of advertisement.
Per Project Reproduction Allowance: This represents the number of units that may be replicated or duplicated for any one project containing the music. For example, a piece of music may be used in a single production/project and reproduced up to the number of units allowed. The same piece of music may NOT be used in other different productions/projects, nor can reproductions of the production/project exceed the maximum allowance.
License Territory: Licensee may utilize the licensed content in their project or production strictly in the geographical territory if any limited territory is specified in the License purchased by Licensee
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This is a legal agreement between you, the end user, and BeepCode Media Production (dba beepcode.net). Licensing (i.e. purchasing) and download of any Content from Licensor by Licensee constitutes full acceptance of these terms by both parties to this agreement.

redpajama_set_name: RedPajamaCommonCrawl


text:
/**
 * @file CustomRankingParser.cpp
 * @author Zhongxia Li
 * @date Apr 18, 2011
 */
#include "CustomRankingParser.h"

#include <string>
#include <sstream>

#include <boost/algorithm/string.hpp>

#include <common/Keys.h>
#include <common/BundleSchemaHelpers.h>

namespace sf1r {

using ::sf1r::driver::Keys;

/**
 * @class CustomRankingParser
 *
 * Field \b custom_rank is an object, which specifies how to evaluate custom ranking score
 * based on user defined expression over sortable properties.

 * Note that, if \b sort field is not set, "custom_rank" is set as a sort property in descending order by default.

 * But if \b sort field is explicitly set, "custom_rank" should be set as a sort property manually to enable custom
 * ranking feature.
 *
 * - @b custom_rank (@c Object): Custom Ranking request information.
 *   The @b expression is required, @b params is optional.
 *   - @b expression (@c String): Arithmetic expression used to evaluate custom ranking score.
 *     An expression is consist of operators, parameters.
 *     - operators: +, -, *, /, log(x), sqrt(x), pow(x,y)
 *     - parameters: see @b params, constant value or property name also can be used directly in expression.
 *   - @b params (@c Array): parameters occurred in expression
 *     - @b name (@c String): parameter name, include alphabets, numbers or '_', start with an alphabet or '_'.
 *     - @b type (@c String): parameter type, "CONSTANT" or "PROPERTY".
 *     - @b value (@c String):
 *       - "CONSTANT": real number.
 *       - "PROPERTY": property name of a numeric data field (sortable property).
 *
 * Example
 * @code
 * {
 *   "custom_rank":
 *   {
 *     "expression":"p1 * pow (x, 2) + p2",
 *     "params":
 *     [
 *       {
 *         "name":"p1",
 *         "type":"CONSTANT",
 *         "value":"0.5"
 *       },
 *       {
 *         "name":"p2",
 *         "type":"CONSTANT",
 *         "value":"100"
 *       },
 *       {
 *         "name":"x",
 *         "type":"PROPERTY",
 *         "value":"Price"
 *       }
 *     ]
 *   }
 * }
 * @endcode
 */

bool CustomRankingParser::parse(const Value& custom_rank)
{
    if (custom_rank.type() == Value::kNullType)
    {
        return true;
    }

    // parse params firstly
    if (custom_rank.hasKey(Keys::params)) {
        const Value::ArrayType* array = custom_rank[Keys::params].getPtr<Value::ArrayType>();

        for (std::size_t i = 0; i < array->size(); i++) {
            if (!parse_param((*array)[i])) {
                return false;
            }
        }
    }

    // parse expression
    if (custom_rank.hasKey(Keys::expression)) {
        std::string expr = asString(custom_rank[Keys::expression]);
        if (!customRanker_->parse(expr)) {
            error() = customRanker_->getErrorInfo();
            return false;
        }
    }
    else {
        error() = "custom_rank[expression] field must be set.";
        return false;
    }

    // check properties occurred in expression, and get property data type.
    // properties should be existed and sortable.
    std::map<std::string, PropertyDataType>& propertyDataTypeMap = customRanker_->getPropertyDataTypeMap();

    std::map<std::string, PropertyDataType>::iterator iter;
    for (iter = propertyDataTypeMap.begin(); iter != propertyDataTypeMap.end(); iter++) {
        if (!isPropertySortable(indexSchema_, iter->first)) {
            error() = "Please ensure \"" + iter->first + "\" is a parameter set in custom_rank[params], or a numeric data property.";
            return false;
        }
        // set property data type
        iter->second = getPropertyDataType(indexSchema_, iter->first);
        //cout << "***** property: " << iter->first  << "  datatype: " << iter->second << endl;
    }

    return true;
}

bool CustomRankingParser::parse_param(const Value& param)
{
    std::string name, type, value;
    stringstream ss_err;

    if ((name = asString(param[Keys::name])).empty())
    {
        ss_err << "custom_rank[params][name] should not be null." << endl;
        error() = ss_err.str();
        return false;
    }

    if (!CustomRanker::validateName(name)) {
        error() = "Invalid name in custom_rank[params] \"" + name +
                "\", should be alphabets, numbers or '_', do not start with a number.";
        return false;
    }

    type = asString(param[Keys::type]);
    value = asString(param[Keys::value]);

    if (boost::iequals(type, "CONSTANT"))
    {
        double dbValue;
        if (!CustomRanker::str2real(value, dbValue)) {
            ss_err << "Failed to parse custom_rank[params][value] \""<<
                    asString(param[Keys::value]) << "\", as a real number." << endl;
            error() = ss_err.str();
            return false;
        }

        //cout << "[CONSTANT] "<< name << ": " << dbValue << " type: "<<Value::type2Name(param[Keys::value].type()) << endl;
        customRanker_->addConstantParam(name, dbValue);
    }
    else if (boost::iequals(type, "PROPERTY"))
    {
        //cout << "[PROPERTY] "<< name << ": " << value << endl;
        customRanker_->addPropertyParam(name, value);
    }
    else
    {
        ss_err << "custom_rank[params][type] should be CONSTANT or PROPERTY, but get \"" << type << "\"." << endl;
        error() = ss_err.str();
        return false;
    }

    return true;
}

}

redpajama_set_name: RedPajamaGithub


text:
Let There Be Colors on Key Bridge
By Georgetowner • October 11, 2017 0 980
While the lights of the city sometimes reflect off the Potomac River and flicker along the arches of Key Bridge, which connects Georgetown in Washington, D.C., to Arlington, Virginia, think how much more dramatic a lighting system on the bridge might illuminate and enchant the evening on the river.
A community meeting was held by the main players on this idea — the District Department of Transportation and the Federal Highway Administration — called the Francis Scott Key Bridge Architectural Lighting Project.
As DDOT sees it, the lighting project proposes improvements to enhance nighttime views and accentuate Key Bridge's unique architectural features. The lighting would be installed on the bridge's underside and would be separate from the existing lights on the bridge surface. There are several concepts for lighting fixtures as well as where the light would be directed — and whether the illumination simply be white or in different colors, such as red or blue.
At the meeting, feedback was sought, and neighbors expressed concerns about the bridge's lighting system going overboard with too many colors for too many special days, occasions, groups or agendas. It appears on this matter two Georgetown groups are at odds: the Citizens Association of Georgetown prefers the bridge lights to remain white and the Georgetown Business Improvement District prefers the occasional multi-color option.
Completed in 1923, the Classical Revival-styled bridge replaced the longtime Aqueduct Bridge and is named for Georgetown resident, Francis Scott Key, the author of "The Star-Spangled Banner," the national anthem. Once located a block from the bridge, Key's house on M Street originally had a backyard that went all the way down to the river, since in 1814 the C&O Canal had not yet been built.
Because of this patriotic connection, we believe a occasional red-white-and-blue lighting option to the bridge would be appropriate — especially for the Fourth of July and Flag Day— if used sparingly. We do not wish the bridge to be illuminated for every special day in people's mind. The bridge lighting should be white most of the time. While we agree with the Georgetown BID on this score, we appreciate CAG's judicious approach. We also must ascertain who or which group makes the decision to switch on the color for special occasions.
Any changes to Key Bridge involve the federal government, but we need not make a "federal project out of it," so to speak, on this disagreement.
For more information and the project and future public meetings, contact DDOT Project Manager Ted Van Houten (theodore.vanhouten@dc.gov, 202-671-4580), or visit the study website at www.keybridgelighting.com.
tagscolorFrancis Scott Key Bridgelighting
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Many people think massages are a luxury …something that you treat yourself to. They also believe that massages are just for relaxing. Our natural instinct is to turn to massages in the moment of need, and this is the reason why people self-massage sore muscles. In reality, routine massage therapy has amazing benefits that can help you have a healthy daily lifestyle.
Alleviate headaches – If you suffer from headaches from tension or migraines, massage can help reduce or even eliminate your painful headaches.
Reduce joint/muscle pain – Massage will get to the root of the pain by relaxing tense muscles. Massage will also bring blood flow to the sore muscles, which can bring oxygen and nutrients. All of this activity reduces swelling and stiffness to help increase your flexibility to help eliminate pain. Massage releases the hormones in your body to help you feel good, promote healing, and assist with pain management.
Reduce anxiety – Massage is a natural way to help you with anxiety by cutting your body's level of stress hormones in half.
Relax the body – Receiving a massage will help decrease cortisol in the body, which allows the body to enter a relaxing rest-and-recovery mode. This effect lingers long after the massage is over.
Flexibility – By working on muscles, connective tissues, tendons, ligaments and joints, regular massage can improve your flexibility. It also helps keep your joints more fluid to make them less injury prone. Stretching, along with massage, will be a great combo to keep you more flexible and reduce soreness after a workout.
Improve quality of sleep – There is a very strong link between weekly massages and increased quality of sleep. This is very important when you consider the many health issues that are caused by lack of sleep.
Stress – Taking care of your body should be your first priority. By helping relieve the stress in your life, you can have a good night's sleep and headaches will start to subside. Chronic stress increases your risk of developing disease. Take advantage of the stress-busting benefits of massage therapy.
Lower blood pressure – If someone is looking for a more natural way to help lower blood pressure, then a consistent massage program can help. Massage can help by keeping your stress hormone levels under control.
Re-energize – After a long workday you can feel drained. Swedish massages will relax you, but they are also known for making the receiver feel more energetic throughout the rest of the day.
Blood Circulation – If you have any health conditions that slow down your blood circulation, massage will help with better organ function and improve cell growth. Massage also brings blood to the surface, which will help with healthier skin.
Combined with a balance diet and regular exercise, massage can be a powerful, natural cure for a healthier lifestyle. Schedule your massage with Michelle today by calling 330-499-2266!


More than a few times I thought to myself, "How did I get here?" It seemed like such a random place to come in Hungary, since most people just hit up Buda and Pest and then go right up the Danube river, but I was glad I took some time in Hungary's second city.
For one thing, it was beautiful and quaint, with the exception of some very nasty looking communist-era high rises that mar the skyline. It's a young city on account of the university there, with the bars and restaurants to feed and water the student population.
This city gets my wanderer's mark of approval.


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Home » Nintendo » Nintendo, The survivor
Nintendo, The survivor
"Work hard, but in the end it's in heaven's hands." This is a quote from Game Over about the meaning of the word "Nintendo." In the video-gaming market, though, it was really in consumers' hands. Nintendo has always needed to adapt to survive in the market. Nintendo always needed to be on top; it was a company that needed to be ahead of the rest. Nintendo had to set new standards, or improve on an existing product or idea.
The Dutch and Portuguese first brought their card games over to Japan 355 years ago. For the longest time, the kuruta (playing cards) in Japan were Dutch and Portuguese. Fusajiro Yamauchi came along and integrated the cards into existing Japanese games that originally used clams and stones. Fusajiro called these cards Hanafuda (flower cards), and many varieties of games were made using these cards (Game Over). In 1889, Fusajiro founded his own playing card company (Company History). Using the Japanese Kanji characters – nin, ten and do – Fusajiro named his company Nintendo (Game Over). As quoted from the book Game Over, the Kanji characters Nintendo meant "Deep in mind we have to do whatever we have to do," or even "Work hard, but in the end it is in Heaven's hands."
To gain more business, Nintendo needed to reach other regions of Japan. To do so, Fusajiro decided to have symbols painted on the cards that reflect the characteristics of various regions of Japan. Nintendo then signed up with tobacco shops to sell the Nintendo Hanafuda easily around the nation. All was doing modestly well until the Yakuza showed up. The Yakuza, the Japanese equivalent to the Mafia, set up many gambling parlors in Japan. Hanafuda were used for a variety of card games in these parlors, and like in casinos: new games were started with new decks. With these bustling gambling parlors going through so many Nintendo brand playing cards, Nintendo profited handsomely (Game Over).
In 1907, Nintendo started manufacturing western-style playing cards for bringing out a wider variety of card games from the United States of America. In 1927, Nintendo started to put fancy backing on the cards (they were originally blank). In 1949, Nintendo's current president, Hiroshi Yamauchi, came into office (Game Over). Four years later Nintendo became the first company in Japan to manufacture plastic-coated cards. This was done to compete with plastic-coated imported playing cards. In 1959, Nintendo had its first licensing agreement. The license was with an American company, Walt Disney, to make playing cards with Disney characters on them. It turned out to be a good move for Nintendo, as Nintendo's market now included young people and families; soon their playing card profits sky-rocketed (Company History).
Nintendo's president, Hiroshi Yamauchi, wanted the company to expand faster; he wanted to be able to compete in a bigger portion of the market. Hiroshi came up with his own ideas to do so: individually portioned instant rice, a taxi service, and a "love hotel" that charged rooms by the hour (Game Over). Hiroshi later trashed these services and products to focus back on the part of the company that succeeded all the rest, the playing cards. Later on he sprouted another idea; and in 1969, Hiroshi set up a Games department for Nintendo (Company History). In order to compete with the toy industries: Hiroshi Yamauchi hired many people to the new department. Yamauchi had told them that they needed to come up with something that will be sold for the coming Christmas. Yamauchi only told them that it needed to be "something good" (Game Over).
The first few toys that came from Nintendo were simply novelty toys; such toys were the Ultra Hand (used for snatching far away objects), and the Ultra Scope (used for seeing around corners and spying). Later on, the toys became more electronic. In 1973, Nintendo developed Laser Clay Shooting. This new game that was much like Clay Pigeon Shooting, only instead of using real bullets, beams of light were used to hit light sensors on clay pigeons. These clay pigeons, when hit by these light beams, would then trigger a device that exploded the clay pigeon. In Japan, this latest Nintendo game surpassed the major pastime of bowling (Company History).
In 1975, Pong (a.k.a. Laser Tennis), came into the attention of Hiroshi Yamauchi. He had to jump in on a new form of entertainment such as this. Introducing the microprocessor to video gaming in 1976, Nintendo started making various versions of Pong that represented other sports like tennis and soccer. Nintendo started using microprocessors in a line of coin-operated arcade games (Game Over). Later in 1976, Nintendo set the standard for using microprocessors in arcade games (Company History).
Business was going good, and technology was advancing. Soon there were credit card sized calculators. This inspired Hiroshi Yamauchi. Yamauchi had an idea to create a new way of playing video games (Game Over). In 1980, Nintendo released their Game & Watch systems. These were hand-held systems that played one game, they were about two-thirds the size of VHS video-cassette (Company History). These Game & Watch systems were very popular. In fact, they were so popular that eventually fifty percent of the Game & Watch systems in the world were counterfeit (Game Over). Nonetheless, this move into video games proved to be very lucrative. From this point on, Nintendo focused on video game systems.
While people were buying tons of Game & Watch systems, Yamauchi decided that Nintendo should work on a home video game system. Like Atari, the game system would have interchangeable games. Nintendo's first steps into the home video gaming industry were the Color TV Game 6 and the Color TV Game 15. These first systems were not all that popular, but Nintendo did not give up. To see where they were going wrong, Nintendo looked to their competitors: Atari, Commodore, and Epoch. Nintendo cracked open their competitors game systems and figured out how they worked. Nintendo found many places for improvement in these systems; thus they made their own home video game system based on other systems, but used advanced technology to improve their own system: the Famicom (Game Over).
Because the company was based in Japan, the release of products in the U.S.A. always occurred a few years later than the release in Japan. This happened because the products needed to be translated to an English programming language. A system was usually given a different name for each country, for the appeal of each cultures taste. Though it took longer for systems and games to be released in America, it proved to be very worth the wait. As time went by for the Japanese versions, flaws were discovered and fixed, language translations were made expertly (occasionally translations accidentally ended up being offensive fascist remarks and/or terms), and even the systems themselves were fixed up with better technologies (Game Over).
In 1982, Nintendo released a home video game system, the Family Computer or Famicom, in Japan. Three years later, a more improved system was released in the U.S.A. under the name Nintendo Entertainment System, or the NES (Company History). The original designs of these systems were sleeker in appearance and the hand-controllers for the system used infrared technology. Nintendo wanted to separate themselves from their main competitor: Atari, which by 1985, had virtually ran themselves bankrupt by having too many bad games. Nintendo did not want their customers to be turned off by Nintendo's game system just because Atari couldn't manage well. So Nintendo identified various parts of their system in order to make it appear that the Nintendo Entertainment System was totally new. Nintendo called their NES an Entertainment System instead of a game console, which used game paks instead of Game cartridges (Game Over). Another reason for these modifications was to give the user a sense of freedom, without the use of a cord connecting the controller to the system. But due to the users movement during game play, the infrared sensors did not work properly. Cords were ultimately used in the final design (Out of the Shadows 22).
To further compete with hand held game systems, Nintendo released an all-new kind of system in 1989: the Nintendo Game Boy. The Nintendo Game Boy was the first portable game system that was designed to use interchangeable games for play (Company History). Like other hand-held systems, the screen was black and white; but the Game Boy was much more adaptable. The owners manual shows that the system had an AC adapter port, as well as a place for batteries, there was a port to plug in your own headphones, and their was even a port to connect to other Game Boy Game systems for two-player games. After the Nintendo Game Boy was released, other companies tried to create or improve their own hand-held game systems.
With new competitors, such as Sega, entering the home video gaming market with their newer systems, Nintendo released a 16-bit upgraded system of the Famicom in 1990 in Japan: the Super Famicom. In 1991, under the name of the Super Nintendo Entertainment System (or Super NES), the same 16-bit system was released in the U.S.A. (Company History). Nintendo could have made the Super NES able to play the old NES games, but it would have added another $75 onto the $200 sticker price of the Super NES. These new systems, along with a bigger memory for longer games and better graphics, had proven to be faster and better than their predecessors were (Game Over). All too soon, other companies were coming out with 32-bit game systems, but Nintendo refused to give up on their new system. Nintendo fought back through their games.
To break the rules of the regular two-dimensional looks of previous games, Nintendo developed a computer chip that was used to create three-dimensional games (Company History). The chip (the Super FX Chip) was only used in a few games, but it paved the way for setting a new standard in developing future video games.
In 1994, Nintendo once again came up with a new concept for home video game systems. Nintendo released a small adapter that allowed Nintendo Game Boy game paks to be played on the Super NES (Company History). The intent was to expand the Super NES's current video game library; the advantage was to play the Game Boy games in 8-bit color! In the same year, Nintendo also set a new standard in video game graphics by using Advanced Computer Modeling in Super NES games. The next year, Advanced Computer Modeling was used in the Game Boy games (Company History). The standard for hand-held games had also risen.
Trying to set a new wave of game play, and to compete further, Nintendo launched a 32-bit Virtual Immersion game system in 1995: the Virtual Boy (Company History). The system was bulky and needed to be played at a table. To keep the sale's cost low, the games were colored in hues of red in a Liquid Crystal Display (LCD), though many gamers — people who played video games immensely — argued that a full color LCD would be much better. Nintendo argued that the system would then cost three times as much (Virtual Boy Arrives 10). The Virtual Boy died in the market in less than one year. Even though Nintendo, once again, was concerned about a too high of price for their customers, their customers would have rather paid more, for more.
To try and rectify themselves in 1996, Nintendo co-released their next game system in both Japan and the U.S.A. Their next system was a 64-bit home video game system: the Nintendo 64 (Company History). The original title was the Nintendo Ultra 64, but the "ultra" part sounded too corny (Out of the Shadows 25). As inspired by the Super FX Chip's capability, the Nintendo 64 helped set a new standard for video games all around (Out of the Shadows 26). That standard was a three-dimensional playing field in games. This time around there was foresight; Nintendo decided to have the Nintendo 64 to be able to expand for when competitors came out with a new system. Nintendo made the Nintendo 64Os RAM port expandable with an Expansion Pak that could be purchased when bigger, faster, and more detailed games came out for the Nintendo 64 (Nintendo 64 Hardware).
In 1996, Nintendo once again improved their hand-held game system by making it smaller. The new Game Boy Pocket was specifically designed for easy portability in one's pocket (Company History). With all of the same ports of the original system and the requirement of fewer batteries, Game Boy Pocket was an immediate favorite of gamers. The idea was to get people hooked on the Game Boy again, but it still wasn't good enough. So the Game Boy system was once again improved in 1998. Giving it color, the Game Boy Color was born. The Game Boy Color was an immediate success. Even when the original Game Boy was more popular than Sega's bulkier, colored hand held game system, The color screen for the Color Game Boy made it even better. With this new game system, new, full color games could be created (Company History). Later on, many other companies tried to make smaller, color hand held game systems, but still the Nintendo Game Boy systems are king. Nintendo also added a little more excitement to its new system. Nintendo started to release Game Boy Color Games that featured four to five Game & Watch games.
Nintendo has come a long way. From selling trading cards in Japan in 1889 to planning a state-of-the-art video game systems for the millennium. Nintendo changes to meet the demands of their customers, so that they will continue to buy Nintendo products. In the end, Nintendo always seems to come out on top with setting a new standard in the video game systems industry. Nintendo is a survivor and a revolutionist.
To the best of my knowledge, the information above and below is correct. The information above contain some editorial wording. The information below may be slightly incomplete, there were other Nintendo Power references I could not track; The book Game Over contains many other references.
"Company History of Nintendo of America Inc." 9 Nov. 1999. http://www.nintendo.com/corp/history.html.
"Game Boy Advance." Incite: Video Gaming Dec. 1999: 154.
"Nintendo 64 Hardware." 13 Dec. 1999. http://www.nintendo.com/n64/expansionpak.html.
"Out of the Shadows: Nintendo 64 Debuts in Japan." Nintendo
Essay Examples. (April 2019). Nintendo, The survivor. Retrieved from https://benjaminbarber.org/nintendo-the-survivor/
"Nintendo, The survivor." benjaminbarber.org. 04 2019. 01 2021. .
Essay Examples. April 2019. Nintendo, The survivor. [online]. Available from: https://benjaminbarber.org/nintendo-the-survivor/ [Accessed 16 January 2021].
Essay Examples. Nintendo, The survivor [Internet]. April 2019. [Accessed 16 January 2021]; Available from: https://benjaminbarber.org/nintendo-the-survivor/.
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Want to know what former students at Minden Gross LLP had to say about their experience?
My articling experience at Minden Gross was equal parts challenging and enjoyable. I was given the responsibility of completing challenging tasks on a number of files, but I was able to do so under the guidance of great lawyers and with the assistance of our remarkable support staff.
You learn pretty quickly that Minden's "Open-Door Policy" isn't just a throwaway line on the firm's website. Whenever I had questions, law-related or not, I felt comfortable approaching any member of our firm to ask for their opinion or advice. From junior associates to senior partners, the lawyers at Minden Gross are genuinely interested in seeing you develop into a competent and confident lawyer.
I can't imagine that articling gets much better than an experience at Minden Gross.
From the get-go, I was tasked with meaningful and challenging assignments and benefited from the knowledge of top-tier lawyers while doing so. I immediately became part of the team and was consistently made to feel that my contribution to file work in all areas and in firm life was valuable.
The firm is committed to students' professional growth. Both Lawyers and management have encouraged me to pursue my interests and have provided the support and practical guidance necessary to build the foundation of a successful lawyer.
Most importantly, I looked forward to coming to the office every day. The people here are truly special and take a genuine interest in getting to know you – partners, associates, staff, and your articling cohort quickly become your friends. I feel very fortunate to be a part of the Minden Gross family.
Articling at Minden Gross LLP was one of the most challenging and rewarding experiences of my life. I was given the opportunity to engage in meaningful work, including appearing on ex parte motions, conducting judgment debtor examinations, attending settlement conferences, and preparing motions material. It was a privilege to learn from some of the most talented lawyers in the industry and I am extremely grateful for the support and guidance that they afforded me.
The best thing about working at Minden Gross is the people that work here. I have worked with and learned from exceptional lawyers at the firm, and have made lifelong friends here as well.
The partners and associates are friendly, team-oriented, and committed to their clients. On any given day, I see partners and associates going in and out of each other's offices brainstorming and asking for advice. There's great camaraderie here, and everyone works as a team. Further, the lawyers here encourage articling students to take on responsibility immediately.
From very early on, I was talking with clients, going to court, and drafting documents. The partners and associates were always available to help with any questions I had. It's amazing how fast I have grown here. Every day at the firm is different and fast paced, and I am always engaged and excited for the next challenge. Although the learning curve is steep, it is deeply fulfilling to look back even just after a few months of starting and realize how much I have learned in such a short period of time.
Working at Minden Gross has been a true pleasure. From the very first day I felt welcomed into the Minden Gross family. Here you have the opportunity to work directly with partners and associates and in many situations, you may become the junior on a file.
Throughout my work with Minden Gross I was given the chance to draft documents, participate in client meetings, research interesting topics, write articles and take part in deal closings. In the litigation rotation you are granted the responsibility to manage small claims files on your own and appear in court on a variety of matters.
I feel that my experience working for Minden Gross has offered me excellent insight into what a career as a lawyer entails. The amount of responsibility, variety, and complexity of the files I encountered while working at the firm helped prepare me for my career as a lawyer.
There is often an expectation among law students that articling will be a gruelling, if not overwhelming, experience. Many expect to be overworked and underappreciated. While I cannot speak to the experiences of those at other law firms, I can say without reservation that my articling year at Minden Gross was both meaningful and enjoyable.
In my opinion, what separates Minden Gross from most other law firms is that the lawyers here genuinely enjoy both practicing law and teaching the law to those, like us, who are new to the profession. This holds true from the junior associates to the senior partners.
Whenever I was asked to assist on a file, the supervising lawyer would take the time to sit down and explain what was expected of me and where my work fit into the broader case or transaction. I believe that this culture of teaching and mentorship at Minden Gross counterbalances the steep learning curve of articling and will make you feel like a valued member of the team right from your first day on the job.


text:
create table tabela (id int not null auto_increment,
                     nome varchar(60),
                     idade int,
                     primary key (id)
                    );
insert into tabela (nome, idade) values ("Pedro", 20);
insert into tabela (nome, idade) values ("João", 21);

SELECT * FROM tabela ORDER BY id DESC;

--https://pt.stackoverflow.com/q/339396/101