Itsy Bitsy has kindly sponsored this challenge again.
Do not forget to play along and leave your link at BCG.
such a lovely card Neelu i love your inspiration for this challenge...its so fab!!
thios is elegantand really gorgeous.I loved it completely.


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I am extremely happy to welcome you to our prestigious Nirmala College of Pharmacy Offering courses B.Pharmacy, Pharma D, M. Pharmacy and D. Pharmacy. It has crossed several mile stones over the years and reached great heights in training the Pharmacists to serve the humanity in order to lead extraordinary lives in pursuit of love for service, personal integrity, ethical behaviour and care for others.
I am proud to say that we have best campus facilities in all levels to give core education to the Pharmacist. I am sure the enlightened 'Nirmalaites' will continue to learn throughout life and apply he/her learning for the good. The college welcomes people of all races, creed and religion, in possessing values like intellectual curiosity, urge for knowledge and self discipline.
Take a moment to browse the website. It is really interesting and knowledgeable to decide your career.


facilities for the oncology patients.
Our International Patients relations help guests from around the world feel at home in Chennai. Let us know how we may assist your stay !
The VS Trust is helping touch the lives of people from the underpreviledged sections of the society and give them the gift of health. Contribute towards making a cancer-free world.
When you are facing medical diagnosis, it's common to feel confused.
It makes sense to get a second opinion when you face a medical condition that is life-changing or even life-threatening.
Conferred the Best Doctor Award by the Tamil Nadu Government Dr. MGR Medical University in 2013.
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We don't have to wait for the right circumstances to have happiness.
This very moment is a seed from which the flowers of tomorrow's happiness grow.
The greatest happiness is to transform one's feelings into actions.
People are about as happy as they make up their minds to be.
The secret of happiness is freedom, and the secret of freedom is, courage.
Happiness sneaks through a door you didn't know that you left open.
Happiness cannot be found; it must be created anew everyday.
Happiness consists in activity. It is running stream, not a stagnant pool.
Happiness is simply to allow everything to be exactly as it is from moment to moment.
That action is best which procures the greatest happiness.
The man is richest whose pleasures are cheapest.


text:
Stizzo
We jumped on the chance to have Alboy interview Stizzo when he went to do a guest spot at Cloak and Dagger, London, after the London Tattoo Convention. Renowned the world over for his style, we couldn't miss such an opportunity. It was great to find out more about his background and how his style developed.
Interview – Alfredo "Alboy" Guarracino
Photography – Karolina Amberville/Stizzo
Hi, Stizzo. This interview won't be just focused on your job as a tattoo artist. It will underline your personality and your background, where you are from, which subculture you belong and belonged to, your passions outside tattooing and your future projects. Let's start with introducing you: what is your real name, where is your nickname from, and where are you from?
I'm from San Donato (Milano) and my real name is Stefano but at some point in my life, I'm not too sure when, someone has given me this nickname, and I've had it since then.
When did you get a feel for skateboarding, and how much did that passion affect your life as a teenager in the 90's?
In the late 80's, skateboarding was mainstream in Milano and there were loads of crews everywhere. With the circulation of the first magazines on the subject, the whole thing spread even more and it got my attention too, together with Punk and Hardcore music, which was ever-present both in skate contests and magazines.
The step that would have consecrated you as a professional skater was the change from the 'toy board' to the 'pro board'. I bought my first board, a Jason Jesse Mini, from Germani Skate Shop in '89. Skateboarding has influenced my whole adolescence. The passage from wheels to snow was quite fast. My first snow-surf was in 1992.
Straight Edge has recently become almost an adjective. Most people know roughly what it means, but not everyone knows what it really is and what it means for those who follow that lifestyle. Could you explain to us why and when you started adhering to this ideology, as many guys in the 90's? And, above all, what is Straight Edge truly about?
Straight Edge is a lifestyle. It doesn't constantly force sacrifices upon you, you take it easy and go with the flow with the choices you've made, without regrets or the need to refuse drugs and alcohol. It's a lifestyle far away from any bad habit.
I remember in the early 90's, in my town the music scene was so strong – almost the half of the whole scene. We were a crew of teenagers and were influenced by everything coming out of our favourite bands. There were those who were nuts on Punk, and the ones in love with faster and less melodic music, like me. The punk hardcore 'Gas', and before them 'Reality', represented and still represent a lot to me.
Milano is a constantly changing city, it's for sure a key place for the Italian subcultures. How did you live in the 90's? What interests did you have, and what kind of connection did you have with the city?
Our link to Milano was exclusively related to music. In other words, our Saturday afternoon was a stop over to Steve at Zabriskie Point and to Luca Cattaruzza's music stand at the local fair. We could buy, sell and trade records and LPs or get informed on the latest concerts and music events. There was a magic atmosphere surrounding the whole thing: punks, skins and str8 edges all together united, and loads of people attending the concerts.
What has radically changed in you since 20 years ago?
Nothing has changed. I'm the same as I was before with the same taste and interests. But now I live for my sons, my wife Stefania, and my job. Anyway, I can't help myself with music, I always strive to keep on playing on stage with enthusiasm.
Tattooing: without any doubt you represent today a benchmark for many tattoo artists. Could you tell us how you approached this field and when you started wishing to learn it?
I got tattooed at the end of the 90's and a world was opened before my eyes. Since I was a child I'd never stopped drawing, and by getting tattooed, I discovered new drawing techniques to identify myself with. Bold lines and solid colours, that was tattooing for me. I began drawing day and night, copying everything I saw on the first Tattoo Revue magazines, then a guy from Peschiera wanted to buy my original drawings. I started tattooing in his studio, and after a year, I realised that Milano could put me in the public eye and how important that was. My life changed when I met Michelangelo who gave me the first technical notions on tattoo machines and about this job. Thanks, Master.
Who were your main reference points when you started tattooing?
Michelangelo for the technique, Gianmaurizio Fercioni for the history and devotion to tattooing, and the California scene for the style and the drawing taste.
Every tattooist should have a list of objectives to achieve, challenging himself day by day both technically and stylistically. How did you handle your beginner period? Did you have a proper apprenticeship, or did you have a mentor who taught you everything you know? How was the tattoo scene in the early 2000's?
Let's say that in the 90's and the early 2000's it was much harder than now to approach the field. It was very difficult to find advice and references for your work and to buy machines and professional equipment. It was fundamental for me to learn how to make needles, a job that every old school tattoo artist knows quite well. Soldering, cleaning and bagging hour after hour. The only link we had with the tattoo world was coming from the magazines like Tattoo Revue and Tattoo Life/Tattoo Energy.
The first tattoo conventions were a great experience. For me, it was an awesome, brand new world. But the whole thing changed thanks to some great Italian tattoo artists who, by appreciating my work, gave me a great boost to keep on going and I'm very grateful for that.
My real goal is my personal satisfaction with my job.
Your painting style is your identity. Your flash paintings are a perfect example of constant research and study. Your technique is absolutely personal and original. What were your references in the past? How did your style change and why?
I started as a generic painter without any sort of background – 100% autodidact! Tattooing and everything surrounding it, like paintings and flash tattoos, have always fascinated me – bold lines, solid colours, no dynamicity and no perspective. That's what I love: the attention to detail, the elegance of the shape without falling into realism or a cartoony look.
I can't, or can only very rarely, get inspiration from contemporary artists at all. I'm too fascinated by how vintage artists from the early 20th century painted and made 'mistakes'. Every little tattoo flash can give me a spark to create something new and original.
"The Best of Times was born with the idea of setting up a family, a school, and a reference point of the Italian traditional tattoo style."
You've had a few chances to travel to the USA. What drove you to go to the other side of the world? Why the States? Could you tell us about your first time on American soil?
My first time was in Sacramento more than ten years ago. I was pretty much a beginner and I was constantly hearing from the California scene as the most creative and wide one. Magazines such as Tattoo Life started to publish pictures and interviews on artists like Grime, Scott Sylvia, Wrath, Chris Conn and Theo Mindell. I was amazed by every single one of those guys' work, and I couldn't believe that all of it was right there in California between Sacramento, San Raphael and San Francisco.
I knew the Forever Tattoo team who were working at American Graffiti Studio at the time, and they invited me to the Sacramento convention. I definitely didn't give it a second thought, and I decided to go! And I was actually right, the first time there was very gratifying to me above all for the artistic side. There was a drastic change and an important turning point in my career.
During the years, you have improved your technique when making tattoo machines. How did you learn about the process? Who taught you how to design and assemble them? What do you look for in a tattoo machine?
The tattoo machine is the means by which our ideas get etched onto the skin. It's part of our lives and it's extremely important to know every single secret and component of them. The first person who introduced me to it was Michelangelo, a very important Milanese artist, well-known for his supreme working technique. I've never met anybody so knowledgeable about tattoo machines, and even now he can always surprise me with something new I wasn't aware of.
My machines are designed to work mainly on high voltage, with a support of an adequate amperage, not less than 3 amps. The liner machine has to work well on low power with thin needles like 3RL, or even 1RL, and the shader machine has to be strong, fast and constant so that I can work edgeways and on the needle tip.
Your experience as a tattooist over the years has given you the chance to collect hundreds of paintings, books and prints from different parts of the world. Tell us about that passion and how much it affects your painting.
Fortunately, I'm not the only one who has a feeling for drawing and painting. It is awesome how at the tattoo conventions there is a constant trade of prints and original paintings with loads of tattoo artists. What I'm most grateful for is to see them, and quite a lot of people who are just approaching the world of tattooing, just pop by my stand and show me or give me their works as a gift. That makes me realise that my dedication is an example for a lot of people. And it really is a great source of satisfaction, believe me.
The Best of Times is widely considered one of the strongest tattoo studios in Italy. How was that idea born? Who collaborates with you and what kind of feedback did you get from people from the time you opened it until now?
The Best of Times was born with the idea of setting up a family, a school, and a reference point of the Italian traditional tattoo style. I immediately realised how much enthusiasm many people had for that idea, and this allowed me to make the whole thing real. Nowadays the people working for me are Max Brain, Pellico, Viviana, Matti Angeli, and Michelangelo, one week per month.
The Alfa Romeo is without any doubt another true, fundamental passion of yours. Why the Alfa? Tell us when you started to get passionate about one of the most important Italian car brands in the world and what the Alfa represents for you.
For me the Alfa is Milano. I'm fascinated by the history of the factory, the designers, the collaborators, and the people who created what I consider to be mechanical jewels. Behind a model there isn't just a design, there is a story made by men, by people who gave all the knowledge they had to it. I both see it and feel it when I get into a Milano masterpiece. As collectors, it is our responsibility to preserve these masterpieces for the future without forgetting the history of our city and of Italy itself.
How do you see your future? What projects do you have in the pipeline?
Let's say that my vision will never change: I want to be satisfied with my work. I'll always strive to find that satisfaction by constantly looking for references and maintaining a classic, elegant style. My latest project is a book of 100 paintings, The Best of Times book.
Best Of Times – Milano, Italy
www.facebook.com/stizzotattooartist
Brody Polinsky
Eva Jean – 13 years in the making
Wendy Pham
Chad Koeplinger – Wanderlust
Yeshe
Dock Street Tattoo

redpajama_set_name: RedPajamaCommonCrawl


Posting today on my favorite juice company, R.W. Knudsen Family. All of their juices come from their organic grape vineyard, and all are exclusively fruit-juice sweetened, completely free of any artificial flavors and preservatives. The R.W. Knudsen Family offers over 100 types of equally amazing, natural, organic fruit and vegetable juices, elegant celebratory beverages, bubbly Spritzers, and natural sports drinks, and you can find them now at local grocery stores and Target. Of course my favorite right now is their Cider & Spice juice. It takes all the hassle out of preparing a festive drink, and gives you peace of mind that you and your kids and guests are drinking something natural and healthy and not full of extra sugars or preservatives. My whole family loves this juice and it tastes just as delicious hot as it does cold! It is made with 100% juice from ripe, whole apples, and naturally flavored with allspice, cinnamon, cloves, lemon peel and orange peel, and is truly the perfect fall drink.
I love serving this warm, all you do is heat up R.W. Knudsen Family Cider & Spice juice in a large saucepan or crock pot for 5 to 10 minutes until the cider is hot, but not boiling. Remove from heat and ladle into large mugs, adding a fresh cinnamon stick to each serving for a festive twist.
I also think this juice is such a great additive to a 'thank you' or 'new home' gift basket. You could fill a festive basket with some cinnamon sticks, a cute mug, a fall-scented candle and a bottle of R.W. Knudsen Family® Cider & Spice juice to make the perfect, thoughtful gift to say 'thank you' to party hosts and hostesses this time of year, or to welcome friends into their cozy new home.


C:\Windows>netsh	interface	portproxy	add	v4tov4 ? Usage: add v4tov4 [listenport=]| [connectaddress=]| [[connectport=]|] [[listenaddress=]|] [[protocol=]tcp] Parameters: Tag Value listenport - IPv4 port on which to listen. connectaddress - IPv4 address to which to connect. connectport - IPv4 port to which to connect. listenaddress - IPv4 address on which to listen. protocol - Protocol to use. Currently only TCP is supported. Remarks: Adds an entry to listen on for IPv4 and proxy connect to via IPv4.
Sets the Router and RAS functionalities of the computer.
Deletes all ranges from the static IP address pool.
Keep the shift key pressed and edit the command!
Ist eine Remoteunterstützung über eine Remotedesktopverbindung in Windows 8 bzw. 10 möglich, (aktivieren, deaktivieren, freigeben und nutzen)?


text:
Lindsey Buckingham interview
Vintage Trouble: 1 Hopeful Rd
Soul-rockers bring it on home for album number two.
By Patrick Wells published 7 September 15
Vintage Trouble have forged a fearsome reputation since their 2011 debut The Bomb Shelter Sessions, with a retro style and an unwavering dedication to incendiary live shows.
Four years on, and with support slots for The Rolling Stones, The Who and AC/DC under their belt, the Hollywood-based soul-rockers return with their second full-length release.
Recorded with über-producer Don Was behind the studio desk, it's an album that rocks, croons and cries across its punchy 12 tracks.
The slide and stomp of opener Run Like The River shows the band have lost none of their grit and gusto, though the production has smoothed out their sound.
From My Arms and Doin' What You Were Doin' revel in the sweet soul stylings of decades past, vocalist Ty Taylor channelling Otis Redding. As an ode to their beloved hometown, Angel City, California has a Stonesy swagger, cueing up the lovesick plead of Another Man's Words and the laconic blues of Before The Tear Drops.
While guitarist Nalle Colt and the rhythm section of Rick Barrio Dill and Richard Danielson are steadfastly deft and dynamic throughout, there is the undeniable feeling – on this album at least – that it's Taylor's show. If You Loved Me is a deeply soulful cut, the singer wrenching its refrain and turning up the Otis to 11, while the gospel influences of Soul Serenity play out a record that is brash, slick and intimate by turns. Just don't forget to catch 'em live, too.
Cocaine, Quaaludes and chaos: the Casablanca Records story
Why I ❤ Frank Zappa's Apostrophe ('), by Steve Harley
Robert Plant, Alison Krauss, and the 'beautiful contrast' of Raise The Roof
Chicago: Chicago II - Album Of The Week Club review
Red Hot Chili Peppers and Motley Crue among the 10 best paid artists of 2021


A copyright is the grant of protection by the laws of the United States to the authors of "original works" including literary, dramatic, musical, artistic, architectural, and certain other intellectual works, and is available for both published and unpublished works. An owner has the exclusive right to do or to authorize others to do the following: reproduce the work, create derivative works, distribute copies of the work, perform the copyrighted work publicly, and display the work publicly. Software may be copyrighted, but may also, in certain circumstances, be protected by a patent.
What is the life of a copyright?
Copyrights are in effect for the life of the last surviving author, plus 70 years. If the work is produced as a result of the author's employment (a work for hire), the term is 95 years from the first publication, for 120 years after the creation of the work, whichever is shorter.
Copyright protection automatically exists from the moment of creation, and a work is created when it is fixed in a tangible form. Therefore, no publication or registration or other action by the Copyright Office is required to secure a copyright, although certain advantages are retained for registered copyrights, such as the right to seek damages for copyright infringement.
Why can't anyone just give me a definite yes or no when I ask a copyright questions?
Unfortunately there is rarely a simple answer on copyright. Instead of being black and white, it is varying shades of gray. Until someone actually goes to court and a court rules, it is all interpretation. No one wants to be that first case.
Reminder: Content on social media sites, streaming services, blogs and other web pages is covered by copyright law, just as print books and journals are.
Do I need permission to use material posted on the internet, on Facebook, on a blog/wiki, or other such site?
Yes, items posted online are normally as copyrighted as a published book, journal, newspaper, movie, or song. If you want to reference such an item, you should cite it to avoid plagiarism. If you want to copy, reuse, alter, perform, or play it publicly, you should treat it as you would other published materials, seeking permission from the owner as needed. Since the internet is changing much more quickly than copyright laws and the courts, the enforceability of copyright to some material is still in question (for example, internet memes that take a photo and add text above/below it).
May I put the Facebook and/or Twitter symbols on my handouts or webpage?
Like other companies (and even East Carolina University), Facebook and Twitter have guidelines on which symbols you can use and in what circumstances. Check out their policies.
What are trademarks, servicemarks, trade dress, and trade secrets?
Sometimes confused with copyright, these distinct forms of intellectual property are governed by other laws. Trademarks and servicemarks are texts, images, and even sounds used in commerce to brand a product or service differently from another. Trade dress applies to the physical look of a product and its packaging. Trade secrets are commercially beneficial information valuable only if not widely known; for instance, recipes cannot be copyrighted or trademarked and generally cannot be patented, but they can still have tremendous value (e.g. the formula for Coca-Cola). More information on all four may be found at the US Patent & Trademark Office website.
What trademarks and servicemarks are held by ECU?
ECU holds numerous marks -- for lists of them, visit Graphics and Licensing Standards and click on the pages on the left menu bar. For details on how to use them, if authorized to do so, consult The University Image publication. The university actively seeks to protect them: for instance, a recent trademark case has been filed to protect "Tomorrow Starts Here."
Whom do I ask to license ECU's name, logo, mascot, etc.?
Consult ECU Licensing for details. General answers may be found on ECU Licensing's FAQ page.
What are patents? How do they relate to copyright?
Patents are time-limited monopolies granted to inventors so they can profit from their inventions -- this serves as an incentive to inventors and repays the often high cost of research and development that go into inventions. Patents are for inventions (e.g. machines and some computer software), whereas copyright is for creative works (e.g. song, journal article, book). The US Patent & Trademark Office has detailed resources available on patents.
Who is my ECU contact if my research might need a patent? Would ECU own or share in any such patents?
ECU's Office of Technology Transfer should be contacted to discuss questions about patents for research or other activities conducted by ECU students, faculty, and staff. See especially OTT's patent FAQ.
What are licenses and contracts?
How does copyright interact with licenses and contracts?
Is citing the source enough?
When do I need to obtain copyright permission? May I simply cite the work instead?
A citation is all that is usually needed for university coursework (e.g. research papers and class presentations).
ECU graduate students writing a thesis or a dissertation should contact rights holders to obtain permissions for any material beyond a reasonable quotation (e.g. a paragraph from a book). Use of any graphics or forms should have permission obtained. The permission granting letter from the rights holder must be included in the submission to the Graduate School.
Documents intended for a larger audience (e.g. journal articles, books, conference presentations, social media, personal websites) should receive a careful review for copyright compliance. If you include charts, graphs, figures, photographs, multiple paragraphs of text, test instruments or surveys from another work, or video or music clips, you should seriously consider contacting the respective rights holders to obtain permission to reprint, broadcast, or perform their works. When possible, it is always better from a copyright perspective to link to the material on another site or to refer to it rather than reproducing it in your own work.
Some rights holders will require copyright royalties to be paid. If this is the case, you can either pay the fees or rethink your inclusion of the materials -- perhaps simply referring to the text or song would not diminish your work too much. Contact the Copyright Officer if you have questions or would like assistance locating whom the rights holders are.
Where do I go to obtain copyright permissions?
The Copyright Clearance Center (copyright.com) is usually the best place to start for journals because it handles permissions for many publishers. The CCC will show what rights are available for an item (e.g. reserves, classroom distribution, publication) and what copyright royalty fees, if any, are charged for each. You can pay online or be invoiced for any royalty payments you make. Response and approval are usually instant online.
If the CCC does not process copyright for the desired material, you should contact the rightsholder directly. Columbia University's Copyright Advisory Office has posted some templates that you might consider using a guide to your own permissions request letter.
For music that you think you will need to license, GeenLight Music is an easy starting place to begin your search. Since it is setup for commercial use, the prices shown are expensive, but you can enter a lower amount with your academic use explained to see if the rightsholders will agree.
Who is the rights holder?
Generally speaking, journal publishers have traditionally owned the rights to articles, not the authors; with the open access movement and greater awareness of author rights, authors are retaining certain rights to their works more often than in the past. Authors of books usually own their rights -- check in the first few pages of the book for the copyright notice to be sure (e.g. it might instead be owned by a publisher or a sponsoring organization). Videos, sound recordings, art, and other materials can be more complex to identify (e.g. the movie and the music used in it might be owned by different rights holders). Sometimes approval will be received quickly and for free; other times there might be a delay, royalties charged, or a denial. If you would like help locating the rights holder, please ask.
What do I do if the rights holder refuses my request or if I cannot pay the quoted royalties?
You could attempt to negotiate with the rights holder -- a better explanation of your intent might change the rights holder's mind. You could potentially refer to the work without including copies of it (e.g. instead of reproducing charts and quoting paragraphs of explanation, just paraphrase and cite the original work). You could include another work that does not need permissions (e.g. public domain or Creative Common materials). You could use another work that will grant permissions or will do so at a cost you can afford.
Save any documentation that proves that you received permission, including any payment receipts. Save copies of all copyright permission emails and letters along the way -- sometimes rights holders are unable to be located and having this documentation shows a good faith effort on your part if you decide to use the material and are later accused of infringement.
Simply put, you do. The government typically does not police copyright infringement as it does other crimes. Instead, it is up to you and your colleagues, friends, and family (or a licensing agency, see question below) to watch for infringement. Once infringement is noticed, a lawsuit may be threatened or filed.
How do I ensure that I retain rights to books that I write for publication?
Read the publication contract to ensure that you retain the rights you want to your work after it is published. Sometimes you might want to sign away some rights to the publisher to get the book published and so the publisher can handle the distribution, translation, and other tasks. You should particularly look for terms that grant irrevocable rights to the publisher for all future possible means of distribution; you might, for instance, attempt to negotiate only to grant or to transfer rights to the publisher to publish the book in print format for 15 years, after which you would regain those distribution rights.
To ensure the greatest protections for your works and the highest financial damages paid to you if someone were to infringe upon it in the future, you should register your work with the United States Library of Congress. See the US Copyright Office webpage for details about the registration process, cost, and submission requirements.
How do I ensure that I retain rights to journal articles and book chapters that I write for publication?
Ideally, look on the journal's/publisher's website for its copyright policy, or email the editor, prior to submitting the article. Most journals/publishers will send you a publication contract or copyright transfer document after your document has been accepted. Read the contract very carefully. If you do not understand it, feel free to ask ECU's Copyright Officer to review it with you. If it includes terms that exclusively transfer, relinquish, or grant for in perpetuity the copyright in the article to the publisher, you can often negotiate to retain some rights to reuse your works as you desire. A good start is the SPARC addendum. Many publishers will accept reduced rights if you ask. If your desired publisher will not, then you have to decide which is more important: keeping your rights or getting published.
How do I protect on my rights in works I post to websites & social media sites (Facebook, Flickr, etc.)?
Even if the site doesn't claim rights to your works, you should state on your site or on your entries that you clearly retain rights to your works. It can be as simple as a copyright notice or a Creative Commons notice placed on the bottom on the webpages, or, for pictures, you can place a watermark on the photos themselves. Such actions indicate that you do reserve your automatic rights under copyright to your works and reminds others than just because your works are posted online doesn't mean that they can be freely used by anyone for any purpose.
A handy flowchart has been made to help you decide which Creative Commons license might be right for your desired purposes.
When should I consider paying a licensing agency to help me protect my works?
This is a decision probably best weighed by the likelihood of others infringing on your rights, the likely financial damage to you from such infringement, the amount of time and effort you want to commit to seeking out possible infringement, and the cost you are willing to pay an agency to handle such policing and enforcement actions on your behalf. If you write a textbook, compose a piece of music, or create another work that has true commercial value, joining an agency might be something you should carefully consider.
Who owns the course materials created for a class, whether face-to-face or distance education? These materials include syllabi, lecture notes, quizzes, study guides, essay questions, and other such materials.
The University of North Carolina Copyright Policy 500.2 addresses this issue. A quick answer in most circumstances is that faculty members own the materials they create; ECU, however, also has "shop rights" to copy and use any materials a faculty member has created during employment at ECU (e.g. the faculty member leaves and the University wants to continue to offer the course). If an ECU staff member has prepared these materials as part of his/her job, ECU owns the copyright in them.
The lecture itself, being spoken word, is not copyrighted because it is not fixed in a tangible medium. Only the written lecture notes, PowerPoint slides, handouts, etc. would be covered by copyright; these would be owned by the faculty member or the respective rights holders (e.g. excerpts from a book that are shared with a class).
As a student, may I copy recordings of lectures, test questions, my course notes, etc. for others or upload them to websites that promote sharing such materials? Also, if I record a lecture, who owns it?
ECU prohibits commercial exploitation of course materials prepared by faculty, including lecture slides, course notes, quizzes, tests, etc. -- this includes uploading to websites that might be free to you to use, but which might be selling advertisements on the site or repackaging the uploaded documents to sell.
If you would like to record a course lecture to replay to help you study or to share with a classmate who is out sick, ask your instructor for permission.
What about presentations outside of class at workshops, conferences, etc.?
Check with the organizers of the event and review any documents or websites that explain the event. Look for the terms to see if you are permitted to record the event or duplicate event materials. Most likely, you are not permitted to do so without permission from the event organizers and/or the presenters.
If you are one of the presenters, make sure you know if the event organizers will be taking photographs of you and your work, video or audio recording your presentation, or publishing it in a proceedings document. If you are concerned about them distributing your work, discuss it with them, ideally before the event rather than during or after it. Often, such rights are granted by you by your acceptance to present at the event -- it might be in the document on which you submit your presentation proposal, in a contract or agreement the organizers send to you to accept your presentation, etc.
What about Massive Open Online Courses (MOOCs), iTunes U, and other such open classroom initiatives?
For a detailed discussion on the possible interplay of MOOCs and other such courses with copyright and licensing issues, consult the recent excellent article on this emerging topic by Academic Impressions.
What may be placed on library course reserve?
Please refer to each library's course reserve procedures for guidance as to what each library can place on reserve, for how long, etc.
How much of a book may be scanned for electronic course reserve?
While the law does not define a set amount, the guideline based on court cases and best practices is about 10%.
If your expected use would require scanning a significant portion of a work, you might consider assigning it as a required or supplemental text to be purchased -- doing so would remove the copyright issue of scanning. Otherwise, a review of the Fair Use Checklist, court cases, and guidelines may be used to weigh special considerations, including when a book is no longer in print or for sale.
May entire articles be scanned for electronic course reserve?
If the article is one to which ECU has online access, you should link directly to it whenever possible to avoid copyright and licensing issues. An on-screen tutorial is available from the ECU Libraries to help explain how do so, but you may also ask the libraries for help linking to articles. To ensure that off-campus and distance education students can easily access articles, be sure to include the proxy (http://jproxy.lib.ecu.edu/login?url=) in front of the direct article URL, as the tutorial demonstrates.
If the article is one that ECU owns in print or microform, the libraries can usually scan it for electronic reserve.
If the article is neither available online nor in hardcopy from the ECU libraries, then, as with books above, we must consider whether copyright royalties might need to be paid.
Do my course reserve materials need be through Blackboard, or may I have them on my webpage?
Scanned materials for electronic course reserve must only be accessible to enrolled students and instructors of a course. Having them available through Blackboard, restricted to the course, meets the requirement. Posting scanned documents to an open website does not.
May I link to YouTube videos and other online videos in my Blackboard class page?
Yes, you may link to such sources. Using a link removes copyright concerns since you are neither copying or broadcasting the video. One warning, though, if you knowingly link to a video on a website that is illegally posted on that site, you could risk being charged with contributory infringement.
May I show YouTube, Netflix, Amazon Prime, Hulu, and other online videos to my on-campus class?
use of their sites. What might be allowed under copyright for instruction might not be allowed under the license. There is debate over whether these licenses exclude classroom use, but it is clear that none of them explicitly permit it. There has yet to be a clarifying court case or decisive statement from the companies. The safest courses of action are to show a VHS or DVD, to show a video from one of ECU Libraries' streaming video databases, and to refer students to view streaming content using their own accounts outside the classroom. Additionally, an instructor may submit a request to the relevant liaison librarian for the acquisition of rights to show individual films to classes; note that, due to budgetary limitations, not all requests can be met.
May I show movies, TV shows, documentaries, and other DVD or VHS content in the classroom?
Yes, showing the video in class is permissible under classroom use if it is related to the academic instruction of the day, however the class may not be taped or recorded. Only students enrolled in the course and the instructor should be present in the class during the showing of the video. You do not need to obtain 'public display' rights for videos shown for instructional purposes in a course. You would need 'public display' rights for other showings (e.g. club meetings & dorm socials).
May I place videos or stream videos on my Blackboard site or other websites for my DE (distance education) students to view?
No, not without permission from the copyright holder of the film. The law currently treats on-campus face-to-face classes and on-line classes differently. Permission for popular videos is usually cost prohibitive, however the Copyright Officer will be happy to assist you in how to seek permission. The ECU Libraries subscribe to several databases with streaming videos, including Films on Demand, which provides legal streaming access to thousands of titles -- ask a librarian to see what is available in your discipline. These videos may legally be incorporated into Blackboard or used in a face-to-face class. You may link to online sites (e.g. Netflix or Amazon) where recommended videos are available to students to access them at their own cost. Alternatively, you may submit a request to the relevant liaison librarian for the library to acquire a streaming version of a film if it is available; note that, due to budgetary limitations, not all requests can be met.
My face to face class is recorded via MediaSite/Camtasia/other means. Since the video/cartoon/image was shown to a face-to-face class first, do I have to have permission for those images?
You still need permission for the videos or other images because they are being "transmitted." Even though Blackboard is password protected, an item could easily be saved and re-used. When you show something in class, you are not making a copy; when you record it and stream it to many computers, you are making many copies.
ECU's Joyner Library or Laupus Library owns the DVD or VHS. Does that mean that I can have it streamed online for my courses?
Select an alternative from the streaming films available at the library. The ECU Libraries subscribe to several databases with streaming videos, which provides legal streaming access to thousands of titles -- ask a librarian to see what is available in your discipline.
Purchase (or send a request to your liaison librarian for the library to purchase) a streaming version of the film if one exists. Note that, due to budgetary limitations, not all requests can be met.
If a streaming version is not for sale, discuss with the Copyright Officer a request for permission to create a streaming copy from the copyright holder.
"Someone" said that recently a court ruled we can break the circumvention code to show videos.
This is the wording - "...to accomplish the incorporation of short portions of motion pictures into new works for the purpose of criticism or comment..." Short portions, not the entire work, and new works--not just to show to a class.
Does uploading my dissertation or thesis to ECU's institutional repository (The ScholarShip) and to ProQuest transfer or give up my copyright to either or both institutions?
No, you retain the full copyright to your dissertation or thesis. By uploading your work to ECU and ProQuest, you only grant permission to both to maintain copies of your work, to display your work, to migrate your work into future digital formats, and, if you so desire, for ProQuest to sell copies of your work through third-party vendors (e.g. Amazon).
Does the publication of my dissertation or thesis count as a previous publication when I go to publish articles or a book from material within my dissertation or thesis?
Not usually. In the past few years, some publishers have changed their rules. To be sure, ask the journal editor or your publisher.
Do I need to be concerned about using copyrighted works in my dissertation or thesis?
Yes, because you are creating a copy of another's work and distributing it by publishing your dissertation or thesis. You must ensure compliance with copyright law. Many uses will be considered Fair Use, but not all. Consult the various Fair Use checklists that are available on the web to help you determine if your intended use is more likely Fair Use or if you will need to seek permission from the rights holders. Older works (usually those published before 1923) might be in the public domain, so no permissions would be needed. Determining Fair Use, rights holders, and copyright status can be difficult, so feel free to contact the Copyright Officer with your questions.
When can I freely use a picture or other graphic?
Most photographs, charts, tables, graphs, and reproductions of drawings and paintings are protected by copyright, even if they are on websites from which you can download or capture them. You should always give a citation for any image used. Permission should be sought to use an image on your website or social media account, to include an image in a media production, or to publish an image in a journal article or book.
The ECU Libraries subscribe to many image databases that have image content you can use for academic purposes in accordance with copyright law and ECU's subscription licenses.
What are the copyright issues around 3D printing?
3D printing is increasing in ease and availability, and is becoming much cheaper to do. When 'printing' items, there could be either copyright or patent concerns, or both, depending on the item being printed. Creating a figurine based on a photograph of a sculpture could be a derivative work and require copyright permission to do so. Creating a mechanical part of a machine could be a violation of a patent, which carries much higher potential infringement penalties. An excellent white paper discussing 3D printing is available at http://publicknowledge.org/Copyright-3DPrinting.
Downloading files - especially pictures, songs, TV shows, and movies - from sites on the internet is often in violation of copyright, as is uploading or making such files you have available to others. This is often called peer to peer or P2P or file sharing. Sites that allow for illegal downloading come and go frequently as they are caught and sued. To help ensure that you do not mistakenly download illegally posted content, consider that if the material is still being sold in stores that the copy you are about the download is probably not a legal copy.
If you are an ECU student, faculty, or staff member, downloading or making available copyrighted material is, in addition to a potential violation of copyright law, most likely a violation of ECU's rules of conduct, which could result in your loss of access to the ECU computer network or even expulsion or loss of your job. Some uses, however, might be allowed under Fair Use provisions of the copyright law -- see the section below on sharing for coursework or research.
For more information about file sharing, visit ECU ITCS's file sharing webpage.
Some sharing of copyrighted materials is permitted under Fair Use. Types of general activities allowed some leeway include non-commercial research, criticism, commentary, and news reporting. For instance, sharing notes or handouts from a class with a classmate who missed that day's lecture and sharing a scholarly article you find with a group project member might be allowable, but posting those same documents on a website or sending them by email to others not participating in the class or research project would likely not be an allowable use. If in doubt, ask, or conduct a Fair Use analysis. Two useful guides for conducting a Fair Use analysis are the University of Minnesota's "Thinking Through Fair Use" and the ALA's Fair Use Evaluator.
The information in this guide is provided to help provide a basic understanding about U.S. Copyright. This guide is not intended to provide legal advice. Only the ECU Attorney's office can provide legal advice on behalf of the University. Questions regarding personal legal issues should be directed to private counsel.


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But unfortunately now many are suffocating and drowning in a sea of plastic.
The threat of plastic will definitely turn a mile long smile upside down.
The threat of plastic for the sea is not just opinions where truth lacks but rather serious facts.
for all humans in all places have the answer for the situation to be rectified.
Let us stop the future threat of plastic instead of drowning our selves from the worries of the past!


This wooden rolling pin is engraved with Vegan pattern! Now you can make Vegan cookis with Vegan label on it ;) It embosses perfectly your cookies, pies, fondant with little music notes on it. What an original way to decorate your pastry in just one moment!


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Q: ios how to monitor enter or exit on polygon or rectangle region using geofencing I want to monitor user enter or exit event inside a polygon or rectangle region but ios allow only circle region. Please help if anyone have an idea about this?

A: As you know iOS geofencing works on a radius from a given point, but you can use a technic called "Circle Packing" to a get a number of circles from any polygon.
Take a look at this post

redpajama_set_name: RedPajamaStackExchange


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Movement Disorders, Parkinson's Disease
Quality of Life in Advanced Parkinson's Disease Patients Treated with Levodopa Infusion Therapy
Authors: Johan Samanta
Motor fluctuations are a common problem in the long-term management of Parkinson's disease (PD). They result in disability and impaired quality of life. The relatively short serum half-life (~90 minutes) of oral levodopa/carbidopa and its inconsistent absorption in the intestines owing to delayed and erratic gastric emptying (a non-motor feature of PD) are thought to be important factors in the development of motor fluctuations. Continuous infusion of levodopa/carbidopa directly into the small intestine of PD patients reduces plasma levodopa variability by an order of magnitude over oral therapy, resulting in a marked reduction of motor fluctuations. Previously, the utility of long-term intraduodenal (ID) infusion was limited by the relatively large volumes of infusate required, as levodopa is poorly soluble in water/saline. The development of a micronised levodopa (20mg/ml) and carbidopa (5mg/ml) suspension in a methylcellulose gel (Duodopa) provides the high levodopa concentration and physical and chemical stability necessary for long-term enteral therapy. Clinical evidence indicates that a marked reduction of motor fluctuations and dyskinesias can be achieved and maintained by ID administration of this suspension. This article reviews the published data describing the effects of motor fluctuations on quality of life in PD and discusses the current and potential role of ID levodopa in meeting the needs of patients.
One of the elements in quality of life (QoL) in Parkinson's disease (PD) is keeping the patients in an on state. However, there is more to QoL than simply keeping patients on: a growing body of literature exists that examines the elements that most affect QoL in PD.
One common conclusion was that the general health perceptions, health satisfaction and overall health-related QoL of PD patients are most closely correlated to psychosocial status (including educational, behavioural and psychological elements) as opposed to severity of physical symptoms.1,2 Depression and cognitive impairment are specifically associated with poor QoL. This should not be taken to mean that motor function is unimportant in improving QoL, but rather that the relationship between motor function and QoL must be viewed in a wider context.
Levodopa-induced non-motor complications, which can include nausea, hallucinations, insomnia and fatigue, certainly have a significant impact on physical functioning, but emotional wellbeing is affected as well.3–5 Furthermore, motor fluctuations and dyskinesias may be embarrassing and interfere with activities of daily living (ADL), hence also reducing QoL.6 Motor state and mood may even fluctuate in unison, often with severe feelings of depression, anxiety and hopelessness emerging with every off episode, to be replaced by feelings of euphoria and even symptoms of mania in the dyskinetic state. Therefore, keeping patients 'on' and avoiding motor fluctuations are indeed important component sof QoL. Assessing Quality of Life ?
There are a number of instruments available to assess QoL, although as yet none is ideal. Commonly used instruments include the Universal Parkinson's Disease Rating Scale (UPDRS), which is well known and understood: part I concerns mentation, part II concerns ADL and part IV covers therapeutic complications. There is also the PD Questionnaire – 39 items (PDQ-39), which is sub-divided into physical, emotional and cognitive aspects of daily life. Other measures include recording on/off time, although on time itself can vary in quality: for example, it would be poor quality on time if the patient also suffered from dyskinesia.
Levodopa Oral Therapy
Levodopa is the most potent antiparkinson drug available, and generally is associated with only a few, well-tolerated side effects. After a 'honeymoon' period of excellent clinical response to levodopa therapy, which can last for three to five years, the duration of effect of each individual dose of levodopa slowly begins to shorten. The majority of patients treated long-term (for more than six years) with levodopa will eventually develop a fluctuating motor response to dosing. To begin with these fluctuations are small, but they become more complex and unpredictable over time.7 As this happens, QoL diminishes significantly: the social events of patients are curtailed, they become more reliant on care-givers for assistance with ADLs and, eventually, they become more socially withdrawn and isolated. In a British study of 87 community-based patients treated with levodopa, 28% experienced dyskinesias and 40% showed motor fluctuations. Motor fluctuations were most strongly related to disease duration and levodopa dose, whereas dyskinesias were best predicted by duration of levodopa therapy.8
Long-term levodopa use also causes non-motor complications such as sensory and behavioural disturbances, which contribute greatly to a patient's perception of his or her QoL.5 Sensory complaints include numbness, which can occur before motor manifestations, and olfactory dysfunction. Patients can also experience feelings of dysphoria, which are characterised by anxiety, depression or unease. The anxiety, in turn, can lead to akathisia – an inability to sit still. The depression experienced by PD patients may differ from idiopathic depression in that it is not associated with feelings of guilt or failure.9
The frequency of non-motor symptoms in PD patients with motor fluctuations was assessed in a prospective assessment of 50 patients.10 Non-motor symptoms were grouped into three categories: sensory/pain symptoms, such as tingling, akathisia, a 'tightening' sensation or diffuse pain; mental disorders (cognitive/psychiatric), including anxiety, depression, fatigue, slow thinking, irritability or hallucinations; and autonomic dysfunction, for example drenching sweats, dyspnoea, facial flushing, dysphagia, dry mouth and constipation. All patients reported having experienced at least one form of non-motor fluctuation. Most also reported experiencing combinations of non-motor fluctuations belonging to two or more categories. Most common were anxiety (66%), drenching sweats (64%), slowness of thinking (58%), fatigue (56%), akathisia (54%) and irritability (52%). The total number of non-motor fluctuation symptoms in any given patient correlated with the degree of motor disability and severity of disease. Twenty-eight per cent of patients felt that non-motor fluctuations were more disabling than fluctuating motor symptoms.
Suspected Mechanism
As discussed in the first article, by José Obeso, the major pathophysiological mechanism underlying motor fluctuations is likely to be striatal denervation. Following degeneration of substantia nigra dopaminergic projections, striatal neurones lose the ability to store dopamine and regulate its release.11 In addition, pathological modification of striatal receptors, related to the non-physiological delivery of levodopa in a discontinuous pulsatile mode, may be partly responsible.11,12 Early onset of PD (at under 40 years of age) is also associated with more frequent appearance of motor fluctuations,13 as is receiving higher doses of levodopa.14 As the disease progresses, patient response to levodopa doses may be delayed. These delayed 'on' responses may be related to inadequate dose or delayed gastric emptying. This problem can be helped by increasing the levodopa dose; however, as already indicated, owing to the narrow therapeutic window in advanced patients higher doses may also induce dyskinesias.12 There are therapeutic alternatives and additions to levodopa, including anticholinergics, dopamine agonists, monoamine oxidase type B (MAO-B) inhibitors, catechol-O-methyltransferase (COMT) inhibitors and antiglutaminergic agents. However, as long as levodopa is a significant part of the treatment plan, these issues will remain.
Levodopa Infusion Considerations
There is no gastric absorption of levodopa,15 hence erratic or delayed gastric emptying – which is a common feature in PD – will affect its transit to the duodenum and into the central nervous system when taken orally. Furthermore, there is an observable correlation between erratic gastric emptying and the wearing-off and missed 'on' phenomena.16 Thus, it is necessary to bypass the stomach in order to achieve stable serum concentrations. The first attempts to employ intravenous (IV) infusions of levodopa did produce stable serum concentrations without fluctuations. However, the main drawbacks were that levodopa is not very soluble in saline and needs to be kept at a low pH to remain in solution, making it impractical for an IV pump.17,18
One of the early studies to investigate the practicality of intraduodenal infusions of levodopa/carbidopa gel was undertaken by Bredberg et al., who examined the difference in levodopa plasma concentration in individual patients when given first oral levodopa/carbidopa and second an intraduodenal infusion of levodopa/carbidopa gel. The first scenario resulted in an erratic plasma levodopa concentration profile across two days, while the latter gave very little variance in serum levels.19
Overall, in the literature there is good evidence that intraduodenal levodopa achieves plasma concentrations with a coefficient of variance (CV) similar to continuous intravenous infusion (10–15%).18–20 In contrast, the CV for oral administration and gastric infusion is significantly higher (34–80+%). The development of a micronised suspension gel that allows higher concentration of levodopa per volume has made possible a convenient, portable delivery system. While the portable pump currently employed for this treatment may not be as small as an insulin pump, for example, it is nonetheless quite portable (it can be worn on the belt or with a shoulder strap), and as technology continues to progress the size will shrink.
So far, there have been slightly more than 20 published trials, including 200+ patients, evaluating intraduodenal levodopa infusion for advanced PD. Achievement of stable serum levodopa concentrations is well demonstrated, and the data would suggest that the degree of benefit is at least similar to that seen with deep brain stimulation of the subthalamic nucleus (STN-DBS). However, only a tiny proportion of these trials are blinded, randomised controlled trials.
The Duodopa Infusion: Randomized Efficacy and Quality of Life Trial (DIREQT) is one of a few that looked specifically at QoL. It enrolled 20 advanced PD patients already taking an optimised regimen of different drugs. It was a six-week randomised cross-over trial of oral polypharmacy versus infusion monotherapy. The primary end-points were a decrease in off time and an increase in functional on time. Results showed that off time fell from 19.2% of time on oral therapy to 1.8% during infusion, with a corresponding rise in functional on time from 74.5 to 90.7%. Patients reported that ease of walking, ADL, off time and overall satisfaction with their level of functioning were all significantly improved with infusion over oral therapy.21 Beyond the six weeks, the Uppsala team reported on nine cases of daytime levodopa infusion at six months, with a 31-month follow-up in two patients. They found that UPDRS parts I, II and IV improved over baseline, and that seven of the nine patients – including the two longest-term patients – maintained their improvement in mentation and ADL scores throughout their follow-up. Furthermore, eight of the patients showed maintained improvement in therapeutic complication scores over baseline.22 A recent publication by Antonini et al. reported follow-up experience of 22 advanced PD patients with troublesome motor complications. The researchers assessed improvement in off time, dyskinesia severity, ADL ratings and PDQ-39 with levodopa infusion over baseline. At twoyear follow-up all patients were found to have maintained significant improvement in all areas.23
While most studies have investigated daytime infusion, there is interest in 24-hour infusion, as many patients have troublesome and often debilitating night-time akinesia and sleep disturbances. Nyholm et al. investigated continuous levodopa infusion in five advanced PD patients, and found that all reported substantial improvement in akinesia and sleep quality with the 24-hour regimen. This benefit was maintained for the full 13–27 months of the study. Furthermore, the regimen was well tolerated and levodopa consumption remained stable.21
Motor complications are a primary cause of decline in QoL in advanced PD. Discontinuous levodopa delivery contributes to the development of motor and non-motor complications, and levodopa infusion provides stable continuous delivery. Clinical experience with levodopa infusion is encouraging. Further investigation is needed to more clearly assess the extent of the potential role of infusion in addressing this area of need.
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Directional Deep Brain Stimulation in the Treatment of Parkinson's Disease
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touchREVIEWS in Neurology. 2022;17(2):64–7 DOI: https://doi.org/10.17925/USN.2022.18.1.64
Deep brain stimulation (DBS) is an effective treatment that significantly reduces disabling levodopa-induced motor complications (i.e. dyskinesia and motor fluctuations) and tremor in individuals with Parkinson's disease (PD).1,2 During DBS, electrical stimulation is delivered through stereotactically implanted electrodes into one of two primary targets considered for PD: the subthalamic nucleus or the globus pallidus internus. The […]
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Parkinson's disease (PD) is a progressive, neurodegenerative movement disorder and the second most common neurodegenerative disorder in the United States.1 In 2020, approximately 930,000 people in the United States aged 45 years and older developed the disease, and this number is expected to rise to 1,238,000 by 2030.2 The typical age of onset is around 60 years, […]
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Parkinson's disease (PD) is a progressive, neurodegenerative disorder that causes a range of motor and non-motor symptoms. The pathological hallmark of PD is the loss of dopaminergic neurons in the substantia nigra pars compacta of the midbrain and the presence of Lewy bodies, abnormal accumulations of the protein alpha-synuclein. Loss of dopaminergic neurons causes the […]
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Q: Using Fermat's Little Theorem Prove if $p$ is prime, prove $1^p + 2^p + 3^p +...+(p-1)^p \equiv 0 \bmod{p}$ Using Fermat's Theorem prove if $p$ is prime, prove $1^p + 2^p + 3^p +...+(p-1)^p \equiv 0 \bmod{p}$
The two definitions of Fermat's Little Theorem is $a^p \equiv a \bmod{p}$ and $a^{p-1} \equiv 1 \bmod{p}$ but I don't know how to use this solve the problem

A: Since $1^p \equiv 1$, and $2^p \equiv 2$, $\ldots$ $(p-1)^p \equiv p-1$, we have that
$$1^p + 2^p + \ldots (p-1)^p \equiv 1 + 2 + \ldots + p-1$$
However, we know this sum: $\sum_{i = 1}^{p-1} i = \frac{p (p-1)}{2}$, which for odd primes would be a multiple of $p$, and we are done by reducing modulo $p$, then we only must check the case for $2$, which doesn't hold, and it's awkward...

A: Hint: Use Fermat's theorem for each $k$ ($1\le k\le p-1$) and add all them up. Then use Gauss's formula for the sum $1+2+\cdots +(p-1)$.

A: $1^p + ... + (p-1)^p \equiv 1 + 2 + ... (p-1) \equiv (1 + (p-1)) + (2 + (p-2)) + ... +(\frac{p-1}{2} + \frac{p+1}{2}) \equiv p + ... + p \equiv 0 (\mod p) $
Edit: Assuming p is an odd prime, of course

A: Before you wonder if you know how to use Fermat's theorem to solve the problem, first wonder if you are able to use Fermat's theorem at all.
There are a lot of things raised to the $p$-th power, and one form of Fermat's theorem tells you something about things raised to the $p$-th power. So you see what Fermat's theorem tells you about them.
You don't do this because you know it will solve the problem: you do this because maybe it will tell you something useful.
As it turns out, the thing it tells you is that your problem is equivalent to a problem you already know how to solve.

A: There is no need of Fermat's theorem. If $p$ is odd, then $p$ divides
$$ k^p +(p-k)^p = (k+p-k)\left(k^{p-1}-\ldots+(p-k)^{p-1}\right)=p A, $$
hence by collecting the terms of your sum in couples (just like Gauss did when he was five years old in order to prove that $1+2+\ldots+n = \frac{(n+1)n}{2}$) you get that the sum is a multiple of $p$.

A: This equation doesn't hold for $p=2$. However, if $p \ge 3$, a quick observation shows that $i$ and $p-i$ are paired. Since $i = i \text{ mod } p$, $p-i = -i \text{ mod } p$, we have
$$i^p = i^p \text{ mod } p, (p-i)^p = -i^p\text{ mod } p$$
Thus
$$i^p + (p-i)^p = 0 \text{ mod } p$$
sum up $i = 1, 2, \cdots, \frac{p-1}{2}$ gives original equation.
Apparently, for any odd $1\le d \le p$, $\sum_{i = 1}^{p-1} i^d = 0 \text{ mod } p$.
Additionally, this equation holds for any even $1\le d < p-1$. The only special case is when $d = p-1$, we can see using Euler's theorem that
$$\sum_{i = 1}^{p-1} i^{p-1} = p-1 \text{ mod } p$$


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Cinemas & film
Amsterdam in the movies
There's always a sense of excitement when you're watching a movie and somewhere familiar pops up. And as Amsterdam is such a unique and visually recognisable landscape, it's no surprise that the city has made its fair share of cinematic appearances over the years.
Movies filmed in Amsterdam
Listed below are just some the most famous films shot in the region, providing both inspiration for viewing materials and also the opportunity to pay tribute to your favourite celluloid moments by visiting the iconic streets and buildings where the likes of Sean Connery, George Clooney and Carice van Houten have appeared.
The Goldfinch – 2019
This adaptation of Donna Tartt's bestselling novel follows the story of Theo Decker, a young boy whose mother is killed in a terrorist bombing at the Metropolitan Museum of Modern Art, on a journey that takes him from New York and Las Vegas to Amsterdam.
Key locations:
An artist's waterfront apartment in the Canal Ring
Along Reguliersgracht canal
The Dinner – 2017
Based on writer Herman Koch's Dutch novel of the same name, this thrilling drama mystery takes a look at how far two couples are willing to go to protect their criminal teenage sons. The film – starring Richard Gere, Steve Coogan and Laura Linney – mainly takes place in a "fashionable Amsterdam restaurant."
The Hitman's Bodyguard – 2017
Expect canal-side car chases in this action comedy starring Ryan Reynolds as Michael Bryce, an elite bodyguard hired to protect Darius Kincaid (played by Samuel L. Jackson), one of the world's most notorious hit men, as they travel from Manchester to the Hague where Kincaid is scheduled to testify in International Criminal Court.
Nieuwe Achtergracht
Lijnbaansgracht
Plantage Kerklaan
The Fault in Our Stars – 2014
Amsterdam provided several romantic backdrops for this tear-jerking story of two terminally ill teenagers. In one of the most poignant scenes, Augustus and Hazel profess their love for each other on a bench overlooking Leidsegracht. The couple walk hand in hand through the arches of the Rijksmuseum and explore popular attractions such as the Anne Frank House. Interestingly, the iconic bench was stolen shortly after the film's release, but has since been replaced.
The bench at Leidsegracht 2
Saint (Sint) - 2010
Still succeeding at shocking audiences with his films, Dick Maas decided to take the story of St. Nicholas (Sinterklaas) and turn it into a seasonal screamer about a bishop who returns from the dead to kidnap and murder children.
Much of the green screen effects for the film were filmed on rooftops within the Canal Ring
Black Book (Zwartboek) - 2006
In the Nazi-occupied Netherlands during World War II, a Jewish singer infiltrates the regional Gestapo headquarters for the Dutch resistance. Carice van Houten stars in this internationally acclaimed Paul Verhoeven film.
Deuce Bigalow: European gigolo - 2005
This ludicrous American comedy about a former male prostitute from Amsterdam and a series of gigolo murders wastes no time in packing in plenty of clichés about the city and its Red Light District.
The Brouwersgracht (from Oranjebrug to Brouwersgracht 127) was transformed into the Red Light District
Nieuwezijds Voorburgwal
Ocean's Twelve - 2004
The all-star follow-up to Ocean's Eleven, starring the likes of George Clooney, Brad Pitt and Matt Damon, as they stop off in Amsterdam to pull off a major heist.
The bar of the Pulitzer Hotel on the Prinsengracht
Dampkring Coffeeshop
Kalverstraat
Heiligeweg
The 'golden bend' of the Herengracht canal
Layer Cake - 2004
An indirect Bond reference this time, as Daniel Craig (who went on to play Bond) starred in this acclaimed drug smuggling thriller. Although primarily filmed in and around London, Amsterdam does make an appearance.
Girl with a Pearl Earring – 2003
The majority of this film about Dutch painter Johannes Vermeer and his iconic work Girl with a Pearl Earring, is set in Delft, the real-life home of the artist, but you'll see some classic Amsterdam scenery pop up as well, including The Royal Palace Amsterdam on Dam Square.
Key location:
Royal Palace Amsterdam
Anne Frank: The Whole Story - 2001
While the story of Anne Frank has been documented in a number of films and television recordings, one of the most memorable has been this 2001 production starring Ben Kingsley as Anne's father.
Amsterdamned - 1988
This Dick Maas classic is about a murderer who hides in the Amsterdam canals before climbing out to make his gruesome kills.
Staalstraat 9
The corner of Groenburgwal to Groenburgwal 69
Rijksmuseum, room of The Night Watch
Oudezijds Voorburgwal (the old city hall)
IJ harbour, with a view of Prins Hendrikkade
City Hall at Waterlooplein (at the time unfinished)
Oosterdokskade by Prins Hendrikkade (where the boat explodes)
Turkish Delight (Turks Fruit) - 1973
One of the most watched Dutch films of all time, based on a novel by Jan Wolkers. Something of a turbulent love story, it features a young Rutger Hauer as an artist.
Tweede Nassaustraat 8 (his art studio)
Van Beuningenplein 25 (his house)
Dam and Damrak
MacBike Centraal Station
Vondelpark
Diamonds Are Forever - 1971
Despite being an international globetrotter, James Bond has only paid one notable visit to Amsterdam. This was back in 1971, with Sean Connery still in the lead role and Charles Gray as Blofeld.
Bond gets around the Canal Ring a fair bit, but there's a notable scene by the Magere Brug (Skinny Bridge), where a dead body is pulled from the water.
Reguliersgracht 36 is the canal-side apartment of Bond girl Tiffany Case (Jill St. John).
features & guides
typically amsterdam
With a thriving film festival scene and a wealth of both mainstream and independent cinemas, Amsterdam is truly a city of film.
Open Garden Days
Unfortunately we have had to cancel the Open Garden Days 2021. We feel that the many people that the Open Garden Days brings to th...
Diverse grachtentuinen
Wandering through the city, touches of Renaissance and Art Deco design are evident in Amsterdam's beautiful architecture. But it's the intricate brick...
Artist profile: Rembrandt van Rijn
Rembrandt van Rijn has remained a household name all around the world for centuries. But who was Rembrandt and why does he have such lasting fame? Del...
Repurposed buildings
Amsterdam is filled with magnificent architecture, but the structures often outlive their intended use. That's when the Dutch get creative. Here are j...
De Hallen Amsterdam
Food, film, fashion, crafts, retail and architecture converge at this cultural centre in a converted industrial building in trendy...
Carriage Taxi - Old City / Red Light Tour (Karos)
Round trip by horse-drawn carriage through the centre set out by Karos or the customer, without restrictions, provided that the st...
Amsterdam Spanish Film Festival
Explore the hottest splices of Spanish cinema at the edition of the Amsterdam Spanish Film Festival. It lights up screens at the E...
Diverse Locaties / Various locations
Imagine Film Festival
From 2022, Imagine Film Festival will no longer take place in April, but the festival will move to the autumn. With a festival per...
De Filmhallen
Humans of Film Festival
The Humans of Film Festival developed from the Humans of Film Amsterdam street photography blog, a platform where personal stories...
Het Ketelhuis
Tapis Rouge Frans Filmfestival
The French Film Festival Tapis Rouge will return to the Filmhallen in Amsterdam in 2022 for a new edition.
Take a virtual canal cruise
Experience Amsterdam from the water with this zenned-out video that coasts through the city's picturesque waterways, passing some of its most beautifu...
Unexpected date ideas in Amsterdam
With its idyllic canals, cobbled streets and blooming tulips everywhere you look, Amsterdam is undoubtedly a capital of romance. Whether you're ...
Amsterdam has massive and globally acclaimed festivals dedicated to documentaries and animation – along with more intimate ones related to subje...
Amsterdam cultural passes
Get more out of Amsterdam by saving money on museums, galleries, restaurants, cinemas and events with these recommended discount cards.


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Mar-a-Lago (Photo: Wikimedia)
Trump Entertains Guests Maskless At Mar-a-Lago After COVID-19 Outbreak
by Taylor MasiApril 1, 2021, 5:46 pmApril 1, 2021, 5:46 pmApril 1, 2021, 5:46 pmDaily Digest, News, News Feed >
On Tuesday, former President Donald Trump was seen entertaining guests at his Mar-a-Lago club without abiding by COVID-19 precautions.
Footage from a recent event at the resort shows the former president hugging people maskless. The event occurred after a coronavirus outbreak among "some staff" forced the club to partially close just days before.
In photos, Trump is wearing a suit and tie and is speaking to guests on a balcony at the resort, where membership costs up to $200,000 a year.
Trump has been living at the Mar-a-Lago resort in Palm Beach since leaving the White House in January.
After the partial closure of the club, Trump Organization employees received the following email: "As some of our staff have recently tested positive for COVID-19, we will be temporarily suspending service at the Beach Club and à la carte Dining Room."
Parties caused the outbreak at the resort held by several groups where people did not wear masks or practice social distancing, including the former president himself.
A 500-person fundraiser for the charity Place of Hope is scheduled to occur at the resort on Sunday.
COVID-19 Mar-a-Lago
New Classified Documents Found In Trump Storage Unit In Florida Along With Wrestling Belts
Trump Lawyers In Secret Court Hearing With Justice Dept. Officials
Prosecutors In Trump Documents Probe Getting Closer To Forcing Aides To Testify
Article by Taylor Masi


Steffen is the Chief Humane Agent in Union County, Ohio and the Founder and President/CEO of the Animal Cruelty Task Force of Ohio (ACT Ohio), a statewide nonprofit organization dedicated to assisting rural and underserved Ohio County Humane Societies with animal cruelty investigation support services as well as rehabilitating and housing animals rescued from cruelty and neglect situations.
Steffen is also the Co-Founder of the Ohioans Against Breed Discrimination, a Political Action Committee dedicated to fighting Breed Discriminatory Legislation and making Ohio the 20th State to ban breed discrimination statewide.
An Army veteran (82nd Airborne) and a devoted father, Steffen resides in Marysville, Ohio with his four rescued pit bulls, two rescued Dobermans and a house full of foster dogs.


Moon phases affect all areas of our lives. The New Moon marks the beginning of the lunar cycle, a time to start anew. The energy can be harnessed by setting clear intentions and engaging in ritual, meditation, healing practices, or yoga sequences focusing on our desired ways of being. Join us at OmYoga Marrakech for our new moon circles where we share and hold space for these sacred practices!
When our walk through life is done with conscious awareness, we are said to practice Yoga. By being aware of the waxing and waning of the moon cycles, we can live our lives with a deeper understanding of this consciousness. The quiet darkness of the new moon has powerful effects on everything from menses and moods to our yoga practice. When we learn to harness this energy in productive ways through ritual, meditation, healing work, or specific yoga sequences, we can significantly impact our own lives and those of everyone with whom we interact. Read on for details about our new moon rituals, held monthly at OM Yoga Marrakech!
Join us at OM Yoga Marrakech for the sacred ceremony during the new moon! We will come together in a conscious community to celebrate our divine femininity and the cycles of nature that unite us.
Guided meditation, setting intentions for our desired ways of being.
Writing, putting pen to paper is a powerful practice which we will use to set our intentions or agreements with ourselves for the coming cycle.
Visualization, imagining what we wish to create or build in our lives.
Breathwork, using different breathing techniques to move energy and alter our state of consciousness.
Dance, the most natural form of self-expression.
We will hold space together in our circle, opening the floor for conversation, communion, and creation, and on the New Moon, setting intentions for the lunar cycle ahead.
Read on for more information about the new moon energy and its relationship to our yoga practice!
The new moon is the first phase of the moon cycle, when the sun and the moon are in direct alignment, meaning they are in the same zodiac sign. To the untrained eye it may seem that the moon has completely disappeared from the sky, however, it is not only still watching over us, it is as powerful as ever!
The New Moon offers us a new beginning and clean slate, the perfect time to look inward and set intentions that will play out for the entirety of the moon cycle. It is a time to focus on questions like: What is my heart asking of me? What are my deepest desires? Are my actions and work in alignment with my values? What projects or intentions do I wish to focus on?
This moon phase is a beautiful time for introspection, relaxation, and heightened awareness, to reconnect with your yoga practice, your self-care tools, and your own quiet time. You may experiment with incorporating Chandra Namaskara, the moon salutation, into your practice. It is a soothing flow which includes gentle bends and a series of lateral movements, best if practiced in the evening and outdoors beneath the moon!
Because women's menses are often synced with the cycles of the moon, traditionally, the full and new moons are the times when women gather in ceremony with one another to share, to create, and hold space for one another's experience. These powerful moon phases not only affect menstruation but also people's moods, ways of viewing the world, and behavior. By consciously taking steps to acknowledge this initiating phase of the moon cycle, we can honor the changes that we have invited into our lives for the weeks following.


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Uganda's Anti-Gay Death Penalty Bill Reintroduced (Minus the Death Part)
David Bahati, the extremely homophobic Ugandan politician who, with backing from several American evangelical leaders, created a bill that would seek the death penalty for gay people; is back in the spotlight.
In 2009, his now infamous "Kill the Gays" bill was first introduced. The bill never came before the full legislative body for a vote, even though it was well supported by many Ugandans. The hateful bill sparked an international outcry against the bill, including condemnation from the United States and Europe.
Bahati claims that homosexuality poses a serious threat to family values and that his bill has helped raise public awareness about what he calls "the dangers to our children."
Bahati has now returned to the table to try and get his bill passed, and has said he is open to removing the death penalty provision in an attempt to get it passed.
Bahati's original bill included provisions including a death sentence for active homosexuals living with HIV. Anyone convicted of a homosexual act would face life imprisonment. Anyone who "aids, abets, counsels or procures another to engage of acts of homosexuality" would face seven years in prison. Landlords who rent rooms or homes to gay people also could get seven years in prison.
Facing possible aid withdrawal from several countries, the Ugandan government has denied supporting this latest anti-homosexuality bill, but said that the measure will now be taken for debate in the legislature in line with the nation's democratic system.


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Q: Microsoft Excel- Sum IF How can I sum totals in Excel if the identifying mark is an asterisk *.  In column D I have numerous accounts only identified with an asterisk * in column E I have totals.  I need to write a formula that will sum only the accounts labeled as an *.  Thanks

A: Try putting the following formula into all the cells in a new column
=IF(D1="*", E1, 0)

Then sum that column at the end of it

A: You can use the SUMIF function to achieve that in only one step.

SUMIF(range, criteria, [sum_range])

Just use the following formula in a new cell:
=SUMIF(D1:D99,"=~*",E1:E99)

A: You can use COUNTIF for this.
This will count all the  cells with * between A1 and A15:
=COUNTIF(A1:A15,"*")


Chemtrails, most often depicted as a conspiracy theory are more true than we all believe. They are right in front of our eyes. As I look up in the sky on a clear morning they are scattered and stretch across the entire sky. Here is a picture I took a few days ago.
The truth is they are spraying something. These are not regular jetliners. As I took this picture I was driving to work. It's a 10 minute drive and I watched a plane start on the eastern horizon and by the time I reached work it was out of a sight on the western horizon. How does a plane fly across the entire sky in ten minutes leaving a huge trail of smoke, gas, metal, or whatever else is contained in these Chemtrails. They often disperse after about an hour. Ironically it was supposed to be a beautiful day. At about noon the entire sky was hazy and you couldn't see the sun. This was one of the worst days I have seen. There were about 30 different trails that morning. I have reason to believe they are spraying them at night, with plenty of evidence.
NASA even admits to using them, somehow still passed off as conspiracy theory. Finally just yesterday Space.com reports NASA went public with creating artificial colorful clouds. Here is a response from the NASA website.
Luminous vapor trail of tri-methyl aluminum (TMA) reveals neutral winds, shears, gravity waves, and instabilities in the high-latitude, upper atmosphere.
Tri-methyl aluminum reacts with oxygen and produces chemi-luminescence when exposed to the atmosphere. The products of the reaction are aluminum oxide, carbon dioxide, and water vapor, which also occur naturally in the atmosphere. TMA releases are most often used to study the neutral winds in the lower ionosphere at night at altitudes of 100 miles (160 kilometers) or less.
It's already proven they are spraying these chemicals on us. They admit it on their own website. They are spraying Aluminum, Lithium and Barium. Aluminum particles could cause all sorts of health problem from cancer to depression. Barium is proven to create infertility. Most people know what Lithium is and it can turn people into zombies, it is used to stop people from thinking, it can calm down a population quickly. Systemically these three chemicals are very suspicious. If you were trying to harm, control and subdue a population these are three primary candidates for a tactical solution. Clearly something is going on, it's in front of our eyes, its admitted. Personally I don't want to be sprayed with aluminum, barium and lithium everyday. I don't believe the kids of this world deserve this. We need a serious discussion on this immediately.


Maximum Gridcast special episode from GridLife South at Road Atlanta.
So…. where to start???? This was by far our most awesome weekend! (Except Sam, whose best weekend was the first time he had a cheesy gordita crunch from Taco Bell).
GridLife South was kind enough to fly us to Road Atlanta to announce the drift portion of their incredible 3 day event.
We also had the opportunity to to a bit of commenting on their Time Attack sessions with Adam and Austin from Slip Angle podcast! Great guys who also loaned us their mobile sound recorder which allowed us to do an improvised mobile podcast around the paddock.
Our buddy Pat Goodin DID THE THING! and Won our Maximum Driftcast Choice award. He shed a tear or two… we hope those were happiness tears.
One of the best parts of GridLife was having Andrew W.K. and Waka Flocka Flame who gave us amazing performances on Friday and Saturday nights!
Andrew W.K. also went on a ride along with Forsberg and he was kind enough to leave a comment on one of our posts where he said that he has never felt so much freedom after going on a couple +145mph drifts!!
The King of Party Andrew W.K. meets The King of Spring Break. FIRE!!!!
Big Thanks to Chris Stewart, the man behind GridLife. Nick Swann, Chris Forsberg, Pat Goodin, Hert Eugene Jr, Adam Jabbay, Austin Cabbot and Geoff Stoneback for your time on our podcast, your hospitality and your friendship!!