text:
<?php namespace FHIR\Resources\Clinical\MedicationPrescription;

use FHIR\Common\AbstractFHIRObject;
use FHIR\Elements\Complex\FHIRCodeableConcept;
use FHIR\Elements\Complex\FHIRPeriod;
use FHIR\Elements\Complex\FHIRQuantity;
use FHIR\Elements\Complex\FHIRRatio;
use FHIR\Elements\Complex\FHIRSchedule;
use FHIR\Elements\Primitive\FHIRBoolean;
use FHIR\Elements\Primitive\FHIRDateTime;
use FHIR\Elements\Primitive\FHIRString;

/**
 * Class FHIRMedicationPrescriptionDosageInstruction
 * @package FHIR\Resources\Clinical\MedicationPrescription
 */
class FHIRMedicationPrescriptionDosageInstruction extends AbstractFHIRObject
{
    /** @var FHIRString */
    protected $text = null;

    /** @var FHIRCodeableConcept */
    protected $additionalInstructions = null;

    /** @var FHIRDateTime|FHIRPeriod|FHIRSchedule */
    protected $timing = null;

    /** @var FHIRBoolean|FHIRCodeableConcept */
    protected $asNeeded = null;

    /** @var FHIRCodeableConcept */
    protected $site = null;

    /** @var FHIRCodeableConcept */
    protected $route = null;

    /** @var FHIRCodeableConcept */
    protected $method = null;

    /** @var FHIRQuantity */
    protected $doseQuantity = null;

    /** @var FHIRRatio */
    protected $rate = null;

    /** @var FHIRRatio */
    protected $maxDosePerPeriod = null;

    /**
     * @return FHIRString
     */
    public function getText()
    {
        return $this->text;
    }

    /**
     * @param FHIRString $text
     */
    public function setText(FHIRString $text)
    {
        $this->text = $text;
    }

    /**
     * @return FHIRCodeableConcept
     */
    public function getAdditionalInstructions()
    {
        return $this->additionalInstructions;
    }

    /**
     * @param FHIRCodeableConcept $additionalInstructions
     */
    public function setAdditionalInstructions(FHIRCodeableConcept $additionalInstructions)
    {
        $this->additionalInstructions = $additionalInstructions;
    }

    /**
     * @return FHIRDateTime|FHIRPeriod|FHIRSchedule
     */
    public function getTiming()
    {
        return $this->timing;
    }

    /**
     * @param FHIRDateTime|FHIRPeriod|FHIRSchedule $timing
     */
    public function setTiming($timing)
    {
        if ($timing instanceof FHIRDateTime ||
            $timing instanceof FHIRPeriod ||
            $timing instanceof FHIRSchedule)
        {
            $this->timing = $timing;
        }
        else
        {
            throw $this->createInvalidPropertyValueTypeException(
                'timing',
                'FHIRDateTime, FHIRPeriod, or FHIRSchedule',
                $timing
            );
        }
    }

    /**
     * @return FHIRBoolean|FHIRCodeableConcept
     */
    public function getAsNeeded()
    {
        return $this->asNeeded;
    }

    /**
     * @param FHIRBoolean|FHIRCodeableConcept $asNeeded
     */
    public function setAsNeeded($asNeeded)
    {
        if ($asNeeded instanceof FHIRBoolean || $asNeeded instanceof FHIRCodeableConcept)
        {
            $this->asNeeded = $asNeeded;
        }
        else
        {
            throw $this->createInvalidPropertyValueTypeException(
                'asNeeded',
                'FHIRBoolean or FHIRCodeableConcept',
                $asNeeded);
        }
    }

    /**
     * @return FHIRCodeableConcept
     */
    public function getSite()
    {
        return $this->site;
    }

    /**
     * @param FHIRCodeableConcept $site
     */
    public function setSite(FHIRCodeableConcept $site)
    {
        $this->site = $site;
    }

    /**
     * @return FHIRCodeableConcept
     */
    public function getRoute()
    {
        return $this->route;
    }

    /**
     * @param FHIRCodeableConcept $route
     */
    public function setRoute(FHIRCodeableConcept $route)
    {
        $this->route = $route;
    }

    /**
     * @return FHIRCodeableConcept
     */
    public function getMethod()
    {
        return $this->method;
    }

    /**
     * @param FHIRCodeableConcept $method
     */
    public function setMethod(FHIRCodeableConcept $method)
    {
        $this->method = $method;
    }

    /**
     * @return FHIRQuantity
     */
    public function getDoseQuantity()
    {
        return $this->doseQuantity;
    }

    /**
     * @param FHIRQuantity $doseQuantity
     */
    public function setDoseQuantity(FHIRQuantity $doseQuantity)
    {
        $this->doseQuantity = $doseQuantity;
    }

    /**
     * @return FHIRRatio
     */
    public function getRate()
    {
        return $this->rate;
    }

    /**
     * @param FHIRRatio $rate
     */
    public function setRate(FHIRRatio $rate)
    {
        $this->rate = $rate;
    }

    /**
     * @return FHIRRatio
     */
    public function getMaxDosePerPeriod()
    {
        return $this->maxDosePerPeriod;
    }

    /**
     * @param FHIRRatio $maxDosePerPeriod
     */
    public function setMaxDosePerPeriod(FHIRRatio $maxDosePerPeriod)
    {
        $this->maxDosePerPeriod = $maxDosePerPeriod;
    }
}

redpajama_set_name: RedPajamaGithub


Kohli co-owns the Indian Super League (ISL) football club FC Goa.
India skipper Virat Kohli, who co-owns the Indian Super League (ISL) football club FC Goa, was at the Nehru Stadium in Fatorda on Thursday night, to cheer for his team.
Kohli's presence certainly inspired the Goa players as they registered their biggest win in this ISL edition.
Known for being a big football buff, Kohli recently launched a foundation to promote football at the grassroots level. In an exclusive interview with TOI, the inspirational Indian cricket captain opened up about his love for sports and his desire to see India as a sporting rich nation.
"There is motivation attached with the sport. Then there was this vision of growing together with the league. I see football developing in India in a massive way. The kind of awareness that ISL has created, everyone around the world talks about it. It's been a wonderful change to Indian sport and I totally want to endorse that," Kohli told TOI.
"One thing that I have missed growing up with is sporting culture. When you come to football games, you can see the sporting culture. Because people who follow football understand the sport. This is not about hitting the ball anywhere and running behind it. There is certain intelligence attached to football and those who understand football know exactly what's going on," he added.
The main objective of Virat's Forca Goa Foundation is to use football as a vehicle for positive development in the football crazy state of Goa.
Kohli has been associated with FC Goa right through its conception four years ago and has been a regular at some of their matches.
Talking about the reason why India has not been able to prosper in football as compared to cricket, Kohli said: "It's lack of leagues like this at a major level. There is nothing like globalising the sport. With the kind of visibility on television and the kind of access that people have, it's creating awareness.
"People know Indian players. People even watched all those who played at the Under-17 World Cup. It's all about visibility. Unless you get to show your talent, on television screens, it's very difficult for people to start liking something. It happened with me as well. If our Under-19 World Cup wasn't televised, maybe I wouldn't have been sitting here. Our matches were televised and we got our chance to portray our talent. Then people started talking about us. The kind of visibility that the league has will play a major role," he concluded.


text:
This article is from the Encyclopedia of North Carolina edited by William S. Powell. Copyright © 2006 by the University of North Carolina Press. Used by permission of the publisher. For personal use and not for further distribution. Please submit permission requests for other use directly to the publisher.
Is anything in this article factually incorrect? Please submit a comment.
Roanoke Island, Battle of
by Paul Branch, 2006
See: More on Civil War Battles from the Encyclopedia of North Carolina | More on Civil War Battles
In February 1862 a Civil War battle was fought at Roanoke Island, situated in the narrow passage of water between Pamlico and Albemarle Sounds. With Union forces in possession of Hatteras Inlet since August 1861, the island was a critical link in North Carolina's defenses, denying Union access to Albemarle Sound, the canals leading to Norfolk, and the upper third of the state's coast. In January 1862 Maj. Gen. Ambrose E. Burnside had arrived at Hatteras Inlet with a Union fleet, intending to sweep through and secure the rivers and sounds of North Carolina. On 5 February he headed north up the sound to attack Roanoke Island.
To defend the island, Brig. Gen. Henry A. Wise commanded less than 2,500 Confederates, most of whom were poorly armed and equipped. Wise himself lay sick in bed at Nags Head, leaving Col. H. M. Shaw of the 8th North Carolina in charge of the island's defense. Reaching Roanoke Island on the morning of 7 February, Burnside's gunboats kept up a long-range bombardment from midmorning until dark. After dark, his ordnance expended, Flag Officer William F. Lynch took his Confederate "mosquito fleet" to Elizabeth City in search of more ammunition and was unable to return for the remainder of the battle. Meanwhile, Burnside landed about 10,000 soldiers on the lower end of Roanoke Island unopposed and prepared to attack the next day.
Shaw's only hope of resisting the Union forces lay in a three-gun battery and a line of entrenchments built across the island, but the works were so narrow that only 400 men could fit into them. Early on 8 February Burnside's First Brigade, under Brig. Gen. John G. Foster, led the advance up the island's road, reaching the Confederate battery and works at about 8:00 a.m. When Foster failed to drive the Confederates from the works, he sent troops through the swamps to flank them.
Assailed simultaneously from all sides, the Confederates were forced to abandon the works and retreat up the island. Shaw, having no second line of defense, surrendered the island, its defenders, and defenses to Burnside. Along with their forts, artillery, and most of their weapons, 2,488 troops capitulated. A handful of Confederates managed to escape from the island to Nags Head and join General Wise as he retreated up the Outer Banks with the remnant of his command.
The Union army's losses at Roanoke Island were 37 killed, 214 wounded, and 13 missing; its navy suffered 1 killed and 13 wounded. In addition to those captured, Confederate losses were 23 killed, 58 wounded, and 62 missing. Six Confederate naval personnel were also wounded. General Burnside now had achieved his first objective-the key to the northeast sounds of North Carolina. His next objective was New Bern.
John G. Barrett, The Civil War in North Carolina (1963).
John S. Carbone, The Civil War in Coastal North Carolina (2001).
Daniel H. Hill, Bethel to Sharpsburg, vol. 1 (1926).
National Park Service: https://www.nps.gov/hps/abpp/battles/nc002.htm
History Channel: http://www.history.com/this-day-in-history/battle-of-roanoke-island
"The Burnside expedition landing at Roanoke Island - February 7th 1862." Created by E. Sachse & Co., 1862., Library of Congress Prints and Photographs Division Washington, D.C., call # LC-DIG-ds-00119. Available from http://www.loc.gov/pictures/item/2003655799/ (accessed May 16, 2012).
"Capture of Roanoke Island, Feby. 8th 1862: By the federal forces, under Command of Genl. Ambrose E. Burnside, and gunboats under Commodore L.M. Goldsborough." Created by Currier & Ives., 1862 [?]. Courtesy of Library of Congress Prints and Photographs Division Washington, D.C., call # LC-USZC2-2038. Available from http://www.loc.gov/pictures/item/90714196/ (accessed May 16, 2012).
Civil War (1861-1865)
UNC Press
Branch, Paul, Jr.
Origin - location:
Roanoke Island
Encyclopedia of North Carolina, University of North Carolina Press.
1 January 2006 | Branch, Paul, Jr.
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Type "Cardinal": *

redpajama_set_name: RedPajamaCommonCrawl


The Greenley Memorial Research Center hosts a number of training workshops and schools throughout the year. Such popular workshops include a Grazing School (August) and AI School (November). Workshops are offered on a timely basis to address current production issues.
In addition, group tours are available year-round and tailored to meet your specific production interests. Contact the Center today to schedule your visit.


Your premium office on wheels: Opel panel vans go the extra mile with a high degree of functionality on the move, low running costs and outstanding loading flexibility.
The Vivaro Panel Van sets new standards for space, functionality and innovation. Hugely practical and efficient, it represents your company in the best light.
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When it comes to loading flexibility, the Movano Panel Van is ahead of the pack. Genius interior ergonomics provide maximum driving comfort, regardless of what's in the back.


90 Minutes In Heaven Summary?
Is Children Of The Corn Scary?
The Little Rascals: Where Are They Now?
Is Interview With a Vampire Scary?
The Face On The Milk Carton Movie Online?
What Happened to Angela Delvecchio?
What She Knew - The Movie?
Bonnie and Clyde Movie Summary?
How Can I Get Tickets To Avatar?


text:
Sequoia Plays With StarDoll
Sequoia Capital Partners, which normally focuses on US-based start-ups is reported to have made an investment in Stardoll.com (formerly known as Paperdoll Heaven.) The total amount of funds invested in the company remain unknown, but highly reliable sources say that Sequoia Capital General Partner Mark Kvamme invested in the company.
Back in February 2006, Index Ventures and angel investors had invested about $4 million in the company, and Mattias Miksche, serial entrepreneur responsible for DVD rental site Boxman and E-TRADE Northern Europe taking over as the chief executive of the company. This is not the first company Sequoia and Index are co-investors. The two firms are also backers of FON Wireless.
The company was started by Scandinavian-born Liisa, a retired woman in her late 50s, who drew dolls and accompanying wardrobes and put them on the web. The site, since then has grown in popularity and gets more than a million visitors every week, most of them girls between ages 7 and 17. It now features paper dolls of famous people including actresses Lindsay Lohan and Bollywood temptress Ashwariya Rai.
Category: pocket pc, Startups
Previous: Previous post: Supernova: Craig, Yahoo Research, GM Social Media,
Next: Next post: The Truth About (Nokia) Tablet


Aland is an autonomous archipelago province in Finland with only 30,000 residents. It is easy to see why such a community creates a necessity to take care of each other. In fact, it is an interesting example of how local entrepreneurship and innovation has created a sustainable circular economy.
Amalias Limonader, part of the sustainable circular economy of Aland.
The brewer and drink market is a good example of the sustainable circular economy. Farmers from Aland and Finland deliver fruits and berries to the brewery. Stallhagen use them to brew beer, Amalias Limonad to make soft drinks. The question is what happen with the left overs after the juices have been pressed out from the berries. Normally the left overs are made into compost or simply thrown away. However, that is not how things work in Aland.
Sarlings, a part of the circular economy of Aland.
Amalias Limonader dries the berries so that they can be used in the teas made by Sarling. They take the left over berries, dry them, add some black tea, lemon balm, and currant leaves to create a fresh and tasty summer tea. It only has natural ingredients and support a sustainable economy.
Stallhagen have their own gastropub, completing the sustainable circle.
But there is more to the circle. What happens to the left overs when Stallhagen brew their beers? First, they crush the malt, then they mix and remove the starch. The residual product has a very high protein content and thus become an excellent animal feed for both cattle and pig farming. Thus the circle completes and cows, for example, generate meat and milk. So what started as blueberries can end like an amazing piece of local beef, perhaps served at Stallhagen's own gastropub.


text:
C l a s s i c a l a n d F o l k l o r i c A r a b i c M u s i c
Arabic music is becoming popular world-wide. It is made up of an astonishing variety of folk, classical, and popular musical
traditions. Many of these have survived for centuries, reflecting the musical sensibilities of the ancient world as well as the Middle
Ages. While each region within the Arab World has its distinctive styles, commonalities of instrumentation, modal structure,
rhythmic patterns, performance techniques, and lyric content extend across the area, forming a fascinating weaving of artistic
tradition that changes and evolves while remaining true to its ancient heritage. In the last decades, a growing global audience has
come to appreciate the richness of this music.
The Kan Zaman Community Ensemble takes the spirit of al-Andalus (Andalucian Spain) as its inspiration. From the 8th to 15th
centuries CE, the Arab empire in Spain, al-Andalus, was a liberal forum for musicians from the Middle East and Europe to exchange
ideas. It had a profound impact on the development of both European and Arabic music. Kan Zaman carries on that tradition by
promoting respect for the music and culture of the Arab world through its performances.
The following articles provide a variety of views and insights into Arabic music, the music of Kan Zaman, and the people
behind the ensemble.
Arab Music - by Ali Jihad Racy, Ph.D. and Jack Logan, Ph.D.
Al-Takht: A Traditional Musical Ensemble - by Wael Kakish
The World of Kan Zaman - An Interview with Sami Asmar
Kan Zaman from a Personal Perspective - by Kathleen Hood
Musical Forms of Libya - by Dr. Hassan Sassi
Aicha Redouane - CD review by Alfred Madain
Introductory paragraph based on the mission statement (RFD) of the internet newsgroup, rec. music. Arabic, written by
Kay Hardy Campbell. Used with permission. For more information on the newsgroup, please visit The Arabic Music web page.
Kan Zaman
Arcadia, CA 91066-1551
© Copyright 1997-2012 Kan Zaman Community Ensemble


text:
You are here: Home / Eye-on-Retail / Tuesday Tipsheet: Temkin's Trust Rankings | Canada Hits Costco |...
Tuesday Tipsheet: Temkin's Trust Rankings | Canada Hits Costco | Dick's Opens #610
March 17, 2015 /in Eye-on-Retail /by jlong
Canadian regulators suspend Costco's fish importing license by Angel Gonzalez at Seattle Times. "Craig Wilson, Costco's vice president for quality and food safety, said in an interview that it incurred the regulator's wrath after its Canadian operations failed to file paperwork for two containers of tuna in olive oil that the company imported from Italy." Read more
Amazon Expands in Canada With Move to Toronto Skyscraper by Katia Dmitrieva at Bloomberg. "Amazon is moving into one of Toronto's newest skyscrapers, taking enough office space for 800 employees, as Canada's largest city lures big technology firms. The company will occupy five floors near the top of 120 Bremner Blvd., a 31-story glass tower south of the financial core which opened last year, according to brokerage Jones Lang LaSalle Inc." Read more
Temkin Customer Experience Rankings: Amazon & PetSmart Tie for #1 "Walgreens came in a close third with a rating of 81% and a ranking of 8th, while Bed Bath & Beyond, Lowe's, and Costco all earned 79% and tied for 19th place overall." Read the release
…Temkin Trust Rankings (Costco #9, Lowe's #19, BJ's #30, Sam's #34, Home Depot #54, Walmart #120) See the 268 ranked
Target moves money from stores to technology by Nick Halter at Minn./St. Paul Business Journal. "Target's share of capital expenditures for opening new stores and store remodels declined from 58 percent in 2012 to 27 percent in 2014, according to its 10-K annual report. In actual dollars, spending on new stores fell from $673 million in 2012 to $381 million in 2014." Read more
***A Message from CLUG: The World's Smallest Bike Rack is Now Available. The CLUG Bike Clip is targeted at the urban cyclist and the casual enthusiast who are short on storage space for their bikes. CLUG is a patent pending, high quality product that made the list of 2014 Best Stuff by GQ Magazine in their December 2014 issue. CLUG is now ready for retail with its 100% recyclable, high volume packaging. See the video. See the sell sheet. Contact info@shiftmarketinggroup.net to request a product sample.
Target's 'Lumbersexual' Collection Debuts Quietly by John Ewoldt at Star-Tribune. "It was given no "heads up" in Target's Sunday circular. The dominant ad online on its release date Sunday was not the men's collection but rather the "spring home sale." "We kept it low-key," Target's (Jessica) Carlson said. "This program is a new twist on the traditional designer collaboration. It's a test and learn." Read more
...Target partners with Duluth, MN company by Peter Passi at Twin Cities/Pioneer Press. "We chose Duluth Pack for this initiative because they're the oldest bag company in the U.S., and what they're known for is the quality, fine-tuned craftsmanship of their products. As an added bonus of course, they're also in Minnesota, which makes it really fun for us. We're overall just thrilled to have them as a partner," (Jamie Bastian) said." Read more
Dick's Sporting Goods Opens #610 on March 27th "…will be opening its 5th store in Idaho and 610th store nationwide on Friday, March 27th at Canyon Park West in Twin Falls, ID (1939 Fillmore Street)." Read the release
Target Canada considered winding down operations as early as September by Marina Strauss at Globe & Mail. "Even earlier – last September – the U.S.-owned retailer contacted its law firm, Osler Hoskin & Harcourt LLP, to consider "strategic options," including quitting Canada, according to documents filed late Monday in Ontario Superior Court." Read more
This is What You'll be Eating in 2020 by Rebecca Greenfield at Fast Company. "Many of the most important advances in food will happen on the farm, from new sensors on equipment to smarter soil. "Understanding the composition of the soil is critical to developing insights and realizing better outcomes on the farm." Read more
Apple's TV service could be ready to launch by fall Geoffrey Smith at Fortune. "The Wall Street Journal reported that the company is aiming to provide a slimmed-down service covering around 25 channels for between $30-$40 a month. It would be available across all of the company's iOS-driven devices" Read more
Eye-on-Retail Tipsheet is read worldwide by Retail Merchants & Executives and created early every weekday morning. We love data, earnings reports, executive presentations and stories off the beaten path that get at what's happening in the world of retail. Contact us at info@shiftmarketinggroup.net.
https://shiftmarketinggroup.net/wp-content/uploads/2018/09/eye_on_retail_logo-2-312h.png 0 0 jlong https://shiftmarketinggroup.net/wp-content/uploads/2018/09/eye_on_retail_logo-2-312h.png jlong2015-03-17 07:56:312015-03-17 07:56:31Tuesday Tipsheet: Temkin's Trust Rankings | Canada Hits Costco | Dick's Opens #610
Monday Tipsheet: Wmart Grocery Shake-up | Target Layoff Hints? | Amazon = &... Wednesday Tipsheet: Bed/Bath Limits Returns | IKEA Ends Hide & Seek | Target...


text:
Bipartisan Policy Center logo
Campus Free Expression
BPC Action
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The Role of Medicines in Value-Based Payment and Health Care Delivery
By Marisa Salemme ,
Soobin Seong ,
Camelia Metwally
On June 16, BPC hosted its third forum in a three-part educational series on affordable medicines. In opening remarks, BPC Senior Vice President Bill Hoagland noted that though health care is shifting from a volume-to a value-based payment system, this transformation has been slower to take root in the pharmaceutical industry save for a few innovative models. Former Senate Majority Leader and BPC Co-Founder Tom Daschle highlighted the challenges of defining value in the pharmaceutical industry and stressed the importance of having a neutral space to openly explore these complex issues.
Dr. Mark McClellan, director of the Duke-Margolis Center for Health Policy and both a former administrator at the Centers for Medicare and Medicaid Services and commissioner at the Food and Drug Administration, presented a keynote address on the day's topic: integrating pharmaceuticals' in a value-based payment system. Dr. McClellan explained that the rate of drug spending is rising faster than the rate of inflation and other health expenditures. He highlighted several examples of innovative payment models, such as indication-specific pricing, to maximize health outcomes and reduce costs. He stressed that paying for value and performance requires evidence-based, cost-effectiveness research. McClellan explored the current pharmaceutical formulary tier system, suggesting that such a model is not necessarily consistent with value-based payment, but rather determined largely by brand-name and generic labels.
Pharmaceuticals in Value-Based Payment Models
Following Dr. McClellan's remarks, the audience heard from panelists representing provider, patient, pharmaceutical, and payer perspectives. Dr. Anand Parekh, a senior advisor at BPC, moderated the discussion with Alex Azar II of Lilly USA, LLC; Jonathan Blum of CareFirst BlueCross BlueShield; Eleanor Perfetto, PhD of the National Health Council; and Lowell Schnipper, MD of the American Society of Clinical Oncology (ASCO).
Alex Azar opened the discussion by examining the concept of value in the pharmaceutical sector. Azar reasoned that the competitive market inherently measures value through the price negotiations in a third party payment system. Still, according to CareFirst analysis, pharmaceuticals currently account for one-third of claims costs. With this in mind, Jon Blum stressed the importance of integrating pharmaceuticals into total-cost-of-care models as well as other value-based payment designs.
There was consensus among the panelists on the importance of including patient perspectives of value in new payment models. The National Health Council has developed a rubric to assist patients, payers, and providers when determining which models are patient-centered. Echoing Perfetto's sentiment, Dr. Schnipper highlighted the decision framework ASCO developed to promote joint decision-making between oncologists and patients in cancer treatment.
Though panelists debated how to define "value," there was agreement that opportunities exist to improve the current pharmaceutical pricing and reimbursement system.
Barriers in the Transition to Value-Based Payments
There was a general consensus that a lack of transparency of claims and lab data, as well as long-term outcomes, has inhibited the movement to value-based payments. Panelists discussed that if this data were readily available, it would be easier for payers and providers to coordinate care, leading to better outcomes and lower costs. Some urged that future CMS policies and regulations on payment models adopt a more patient-centric focus, taking into account the complexity of an individual's health.
Value is a Dynamic Concept
Panelists stressed the importance of flexibility in payment models because the concept of value is dynamic: the impact of a particular therapy might vary between different populations and changes over time. Blum noted access to real-time claims data and real-world evidence would not only assist in creating better models but also help monitor the effects of new payment structures that have been implemented. Azar, stressing the importance of flexibility in payment models for pharmaceuticals, identified how unintended consequences might result from federal regulations, for example, the creation of price ceilings. Because of the stagnant nature of price setting, he noted the difficulty in determining a launch price of a drug without the opportunity to adjust for its real-world impact.
Health Care Consolidations' Impact on Value-Based Models
Responding to the latest trend in health insurance consolidations, one audience member inquired about the potential impact on value-based payment models. Panelists recognized a dichotomized view on health care consolidations and their effect on costs, citing mixed conclusions. Consolidations increase a company's bargaining power; however, Dr. McClellan cited case studies of several small clinics which were able to reduce prices through improved care coordination and infrequent hospital admissions. Additionally, Blum highlighted CareFirst's success in the market, attributing customer satisfaction and reduced costs to better care management.
The rising cost of pharmaceuticals has prompted an important national discussion. Though this was the last scheduled forum in BPC's educational series, we will continue to examine the role, and affordability, of medicines in the move to greater value in health care.
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Educational Series on Affordable Medicines: Value-Based Payments and Financing Breakthrough Treatments
Educational Series on Affordable Medicines: Impact of Federal Policy on Innovation, Competition, and Costs
Educational Series on Affordable Medicines: Pricing, Repricing, Rebates, and Patient Access
Dole Series on Leadership: A Legacy.
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text:
from distutils.core import setup

setup(
    name='python-rhvoice',
    version='1.0.0',
    author='Anton Vlasenko',
    author_email='antares.spica@gmail.com',
    packages=['rhvoice'],
    scripts=[],
    #url='http://pypi.python.org/pypi//',
    license='LICENSE.txt',
    description='Python bindings for RHVoice library.',
    long_description=open('README.rst').read(),
    install_requires=[],
)


text:
Book and Film Globe
Books, Film, TV, Culture.
Actors CREATORS FILM TELEVISION
Mrs. Maisel Isn't a Shiksa
Why Do Non-Jewish Actresses Get All The Best Jewish Roles?
January 14, 2019 December 6, 2019 Mia McCullough	8 Comments	Ashkenazi, Felicity Jones, Jewish, Jews, Lee Israel, Melissa McCarthy, Mrs. Maisel, Rachel Brosnahan, Ruth Bader Ginsburg
Recent groundbreaking films like Black Panther, Get Out, and Crazy Rich Asians have proven that films can be cast with non-white people and they can still rake in the dough. These aren't perfect times, but the issues of inclusion and representation are at the forefront of casting conversations more than ever before. Hollywood is being called out on its racial and cultural insensitivities, and it's responding in mostly appropriate ways. But there's one area where I'm noticing a glaring blindspot: the actors playing ethnically Jewish female roles.
Felicity Jones playing Ruth Bader Ginsburg in On the Basis of Sex, Rachel Brosnahan playing The Marvelous Mrs. Maisel, Melissa McCarthy playing Lee Israel in Can You Ever Forgive Me? I'll be honest, I'm not finding verification that Lee Israel is Jewish, but I'm feeling pretty comfortable with the assumption. To be clear: I'm not criticizing any of these women's performances. I am wondering, in an industry so filled with Jewish writers, producers, directors and executives, why are gentiles playing these Jewish female characters? Could they really not find anyone to cast?
We all know they could find someone. There are scads of talented Jewish women out there. Lizzy Caplan would have made a fabulous RBG. So the question is: Why did they choose to cast non-Jews? Is it because Ashkenazi Jews are so white now that we're interchangeable with the white gentiles? Never mind the Holocaust and millennia of discrimination, we can let whoever play us on screen? Are we not an oppressed minority anymore? It's true that white Jews benefit from white privilege, but we're also subject to an increasing number of hate crimes. According to FBI statistics, only Black Americans experience more hate crimes than American Jews. And yeah, yeah, Judaism is a religion and anyone can play, but Ashkenazi Jews have a specific cultural and ethnic identity that isn't interchangeable with the identity of other white people.
Yes, your honor.
Having perused the creative teams behind the aforementioned projects, it seems certain that Jews contributed to the casting choices. Not every power broker and gatekeeper in the film industry is a Jew, but lots of them are. If Latinos and Asians and Indigenous People and Black folks are holding Hollywood up to a standard, why are the Jews in Hollywood not holding themselves up to the same standard for their own people? Especially with roles like Ruth Bader Ginsburg, an icon of the Jewish community, and the entire cast of Mrs. Maisel, a show completely steeped in New York Ashkenazi Jewish culture. Lee Israel's Jewishness may be incidental, but Ruth Bader Ginsburg's and Midge Maisel's definitely are not. So why are we leaving ourselves out of the representation conversation?
I suspect the answer involves a certain degree of self-loathing. Whether it's coming from the actors, the producers, or both…I'm not sure.
There's a long-lingering effort to obscure and hide Jewishness in actors. Historically, Ashkenazi Jews have rarely fit the Hollywood ideal of attractive. Here we are in 2019 and Jewish actors continue to change their names or use their middle names as last names. Gatekeepers still suggest plastic surgery to actors with unsuitable noses. As if trying to stay L.A. skinny weren't already a full-time job. It makes me wonder: are Jewish actresses shying away from roles about Jewish characters? Are people not auditioning for these roles because they don't want to be pigeonholed as Jewish, or are they not being considered because producers want someone with a more classic look?
Either way there's an element of self-sabotage at play where Jews don't hold themselves up to the same standard of representation as everyone else.
I suspect this issue won't sort itself out easily. Jews have a historical penchant for justice and don't like to be called insensitive, so I think Hollywood will start to get the hang of appropriate cultural representation as it pertains to everyone else. But confronting why the Jews in Hollywood aren't casting Jews? That's going to require self-examination and unpacking of the shame Jews have been made to feel about themselves. And that, I'm afraid, will take some time. And probably therapy.
OK, this one is Jewish.
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Tags: Ashkenazi, Felicity Jones, Jewish, Jews, Lee Israel, Melissa McCarthy, Mrs. Maisel, Rachel Brosnahan, Ruth Bader Ginsburg
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Mia McCullough
Mia McCullough is a playwright and filmmaker. Her plays have been seen around the country at various theatres including Steppenwolf Theatre Company, The Old Globe, Red Fern Theatre, Stage Left Theatre, and Chicago Dramatists. Season One of her web series The Haven is available on OTV/ www.weareo.tv and her book Transforming Reality, on the creative writing process, is available on www.lulu.com.
8 thoughts on "Mrs. Maisel Isn't a Shiksa"
Actors with two Jewish parents: Mila Kunis, Natalie Portman, Logan Lerman, Paul Rudd, Joseph Gordon-Levitt, Bar Refaeli, Anton Yelchin, Jennifer Jason Leigh, Emmanuelle Chriqui, Adam Brody, Kat Dennings, Gabriel Macht, Sarah Michelle Gellar, Erin Heatherton, Lisa Kudrow, Lizzy Caplan, Gal Gadot, Debra Messing, Jason Isaacs, Jon Bernthal, Robert Kazinsky, Melanie Laurent, Esti Ginzburg, Shiri Appleby, Justin Bartha, Margarita Levieva, James Wolk, Elizabeth Berkley, Halston Sage, Seth Gabel, Corey Stoll, Michael Vartan, Mia Kirshner, Alden Ehrenreich, Julian Morris, Debra Winger, Eric Balfour, Dan Hedaya, Emory Cohen, Corey Haim, Scott Mechlowicz, Harvey Keitel, Odeya Rush, William Shatner, Leonard Nimoy.
Aaron Taylor-Johnson is Jewish, too (though I don't know if both of his parents are).
Actors with Jewish mothers and non-Jewish fathers: Timothée Chalamet, Jake Gyllenhaal, Dave Franco, James Franco, Scarlett Johansson, Daniel Day-Lewis, Daniel Radcliffe, Alison Brie, Eva Green, Joaquin Phoenix, River Phoenix, Emmy Rossum, Ryan Potter, Rashida Jones, Jennifer Connelly, Sofia Black D'Elia, Nora Arnezeder, Goldie Hawn, Ginnifer Goodwin, Brandon Flynn, Amanda Peet, Eric Dane, Jeremy Jordan, Joel Kinnaman, Ben Barnes, Patricia Arquette, Kyra Sedgwick, Dave Annable, and Harrison Ford (whose maternal grandparents were both Jewish, despite those Hanukkah Song lyrics).
Actors with Jewish fathers and non-Jewish mothers, who themselves were either raised as Jewish and/or identify as Jewish: Ezra Miller, Gwyneth Paltrow, Zac Efron, Alexa Davalos, Nat Wolff, Nicola Peltz, James Maslow, Josh Bowman, Andrew Garfield, Winona Ryder, Michael Douglas, Ben Foster, Jamie Lee Curtis, Nikki Reed, Jonathan Keltz, Paul Newman.
Oh, and Ansel Elgort's father is Jewish, though I don't know how Ansel was raised. Robert Downey, Jr., Sean Penn, and Ed Skrein were also born to Jewish fathers and non-Jewish mothers. Armie Hammer, Chris Pine, Emily Ratajkowski, Mark-Paul Gosselaar are part Jewish.
Actors with one Jewish-born parent and one parent who converted to Judaism: Dianna Agron, Sara Paxton (whose father converted, not her mother), Alicia Silverstone, Jamie-Lynn Sigler.
Lawrence Krause
So what? Maybe, just maybe, those in charge of the Mrs Maisel production; those whose time, blood, sweat and tears, went into this show, wanted the best "fit." Can anyone who has seen Rachel Brosnahan's portrayal of "Midge" not agree she is perfect. Those clammering for only Jews to play Jews are the quintessential racists!
Shayne Maidel
It's almost a year since this article posted but I found it because I searched a phrase that expresses my frustration: why aren't Jewish actors playing the Jews on Mrs. Maisel? I stopped watching the show because I'm sick of seeing movies and tv shows that capitalize (dare I say, culturally appropriate) Jewishness, but won't hire Jews to play the roles. I'm just fucking sick of it.
Mulatak
Seriously? Why is it ok to prefer a Jewish person to play Jewish parts, but it would be outrageous to only want a non-Jewish person to play Gentile parts?
Reverse discrimination doesn't fix discrimination.
I think you need to read up on what discrimination actually means. Wanting to cast Jewish people in Jewish roles is not discriminating against Gentiles.
Dan Brent
While we are addressing discrimination in Hollywood, how about the rampant discrimination in the form of ethnic chauvinism that goes on in Hollywood production companies and talent agencies? It is completely absurd how overrepresented people of Jewish descent are in management and agent positions. Ethnic nepotism is discrimination. It is completely acceptable in Hollywood for people of Jewish descent to hire mentor, promote and hire fellow Jews, and overlook people of other nationalities. These companies are simply not trying to make themselves diverse in management.
Jews ended up in behind-the-scenes roles in Hollywood because they generally were not perceived to have the right "look" for on-screen work. Jews who wanted to participate in the entertainment industry did so in the way they were allowed, and that's how they came into that power. Through discrimination. Seeing as how we're still not being asked to play our own people half the time, I can see how those who have managed to have a little control/power, might pass it down to others like them. I don't know the numbers, so I don't know how discriminatory it is, but I do know many non-Jews working in the business.
Cody Swan
Almost the entire cast of Mrs. Maisel is Jewish.
Sit down.
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A Letter from the Director
Looking back to the Renaissance, and forward to a new decade with performance now firmly positioned in museums and within academia as a viable and multi-tiered discipline to engage audiences of contemporary art and media culture, we celebrate a decade of Performa, its influence and impact. We look at the results of our innovative commissioning program that has changed the public view as to what constitutes visual art performance and that has consistently produced new markers in the history of artists' performance; and we return to some of those artists whose commissioned works over the past decade made it so. In addition, we build on the solid structures within our curatorial pantheon: the Performa Hub, a temporary architectural commission that serves as Performa's headquarters during the three weeks of the Performa biennial, and that provides a meeting place for visitors and a venue for morning to night programming, exhibitions and screenings; the Performa Institute, that realizes a comprehensive vision for performance education and history, interfacing daily with artists, curators, and the public, with workshops, lessons by artists, process-driven residencies and where ideas being posited by artists in the biennial program across the city are cross referenced and argued; and Pavilions Without Walls, a unique curatorial program that investigates the cultural landscape of a particular country, explored and developed over a two year period with curators, artists and cultural institutions in that country, including visits by our curators to theirs, and a curatorial residency from that country with Performa in New York in the six month lead up to the biennial.
With Performa 15, the Performa biennial will once again be a lively investigative platform across disciplines, exploring not only the visual arts, but also dance, film, radio, sound, and architecture. Subject matter will cover a broad range of topics that does not fit under a single headline: rather, like the pages of an international newspaper, with its sections on metropolitan life or political affairs, cinema, science literature or sports, Performa ranges across cultural sub-sets. Performa also ranges across the city and across curatorial perspectives, for the Performa biennial is the sum of many parts: presented in close collaboration with the Biennial Consortium, a selective network of New York City's most adventurous cultural institutions, Performa will once again reaffirm New York City as the performance capital of the world.
Welcome to Performa 15!
RoseLee Goldberg
Founding Director and Curator
Performa 15 takes place November 1 – 22, 2015 at various locations across New York City.
Since 2004, Performa has been a leader in commissioning artists who together shape the next chapter of the multi-century legacy of visual artists working in live performance. Serving as an incubator for artists' projects, Performa encourages new directions for live performance while paying homage to the form's history and making way for its future.
Celebrating ten years since the founding of the Performa biennial in 2005, Performa 15 premieres new works by artists Robin Rhode (South Africa), Pauline Curnier Jardin (France/The Netherlands), Edgar Arceneaux (United States), and Erika Vogt (United States), Performa alums Jérôme Bel (France) and Jesper Just (Denmark), as well as returning artist Francesco Vezzoli (Italy) in special collaboration with dancer David Hallberg (United States), to name a few. This sixth edition brings together a total of more than 30 artists from 12 countries around the world to participate in three weeks of exciting programming including Performa Commissions, Performa Projects, Performa Premieres, Performa Hub, Pavilion Without Walls, and more—breaking down the boundaries between visual art, music, dance, poetry, film, and architecture. For each biennial, Performa pays homage to a bygone era through a historical anchor, such as Futurism and Russian Constructivism, showing the prevalence of live art during earlier periods; this year the historic reference is The Renaissance.
Performa 10 Years
Performa, an entirely new kind of biennial for visual art and performance, was launched in New York City ten years ago, in 2005. It would be different from other biennials, its mission to focus on the importance of live performance by visual artists throughout the history of 20th Century art, to bring performance from the sidelines into the spotlight as it were, as a way of understanding the changing landscape of contemporary art from around the world of the past hundred years. That century had been nothing less than multi-disciplinary; avant-garde artists since the early 1900s had broken new ground in filmmaking, bookmaking, poetry, choreography, performances, installations and actions of all sorts, and these in turn would shape the direction of painting and sculpture in the decades following. Performa was established to reveal a neglected history and to make it public in the most vibrant, innovative and highly visible ways.
Performa would not simply present an overarching survey of performance every two years, but rather would instigate new possibilities for a form perfectly poised to translate the media-saturated world of the new century. For a public not yet realizing how much they would crave active engagement as complement and antidote to lives lived online, the Performa Commission would both captivate and be the engine driving the overall vision of Performa. It would also be a means for showing off artists' imagination at their most innovative
and experimental, outside of art market forces. Providing unparalleled support, financial and curatorial as well as production expertise and dramaturgy, Performa invited artists, many of whom had not made performance before, to think differently: in this new idiom they would add time and 'the live' as ingredients to their work and they would experience the unfolding of untried ideas in the presence of an audience. Encouraged to think boldly and ambitiously, each Performa Commission would be assigned a venue, both frame and container, appropriate to its content and atmosphere; tantamount to a solo exhibition, each commission used the city as urban staging ground, discovering with each work a new neighborhood.
Unlike other biennials, whose administration selects a new artistic director for each edition, Performa has an ongoing team of curators, art historians, researchers, and producers, which has, over the decade, accrued specialized knowledge about performance, its place in art history, its contemporary forms, across continents and around the globe. In other words, each Performa biennial is an extension of the last, an accumulation of scholarship and expertise built on the one before. Even as we prepare for the current biennial, long-term research is in motion for a future one. The Performa biennial is always in process.
About Performa
Founded in 2004 by art historian and curator RoseLee Goldberg, Performa is the leading organization dedicated to exploring the critical role of live performance in the history of twentieth-century art and encouraging new directions in performance for the twenty-first century. Since launching New York's first performance biennial, Performa 05, in 2005, the organization has solidified its identity as a commissioning and producing entity. As a "museum without walls," Performa provides important art historical heft to the field by showing the development of live art in all its forms from many different cultural perspectives reaching back to the Renaissance. The Performa Biennial is celebrated world wide as the first biennial to give specialized attention to this remarkable history, transforming the city of New York into the 'world capital of artists' performance' every other November. Performa attracts a national and international audience of more than 200,000 and receives more than 5,000,000 website hits during its three week run. In the last decade Performa has presented 592 performances, worked with 732 artists, and toured commissioned performances in 17 countries around the world.


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How it began: Heck vs the weirdest killers
Anyone following this blog will know that my new Heck novel, THE KILLING CLUB, was published at the end of last month, and that a blog tour accompanied it. What that basically meant was that I was that, at the kind invitation of a number of webmasters/crime thriller fans, I wrote a number of guest posts to appear on various crime-writing blogs.
In case anyone didn't get a chance to see them at the time, it was always part of my plan to repost these blogs on this site as well. So without further ado, we'll kick off now.
Here's the interview I gave to CRIME BOOK CLUB, which appeared on June 14 (along with a 5-star review - sorry, had to drop that in). Thanks very much to them for their interest in the new Heck novel.
Welcome to Crime Book Club Paul and thank you for taking the time to answer a few questions.
No problem. Thank you for having me. I'm delighted.
Congratulations on the publication of 'The Killing Club' last week, can you tell our readers a little about it?
Thanks very much. The Killing Club is the third outing for my fictional detective hero, DS Mark 'Heck' Heckenburg, of the Serial Crimes Unit at Scotland Yard. The Serial Crimes Unit, or SCU, has a remit to investigate serial murder cases, serial rapes, assaults etc, taking place across all the police force areas of England and Wales. And Heck is one of its lead investigators. By the nature of this beast, he can show up anywhere, from Cornwall to the Lake District, from London to Manchester. He is not office-bound, and rarely works with the same bunch of colleagues, though his overall boss is Detective Superintendent Gemma Piper, his former girlfriend (when they were both DCs), so as you can imagine, this leads to occasional complications.
Though The Killing Club is the third in the series, it's a direct follow-up to Stalkers, the first, which concerned the activities of a brutal rape and kidnap gang called The Nice Guys Club. I won't give away too much details because it's possible some folk haven't yet read Stalkers, but I will say this: while the second in the series, Sacrifice, was a free-standing story, The Killing Club is, in some ways, Stalkers part 2. So you could read Sacrifice before you read either of the other two books, and it would make no difference, but if you want to read The Killing Club, it's much better if you read Stalkers first. As usual, the book takes us up and down the country – a real trademark where Heck is concerned – and is loaded with action. Though I'm an ex-policeman, I don't really do police procedurals, at least not under the Heck banner. These are hard thrillers with what I hope is a grimy, authentic feel and urban mayhem by the bucket-load. In The Killing Club in particular, we see a Nice Guys gang hell-bent on massacring their opponents. These aren't the sort of hoodlums you can sort out with harsh language alone. Heck has no option but to get stuck in … but that's all I'm going to say about it at present. Don't want to give any spoilers away.
When you spend so much time writing about someone like Mark Heckenburg do feel you know him inside out or does he surprise you each time?
I'm sure most authors would agree there's nothing more pleasing than a character who's so well-developed in your mind that he or she take on a life of their own, and can literally produce their own lines of dialogue. I've certainly reached this stage with Heck, though I doubt the development process has run its course yet.
Heck is not an unusual character for me. The lonely, vulnerable hero who makes up for his social flaws with courage, intellect and incisiveness isn't exactly a revolutionary concept. But I like to think we've done all that and a bit more with Heck. On his creation, I produced a notebook full of back-story for him – to the extent where I could actually picture him in my mind's eye. But the real reason he's been so familiar from the get-go is because I've based him on people I've known very well, not just friends and fellow workers, but family members as well.
He has blue-collar origins, and hails from a post-industrial town in South Lancashire called Bradburn, a very thinly disguised Wigan, the town of my birth. But he doesn't have hang-ups about this. In this respect, there is a lot of my late-father in Heck. He was a dogged, bluff northerner from a typical coal-mining family, but he was never a class warrior – he firmly believed that everyone had issues they needed to overcome in life. He was also self-educated to a high level, which showed great spirit and ambition, and yet this was an ambition to be as good as he could be at what he did, not an ambition to rule and dominate. This is another key aspect of Heck. He isn't interested in getting promoted. He's an out-and-out detective; as he says in his own words, he's "an investigator, not an administrator".
But he's also a tricky customer, who can pull a fast one whenever he needs to – like so many of the real-life police detectives I knew – sometimes at the expense of fellow officers as well as criminals. On top of that, thanks to his background, he isn't averse to strong-arm tactics if they're absolutely necessary, but he prefers the affable, even-handed approach. And yet he's a chancer too. In the rugby league parlance so favoured by my dad, if he has the ball and he sees even the slightest opportunity, he'll go for the line.
These were all part of my original concept. But yes, to answer the second part of this question, he still surprises me. It was always the plan that he'd work hard, putting in long hours by choice, but it's become increasingly clear to me that it isn't really by choice. Heck is an obsessive, constantly at war with personal demons stemming from tragedy in his early life, and his stubbornness and unwillingness to give up is a symptom of this, which, Gemma, for one, thinks is very unhealthy. On the subject of Gemma, I never really know where Heck's hot and cold relationship with her will finish up.
When I first hatched this idea that his senior supervisor was his former girlfriend, I was worried it might turn out to be stock and that they'd basically end up getting it on at every opportunity. But again, as the stories have unfolded, they've evolved away from that a little bit. There's no denying that Heck and Gemma have a strong if unspoken bond of affection, but there are massive differences in their personalities. Gemma is a straight bat and a real spitfire, whereas Heck's Machiavellian ways, not to mention his high risk-taking, give her endless headaches. It's become progressively harder for these two to become romantically re-entwined, and yet the possibility always lurks in background. This is something I never planned for, but am enjoying immensely. I know it's torturing some readers, who tell me they love the sexual chemistry between Heck and Gemma, but ask when is it going to happen? The simple answer is that I don't know. Because these two are battling ferocious opponents, regularly in danger themselves, they often have bigger fish to fry – but then again, the sheer stress of their daily work will sometimes throw them together in unguarded moments when they genuinely need the solace of each other's company, so you never, ever know.
Do you have one guilty pleasure that not many people know about?
I wouldn't call it a guilty pleasure, but I put every minute of my spare and 'hobby' time into the editorship of my Terror Tales series. This is a series of all-new horror anthologies (featuring fiction and non-fiction, with a strong folkloric feel), which I edit for an independent label, Gray Friar Press. It's a world away from Heck, but I love ghost stories and I love mythology, and it's great fun combining them in this way. It also gives me the opportunity to work with some great writers and artists. To date we've done five: Terror Tales of the Lake District, Terror Tales of East Anglia, Terror Tales of London, Terror Tales of the Cotswolds and Terror Tales of the Seaside, with more to follow.
Is your approach to writing different when it comes to a novel compared to your screen writing?
In both cases, I tend to devise my character notes and write my dialogue first, so initially it's a similar process. In fact, I've been told several times that my prose has a very filmic style in that it's broken up into scenes and is very visual in its content. A flattering review of The Killing Club said the action sequences were "cinematic, so vivid that it is almost as if the reader is there, experiencing it alongside the characters". I don't know whether that's true or not, but if so, it may be that my screenplays and novels have influenced each other more than I realise. But, though there may be superficial similarities between them and the initial approach to the writing may be the same, the two processes ultimately diverge.
For example, writing a film or television drama is very much a process by committee. The more drafts you produce, the more people seem to get involved, each with a different opinion you must take into account. The plot may suddenly make an illogical right-hand turn depending on a phone-call you've just received, and then may turn back again with the next phone-call. In the midst of all that, it's easy for the original artistic vision to be lost. It can become very stressful trying to please everyone and at the same time tell the story you started out with. It may even be, at some stage, that another writer is brought in – it's frustrating, but that's just the way it happens. As such, I tend to take a much harder, more objective view of screenplay writing, whereas, with a novel, it's very different. With a novel, it's yours from beginning to end, and usually you tend only to heed the words of your commissioning editor. This means you can love it more and consider something entirely yours. Of course, writing a novel can be more physically exhausting than writing a screenplay. It tends, on average, to be about five times longer in terms of word-count, so I usually give myself several months rather than several weeks and stock up a lot more on elbow grease.
At the end of the day, it all boils down to the same thing. Some of the disciplines required are different, but not too many. You need to pace your screenplay, but you need to pace your novel too. In a movie you've no time for introspection, for navel-gazing etc, though a novel will quickly bog down too if you start waffling.
In both cases, you have to tell a story as clearly, excitingly, entertainingly, and concisely as you can. The basic skill-sets apply to both forms.
What advice would you give to your younger self?
Don't spend too much time writing short stories. I love short stories, and they are a great training ground for new and young writers, but on their own they are not commercial enough to give you the writing career you seek. Pen them now and then for sure, but concentrate more on novels and screenplays. Once you're established, you'll have lots of time to pick up the short form again.
What was the last book you read that you would consider a must read?
Whenever anyone asks me this, I give the same answer, and yet it's not a novel that is widely available any more, nor is it within any of the genres where I normally work.
It's The Saxon Tapestry by Sile Rice, published in 1991. This is a historical fantasy concerning the life and death of Hereward the Wake, the great freedom fighter who gave everything he had, including his life eventually, to liberate England from the Normans. It's an epic tome, concerning major events in history and involving multiple real-life characters, but with mythological elements interwoven as well. It's also beautifully and poetically written, though that only serves to enhance the incredible battle scenes, of which there are many, and to underline the increasing heartbreak, as a way of a life, a rich culture, and ultimately a unique people and their society, are systematically and cruelly destroyed. Very few books have ever brought genuine tears to my eyes, but this one did. Whatever your field of literary interest, if you're looking for a genuine must-read, I unreservedly recommend The Saxon Tapestry. Don't be put off if you don't like history, because this is first and foremost about humanity (or a disturbing lack of it).
We know that you have more planned for Detective Sergeant Mark Heckenburg but can you tell us about Heck's future?
It's difficult to say a lot about this without giving away any essential spoilers. I think I've already mentioned that Heck has no desire to rise through the ranks, plus he's trodden on so many toes in the past that this would be unlikely anyway, even with Gemma as a benign (if abrasive) driving force behind him. So basically you can expect more of the same as he hunts down the worst elements in our society, disturbing and complex investigations galore as killers and maniacs cross and re-cross the police force boundaries of England and Wales.
It's early days yet and maybe I'm already saying too much, but I have detailed outlines planned for investigations in Cornwall during an English summer heatwave, in South and East London at the very heart of England's organised crime culture, and in the leafy lanes of Surrey, the kind of place you'd least expect to find violent offenders, though this one has the potential, I think/hope, to be more hair-raising than most.
Can you tell us what are you working on at the moment?
I'm currently working on three live projects. First of all, the fourth Heck novel, the working title for which (though I suspect we'll stick with it), will be Dead Man Walking. This will be published in November, and will take Heck up to the Lake District in the depths of a dank and foggy autumn. No more spoilers about that one just yet. The fifth Heck novel – the working title for which is Hunted – is also being knocked into shape. You may wonder why we're working so far ahead of ourselves. Well the truth is that Hunted was originally going to be Heck 3, but readership demand to see the Nice Guys again caused us to fast-track The Killing Club forward into third, pushing Hunted a little bit further back down the line.
The third project is completely unrelated to Heck and is a movie script entitled War Wolf. This is a medieval horror/fantasy set during the Hundred Years War, and is filled with knights, battles, beautiful women and terrifying monsters. It was commissioned from an outline I sent to Amber Entertainment, a major film company with offices in London and Los Angeles, and things are now moving on apace. I'm not sure whether I'm allowed to say all this, but casting is underway and we're hoping to shoot in Europe in September, though anything can happen in the movie world. We'll have to see how that one goes.
The characters you create can be very dark and intense, where do you get your inspiration from?
I think I can safely say that dark characters are my stock-in-trade. I met many killers, gangsters, robbers and rapists when I was a police officer, and they were, without exception, scary guys. It's not something to be taken lightly either. I mean, behind every one of these creatures there is a human horror story: abuse, poverty, violence, endless trips to prison, where they only thing they were taught was how to ensure they'd end up there again not long after they'd been released. But you know, we all love impressive villains. It's important in every genre; even in romance and in family fiction, there are bad guys as well as good guys. On that basis, I think it's very important to give the audience what they expect, though with Heck I like to go a little bit farther if I can.
From the beginning, I wanted to make the Heck novels frightening as well as exciting. That's probably a hangover from my horror-writing days, but I want my readers on edge all the time. Don't ask me why … maybe I'm just a sadist. But if that means taking them into mysterious rural enclaves where unseen evil is lurking, or exposing them to ghastly urban nightmares where almost no-one gets out alive, so be it. It certainly means they're going to be meeting the baddest of the bad, and I make no apologies for that.
Where do I get these guys from? Well, I've already mentioned my real-life experiences, but I also watch the news, and current affairs programmes, and documentaries, and I'm very fond of history. There are lots of prototype villains and madmen out there in the real world. You don't have to look too hard to find them.
I suppose the dark and intense thing could also apply to some of my good guys. Heck in particular. Well, I guess that's the hardboiled cop thing. It's the other part of the equation. Having created heavyweight villains to terrorise the innocent, I don't believe in going easy on them. It's absolutely essential that we have a hero you genuinely believe can go round for round with these crazies. Again, I make no apologies for this – these were always intended to be taut, brooding thrillers, filled with darkness and realistic urban violence, but in which the good guys win, though not without suffering significantly in the process.
Lastly, do you have much planned for the rest of 2014?
Well … the three current projects I've already mentioned will be my priority, but all need to be finished well before the end of this year, so hopefully, all being well, we'll be closing out 2014 by going on holiday somewhere. Seriously. There's been a lot of intense writing in the last few years. It would be nice to take a break and recharge the batteries, though that feels a long way off at present.
Thank you again for your time and we look forward to the next instalment from Heck!


This coastal ranch home plan features open spaces in a cozy floor plan. The vaulted family room allows for an abundant amount of natural light. A family friendly kitchen is perfect for entertaining. The resort style master suite includes a master bath with garden tub and large walk-in closet. Two additional bedrooms are located in this country house design. We offer floor plan modifications on all of our house plans.
Question: Can you tell us how many sq feet and the dementions of the bonus room over the garage?
Question: How much square footage is added with the porch and the garage? If I order the crawlspace and later find that I need the slab, can I still get the slab?
Click Here to download a free PDF Brouchure of Plan Number 97606.


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Jobs, consultancies, internships
Vacancy: Head of Programmes at SEED Madagascar: WASH and Schools; deadline 6th Jan 2023
CharlieSEED
01 Dec 2022 21:31 #34056 by CharlieSEED
Head of WASH and Schools Programmes (Madagascar)
This is a superb opportunity for a development professional to work alongside national and international staff, leading on the grant writing, reporting, and evaluation of SEED's WASH and Schools programmes. Our WASH and Schools programmes use community-led, participatory approaches, working with local communities to identify and implement projects that meet their needs and priorities. SEED's WASH programme focuses on delivering interventions in rural schools and health clinics, WASH infrastructure is complemented by facilitated approaches to sustainable management and behaviour change. SEED's education infrastructure programme focuses on building school infrastructure such as classrooms, toilet blocks, handwashing stations, rainwater harvesting systems, and menstrual hygiene management facilities to support learning. This is an exciting position for someone who has existing field experience to work alongside national and international staff, coordinating the development, grant writing, reporting and evaluation of our WASH and Schools programmes. You will be responsible for generating funds across the programmes and expanding our network of partners in-country and internationally to maximise impact. This post will partner our national implementation teams, managing donor compliance, ensuring proposals and reports are to a high standard and budgets are appropriately managed. It is essential that the post holder has grant writing experience, WASH knowledge and is able to work in English to a high standard and have at least basic French. Candidates who do not meet these criteria will not be considered.About the organisationSEED Madagascar is a British Charity working in partnership with communities in the south east of Madagascar. We integrate high quality community health, sustainable livelihoods, education infrastructure and conservation programmes to support long term, sustainable change and add to international best practice through research and publication across all of our programmatic areas.
More information on the work of SEED can be found at www.madagascar.co.uk
Location: Fort Dauphin, Anosy Region, Madagascar
Timeframe: 18 months extendable
Contract Minimum duration: 2 years (probationary period 3 months)
Terms and conditions: Local salary plus contributions of up to £1000 to a return flight to post and £600 to insurance
Reporting to: Director of Programmes & Operations
Programme Development
Work with national and international staff to design WASH and Schools projects that fulfil local needs and align with SEED's strategic aim, taking into account past learning, international best practice, contextual constraints and government objectives;
Oversee the development of project frameworks (e.g., Log Frames and Theory of Change models) and proposals to ensure they are representative of the community needs while also being attractive to donors;
Support the WASH and Schools team to conduct research into international and national best practice for the WASH and Schools programmes;
Ensure the high standard of all project documents submitted to donors to secure the ongoing funding of SEED's projects – currently at around £150,000 per annum across all active interventions;
Identify partners and build networks and collaborations across the WASH and schools programmes to increase the impact of SEEDs work in these areas;
Use evidence-based advocacy from research and project findings in briefing papers for staff, local and regional stakeholders and government departments to inform regional and national development strategy.
Provide timely updates to the Programme Funding Coordinator of project activities and support them to communicate any changes in project activities to donors when necessary;
Oversee effective systems for monitoring project progress against activity plans, working with project teams to ensure objectives are met and using learning from ongoing evaluation to inform the development of projects;
Conduct fieldwork and monitoring visits to project sites when appropriate and ensure observations are fed back into ongoing project design.
Recruit, support, manage, review and provide professional development to a team of Programme Interns, Officers and Specialists, delegating to and managing their work to achieve departmental objectives and support organisational ethos and strategy;
Foster essential cross-cultural collaboration and learning, providing support to both the national and international teams to bridge gaps in understanding and priorities for project development and implementation;
Provide pastoral care, guidance and act as a role model, both professionally and personally, for a team of early career professionals living in country.
Oversee the development of budgets, including full cost allocation with consideration of the organisational strategy and priorities over the coming years;
Provide monthly overview of financial reports, ensuring project spending is on track and identifying trends in expenditure, and management of exchange rate gains.
Provide core support to the Director of Programmes & Operations in management and ensuring the support and security of all international staff, including acting as an intermediary of organisational priorities to the wider team;
Work flexibly, including changing work priorities at short notice and working unsociable hours when necessary to meet a short deadline, for example the submission of project funding documents within the timeframe set by donors;
Ensure all of SEEDs policies and procedures are evident throughout the work of the department, including those for safeguarding, whistleblowing and anti-corruption, and undertake continual training to ensure these are promoted at all times;
Represent SEED Madagascar in external meetings with other agencies, donors and partners on the ground in Madagascar and in the UK;
Act as a temporary stand-in for the Director of Programmes & Operations and/or other Programme Heads when required during a period of leave and absences.
At least a first degree-level qualification or equivalent experience in WASH, international development, or related discipline;
Sound knowledge of international development frameworks and contemporary global issues facing least developed countries;
Sound knowledge of and interest in WASH issues and approaches in least developed countries;
Minimum of 2 years' experience of WASH projects in a developing context;
Minimum of 3 years' experience in grant writing and proven record of success;
Minimum of 2 years' professional experience in line management and/or project management;
Familiarity with the use of project management tools including Logical Frameworks, Theory of Change models, Budgets Activity Plans and Monitoring & Evaluation frameworks;
Fluency in English (written and spoken) with excellent written communication skills, to the level of editing English documents for publication;
At least intermediate French and be able to hold meetings and write reports in French;
Excellent listening and verbal communication skills, and a flexible and patient attitude;
Excellent proposal and report writing and editing skills, with previous experience compiling project proposals and reports and the ability to tailor written information to various audiences;
Cross-cultural negotiation skills and a curiosity in effective work practices in a cross-cultural setting. Ability and desire to build capacity both within international and national teams;
Ability and desire to develop, support and manage a team of volunteers and staff, and to oversee the Project Development internship programme;
Ability to demonstrate and support staff to develop appropriate professional and social attitudes required for living in another country, and to manage these aspects of volunteers' behaviour when required;
Proficiency in Microsoft Office, particularly Word, Excel and PowerPoint;
Excellent problem solving and analytical skills, with demonstrable ability in gathering and assimilating facts and data from various sources;
Experience of living and working in a developing country with the ability and desire to work with teams from different economic and cultural backgrounds and across multiple language barriers;
Sound knowledge of participatory and community-led approaches to development;
Knowledge of and interest in education issues and approaches in least developed countries.
The successful candidate will need to be equipped with their own laptop computer (non-tablet).Application procedureInterested applicants should send a CV and covering letter in English outlining how their skills and experience match the requirements in the job description criteria to SEED's Director of Programmes and Operations, Lisa Bass, at This email address is being protected from spambots. You need JavaScript enabled to view it.
Applications deadline: 06th January 2023, 23:59 GMT. Applications will be reviewed on an ongoing basis throughout this period. Long-listed applicants will have an initial informal online chat with Madagascar-based staff. Short-listed applicants will then be offered a formal interview with the London team. SEED Madagascar actively encourages equality, diversity, and inclusion in the workplace and aims to create a working environment free of bullying, harassment, victimisation, and unlawful discrimination, where individual differences and the contributions of all staff are recognised and valued.


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Selfishness: The Cause Of Human Stereotypes
As black and white as society may be, humans are a more intricate topic. We all speak differently, walk differently, and comprehend certain situations differently. We as humans have our clear differences in our behavior and beliefs. However, there are also many similarities in behaviors amongst different humans; many of which can be corrupt. If you don't believe in my god or oppose my political system, you deserve death. Instead of observing the black and white, the tainted colors of human nature will be recognized in this piece. Humans tend to exploit other humans for self benefit. Also, Selfishness can overrule our ability to think rationally. These statements lead to the true idea. Humans are easily influenced by selfishness …show more content…
It's the right thing to do, but it is taught to us. It is taught to us since it's "good-natured." It teaches us to stop and think about others wants and needs. Naturally children usually are possessive of toys and are inconsiderate of other children 's interest in the toy. Selfishness can overrule humans ability to think rationally. It bends our priorities and can throw logic out the window. As examined in Alfred Hitchcocks studio system classic, "Rope." Brandon, cracks under the anxiety of killing his "inferior friend" and confesses, "Remember we said, 'the lives of inferior beings are unimportant '? Remember we 've always said, you and I, that moral concepts of good and evil and right and wrong don 't hold for the intellectually superior. That 's all we 've done." Brandon took his professor 's teachings and distorted them into reality. Believing the murder was justified by his superiority. Humans can measure their superiority on almost everything; education, health, financial condition, possessions, beliefs. It's natural for a person to demote others with opposing views and to uphold their own in favor of their benefit. People believe in what they want. As opposed to selfish behavior, many do say a large majority of humans exhibit altruistic behavior. From Lancaster University, Philosophy professor Garrath Williams studied Thomas Hobbes' beliefs. He summarized his studies, "We are needy and vulnerable. We are easily led astray in our attempts to know the world around us. Our capacity to reason is as fragile as our capacity to know; it relies upon language and is prone to error and undue influence. When we act, we may do so selfishly or impulsively or in ignorance, on the basis of faulty reasoning or bad theology or others ' emotive speech." (Internet Encyclopedia of Philosophy). Naturally we commonly choose to act selfishly, it requires less thought and effort and it
Argumentative Essay: The Traditional Way Of Discipline
Modern parenting styles keep the child too dependent. When parents use rewarding tactics the child grows into the idea that their parent is at their bidding. Figuring out how to manipulate situations into rewards becomes second nature, and the parent becomes a slave to the child. The child feels entitled and becomes selfish. Rewarding for good is not a bad thing, but it is completely different when a reward is given for not being bad.…
Importance Of Censorship
Censorship is helpful for adults and children because it protects them from ideas and pictures. Pictures can poison children's innocent minds with pictures they should not see at their age. Ideas can influence children to make horrible choices that they should not think about doing as a child. Children…
Definition Essay On Prejudice
10. Why we categorize- it is a natural thing, and it's easy for our brains but it can be very harmful and can make people miss out on a better quality of life if they avoid people because of how that person perceives the target. Again, neutral attitudes seem to help override the initial urge and/or actual stereotyping. Learning everything is a huge mental task, but being aware is the first…
Death Penalty And Utilitarianism
Considering that we embody beliefs from many theories, as most humans tend to, then we see how holding parts of both views can make us feel at odds with ourselves. Utilitarians tell us that suffering is wrong. By their moral code, it is not only acceptable to kill a suffering person, but indeed a virtuous act. On the other hand, Kantians want us to think about the potential repercussions of that acceptance. What might come from the legalization of an innocent's death?…
Human Selfishness In The Crucible
The Crucible: The Link Between Injustice and Human Selfishness It is a common fact that everyone, absolutely everyone in this world, has committed a selfish act at least once in their lifetime. Perhaps one could argue that selfishness is simply a part of human nature. But the real question is, what circumstances encourage this so-called instinct to become prominent? In Arthur Miller 's The Crucible, characters clearly demonstrate that making selfish decisions is necessary when one is trying to protect themselves from a harmful situation. Individuals who face the injustice of false accusations will respond by making selfish decisions in order to save themselves from dangerous situations.…
Examples Of Nature In Victor Frankenstein
Victor is selfish and has Henry, whereas the creation was caring and wanted to make friends. The creation wanted to love and be loved. The creation is denied love by his own creator, when Victor needed to step up and be the man he needed to be, he ran away from his problems.Victor shows his hatred toward his creation when he accuses him of murder, "You accuse me of murder, and yet you would, with satisfied conscience, destroy your own creature" (Shelley 69). Victor goes against his own morals in order to create and destroy a human life. "For a long time I could not conceive how one man could go forth to murder his fellow" (Shelley 84).…
Deception In Othello Analysis
Othello knows that what Iago has done is disgusting and evil and believes that the gods should punish Iago for his acts. These wretched events will lead to Othello wanting to kill Iago not only for making him feel inadequate as a husband but also for making him look like a fool. Iago lied to all these people and his plan worked for awhile but lies always seem to catch up to people. These wretched lies that Iago told leads up to Othello saying "I look down towards his feet, but that's a fable. If that thou be'st a devil, I cannot kill thee" (5.2.299-300).…
The Importance Of Relationships In George Orwell's 1984
This is why Winston wants everyone to be corrupt. He doesn't realize that a corrupt society is the least preferable society. He is unconsciously hoping and advocating for an undesirable society. Winston now wants a corrupt society, which is a rejection to the idea of restoring humanity. When Winston and Julia meet O'Brien and take vows to be inducted into the Brotherhood, they agree to do inhumane acts, "'You are prepared to commit murder?' 'Yes' 'To commit acts of sabotage which may cause the deaths of hundreds of innocent people?' 'Yes' You are prepared to cheat, to forge, to blackmail, to corrupt the minds of children, to distribute habit-forming drugs, to encourage prostitution, to disseminate venereal diseases – to do anything which is likely to cause demoralization…
Simulating Murder Summary
We can bring self-defense into play to justified killing someone but not for the better good of saving other people's lives. The study might hypothetical but they are true concerns. People tend to not perform an action if they find themselves as morally responsible for doing it. They have the need to find a justification for their actions as to not to be in discord with their guilt. Humans want to be quilt free which requires them to pin the blame on other for their actions.…
Mark Twain's The Lowest Animal, By Mark Twain
Twain believed that humanity will have the quality to know right from wrong, the do's and the don'ts. He says how mankind will still go and choose to be selfish. Mankind will inflict with strong agony on others, it is for the pleasure of doing it he says. Layers, robbers, murderers and thieves are proven that mankind is evil in many ways. Mark Twain believed that humanity is born with a defect in moral sense.…
Stratton Oakmont


The Barakah Effect is a practical one day workshop that focuses on how to lead yourself, and lead others – from a Prophetic perspective.
The Barakah Effect workshop helps Muslim Professional practically implement our Prophetic teachings in our professional lives.
We've all had conversations where we say things like, "I have to turn off my Islam when I get to work." And by that we don't mean that we hide the fact that we're Muslim. It means that we have to act like a different person. We have to put aside our faith values such as humility, selflessness, and things like shunning praise and credit. Instead, we feel like we have to be selfish in the name of business. We do this because we're taught you have to play the game to succeed.
What if we could stop compartmentalizing our faith and spirituality? What if we didn't have to turn if off when we clocked in?
It's our firm belief that the best of the best teachings in leadership and productivity ultimately come from the most productive man that ever lived and the most influential leader of all times. However, for many years, his teachings have become disconnected in a way that we no longer think how to apply the lessons in our professional lives – or worse, we think that we simply can't apply them.
My question was met with blank stare. She never considered it. In fact, no one in her industry has ever taught her to consider it.. What's interesting, is that she was a deeply spiritual person who was known and respected for her piety. This made me realise how far we've come in compartmentalizing our faith. We forgot (or even don't know how) to let the Barakah enter the workplace.
We know that what they observed is actually Barakah in action. And we have the blueprint to unlock it based on the teachings of our faith. That's our unfair advantage.
That's where this workshop comes in. We want to help every Muslim professional live a life full of Barakah – a whole life. From the moment of waking up until going to sleep. How do we get the Barakah in our lives to help us lead ourselves, live a balanced life, and turn around and bring that to our organizations and teams?
We often put "deen" and "dunya" at conflict with one another. In other words, if we succeed in our worldly life, it comes at the expense of the afterlife. The Qur'an, however, teaches us the opposite. It commands us to supplicate ambitiously for both.
"Our Lord, give us good in this world and in the Hereafter, and protect us from the torment of the Fire" (2:201).
It's our firm belief that following the Prophetic models of leadership and productivity will help us to not only better our relationship with our Creator – but become a top performer professionally in the process.
Mohammed is an internationally sought speaker, coach, and author who spearheaded the niche of productivity and Islam. His most notable accolade is as the Founder of ProductiveMuslim.com, the popular online platform, blog, and productivity training organisation that serves the "e-Ummah" worldwide.
He's also the author of the new book "The Productive Muslim: Where Faith Meets Productivity".
Popularly known as "Abu Productive" on ProductiveMuslim.com, Mohammed Faris regularly contributes articles, weekly newsletters, Q&A videos and advanced training courses. His website also features articles, doodles and animations from various contributors and productivity experts worldwide.
He has delivered talks and trainings at numerous events and seminars across the world including UK, US, Malaysia, Singapore, Switzerland, Egypt, Bosnia, Nigeria and Saudi Arabia as well as featured on international media.
In 2014, the Royal Islamic Strategic Studies Centre added him to the World's 500 Most Influential Muslims list.
Omar is an experienced professional with over 12 years experience in the Healthcare/IT industry where he has worked in clinical applications support, project management, and consulting. He is a certified PMP (Project Management Professional).
He also holds a leadership training and speaking certification through the John Maxwell Company, and has held numerous mastermind groups around the topics of leadership and communication. He has also developed and delivered specialized leadership training to hospital executives.
He is a founding member of, and has held various leadership roles, with a number of Islamic organizations including Qalam Institute and MuslimMatters.org. You can find his writings on sites like Fiqh of Social Media and Muslim Strategic Initiative (where he blogs about personal and organizational development). He's also a primary instructor of Qalam's Khateeb Workshop program where he has helped train over 700 students in public speaking.
This is a one day workshop on Saturday April 30th, 2016 taking place at the Westin DFW Airport.
*We recommend participants traveling from out of town to stay at the Westin, and to fly in and out of DFW airport.
Registration will open at 9am, and the seminar will begin promptly at 9:30am so please be on time.
To register please purchase your ticket from this page, we will then send any follow up announcements via email.
Register today and and receive 6 months free access to the Productive Muslim Academy (which includes our signature ProductiveRamadan Online course).


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Silent Sunny
Music and Health
Make Money With Music
Home Social Media How to Send Music to Official Playlists in Spotify
How to Send Music to Official Playlists in Spotify
Silent Sunny November 10, 2018
Spotify has recently given users the ability to send their music to official playlists and as any artist knows, placing their music on these coveted lists can do wonders for their popularity and exposure.
In this article, we will examine how to determine eligibility and the submission process. It's been a few months since Spotify gave its users the ability to send their own music to their official playlists.
If you are interested in being present as an artist on this platform (which no one doubts). It is extremely important that you understand the process and use it to the extent that it brings you closer to your goals.
Getting your song on an official playlist could be huge for popularity and exposure in general. This is a small reminder of everything you need to know about manually sending your music today.
What makes me eligible to send my music to a Spotify playlist?
Now, there are some things you must have completed before you can submit your songs for consideration.
On the one hand, your song must have already been sent for distribution on Spotify depending on whether it is eligible to send playlists.
You must have at least one song release before you can use the submission form.
In order for your submission to be eligible, you must make sure to send your song at least seven days before its actual release date.
Spotify only considers unreleased music for its curated playlists. So it is not possible to send any of your songs that are already published.
So how can I send my song for your consideration?
This is the process you must follow to have your music considered for the official Spotify playlists:
1. Log in to Spotify for Artists on your personal desktop - You must use a desktop computer, since the mobile application can not be used for shipping yet.
2. Locate any of your unreleased songs - at the top of the Home or Profile tab, then select Start.
3. Choose a song from your release - that you want to send.
4. Include all the information you can about the song - The more information you provide to Spotify, the greater the likelihood that your song will be chosen. Very important to take it into account.
5. After completing all the information press send .
Its simple.
Silent Sunny is a blog created by Sandeep Jasrotia . He is a blogger and entrepreneur . He loves to compose music whenever he gets time from work . You can know more about Sunny on the About Page. The Blog Creator . Follow him on social networks.
Copyright © 2018 Silent Sunny All Right Reserved.


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Ашо́т Ро́бертович Тоноя́н (; 5 марта 1958, Ереван — 22 июня 2014) — депутат армянского парламента.
 1974—1976 гг. — техник в вычислительном центре министерства лёгкой промышленности Армянской ССР.
 1976—1978 гг. — служба в советской армии.
 1978—1985 гг. — мастер-наладчик на заводе «Реле».
 С 1985 г. — основал пищевой кооператив «Ерем».
 1991—1996 гг. — главный инженер в строительном кооперативе «Тигрис».
 С 1996 г. — основал строительное ООО «Роберт» и занимал должность директора.
 2002 г. — основал строительное ООО «Тонус», специализирующееся на строительстве методом подъема перекрытий, которое с 2006 года также является правопреемником ООО «Роберт». Занимал должность генерального директора ООО «Тонус».
 19 мая 2006 г. — избран почётным членом общины «Канакер-Зейтун».
 2006 г. — за заслуги в развитии армяно-украинских связей в области спорта президентом Украинской Республики награждён юбилейной медалью, а за заслуги в развитии олимпийского движения в Армении награждён золотым орденом НОК Армении.
 2007 г. — решением аттестационной комиссии Ванадзорского института управления «Санаин» присвоено звание почётного профессора института, международным союзом рыцарей — звание рыцаря. Международной Академией наук о природе и обществе также присвоено звание почетного доктора.

Почетный председатель Национальной Федерации Армении по кикбоксингу и спортивного клуба «Зейтун», член организационного совета всемирной федерации по кикбоксингу «WPKA» и международной организации «International Polise-Motor Corporation», член совета научной, культурной, спортивной организации «Созвездие».

В 2008—2012 гг. — депутат Национального собрания Армении четвертого созыва. Член партии «Процветающая Армения».

Скоропостижно скончался 22 июня 2014 года.

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Депутаты Национального собрания Армении

redpajama_set_name: RedPajamaWikipedia


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Falerna ist eine italienische Gemeinde in der Provinz Catanzaro in Kalabrien mit  Einwohnern (Stand ).

Lage und Daten

Falerna liegt 58 km westlich von Catanzaro an der Küste des Tyrrhenischen Meeres. Die Ortsteile sind Castiglione Marittimo, Falerna Scalo und Falerna Centro Capoluogo. Die Nachbargemeinden sind Gizzeria, Lamezia Terme, Nocera Terinese.

Sehenswürdigkeiten

Der Ort ist ein Badeort am Tyrrhenischen Meer. In der Umgebung des Ortes steht eine Ruine einer Burg und die Reste eines Klosters. In den Ruinen des Klosters ist ein Fresko zu besichtigen.

Einzelnachweise

Weblinks

 Informationen zu Falerna (italienisch)
 touristische Informationen zu Falerna (italienisch)

Ort in Kalabrien
Weinbauort in Italien


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Home INDIA & BEYOND SC to hear plea on non-dissolution of Delhi assembly Monday
SC to hear plea on non-dissolution of Delhi assembly Monday
New Delhi, Feb 21:
The Supreme Court will hear Monday an AAP plea challenging Lt. Governor Najeeb Jung's decision not to suggest the Delhi assembly's dissolution after chief minister Arvind Kejriwal resigned.
A bench of Chief Justice P. Sathasivam, Justice Ranjan Gogoi and Justice N.V. Ramana agreed to hear the plea after counsel Kamini Jaiswal said that the non-dissolution will come in the way of a fresh assembly election when the Lok Sabha polls are held.
The court was told that neither the Bharatiya Janata Party (BJP) nor the Congress was inclined or in a position to form a government after Kejriwal resigned Feb 14.
Thus, no purpose would be served by keeping the assembly in suspended animation, the plea said.
The decision not to dissolve the assembly despite Kejriwal's suggestion, the AAP said, was taken despite the "categorical recommendation of the majority government of Delhi for dissolving the assembly".
The AAP plea said the decision to keep the assembly under suspended animation was not only "arbitrary and illegal and in violation of the democratic rights of the citizens of Delhi but also malafide".
The petition said the motive behind not dissolving the assembly and holding fresh elections was to allow the Congress-led central government to rule Delhi after the party had lost the December 2013 elections.
Pointing out that the apex court in the past had held that "representative government is an essential part of democracy", the AAP said Jung's recommendation had deprived Delhi's citizens of "their democratic right to have an elected popular government".
(IANS
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