The choice in the remaindered bin was between Charles Saatchi's My Name is Charles Saatchi and I am an Artoholic (2nd ed. 2012) and David Joselit's equally slight After Art (PUP 2012). I was in my regular bookshop, loitering as usual among the bargains, waggishly tagged CAP'S CRAP in a racy felt-tip hand. I weighed my options carefully, sensing surveillance. In the left corner, Joselit, the featherweight Yale art historian noted for American Art since 1945 and other jokes, offered up brief jottings glossed as "Standing at the intersection of media studies, architectural criticism, and art history, David Joselit's After Art confronts the question of contemporary art in an age of proliferating networks. Joselit tracks the literal and epistemic 'states of form' of recent visual culture and offers a powerful new model for thinking about art's circulation and currency, Pamela M. Lee, Stanford University". Mmm Pammy clearly a colleague but the theme is networking after all, something dear to Joselit's heart no doubt but peddling your trade at intersections suggests some doubt about convictions, not to say desperation. It is so gay, as they say. I pass on the lofty and fruitless sociological speculation. So, in the right corner, a much leaner, more patient Charles Saatchi earns a return bout with an expanded version of the 2009 Phaidon publication, now issued by Booth-Clibborn, which also publishes Edward Booth-Clibborn's History of the Saatchi Gallery (2011) a snip at a mere £85. I part with around a tenth of that. It's not quite vanity publishing for Saatchi, but not far off. The book is still just an extended interview, questions supposedly provided by 'leading journalists and critics' as well as the general public, but no sources are supplied and as with the first edition, the carefully rehearsed answers are really the author's preferred means of enhancing his populist image. The large type to body text gives the book a vaguely remedial quality, perhaps befitting the author's meagre schooling or failing eyesight, but also stretching barely forty minutes read out to 223 pages.
At least it keeps the pages turning. But rather than just a quick exercise in buffing one's reputation, the title suggests some attempt to come to terms with an unhealthy dependency. The book tries to explain why Saatchi is such a voracious collector of contemporary art. And by and large, in a roundabout and perhaps not entirely deliberate way, it succeeds. How much this is the achievement of the second edition, regrettably I cannot say, having merely leafed through the first edition in 2009. But the myriad chapters on a range of mostly trivial topics this time around do eventually disclose a pattern to his conduct that does indeed resemble an addiction. The entire presentation in fact acutely exemplifies his problem, but we'll come back to that. The problem is Saatchi can never quite balance his enormous ambitions as a collector and entrepreneur with his essentially scattered and superficial tastes. His eye unfortunately is forever wandering, never quite focussing. He can compensate by acquiring or exhibiting more accepted and acceptable work, but this then renders his efforts somewhat cautious and conformist, perhaps reflects more upon the generous funds at his disposal. And such hedging only spurs him on to greater adventure amongst new work, uncharted territory, where his eye briefly has no rival. But while this may be the most satisfying and personal engagement for him, it tends not to hold up to more sustained scrutiny. The oscillation between public approval and private indulgence becomes a vicious cycle. Hence Saatchi finds his life dominated by acquisitions and reappraisals, a rollercoaster of fulfilment and rejection that may well be experienced as addictive.
But when one collects on such a grand scale, discarding works in bulk begins to look rather like dealing. A feature of his collecting has been the regular liquidation of older holdings. Accusations that Saatchi seeks merely to profit from his investments, that he ruthlessly exploits the prestige of his collection by selling short are countered by the excuse that the profits only enable him to buy other, mostly newer art (p.22). But the profits are firstly Saatchi's, no matter how he chooses to then dispose of them and the standing of the collection is only impugned by its increasingly temporary appearance. No wonder administering an imposing gallery soon begins to look more attractive than merely collecting. It streamlines the process. Yet Saatchi's wealth, independent of his collection, argues against the need to finance further acquisitions through sales and the attraction is surely in part one of a conspicuous display of power, of literally capitalising upon his position, inconveniencing rivals. The fact that it backfires and only damages his reputation with artists and dealers makes it seem more like a fatal compulsion. Beyond this, there is evidently an anxiety about one's acquired commitments, a discomfort with an accumulated history, a need to wipe the slate clean at some point and start again as undisclosed potential. In this too, he simply cannot help himself.
His inflated ego is readily acknowledged at several points in the book (p.15, p.200) but there is less awareness of why it finds special fulfilment in art, how it is reflected in the art that he admires and why he has difficulty sustaining this. The answers come from questions about his early days. Saatchi's collecting begins cautiously enough in the early or mid 70s, buying Minimalist sculpture from Leo Castelli, (and closer to home, the Lisson Gallery) anxious to be seen amongst the intellectuals, following 60s developments at a safe distance. We learn that he applies the same shock and awe tactics he and his brother used so successfully in their advertising agency. There, they adopted scrupulous research conveyed with something like method acting conviction to stunning effect - 'whenever he (brother Maurice) attended a meeting with head people from prospective clients, he knew more about the client's problems and opportunities, and more about their competitor's prospects and weaknesses than any other person sat there'(p.205). Significantly, Charles is more of a back room presence, but a similar dedication finds its way into his collecting -'When I was starting out, I actually read all of the articles in Artforum and other heavy-duty, very earnest magazines covering contemporary art. I ended up knowing more about the work of artists I liked, or even didn't, than the artists' own dealers. (p.216). The truth may be another matter, of course, other accounts of this period credit much of the collecting to his then wife, Doris. But it's the point-scoring over dealers that signals a surprising aggression and ambition to his pastime and ring true of the man later on. He may have had trouble facing up to clients in his day job, but he relished informal confrontations in the art world.
The pattern is firstly one of evading scrutiny where it matters, exploiting an advantage at leisure. The trick is treating business as a pastime, a pastime as business. Saatchi famously left school with just two O levels, but obviously this was not a matter of ability so much as attitude. From an early age he wasn't interested in playing along unless he had the inside running. He could afford to fail in the short term, not declare his hand. By the time he's twenty he's touring America, seemingly without visible means of support. That's a cool trick, but don't look too closely for strings. And just as his recollection of pitches to clients emphasises role playing, the necessary pretence, so he must win over the likes of Castelli, in order to gain credibility as a potential collector, without necessarily being credulous. The objective is not to become sold on Minimalism, but on the seller. His money alone will not gain him entry into these circles so he must talk the talk before he can buy in. But once he walks the walk, invests heavily in Castelli's heavies, he declares a hand and grows steadily uncomfortable with the exposure. Now he has to play along, even though other games soon beckon. This is where Saatchi becomes notoriously shy, evasive. Temperamentally, he's already looking for a way out, of covering his tracks. And at a certain point this involves dishonesty.
Others have noted his disregard for facts. Jonathan Jones finds conflicting accounts of his script-writing efforts. Matthew Collings recounts his acquaintance with Saatchi dating back to the late 70s, yet Saatchi maintains that he has only recently 'got to know' Collings (p.57). Saatchi claims he has never dumped anyone in his life (p.222), but previous wives dispute this, do not find partners following their marriages, maintain their married names; peculiar behaviour if they had dumped their husband. There are many more examples than are needed here. We all lie a little, but some of us do so compulsively. This is the price Saatchi is prepared to pay to reload his mojo, free up his eye and be truer to himself. The attraction to art, apart from the traditional exchange of new money for acceptance, lies in the scope it allows interpretation. Unlike advertising, efficient communication is not strictly the point. Meaning depends upon a much more complex response from the viewer, upon a range of psychological intangibles, upon a feel, a touch, sensitivity attuned by sensibility. It is these unquantifiable resources that hook Saatchi, find a perfect match for his reserves of reserve. Here he can test his intimate powers with impunity, be briefly rewarded with new depths of insight. But what he appreciates unquestionably reflects his life, whether he realises it or not.
The need to make bold statements; lead the field, make a killing and be recognised find reflection in most of his choices. The austerity of Minimalism eventually palls, as Castelli's reputation fades, (roughly around the time Julian Schnabel leaves his gallery for Mary Boone's) and finds Saatchi checking out Julian Schnabel (p.131) collecting Anselm Kiefer. In 1987, he shows Kiefers at his Boundary Road gallery, (the Schnabels perhaps find their way into the Whitechapel survey by Nicholas Serota in 1986) not quite on the cutting edge by then, but a good deal closer than the old school Minimalism of Richard Serra that accompanies the Kiefers. Looking beyond Neo-Expressionism, he turns to the cool consumerist assemblages of Jeff Koons, the Neo-Geo of Phillip Taaffe and the surreal tableau of Robert Gober, as a hasty cross-section of East Village chic from the early 80s. Koons' work relates best to Minimalism's embrace of industrial components and modularity and makes most sense for Saatchi, not that it necessarily made most sense to Saatchi. But it is this exhibition (in 1987) that provides a template for looking at the work of young London artists, commencing with the Freeze exhibition of 1988 which eventually leads to the Young British Artist shows starting in 1992. Around the same time he collects Leon Kossoff, Frank Auerbach and Lucien Freud, established artists of a much older generation. Why they should appeal then is hard to say, although they argue against Saatchi seen as simply an incorrigible neophyte, a slave to New York tastes. At the same time he begins to jettison older holdings in Minimalism. It's difficult to know exactly what these were – difficult to know current holdings, even from the listing of exhibited artists on his web site - but the work of Sean Scully was among the ditched. Again, the rationale is not strictly one of cashing in on rising stocks, nor the need to free up wall space – Saatchi's storage facilities grow apace – but the impatience or discomfort Saatchi feels with earlier choices, the need to reposition himself. Scully, a Londoner who moved to New York in the late 60s to pursue the stripes of Minimalism with increasing licence; perhaps represented too much of a compromised middle ground, just as Saatchi was attempting to find London work as exciting as New York's.
But the more diverse the collection, the less focus or dedication it declares. Saatchi's brief enthusiasms skim over movements, personal styles, do not so much detect salient features or key examples as obvious and trivial ones. It's not that the work is shallow, as much as superficially embraced. The book makes some play for his credentials as a connoisseur, his preference for museums (The Prado) (p.79) discrimination amongst strong and weak Picasso (pp.106-7) preference for Pollock (p.100) over Rothko (p.184). But these only betray a scattered and slight expertise; essentially a roving commission intent upon slim returns. While commitment may prove a burden for Saatchi after a time, it is the dazzling array of opportunities that compensates. So it is that the book attends to all manner of questions about his family life, school experiences, preference in newspapers, cars, clothes, movies, pop music, parties, dreams and sport amongst many other things, in seeking the full breadth of the personality driving his collection. For it is precisely here that the problem lies, in the endless digression and banality. It is this same dispersal that animates his artoholism. The presentation of this material is equally telling. The large print and anonymous questions turn the interview into advertising copy, advance an informal dialogue that is thoroughly mediated, pretends to the personal but works hard for the professional. For example, the answer to the question '…What is it about you that puts people's backs up?' (p.46) also finds service in Saatchi's own article for The Guardian in 2011, paragraphs six, seven and eight. Whichever came first only highlights the careful calculation, the weighing of words at a remove. Even Saatchi confesses he finds his public image 'shifty' – a devastating admission for one practised in public relations (this from one of his many 'rare' interviews). The book tries to simplify the problem – it's only a little book – but it is part of the problem.
The dust jacket boasts 'Charles Saatchi has been one of the moving forces of the modern age. Founder of global advertising agency Saatchi & Saatchi, and the most influential art collector of our time, he has vigorously shaped the contemporary art scene while contradictorily remaining a reclusive, even elusive figure'. For all the attention to his own tastes, to his avowed indifference to the surrounding scene or art world, his standing there is obviously no small matter for him. (Incidentally, 'contradictorily' seems a little clumsy there, as copy or logic). His addiction for art is one thing, but in his case it brings an addiction for a certain amount of attention. As noted, Saatchi from early in his collecting is interested in important or progressive work that courts controversy. But at the same time he wants acceptance, triumph, he makes sure he's on a winning team. Mid-season transfers help in this but when you only come off the bench in the second half, at some point others begin to see you as a bit of a Johnny-come-lately. For Saatchi, there comes a time when he has to rely less upon his New York allegiances and lead from the front with his Young British Artists, if he is to truly make his preferences his, truly make them count. At that point it cannot be a matter of his choices declared within a recognised body of work, but rather his choices which must define that body of work. It is an entirely novel degree of patronage for contemporary British artists, so it automatically gains attention. Whether the work was all that remarkable or influential remains moot but to some extent the artists are accepted by the market. For Saatchi it is enough that he has no real competitors on the British scene and that the work draws interest through his promotion. Young British Artists was obviously a label devised for export, but it is surprisingly flat-footed for one steeped in marketing. 'Hype Art' may have been more frank and provocative – or given the aspirations for some sort of populism or street cred – 'Blag Art'.
Whether this small and varied group is sufficient to claim he has 'vigorously shaped the contemporary art scene' rather than been shaped by it, is also moot. As forces go, there are much broader economic and political ones to the times that enable such collecting. There are key artists he does not appear to have collected or shown, such as Gerhard Richter and Joseph Beuys. In any case, once the YBAs had been accepted, it's time for Saatchi to move on, to disengage from the brand. Subsequent discoveries, however, seem less daring or novel. In the book he is philosophical about the endless quest for new talent, noting the institutional difficulties for artists without connections (p.124) the obscurity or unpopularity of some artist's interests, his fallibility in detecting talent, acceptance of criticism (p.35) inevitable disagreement among peers (p.181) fickleness of history (p.142) and talent (p.215). The second edition presumably adds to this mellowing of ambition. He continues to collect from New York, older as well as current work. But 'new' more recently tends to be associated with exotic sources. Starting with New Chinese Art (2008), then New Art from the Middle East (2009) Indian Art Today (2010) and work from the Soviet Union (2012), Saatchi's addiction finds an irresistible path in the global market, can roam far and wide in finding examples that echo western trends, tease a London audience. Art remains for Saatchi, the only way to fly.


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What are the main types of SEC Filings?
Form 10-k10-KForm 10-K is a detailed annual report that is required to be submitted to the U.S. Securities and Exchange Commission (SEC). The filing provides a comprehensive summary of a company's performance for the year. It is more detailed than the annual report that is sent to shareholders is a report that gives a comprehensive analysis of the company. It includes a detailed summary of company's results, management discussionsWhat is MD&A?The Management Discussions and Analysis (MD&A) is a section of the annual report or SEC filing 10-K that provides an overview of how the company performed in the prior period, its current financial condition, and management's future projections., and audited financial statements. Companies are required to submit this filing within 90 days after the end of their fiscal year.
Form 10-Q is an abbreviated version of form 10-K and contains a company's results by quarter. Companies are required to submit the form within 45 days of the end of each of the three first quarters of their fiscal yearYoY (Year over Year)YoY stands for Year over Year and is a type of financial analysis that's useful when comparing time series data. Analysts are able to deduce changes in the quantity or quality of certain business aspects with YoY analysis. In finance, investors usually compare the performance of financial instruments on. The filing outlines the company's latest developments and its future plans. It contains unaudited financial statements, and the reports are less detailed than form 10-K.
Unscheduled events that are important to the shareholdersShare CapitalShare capital (shareholders' capital, equity capital, contributed capital or paid-in capital) is the amount invested by a company's shareholders for use in the business. When a company is created, if its only asset is the cash invested by the shareholders, the balance sheet is balanced through share capital, investors, and the SEC are provided in form 8-K. These events may include the resignation of a director, bankruptcy, disposition of assets, appointment of new executives and other significant developments. The listing also provides further details about these events such as press releases and data tables.
Form S-1 is an initial registration form that companies must issue to investors the first time they go public. It is also known as a ProspectusProspectusA prospectus is a legal disclosure document that companies are required to file with the Securities and Exchange Commission (SEC). The document provides information about the company, its management team, recent financial performance, and other related information that investors would like to know.. The form is necessary because there is little public information for companies in the initial stages of going public. It provides information on the planned use of the funds, the number of sharesStockWhat is a stock? An individual who owns stock in a company is called a shareholder and is eligible to claim part of the company's residual assets and earnings (should the company ever be dissolved). The terms "stock", "shares", and "equity" are used interchangeably. to be issued, their business model, competition, offering price methodology, and risk factors.
The SEC form S-4 is submitted by companies going through an exchange offer and contains material information related to a merger or acquisitionMergers Acquisitions M&A ProcessThis guide takes you through all the steps in the M&A process. Learn how mergers and acquisitions and deals are completed. In this guide, we'll outline the acquisition process from start to finish, the various types of acquirers (strategic vs. financial buys), the importance of synergies, and transaction costs. The filing is needed by investors looking to make quick gains from mergers or acquisitions. Therefore, companies submitting SEC filing S-4 are required to disclose essential facts about their financial and operating activities.
SEC filing 11-K is also referred to as the Annual Report of Employee Stock PurchaseStock OptionA stock option is a contract between two parties which gives the buyer the right to buy or sell underlying stocks at a predetermined price and within a specified time period. A seller of the stock option is called an option writer, Savings, and Similar plans. It is a special report that a security issuer should submit alongside other annual reports at the end of their fiscal financial year. It includes registration, proxy solicitations, audit requirements, and other disclosures important to the investing public.


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The state pension shakeup that could leave you with nothing at all
A new system to be introduced next month is supposed to be simpler and fairer. But many are in for a nasty retirement surprise
Harriet Meyer
Mon 7 Mar 2016 02.01 EST Last modified on Fri 1 Dec 2017 23.42 EST
Is this the calm before the storm that awaits many people when a new state pension system is introduced? Photograph: Alamy
A major overhaul of the state pension system that comes into effect on 6 April will mean thousands of people who do not have enough national insurance contributions to their name will get nothing. The government has pledged that the new deal for pensioners will be fairer and simpler – yet many are in for a very unpleasant shock.
Among those set to lose out are 50,000 women and 20,000 men in their 50s and 60s, according to figures today from charity Age UK. Because they have fewer than 10 years' of contributions they won't receive a penny in state pension when they retire. Under the current system people are entitled to some state pension even if they have only paid national insurance contributions for a few years.
Pensions fairness to next generation demands that we adapt to new realities
At present the full state pension is £115.95 a week. Someone who has five years' worth of contributions – perhaps because they worked part-time or for low pay – would get about £19.30 a week. But under the new rules they will not get anything.
Caroline Abrahams, charity director of Age UK, says: "Big changes are about to come in to simplify the state pension system, yet we know that many people in their fifties and sixties are completely unaware of how they will be affected. Some people in this age group are so worried about what their finances will be once they retire that they are reluctant to think about it at all, but our strong advice is to take action now to find out exactly where you stand."
Set to lose out are 50,000 women and 20,000 men in their 50s and 60s, according to Age UK. Photograph: colinspics/Alamy Stock Photo
What is changing?
There are two parts of the UK state pension: the flat-rate basic state pension, and the additional state pension, which is partly earnings-related. Under the current scheme you can build up contributions to the basic and second additional pension. However, from April you will contribute to a single flat rate pension. The new scheme is only for people who reach state pension age on or after 6 April. So that is men born on or after 6 April 1951 and women born on or after 6 April 1953.
To obtain the full rate you will need to have made at least 35 years' of contributions. Under the existing system you receive the full amount once you have made 30 years' contributions. From April, if you have fewer than 10 years' contributions you will get nothing.
How much is the new pension worth?
The full flat-rate pension will be introduced at around £155 a week for those who have reached pension age. However, many will receive far less. This is because some will not have paid enough in national insurance contributions, and others will have contracted out of the state earnings related schemes for some of their working life. This is when you choose for some of your national insurance contributions to be channelled into a private pension. These diverted contributions mean you will receive a smaller state pension.
How many people will lose out?
The government has admitted that 63% of those reaching state pension age in 2016-17 will receive less than the full rate when the new scheme starts in April. The average shortfall is expected to be around £25 a week, or £1,300 a year, according to actuaries Hymans Robertson.
Any other drawbacks?
Savers are currently able to pay into the second additional pension over their whole working lifetime. It is possible to build up entitlement to £160 a week in second pension, which could significantly boost the basic pension to as much as £275 a week. However, with the new system contributions will be capped at 35 years with no additional pension. The abolition of the second state pension means savers will continue paying the same rates of national insurance after they have qualified for the new pension in full, but will no longer get any extra benefit.
What can you do to improve your pension?
You can fill in up to six years' worth of gaps in your national insurance contribution record. If, say, you had nine years' of national insurance contributions you can boost this to 10 or more to get some entitlement under the new state pension. "Potentially this is definitely worth doing – rather than not getting any money it makes sense to benefit from those years of contributions already made," says Tom McPhail, pensions expert at Hargreaves Lansdown.
Pensions Isa: what is the chancellor considering?
You can do this even after state pension age. "However, there are exceptions to the rule," says Alan Higham from retirement advice website Pensions Champ. Men born before April 1950 and women born before April 1952 have up to six years after state pension age to buy additional years. People reaching state pension age after 6 April 2016 have until 2023 to make up any missing years. Beware, however, that you cannot buy back entitlement lost through time contracted out. "But check with the Pension Service that paying for the gap will actually increase your state pension. People with 30 years or more of contributions may find that filling in missing years before 6 April 2016 does not actually increase their pension," says Higham. It is worth exploring whether deferring drawing your state pension will provide you with a bigger increase for lower cost than buying the extra pension, he adds.
Use the online calculator at gov.uk/state-pension-topup to find out how much you would need to pay for extra state pension income.
Get your pension forecast by going to gov.uk/future-pension-centre or calling 0345 300 0168.
Women's woes
Millions of older women have seen their retirement hopes dashed by changes to the state pension system. They have been caught out both by an increase in the age at which they can claim, plus a change in the way payouts are calculated.
Many women born in the 1950s are unable to receive their state pension when they turn 60. Photograph: Marc Romanelli/Getty Images/Blend Images
Many born in the 1950s are now unable to receive their state pension when they turn 60. The government announced changes back in 1995, designed to bring the qualifying age for woman into line with that of men by 2020. The rise in the state pension age for women from 60 to 65 was further revised in the 2011 Pensions Act, making it age 65 by 2018. In coming years up to November 2020 there will be a further rise to 66 – and 67 by 2028.
Alan Higham from advice website Pensions Champ says: "The changes in 1995 were reasonable, but for the fact that the government waited 14 years before starting to contact the women affected.
"The 2011 act further compounded the problem so that women were finding out for the first time after age 58 that they were not going to retire at 60, but instead at 66. Women entirely dependent on the state for their pension found a hole worth £48,000 in their plans. It is an appalling way to treat people."
Changes from April also mean that women who gave up work to raise a family are unable to claim a state pension based on their husbands' national insurance records. In the past these women would have been able to receive a payout. For those retiring under the new system this is no longer guaranteed.
From April women will be responsible for building up their own national insurance record. They must have 35 years' worth of contributions to qualify for the full amount, and a minimum of 10 years to receive anything at all.
There is a reprieve for some women affected by this change, who are entitled to receive up to 60% of their husbands' record. This is provided they have paid at least one year of lower-rate national insurance contributions - known as the "married woman's stamp" - in the 35 years leading up to retirement.
Much like the Queen, we're all going to be working a lot longer
The Queen exemplifies a trend that will have a profound economic effect in the future, and needs to be addressed now
Millions of older workers forced to delay retirement
Four in 10 over-50s expect to work until 70 or older due to insufficient pension savings and lingering debt, says Aviva
We should be striving to work less, not toiling until we drop
Progress wasn't supposed to mean working until you drop. It's time to challenge this bleak prospect
Published: 3 Mar 2016
Britons at 90: healthier, wiser, more independent – but it helps if you're rich
As the Queen celebrates her birthday, she joins a growing number of people living – and thriving – in very old age. So what makes a happy nonagenarian?
I can't afford to retire, but will companies keep employing me?
Michele Hanson
State pension age could rise faster than expected, say experts
'You're treated like a dinosaur because you don't tweet': what it's like being an older worker
Guardian readers and Tom Levitt
British workers will have worst pensions of any major economy

redpajama_set_name: RedPajamaCommonCrawl


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Where to Watch and Stream Fire Down Below Free Online
Cast: Steven Seagal
Brad Hunt
Geners:
Director: Félix Enríquez Alcalá
When an EPA representative is murdered in a small Appalachian community, EPA undercover agent Jack Taggart is sent in—posing as a handyman working with a Christian relief agency—to determine what happened.
Fire Down Below never made it to Netflix, unfortunately. Still, Netflix holds a variety of shows one can watch for subscription plans that costs $9.99 per month for the basic plan, $15.49 monthly for the standard plan, and $19.99 a month for the premium plan.
Fire Down Below isn't available to watch on Hulu. However, prices for this streaming service currently start at $6.99 per month, or $69.99 for the whole year. For the ad-free version, it's $12.99 per month, $64.99 per month for Hulu + Live TV, or $70.99 for the ad-free Hulu + Live TV.
No, Fire Down Below is not streaming on Disney Plus. With Disney+, you can have a wide range of shows from Marvel, Star Wars, Disney+, Pixar, ESPN, and National Geographic to choose from in the streaming platform for the price of $7.99 monthly or $79.99 annually.
Sorry, Fire Down Below is not available on HBO Max. There is a lot of content from HBO Max for $14.99 a month, such a subscription is ad-free and it allows you to access all the titles in the library of HBO Max. The streaming platform announced an ad-supported version that costs a lot less at the price of $9.99 per month.
Unfortunately, Fire Down Below is not available to stream for free on Amazon Prime Video. However, you can choose other shows and movies to watch from there as it has a wide variety of shows and movies that you can choose from for $14.99 a month.
Fire Down Below is not available to watch on Peacock at the time of writing. Peacock offers a subscription costing $4.99 a month or $49.99 per year for a premium account. As their namesake, the streaming platform is free with content out in the open, however, limited.
Fire Down Below is not on Paramount Plus also. Paramount Plus has two subscription options: the basic version ad-supported Paramount+ Essential service costs $4.99 per month, and an ad-free premium plan for $9.99 per month.
Fire Down Below isn't on Apple TV+ at the moment, sorry! In the meantime, you can watch top-rated shows like Ted Lasso on Apple TV with a subscription cost of $4.99 a month.
No luck. Fire Down Below is not available to watch on Direct TV. If you're interested in other movies and shows, Direct TV still has plenty of other options that may intrigue you.
Fire Down Below is not available to stream now.
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Welfare Reform White Paper: Universal Credit to make work pay - Radical welfare reforms bring an end to complex system
Universal Credit will make work pay for some of the poorest people in Britain, the Secretary of State for Work and Pensions Iain Duncan Smith announced , as he set out details of the Government's programme for Welfare Reform.
Launching the White Paper Universal Credit: Welfare That Works alongside Deputy Prime Minister, Nick Clegg, Iain Duncan Smith set out how it will remove the complexities of the current benefit system which at the moment means it pays to stay on benefits rather than go into work.
The new Credit will provide a basic amount with additions for those with children and other caring responsibilities, people with disabilities and those with housing needs. It will be available for people both in and out of work and will replace the complicated and inefficient patchwork of existing support including: Working Tax Credit, Child Tax Credit, Housing Benefit, Income Support, income-based Jobseeker's Allowance and income-related Employment and Support Allowances.
The new Universal Credit will ensure that support is withdrawn slowly and rationally as people return to work and increase their working hours, meaning that they get to keep more of their earnings for themselves and their families regardless of how many hours they work.
In the long run the reforms are expected to lift 350,000 children and 500,000 adults out of poverty.
Launching the White Paper Iain Duncan Smith said:
"With five million people trapped on out of work benefits and almost two million children growing up in homes where nobody works, we cannot afford to simply continue tinkering around the edges of the welfare system. Only root and branch reform will do.
"At its heart, the Universal Credit has a simple ambition – to make work pay, even for the poorest. This will finally make it easier for people to see they will be consistently and transparently better off for each hour they work and every pound they earn.
"It will cut a swathe through the massive complexity of the existing benefit system and make it less bureaucratic to run. And by utilising the best data technology available, we will streamline the system to reduce administration costs and minimise opportunities for fraud and error at the same time.
"This will change Britain for generations, and make sure we have a welfare system fit for the way we live and work today."
Speaking at the launch event in North London today, Deputy Prime Minister, Nick Clegg said:
"Today the Government is announcing the most radical overhaul of our welfare system since its inception, driven by a single, overriding principle: the purpose of welfare is to help people into work.
"Work is the surest route out of poverty; it structures lives; unlocks potential; builds confidence; forges friendships; cements communities; provides mental well-being.
"Across the country households will be better off. Not just better off because they've crossed a notional poverty line. Better off because they will have the chance of a better life for themselves, and a better life for their children. As the saying goes, a hand up, not a hand out."
There will be a new system of conditionality backed up by tougher sanctions for those who do not comply. Claimants will be split into four different groups depending on how close they are to getting back to work, and we will tailor the support they receive depending on which group they are in:
No conditionality – disabled people or those with a health condition that prevents them from working, lone parents or lead carer with a child under age one;
Keeping in touch with the labour market – lone parent or lead carer with a young child aged over one but under five;
Work preparation – disabled people or those with a health condition which prevents them from working at the current time;
Full conditionality – jobseekers
As part of a radical shake up of welfare Ministers will introduce Mandatory Work Activity for some jobseekers, where advisers will have the power to refer customers to an up to four week full-time Mandatory Work Activity project.
Every participant will be expected to spend at least 30 hours a week, for up to four weeks, on their Work Activity placement and will be required to continue to look for work.
The reforms will also tackle the complexities of fraud and error, which under the current system is highly susceptible – costing the taxpayer around £5.2bn a year and accounting for 3% of total welfare spending. Complexity also makes the system inefficient – in 2009 2.3m contacts to the DWP were driven by people contacting the wrong agency.
The Universal Credit will help reduce the scope of that fraud and error significantly as it makes the whole system simpler and easier to understand.
The White Paper – Universal Credit: Welfare that Works, is published at www.dwp.gov.uk/universal-credit/
Today, 5 million people are stuck on out of work benefits in the UK, with 1.4 million who have been receiving out of work benefits for 9 out of the last 10 years.
We now have one of the highest rates of workless households in Europe, with 1.9 million children living in homes where no-one has a job.
There are 900,000 people who have spent at least 10 years claiming IB, while the cost of IB alone since 2000 has been almost £135bn
In July Iain Duncan Smith published a command paper setting out the direction of travel for reform of the benefits system.
Costs: The costs of Universal Credit will build up over the years. CSR2010 set aside £2bn to fund the implementation over the spending review period. The greater simplicity of Universal Credit will lead to administrative savings of more than £0.5bn per annum in the longer term.
We expect 2.5 million people to be better off under the new Universal Credit. The financial rewards for entering work will improve, particularly for those on low earnings. This is because under the current system people who work longer than 16 hours would be taxed at around 96 per cent – under Universal Credit around 900,000 people who already work 16 hours a week would be taxed at around 76 per cent.
The financial reward for entering work will be improved. We will reduce by 1.6 million the number of workless households facing Participation tax rates of over 70 per cent.
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November 8, 2014 – Two NASA and one European spacecraft, including NASA's MAVEN mission led by the University of Colorado Boulder, have gathered new information about the basic properties of a wayward comet that buzzed by Mars October 19, directly detecting its effects on the Martian atmosphere.
Using the observations, scientists were able to make a direct connection between the input of debris from the meteor shower to the subsequent formation of the transient layer of ions – the first time such an event has been observed on any planet, including Earth, said the MAVEN research team.
The comet traveled from the most distant region of our solar system called the Oort Cloud and made a close approach at 2:27 p.m. EDT within about 87,000 miles (139,500 kilometers) of the Red Planet. That is less than half the distance between Earth and our moon and less than one-tenth the distance of any known comet flyby of Earth.
Dust from the comet was vaporized high in the Martian atmosphere, producing what was likely an impressive meteor shower. The debris resulted in significant but temporary changes to the planet's upper atmosphere and possible longer-term changes. A host of Earth-based and orbiting telescopes also observed the unique celestial event.
The MAVEN spacecraft, recently arrived at Mars, detected the comet encounter in two ways. The remote-sensing Imaging Ultraviolet Spectrograph (IUVS) designed and built at CU-Boulder observed intense ultraviolet emissions from magnesium and iron ions high in the atmosphere in the aftermath of the meteor shower. Not even the most intense meteor storms on Earth have produced as strong a response as this one: The emission dominated Mars' ultraviolet spectrum for several hours after the encounter and then dissipated over the next two days, according to the MAVEN science team.
MAVEN also was able to directly sample and help scientists determine the composition of some of the vaporized comet dust in Mars' atmosphere. Analysis of these samples by the spacecraft's Neutral Gas and Ion Mass Spectrometer designed and developed at NASA Goddard Space Flight Center in Greenbelt, Maryland, detected eight different types of metal ions, including sodium, magnesium and iron.
These are the first direct measurements of the composition of dust from an Oort Cloud comet. The Oort Cloud, well beyond the outermost planets that surround our sun, is a spherical region of icy objects believed to be material left over from the formation of the solar system.
Elsewhere above Mars, a joint U.S. and Italian instrument on Mars Express observed a huge increase in the density of electrons in the Martian ionosphere following the comet's close approach.
There are three CU-Boulder undergraduates and two graduate students on the IUVS science team, said Schneider, and there will be a number of additional CU-Boulder students working on MAVEN in the coming years. Currently there are more than 100 students working on research projects at LASP, which provides hands-on training for future careers as engineers and scientists.
In addition to leading science operations, CU-Boulder is spearheading education and public outreach for MAVEN mission, which has contributed roughly $300 million to Colorado's economy. UC-Berkeley's Space Sciences Laboratory provided four science instruments for the mission.
NASA's Goddard Space Flight Center manages the mission. NASA's Jet Propulsion Laboratory, a division of Caltech in Pasadena, manages the Mars Reconnaissance Orbiter.


Former New England mafia godfather Frank "Cadillac" Salemme was ordered held without bail today on charges he murdered a federal witness after prosecutors say he went on the run from a witness protection program.
Salemme, appearing in federal court today wearing baggy brown pants, sneakers and a blue t-shirt, did not challenge a detention order and waived his right to a probable cause hearing before being led away in handcuffs.
Salemme is charged with the murder of a witness on May 10, 1993, according to a criminal complaint. Wyshak confirmed outside the courtroom that the murdered witness, who was not named in court, was nightclub owner Stephen DiSarro.
According to an indictment of another aging former mobster made public earlier this summer, Salemme and his son, Frank Salemme Jr., murdered DiSarro on that date. DiSarro's remains were found behind a mill in Providence in late March.
The initial Salemme revelation came in the indictment in June of ex-La Costa Nostra gang member Robert P. DeLuca, 70, on charges of lying to federal investigators about DiSarro's disappearance and murder.
The Salemmes had a "hidden interest" in DiSarro's Channel club, and that relationship came up during criminal investigations in the early 1990s, according to the DeLuca indictment.
The indictment on the murder charges against Salemme has been sealed from the public.
Salemme, who was the boss of the New England La Cosa Nostra in the 1990s until he was indicted on racketeering charges in 1995 and convicted in 1999, was arrested this morning in Connecticut.
Salemme was "fleeing from potential prosecution" and had left his home in Atlanta, Ga., Wyshak said.
Salemme's lawyer, Steven Boozang, denied that his client was on the run.
"He was on his way back to answer any charges," Boozang told reporters after the hearing. He said Salemme denies the charges and is determined to bring the case to trial.


You don't need a reason to make someone smile! Surprise someone special with a bouquet from Designs By Janice Florist. From romantic roses to modern arrangements, we've got it all! We can even deliver your bouquet nationwide or locally to Midlothian, VA.


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A simple natural remedy with a big nutritional punch. We keep this on hand during cold and flu season to ward off illness.
2. Bring to a boil and then cover and reduce to a simmer for about 45 minutes to an hour until the liquid has reduced by almost half. At that point, remove from heat and let cool enough to be handled. 3. Pour through a strainer into a glass jar or bowl.
4. Discard the elderberries (or compost them!) and let the liquid cool to lukewarm. When it is no longer hot, add 1 cup of honey and stir well.
5. When honey is well mixed into the elderberry mixture, pour the syrup into a pint sized mason jar or 16 ounce glass bottle of some kind.
6. Ta Da! You just made homemade elderberry syrup! Store in the fridge and take daily for its immune boosting properties. Some sources recommend taking only during the week and not on the weekends to boost immunity.


Discussion in 'Aquarium Aquascaping' started by R3dArrow, Apr 9, 2017.
Hi everyone! Just had a quick thought and wanted some opinions. I was looking at some kind of mesh to put Java moss on to create a "mat" sort of for the back wall of my aquarium.
Does anyone know if plastic produce mesh bags are toxic? I wouldn't think they would be considering they hold food, but I know things change when placed in water over some time.
I'd be afraid that the plastic would leech into the water over time, because of the pesticides used on fruit.
Most arts and craft supply stores sell mesh that works perfect for java moss mats.
Wow, I wouldn't think pesticides would be in the plastic. Glad I asked first. Thanks so much!
Well, it's not that they're in the plastic. But the fruits had some pesticides on them, and then they get put into the mesh. There's a chance that the mesh is fine to use, I'm just saying that there's also a chance that there's some pesticide left on the mesh.
Oh ok I see now. You just don't want to chance it.
Another question if you don't mind, when going to said craft/hobby store, is the mesh there a specific material I should shoot for?
Huh, that's sounds like a good idea! What I wanted to do requires some flexibility so that might be a better option. Thanks a bunch.
Hoping This Is The Right Place, Using Paypal?
Using Local Shale From Mountains..


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Affiliation: Department of Pharmacology, University of Virginia, Charlottesville, VA 22908, USA.
Affiliation: Department of Oncology, Georgetown University Lombardi Comprehensive Cancer Center, Washington, DC, USA.
Affiliation: Banting and Best Department of Medical Research, University of Toronto, Toronto, Ontario, Canada.
Affiliation: Research Collaboratory for Structural Bioinformatics Protein Data Bank, Center for Integrative Proteomics Research, Rutgers, The State University of New Jersey, Piscataway, NJ 08854, USA; Department of Chemistry and Chemical Biology, Rutgers, The State University of New Jersey, Piscataway, NJ 08854, USA.
Affiliation: Center for Integrative Proteomics Research, Department of Chemistry and Chemical Biology, Rutgers, State University of New Jersey, Piscataway, NJ 08854, USA.
Affiliation: Biosystems and Biomaterials Division, NIST, Gaithersburg, MD 20899, USA.
Affiliation: National Center for Biotechnology Information, U.S. National Library of Medicine, Bethesda, MD 20894, USA.
Affiliation: Department of Biochemistry, University of Texas, Southwestern Medical Center at Dallas, 5323 Harry Hines Boulevard, Dallas, TX 75390, USA.
Affiliation: Department of Biochemistry, UT Southwestern Medical Center, 5323 Harry Hines Boulevard, Dallas, Texas 75390-9038, USA.
Affiliation: 1] Department of Molecular Physiology and Biological Physics, University of Virginia, Charlottesville, Virginia, USA.  Center for Structural Genomics of Infectious Diseases (CSGID) Consortium, USA.
Affiliation: Department of Chemistry and Biochemistry, James Madison University, Harrisonburg, Virginia 22807, USA.
Affiliation: School of Biosciences, University of Kent, Canterbury CT2 7NH, UK; Charles River Ltd., Structural Biology and Biophysics, Cambridge CB10 1XL, UK.
Affiliation: Department of Chemistry and Chemical Biology, Rutgers, The State University of New Jersey, Piscataway, NJ 08854, USA.
Affiliation: Department of Chemistry and Biochemistry, University of South Carolina, 631 Sumter St., Columbia, SC 29208, USA.
Affiliation: Department of Chemistry and Biochemistry, University of South Carolina, Columbia, SC 29208, USA.
Affiliation: Department of Biological Sciences, National University of Singapore, Singapore.
Affiliation: Indoor Biotechnologies Inc., Charlottesville, VA 22903.
Affiliation: Basic Research, INDOOR Biotechnologies, Charlottesville, Va.
Affiliation: Department of Chemistry, UniVersity of Virginia, CharlottesVille, Virginia 22904, USA.
Affiliation: Department of Chemistry and Biochemistry, University of South Carolina, Columbia, SC, 29208, USA.
Affiliation: University of South Carolina, Department of Chemistry and Biochemistry, 631 Sumter Street, Columbia, SC, 29208, USA.
Affiliation: University of South Carolina, Columbia, SC 29208; and.
Affiliation: Department of Chemistry and Biochemistry , University of South Carolina , Columbia , South Carolina 29208 , USA.
Affiliation: Department of Chemistry and Biochemistry, University of South Carolina, Columbia, SC.
Affiliation: 1] Department of Molecular Physiology and Biological Physics, University of Virginia, Charlottesville, Virginia, USA.  Center for Structural Genomics of Infectious Diseases (CSGID) Consortium, USA.  Department of Chemistry and Biochemistry, University of South Carolina, Columbia, South Carolina, USA.
Affiliation: Department of Chemistry and Biochemistry, University of South Carolina, Columbia, SC 29208, USA. Electronic address: chruszcz@mailbox.sc.edu.
Affiliation: Department of Molecular Physiology and Biological Physics, University of Virginia, 1340 Jefferson Park Avenue, Jordan Hall, Room 4223, Charlottesville, VA 22908, USA.
Affiliation: Department of Chemistry and Biochemistry, University of South Carolina, 631 Sumter Street, Columbia, SC 29208, USA; Department of Molecular Physiology and Biological Physics, University of Virginia, 1340 Jefferson Park Avenue, Charlottesville, VA 22908, USA. Electronic address: chruszcz@mailbox.sc.edu.
Affiliation: Department of Chemistry and Biochemistry, University of South Carolina, 631 Sumter Street, Columbia, SC 29208, USA. Electronic address: chruszcz@mailbox.sc.edu.
Affiliation: Department of Molecular Physiology and Biological Physics, University of Virginia, Charlottesville, Virginia 22908, USA.
Affiliation: Department of Molecular Physiology and Biological Physics, University of Virginia, 1340 Jefferson Park Avenue, Charlottesville, VA 22908, USA.
Affiliation: Department of Molecular Physiology and Biological Physics, University of Virginia, Charlottesville, 22908, USA.
Affiliation: Department of Molecular Biology and Biological Physics, University of Virginia, Charlottesville, Virginia 22908, USA.
Affiliation: Department of Molecular Physiology and Biological Physics, University of Virginia, Charlottesville, Virginia, USA.
Affiliation: University of Virginia, Department of Molecular Physiology and Biological Physics, 1300 Jefferson Park Avenue, Charlottesville, VA 22908, USA.
Affiliation: Institute of Protein Biochemistry, C.N.R.
Affiliation: Synchrotron Radiation Research Section, Macromolecular Crystallography Laboratory, National Cancer Institute, Argonne National Laboratory, Argonne, IL, 60439, USA.
Affiliation: Macromolecular Crystallography Laboratory, National Cancer Institute, Argonne National Laboratory, Argonne, IL 60439, USA.
Affiliation: Department of Chemistry, University of Warsaw ul. Pasteura 1, 02-093 Warszawa (Poland).
Affiliation: Drug Design Data Resource and Department of Chemistry and Biochemistry, University of California, San Diego, La Jolla, CA 92093, USA. Electronic address: vfeher@ucsd.edu.
Affiliation: Shanxi Key Laboratory of Ecological Animal Science and Environmental Veterinary Medicine, College of Animal Science and Veterinary Medicine, Shanxi Agricultural University , Taigu, Shanxi 030801, China.
Affiliation: Department of Molecular Physiology and Biological Physics, University of Virginia, 1340 Jefferson Park Avenue, Charlottesville, VA, 22908, USA.
Affiliation: Department of Biochemistry and Molecular Genetics, University of Virginia Health System, Charlottesville, Virginia 22908, USA.
Affiliation: Department of Cell Biology, Center for Research in Contraceptive and Reproductive Health, University of Virginia, Charlottesville, VA, USA.
Affiliation: Institute for Therapeutics Discovery and Development, Department of Medicinal Chemistry, College of Pharmacy, University of Minnesota, 717 Delaware Street SE, Minneapolis, Minnesota, USA.
Affiliation: Macromolecular Crystallography Laboratory, National Cancer Institute, Frederick, Md.
Affiliation: Macromolecular Crystallography Laboratory, Center for Cancer Research, National Cancer Institute, Frederick, MD 21702, USA.
Affiliation: School of Chemistry, University of Manchester, UK.
Affiliation: School of Chemistry, University of Manchester, Manchester M13 9PL, UK.
Affiliation: Department of Cell Biology, Center for Research in Contraceptive and Reproductive Health, University of Virginia, Charlottesville, VA, USA. Electronic address: jch7k@virginia.edu.
Affiliation: From the Southern Regional Research Center, Agricultural Research Service, United States Department of Agriculture, New Orleans, Louisiana 70124.
Affiliation: Department of Chemistry, University of Virginia, Charlottesville, VA 22904-4319, USA.
Affiliation: Department of Molecular Physiology and Biological Physics, University of Virginia, Charlottesville, VA 22908-0736, USA.
Affiliation: Center for Biocrystallographic Research, Institute of Bioorganic Chemistry, Polish Academy of Sciences, Poznan, Poland; Department of Crystallography, Faculty of Chemistry, A. Mickiewicz University, Poznan, Poland. Electronic address: mariuszj@amu.edu.pl.
Affiliation: Center for Biocrystallographic Research, Institute of Bioorganic Chemistry, Polish Academy of Sciences, Poznan, Poland.
Affiliation: Department of Crystallography, Faculty of Chemistry, A. Mickiewicz University, Poznan, Poland.
Affiliation: Department of Crystallography, Faculty of Chemistry, Center for Biocrystallographic Research, Institute of Bioorganic Chemistry, Polish Academy of Sciences, Adam Mickiewicz University, Poznan, Poland.
Affiliation: Center for Biocrystallographic Research, Institute of Bioorganic Chemistry, Polish Academy of Sciences and Department of Crystallography, Faculty of Chemistry, A. Mickiewicz University, 60-780 Poznan, Poland.
Affiliation: Zakład Krystalografii, Wydział Chemii, Uniwersytet im. A. Mickiewicza w Poznaniu ul. Grunwaldzka 6, 60-780 Poznań, Polska.
Affiliation: Center for Research in Contraceptive and Reproductive Health, Department of Cell Biology, University of Virginia, Charlottesville, Virginia 22908, USA.
Affiliation: Department of Integrative Structural and Computational Biology, Scripps Research Institute, La Jolla, CA 92037, USA.
Affiliation: Structural Genomics Consortium, University of Oxford, Oxford OX3 7DQ, UK.
Affiliation: Department of Chemistry and Biochemistry, San Francisco State University, San Francisco, California, USA.
Affiliation: Department of Chemistry and Biochemistry, San Francisco State University, CA, USA.
Affiliation: Department of Chemistry and Biochemistry, San Francisco State University, San Francisco, CA 94132, USA. Electronic address: mkuhn@sfsu.edu.
Affiliation: Department of Pharmacology and Cellular Biology, Center for Structural Genomics of Infectious Diseases, Northwestern Feinberg School of Medicine, Chicago, Illinois 60611, USA.
Affiliation: Faculty of Chemistry, Jagiellonian University, Ingardena 3, Krakow 30060, Poland.
Affiliation: School of Pharmaceutical Sciences, East Campus, Sun Yat-Sen University, Guangzhou 510006, China.
Affiliation: Department of Chemistry and Chemical Biology, Rutgers, The State University of New Jersey, Piscataway, NJ 08854, USA; Center for Advanced Biotechnology and Medicine, Rutgers, The State University of New Jersey, Piscataway, NJ 08854, USA.
Affiliation: School of Chemistry & Molecular Biosciences, University of Queensland, St Lucia, QLD 4072, Australia.
Affiliation: BioMagResBank, Department of Biochemistry, University of Wisconsin-Madison, Madison, WI 53706-1544, USA.
Affiliation: Department of Biology, Washington University, St. Louis, MO 63130, USA.
Affiliation: Center for Advanced Biotechnology and Medicine, Rutgers, The State University of New Jersey, Piscataway, NJ 08854, USA.
Affiliation: Department of Biological Sciences, National University of Singapore, Singapore. Electronic address: dbsmokh@nus.edu.sg.
Affiliation: Center for Advanced Biotechnology and Medicine, Rutgers, The State University of New Jersey, Piscataway, NJ 08854, USA; Department of Molecular Biology and Biochemistry, Rutgers, The State University of New Jersey, Piscataway, NJ 08854, USA.
Affiliation: Genome Integrity and Structural Biology Laboratory, National Institute of Environmental Health Sciences, National Institutes of Health, Research Triangle Park, NC.
Affiliation: Department of Pathology, University of Michigan, Ann Arbor, Michigan 48109, USA.
Affiliation: Department of Chemistry, Massachusetts Institute of Technology, Cambridge, Massachusetts, USA.
Affiliation: Computer-Aided Drug Design Group, Center for Cancer Research, National Cancer Institute, National Institutes of Health, Frederick, MD 21702, USA.
Affiliation: Jerzy Haber Institute of Catalysis and Surface Chemistry, Polish Academy of Sciences, Niezapominajek 8, 30239 Krakow, Poland. Electronic address: nceniedz@cyf-kr.edu.pl.
Affiliation: Department of Molecular Physiology and Biological Physics, University of Virginia School of Medicine, 1340 Jefferson Park Avenue, Jordan Hall, Room 4223, Charlottesville, Virginia, 22908.
Affiliation: Department of Molecular Physiology and Biological Physics, University of Virginia School of Medicine, 1340 Jefferson Park Avenue, Jordan Hall, Room 4223, Charlottesville, VA, 22908, USA.
Affiliation: Department of Biochemistry and Molecular Genetics, University of Virginia School of Medicine, Charlottesville, VA 22908, USA.
Affiliation: Department of Biochemistry, McGill University, Montréal, Québec H3G 1Y6, Canada.
Affiliation: Department of Chemistry and Biochemistry and the School of Medicine, University of South Carolina, Columbia, South Carolina 29208, USA.
Affiliation: Faculty of Biochemistry, Biophysics and Biotechnology, Jagiellonian University, ul. Gronostajowa 7, 30-387 Kraków, Poland.
Affiliation: Department of Haematology, Cambridge Institute for Medical Research, University of Cambridge, Cambridge CB2 0XY, UK.
Affiliation: Department of Chemistry and Biochemistry, San Francisco State University, San Francisco, CA 94132, USA.
Affiliation: CVMO, k.-k.Hofkristallamt, 991 Audrey Place, Vista, CA, 92084, USA.
Affiliation: k.-k. Hofkristallamt , 991 Audrey Place, Vista, CA 92084, USA ; Department of Genetic Epidemiology, Innsbruck Medical University , Schöpfstrasse 41, A-6020 Innsbruck, Austria.
Affiliation: Neuroscience Graduate Program, University of Virginia, Charlottesville, Virginia, United States of America.
Affiliation: Biozentrum, University of Basel, Klingelbergstrasse 50-70, 4056 Basel, Switzerland ; SIB-Swiss Institute of Bioinformatics, Basel, Switzerland.
Affiliation: Research Collaboratory for Structural Bioinformatics Protein Data Bank, Center for Integrative Proteomics Research, Rutgers, The State University of New Jersey, Piscataway, NJ 08854, USA.
Affiliation: Lehrstuhl für Strukturchemie, Universität Göttingen, Göttingen, Germany.
Affiliation: Albany Molecular Research, Inc.
Affiliation: School of Medicine , University of St. Andrews , St. Andrews KY16 9TF , UK.
Affiliation: CEITEC-Central European Institute of Technology and National Centre for Biomolecular Research, Masaryk University Brno, 625 00 Brno, Czech Republic.
Affiliation: Structural Genomics Consortium, University of Toronto, Toronto, ON M5G 1L7, Canada.
Affiliation: Bioscience Division, Los Alamos National Laboratory, Los Alamos, NM 87545, USA.
Affiliation: Department of Biochemistry and Biophysics, Oregon State University, Corvallis, OR 97331, USA.
Affiliation: Department Chemistry and Biochemistry, University of Colorado, Boulder, Colorado.
Affiliation: Division of Rheumatology, Immunology, and Allergy, Brigham and Women's Hospital, Harvard Medical School, Smith Building, 1 Jimmy Fund Way, Boston, MA 02115, USA.
Affiliation: Department of Molecular Physiology and Biological Physics, University of Virginia, Health Sciences Center, Charlottesville, VA 22906, USA.
Affiliation: Protein Structure Section, Macromolecular Crystallography Laboratory, National Cancer Institute, Frederick, MD, 21702, USA.
Affiliation: Protein Structure Section, Macromolecular Crystallography Laboratory, National Cancer Institute, Frederick, MD 21702, USA.
Affiliation: Laboratory for Structural and Biochemical Research, Biological and Chemical Research Centre, Department of Chemistry, University of Warsaw , 101 Zwirki i Wigury, 02-089 Warsaw, Poland.
Affiliation: Department of Biochemistry and Molecular Genetics, University of Virginia School of Medicine, 1340 Jefferson Park Avenue, Jordan Hall, Room 6044, Charlottesville, Virginia, 22908.
Affiliation: Shanxi Key Laboratory of Ecological Animal Science and Environmental Veterinary Medicine, Shanxi Agricultural University, Taigu, Shanxi 030801, China; Veterinary Station in Chen Villages of Lin Country, Linxian, Shanxi 033200, China.
Affiliation: Department of Chemistry and Biochemistry, University of South Carolina, Columbia, South Carolina 29208, USA.
Affiliation: Department of Chemistry and Biochemistry, University of South Carolina, Columbia 29208, USA.
Affiliation: Department of Cell Biology, Center for Research in Contraceptive and Reproductive Health, University of Virginia, Charlottesville, VA, USA; Shanxi Key Laboratory of Ecological Animal Science and Environmental Veterinary Medicine, Shanxi Agricultural University, Taigu, Shanxi, China.
Affiliation: Shanxi Key Laboratory of Ecological Animal Science and Environmental Veterinary Medicine, Shanxi Agricultural University, Taigu, Shanxi 030801, China.
Affiliation: Department of Biochemistry and Molecular Biology, University of Miami School of Medicine, Miami, FL 33101, USA.


Mjesto i datum: Montreal, Canada, 28.05.-03.06.2006.
In this paper ongoing experimental test program is presented. Experiments are being conducted on a larger number of test specimens. Specimens are small-scale models of reinforced concrete beams and slabs and they are exposed to a process of chloride induced steel corrosion. Accelerated steel corrosion is stimulated by NaCl solution spread on the specimens. Specimens are in an environmental chamber under permanent conditions control and they are constantly loaded with an equivalent to the service load causing cracks in the concrete. Mechanical characteristics of materials as well as concrete permeability are tested. Chloride concentration in concrete, corrosion parameters and specimens deformation is periodically measured. Tested characteristics of materials for specimens, procedure of loading and testing of beams and slabs specimens and description of accelerated reinforcement corrosion process in an environmental chamber are presented. This paper gives partially processed experimental results and an analysis of observed appearances so far.


Lake Station Airport is located in Tasman Region, New Zealand. It is classed as a small airport and as such only available to approved aircraft.
Motueka Airport is located in Tasman Region, New Zealand. It is classed as a small airport and as such only available to approved aircraft. MZP is the commonly known airport code and useful when searching for flights into and out of Motueka Airport.
Murchison Hospital Heliport is located in Tasman Region, New Zealand. It is classed as a heliport and as such only available to approved aircraft.
Murchison Airport is located in Tasman Region, New Zealand. It is classed as a small airport and as such only available to approved aircraft.
Takaka Airport is located in Tasman Region, New Zealand. It is classed as a small airport and as such only available to approved aircraft. KTF is the commonly known airport code and useful when searching for flights into and out of Takaka Airport.


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text:
Q: How can I extract values from graph in R? As you know, Our country is famous for the popular music industry, named "K-POP".
Recently, the 'tuneR' package to analyze 'wav.file' was released in R.
So I want to know any tendency of the K-POP musics and cluster them by using this package.
In analysis, I got a graph to show the notes of a music file (see example below)

My problem is that I don't know how can I extract the peak value's notes from this graph (those circled in blue)
Please let me know some methods if you know any functions to resolve this problem in R.
library("tuneR")

transcribeMusic <- function(wavFile, widthSample = 4096, expNotes = NULL)
{
perioWav <- periodogram(wavFile, width = widthSample)
freqWav <- FF(perioWav)
noteWav <- noteFromFF(freqWav)
melodyplot(perioWav, observed = noteWav, expected = expNotes, plotenergy = FALSE)
}

songHlp <- readMP3("Beenzino.mp3")
testSound_stereo <- extractWave(songHlp, from = 0, to = 12, xunit = "time")
testSound <- mono(testSound_stereo, "both")
transcribeMusic(testSound)

redpajama_set_name: RedPajamaStackExchange


text:
Elasticator Interview- Meet Alan Christopher Medina and Kevin Shah
Posted on Jul 17, 2016 by Brian Barr in Interviews |
Recently, I was able to review Elasticator #1-3, a fun action-superhero comic by writer Alan Christopher Medina and artist Kevin Shah. I was recently about to interview the both of them, and it's my privilege to present this interview to you today.
Brian Barr: When did you guys come up with the idea for Elasticator?
Alan Christopher Medina: I came up with the idea of Elasticator about 4 or so years back, before I even decided to write comics. Elasticator was originally a character I played on an online video game, the game itself wasn't too so for that reason I had to make my own entertainment, mainly writing stories for my guild mates to read. The feedback was great and the I kept doing the more I realized this was what I wanted to do, tell stories, next thing I knew I was moving to New York City to study screenwriting, that same year I decided to do Elasticator as my first comic.
Kevin Shah: After I sent Alan my initial sketches, he responded almost instantly, that was June of last year, since then we've just been rolling through everything!
BB: Reading Elasticator, I assumed there may be an influence from Mark Millar's work, mixing crime fiction, action, and comedy. Alan, is he an influence of yours? Also, who else would be comic book influences for your writing?
ACM: I think in today's world of comics, everyone has a little Miller influence in their work, and I definitely enjoy his work, especially his high concepts. I'm also inspired by a lot of today's current writers like Brian K. Vaughn, Robert Kirkman, and Jason Aaron. I grew up on a lot of Vertigo so many of the creators back then also influence my work.
BB: Kevin, you have a good mixture of a cartoony and realistic style for Elasticator. Do you have any main influences for your art?
KS: Comics are GREAT! but my biggest influence was Animation. Bruce Timm's DC animated shows, DBZ and many classics; I grew up with those and its what drove me to hold a pencil and draw. It was after 12th grade when I realized that I had the potential to do art as career. I studied a short course on Animation and CGI. Eventually my art started shaping even further when comics/mangas got my interest. I believe both, animation and comics industry are vary relatable but I perused comics. I enjoyed the aspect of "Creative Freedom and Collaboration" with a smaller team and because of that, art felt more personal. I'm still a newbie as a working professional whose style is incomplete and developing!
BB: What can you tell us about Scout Comics, the company that distributes your comic? Did they reach out to you, you to them?
ACM: Scout's great! The team at Scout is very personal in what they do and honest, which as a first time writer it was great to have that in my publisher. They found us at New York Comic Con last year, we had a table there and the week after the show we had a meeting and we announced a month later.
KS: I haven't had to deal with Scout yet, like at all, so I'll leave those parts to Alan.
BB: How's the creative process and interaction like when you and the other creators of the comic?
ACM: Despite being from all parts of the world, me from New Jersey, Kevin from Chicago, Micah from Virginia, and Ross from Scotland, I try to keep the creative process as tight knit as possible. Everyone gets a say and we're all equals, if I could I'd have us all working in some sort of pocket dimension with everything we'd need to get the job done but alas I'm just a writer. Still we've all become good friends so I'd like to think the tight knit aspect of our creative team has worked out.
KS: Our process is great! We have the classic comic workflow without lack of communication, always open for creative suggestions and no egos. Its a healthy mind set Alan set since day one and something that I always believed in. We are all working as paid artists but end of day we are all very good friends as well.
BB: Along with Elasticator, what other comics have you guys worked on?
ACM: This is my first comic ever and I couldn't be happier with the outcome.
KS: Elasticator is my first comic ever!
BB: Alan, do you write novels and short stories, or anything else, outside of comic books?
ACM: I've written a few short stories, nothing published but they exist! Film is another passion of mine and currently I'm in the middle of finishing a feature script, which I hope to get in some hands next year. Once my current work load lightens a bit I want to get started on a Pilot script for televisions series I've had in the back of my head since I was a teenager.
BB: Who are your favorite comic book artists?
ACM: Well, I always say no matter how big he gets I will always be Kevin's biggest fan but there are also a lot of phenomenal artists out today. Sean Murphy, Matteo Scalera, Ryan Ottley, Tradd Moore, Rafael Albuquerque, Skottie Young, and Otto Schmidt just to mention a few of my many favorites. I believe we live in the greatest era of comic book art, today our artists get the freedom they've always deserved and all the new art has such a strong voice, it really makes you proud to be in comics.
KS: My current inspirations are Sean Murphy, Matteo Scalera, Ken Lashley, Sanford Greene, Otto Schimdt, Rafael Albuquerque, Tradd Moore, Jorge Jimenez…the list is never ending.
BB: Along with Elasticator, do you have any future projects people should be on the lookout for?
ACM: Yes! None I can say much on at this time other than they are coming! Right now I have a mini series in development with a phenomenal artist that I hope to get out there as soon as it's ready. I have an ongoing I'm collaborating with Kevin on that we hope to get out there soon after Elasticator wraps up and another ongoing with an artist who's currently finishing up some work.
KS: Alan has a new arsenal of stories, which are not just epic but well written! Once again, I might be jumping on board with one of them! Even as a creator this time.
BB: Any last words for readers and fans out there?
ACM: Thank you! From the bottoms of our hearts, thank you. Making comics is hard; making an indie comic is harder, making an indie, superhero comic? Damn near impossible but you guys have supported us the whole time and even to completion, there's nothing we can do to thank but you just keep making comics we love and hope you will to.
KS: I have some major self-esteem issues, but the amazing feedback from fans and reviewers has been a therapy for me! Elasticator is more than everything we had hoped for. Thanks for the support and bringing us closer to our goals! You have my gratitude for this interview as well Brian!
I enjoyed Elasticator. It's been a while since I read any costumed fighter comics outside of the regular big company characters, so I enjoyed this indie take on the genre. Hope you get to enjoy it as well! It's available on Scout Comic's website.


Everything is so fast in this world that Millennials are craving for success at a high pace. In order to stand first in this race, we keep a track on how far are we from our competitors. What we often fail to understand is that, if you keep an eye on your competitors, you may end up tripping in the race and might also lag behind. The same theory applies to professional competition as well. It is a human tendency to closely scrutinize what your colleague is doing to make sure that you stay one step ahead of him. Comparison at work is not harmful as long as it's healthy. But if it gets out of hand, then your work productivity is at stake.
Healthy competition is usually promoted among the employees by the manager. This is mainly so that employees compete among one another and strive to be better at whatever they do. But there is a thin line between healthy competition and comparison at work. It might get fatal when this line is crossed. It will be fatal not for anyone else but for your personal growth. This means that the time and energy you could utilize for your personal betterment, you would use that to keep a track of what the person next to you is doing.
Comparison at work is not harmful as long as it's healthy.
It is important to note that comparison at work is not only a waste of your time and energy but also hinders work productivity. This takes place as a part of your mind is occupied on comparing your progress with that of your colleague. Such repeated thoughts may develop negative feelings in the long run. The comparison will practically take place between individuals belonging to the same department. One needs to coordinate with such individuals on an everyday basis. Hence if there are negative feelings, it will be difficult to work together.
A number of psychological researches have proved that when an individual's mind is focused on one particular goal, he tends to achieve it faster that when his mind is preoccupied with other thoughts. The same might happen in the case of comparison at work as well. If one focuses solely on his work productivity, it will reflect in his efficiency. Also, it is necessary to maintain cordial relations with everyone at work. Not only numbers, but even your behavior is considered at the time of appraisal.


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Redflow aims for 250 batteries/month from Thailand
Australian battery company Redflow Limited aims to produce as many as 3000 batteries a year from its new Thai factory, which it is currently fitting out, reports Redflow Chairman Brett Johnson.
In a letter to shareholders, Mr Johnson said that once the Thai facility was fully operational, it would have the capacity to manufacture as many as 250 batteries a month. "I am confident that once our new factory is producing quality batteries, Redflow will be able to demonstrate that it has a unique and viable product with real benefits for many energy storage applications," he said.
"Our initial sales focus will be on market sectors with established battery demand where our technology has a clear competitive advantage over conventional batteries, notably lead-acid. These markets include telecommunications and network power and applications where there is either no or limited grid power available."
ASX-listed Redflow announced last month that it has started installing battery production equipment at its new factory in Thailand, putting it on track to commence initial operation by the end of this year. Through its Thai subsidiary, Redflow has signed a three-year lease on the 1500-square-metre building at the Hemaraj Chonburi Industrial Estate, part of the IEAT free trade zone, 110km southeast of Bangkok and 25km from the Laem Chabang deep sea container port.
Mr Johnson, who became Redflow's independent non-executive Chairman in September, has more than 10 years' experience as a director of listed companies, including Scott Corporation Limited and Helloworld Limited. He also worked for more than 25 years as a senior executive of listed Australian companies, including Memtec Limited and Qantas Airways Limited.
Mr Johnson said Redflow CEO Richard Aird and his team were working tirelessly to establish the company's new manufacturing facility near Bangkok. "While fully supporting the work in Thailand, the Redflow team in Brisbane continues to enhance our battery technology, support our customer base and manufacture a limited number of batteries to ensure supply for our customers," he said.
"Redflow is at an exciting point in its history, after developing the world's smallest zinc-bromine flow batteries with unique energy storage benefits; having established demand for its batteries from telecommunications, commercial and residential customers; and recently starting the installation of its production line equipment at a new factory in Thailand.
"Redflow's sales team is working with our ZBM2 and ZCell installation partners to ensure that once battery production commences in Thailand, we have the orders and strategy to increase our installed base of Redflow batteries."
Mr Johnson said that Redflow's largest shareholder Simon Hackett, who was acting CEO and Executive Chairman until September, remained fully engaged with the company as a non-executive director and a champion for its world-leading energy storage technology.
Mr Johnson's letter also noted that Redflow's 2017 Annual General Meeting is scheduled for 10.30am on Friday, November 24, at the Jindalee Hotel, near the company's head office in Brisbane.
For media assistance, call John Harris on +61 8 8431 4000 or email john@mpress.com.au.
Redflow's unique zinc-bromine flow batteries are designed for stationary energy storage applications ranging from its ZCell residential battery to its scalable ZBM2 batteries for industrial, commercial, telecommunications and grid-scale deployment. Redflow Limited, a publicly-listed company (ASX: RFX), produces high energy density batteries that are sold, installed and maintained by an international network of system integrators. Redflow batteries offer unique advantages including 100 per cent depth of discharge, tolerance of ambient temperatures as hot as 50 degrees Celsius and sustained energy storage of 10 kilowatt-hours (kWh) throughout their operating life.
Thailand factory


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Scarabaeus irakensis is een keversoort uit de familie bladsprietkevers (Scarabaeidae). De wetenschappelijke naam van de soort werd voor het eerst geldig gepubliceerd in 1938 door Stolfa.

Bladsprietkevers

redpajama_set_name: RedPajamaWikipedia


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( ou , initialement intitulé ) est un film franco-australien réalisé par Anne Fontaine, sorti en 2013. Le film est présenté sous le titre  au Festival du film de Sundance 2013.

Synopsis
Lil et Roz, la quarantaine épanouie, sont deux amies d'enfance résidant loin de la vie citadine dans une baie de la Nouvelle-Galles du Sud et très attachées l'une à l'autre. Lil a perdu son mari et a dû élever seule son fils Ian ; Roz vit de l'autre côté de la baie avec son époux Harold et leur fils Tom.

À 19 ans, les deux garçons ont grandi et, tout comme leurs mères, sont très proches l'un de l'autre. Alors qu'Harold décide de prendre un poste de maître de conférences à l'université de Sydney, Roz et Tom ne veulent pas quitter leur domicile de toujours. Roz est ébranlée par la situation et le choix de son époux, qui, malheureux d'avoir échoué à la convaincre de déménager, finit par partir seul et la quitte. Ian, qui a grandi auprès de l'amie de sa mère, en est tombé profondément amoureux. Profitant d'un moment de questionnements intimes de Roz, il décide de faire un pas vers elle. Devenus amants, ils sont surpris par Tom, qui, perturbé par cette découverte, décide de se venger en séduisant à son tour la mère de Ian. Lil repousse dans un premier temps les avances de Tom, mais celui-ci lui révèle les rapports de son fils avec sa propre mère. Veuve et célibataire depuis des années, elle aussi a vu grandir Tom sans s'avouer que son regard sur lui avait progressivement changé. Mères et fils forment désormais respectivement un couple à quatre aux relations croisées.

Après deux années de vie commune, les deux couples commencent à faire face à de nouvelles tensions. Tom, devenu metteur en scène, s'éprend de sa jeune actrice et décide de l'épouser. Bien que s'y attendant, Lil le vit difficilement. Roz, en accord avec Lil, décide de mettre fin à sa relation avec Ian, resté très amoureux et profondément blessé par cette décision unilatérale. Elle le pousse dans les bras d'une très jeune femme, qui rapidement tombe enceinte. Lil et Roz deviennent deux jeunes grand-mères et s'occupent désormais de leurs petites filles, les familles restant toujours très unies dans leur retraite paradisiaque. Ian et Tom cependant n'ont pas pu totalement faire taire leurs sentiments qui restent affleurants dans leurs rapports avec leurs mères respectives. Un soir, Ian découvre que Tom continue d'entretenir une relation avec sa mère : fou de rage et d'amour, il explose et, dans un esclandre, révèle la chose à Roz devant les deux jeunes épouses. La déflagration est totale, les couples se séparent laissant à nouveau le quatuor se réinstaller.

Fiche technique

Distribution

 Naomi Watts (V. F. : Anne Consigny) : Lil
 Robin Wright (V. F. : Florence Pernel) : Roz
 Xavier Samuel (V. F. : Ernst Umhauer) : Ian, le fils unique de Lil
 James Frecheville (V. F. : Louis Arène) : Tom, le fils unique de Roz
 Ben Mendelsohn (V. F. : Luc-Antoine Diquéro) : Harold, le mari de Roz, père de Tom
 Jessica Tovey (V. F. : Zoé Schellenberg) : Mary, jeune comédienne amoureuse de Tom
 Sophie Lowe (V. F. : Chloé Lambert) : Hannah, amoureuse de Ian
 Gary Sweet (V. F. : François Marthouret) : Saul, courtise Lil

Source et légende : Version française (V. F.) sur AlloDoublage

Production
Le scénario de Perfect Mothers est basé sur la nouvelle de Doris Lessing, Les Grand-mères (The Grandmothers) parue originellement en 2003. Pour satisfaire aux contraintes du cinéma et de la production, quelques changements sont apportés par rapport au livre, en particulier en rajeunissant l'âge des protagonistes principales).

Anne Fontaine, aidée de Christopher Hampton, adapte l'œuvre et décide de réaliser son premier film international — ne réussissant pas à l'adapter à un contexte français —, en soumettant le projet à Naomi Watts qui tourne alors The Impossible en 2011. Cette dernière accepte de figurer dans la distribution et le film peut trouver des financements internationaux pour devenir une coproduction franco-australienne.

Les tournages extérieurs ont été réalisés en Nouvelle-Galles du Sud (Australie) : , Seal Rocks, Sydney (et dans le quartier de Balmain pour les scènes au pub).

Réception critique
Pour L'Express, contrairement à la présentation du film qui le qualifie de sulfureux ou dérangeant, la réalisation manque d'audace concluant avec ironie que « le film est aussi lisse qu'une toile cirée et ne se termine même pas en partouze ». François Forestier dans Le Nouvel Observateur parle au contraire d'un film qui « navigue entre humour léger, gravité soudaine et horizons sublimes, d'une ode au bonheur. C'est sensuel, à rebrousse-poil de la morale conventionnelle ». Enfin, Le Monde estime que le film arrive à trouver une bonne justesse de ton, ne relever ni de « l'accablement » ni du « réquisitoire » considérant que « la liberté de jugement que la réalisatrice laisse au spectateur embarrasse autant qu'elle passionne ».

Nominations
 Festival du film de Sundance 2013 : sélection hors compétition « Premieres »
 AACTA Awards 2014 :
 Meilleure actrice pour Naomi Watts
 Meilleur scénario adapté pour Christopher Hampton
 Meilleurs décors et meilleurs costumes pour Annie Beauchamp

Notes et références

Liens externes

Film français sorti en 2013
Film australien sorti en 2013
Film dramatique français
Film dramatique australien
Film réalisé par Anne Fontaine
Film de Gaumont
Film tourné en Australie
Film tourné à Sydney
Film se déroulant en Nouvelle-Galles du Sud
Adaptation d'un roman britannique au cinéma
Doris Lessing


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https://www.motleyrice.com/blogpost/useful-googling-side-effects
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The Useful Side Effect of Googling Side Effects
by: Carmen S. Scott
Have you ever looked up an unusual ache or odd sensation to see what might be causing it? I know I'm guilty of it and I'm not the only one. One in 20 Google searches are health-related and more than a third of U.S. citizens use internet search engines for that initial self-diagnosis. But while the wealth of information discovered during any one search may or may not be useful to the potential patient, the information used to search for those symptoms and side effects may be extremely useful to medical regulatory agencies such as the FDA.
Illness and the internet
Today, we're not only able to search the internet for correlations between symptoms and certain drugs or actions, we can also use symptom checker apps such as the one by the Mayo Clinic to view possible diagnoses or, in the case of prescription drugs, see if anyone else is talking about similar symptons in online support groups.
Health-related searches through Google alone average 8,000 per second. That's a tremendous amount of data linking symptoms to diseases, side effects to drugs and concerns to any number of physical or psychological ailments. To regulatory agencies such as the FDA, this untapped potential may be incredibly useful in monitoring and discovering the true side effects of any given prescription drug on the market.
Surveying drug side effects
In early June 2015, the FDA held a teleconference to discuss "adverse event trending" with, among others, Google's senior staff research scientist Evgeniy Gabrilovich.
Although the details of the discussion were not released publicly, Gabrilovich's strong ties to drug safety surveillance and adverse event trending can be seen in his co-authorship of the research paper "Postmarket Drug Surveillance Without Trial Costs: Discovery of Adverse Drug Reactions Through Large-Scale Analysis of Web Search Queries," published in the Journal of Medical Internet Research in June 2013.
According to the paper, "Existing drug surveillance mechanisms often depend on the need for medical providers or patients to realize the connection between the treatment and its side effects (adverse or otherwise)."
Gabrilovich's study, on the other hand, used information from a total of 176 million anonymized unique users to investigate 20 of the top-selling drugs in the United States. Through a series of applied algorithms, his team was able to create "a novel, low-cost method for discovering adverse drug reactions from aggregated Web search data of large populations of Internet users" that showed high correlations between their own findings of drug side effects and the actual known drug reactions. What's more, the study claimed that while "acute early-onset drug reactions are more likely to be reported to regulatory agencies, we show that less acute later-onset ones are better captured in web search queries."
Any discussions that might have taken place with Gabrilovich concerning these findings, however, would not have been the first time that the FDA looked into the potentials of medical data mining.
Essure™and other online testimonials already contributing to side effect research
In the FDA's June 24, 2015, update regarding a review of complications assocated with the Essure permanent birth control medical procedure, it stated that it "conducted a thorough review of information about Essure and the patients who have had Essure since the FDA approved it in 2002." This review included analyzing "Essure patient reports of problems (including web-based testimonials) and reports of problems submitted to the FDA from other sources, including doctors, patients, and the manufacturer of Essure."
According to an FDA spokeswoman, the "web-based testimonals" were those of women who'd posted their personal stories about problems with Essure on an established website, providing the FDA with details they might not have received through standard side effect reporting.
Additionally, the FDA has paired with patient networking site PatientsLikeMe to explore how forum discussions conducted by more than 350,000 members could provide additional insight into prescription drug side effects and potential safety concerns.
The FDA's Chief Health Informatics Officer Taha Kass-Hout has also thrown his hat into the ring regarding the research of web-based side effect monitoring through the paper he co-authored, "Digital Drug Safety Surveillance: Monitoring Pharmaceutical Products in Twitter."
One of the biggest challenges we face is the underreporting of side effects and other serious complications. It has been found that 94 percent of adverse reactions are not reported. With 70 percent of Americans taking at least one prescription drug and more than half taking two medications, it's scary to think that only 1.2 million reports have been made to the FDA as of 2013.
If we can't rely on proactive independent reporting, then it would seem to me that we should be doing everything we can to establish a reliable record of the potential harm that any medical drug or device could cause—and that wealth of information is already at our fingertips.
So the next time you type in a symptom to Google, there's much more going on behind the scenes, work that will hopefully lead to some needed progress when it comes to tracking serious drug and device complications.
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