text:
Louis Stamford Peterson (June 17, 1922 – April 27, 1998) was an American playwright, actor, screenwriter, and professor. He was an American playwright and the first African-American playwright to have a dramatic play produced on Broadway. He was also one of the first African-American writers to be nominated for an Emmy Award.

Biography

Louis Stamford Peterson was born in Hartford, Connecticut on June 17, 1922. His father was Louis Peterson Sr., and his mother was Ruth Conover Peterson, who both worked in the banking business. He lived in the Hartford's South End, went to public schools, and graduated from Connecticut's Bulkeley High School in 1940. Peterson first planned to get a degree in music. In 1944 he graduated from Morehouse College earning a B.A. in English. In college he became involved in the Little Theatre and performed onstage. He attended Yale University (1944 to 1945), and then earned an M.A. in drama from New York University in 1947.

In New York Peterson performed in Off-Broadway plays, and studied acting with noted teacher, Sanford Meisner, at the Neighborhood Playhouse, and he also studied at the Actors Studio. He studied playwriting, and worked closely with Clifford Odets. His first play, Take a Giant Step, was written while he was touring as an actor and stage manager in Carson McCullers' play, The Member of the Wedding.

On July 21, 1952 he married Peggy Feury. The marriage ended after nine years in 1961. After the divorce, Peterson's semi-autobiographical play Entertain a Ghost was produced. It told the story of a marriage between a playwright and actress, that was thought to have parallels to Peterson and Feury's relationship. The Village Voice gave it a positive review that said the play should have run longer, and described it as "a daring and deeply exploratory new play, the best damned failure I've seen in years".<ref>[https://books.google.com/books?id=aDIOAQAAMAAJ&q=Louis+peterson+%22entertain+a+ghost%22 The New York Times Theater Reviews, Volume 7: 1960 - 1966]. New York: Arno Press and the New York Times. 1966.  p. 167.</ref>

 Take a Giant Step

It was a significant step in Peterson's career when his first full-length play, Take a Giant Step, opened on Broadway in 1953. The Broadway-tryout performances began in Hartford, Connecticut in 1953 at the New Parsons Theatre. The legendary actress Helen Hayes helped get the play produced. Then on Broadway at the Lyceum Theater, the play was welcomed with critical acclaim. The story focuses on the challenges of a black youth growing up in a white neighborhood. It starred 17-year-old Louis Gossett Jr., who was a senior at Lincoln High School in Brooklyn. It ran for eight weeks at the Lyceum Theater. The New York Times listed it as one of the ten best plays of the season. In 1956, it was revived off-Broadway for 246 performances and featured a performance by Godfrey Cambridge.

An article in the May 1991 issue of the magazine Jump Cut considers in detail Peterson's play and screenplay, Take a Giant Step. The journal describes what Peterson's work means culturally, how it broke down barriers, and surmounted obstacles. The article also describes those who were involved in making it a success and a pioneering work.Take a Giant Step opened on Broadway and ran from September 24 to November 28, 1953. It was directed by John Stix, the costumes were designed by Ruth Morley and the cast featured Louis Gossett Jr. as Spencer, Estelle Hemsley as the grandmother, Maxine Sullivan as Christine, Jane White as Carol, Warren Berlinger as Johnny, Pauline Myers as Violet, Estelle Evans as May, Dorothy Carter as Christine, and Frank H. Wilson as Frank.Take a Giant Step opened off-Broadway on September 25, 1956 at the Jan Hus Playhouse and closed May 12, 1957. The cast featured Godfrey Cambridge, Cecil Cunningham, Frances Foster, Bill Gunn, Rosetta LeNoire, Beah Richards, Louis Gossett Jr., and Lincoln Kilpatrick.

In the film of Take a Giant Step, the executive producer was Burt Lancaster, the part of Spencer Scott was played by Johnny Nash, a popular rock-and-roll performer, who sang the hit song "I Can See Clearly Now". Ruby Dee played Christine, and Spencer Scott's father was played by Frederick O'Neal, who co-founded the American Negro Theatre. O'Neal also played the part on Broadway.

The story is about a black teen, Spencer, living in white community. His white teacher claims that black slaves were "too lazy" to fight for their freedom. Spencer refutes this, and he is then expelled from school. When his father upholds the teacher's right, the teenage is thus thrust into a painful and difficult position.

Synopsis of Take a Giant Step
Spencer Scott, a seventeen year old black student, comes home from school and confesses to his grandmother and to the housekeeper, Christine, that he has been expelled from his almost entirely white New England high school. He explains that the teacher, Miss Bailey, claimed that Negroes of the Civil War period were "backwards" and without the assistance of Northern whites, they would never have gained freedom. Spence angrily objected and left the school. His grandmother doesn't think that was the right thing to do. Spencer's white classmates stop by his house. He complains to them that they didn't stick up for him. They let him know that he won't be invited to a Polish-American classmate's party, and they let it slip that the reason is because he is black. He angrily tells them to go away. He is upset, his grandmother tries to comfort him, and uses a derogatory term for Italians and Poles, and adds that she doesn't like them much anyway — this also makes Spencer angry. Spencer packs a bag and intends to flee his white, middle-class neighborhood.

He goes to a black neighborhood and goes into a bar. Three women named Violet, Rose and Poppy invite him to come sit with them.  He then realizes they are prostitutes. Then Spencer joins a young woman named Carol.  He is not behaving properly as he awkwardly talks about sex, and then asks Carol to marry him.  She lets him know she's married to a man who is never at home. Carol then excuses herself and tells Spencer that she is going to go off with a seductive stranger who is at the bar. This bothers Spencer, but Carol kisses him tenderly and leaves, as she said she would. Outside, Spencer finds the three prostitutes, and Violet invites him to her room.

Back at home, Spencer's parents are upset. Spencer's father Lem threatens violence against his absent son.  At the prostitute's apartment, Violet wants to kiss Spencer, but he leaves. Once back at home, Spencer's parents demand that he apologize to his teacher, but he won't. Lem tells his son that he himself is not a stranger to racism where he works.  But he puts up with it. Spence argues with his parents for just accepting the injustice or racism.  His grandmother joins the argument on Spencer's side; she then falls to the floor.  She tells Spencer that he must respect himself, and she dies. Spencer is heartbroken and laments. Later, Christine the housekeeper tells Spencer a story about her own difficult teen years, how her husband and baby both died, and that she still has a lot she wants to live for.  Spencer confesses that he wants to find love, and proposes that he and Christine might make a good couple.  She is tempted. Spencer's mother has to let Christine, the housekeeper, go, because they don't need her anymore. Spencer's mother later invites his classmates over for cake.

Spencer is furious, and goes running off after Christine.  He says to her "I hate being black,".  Christine talks him down. Spencer goes back home to find his parents having an awkward conversation with his classmates. Spencer then improves the situation with an announcement that because he is going to go to college in the fall, this gathering will be his farewell party.  Later Spencer tells his mother that he has to learn to accept that his friendships with whites may have limits. Spencer and his mother embrace.

 Plays, screenplays, and teaching

Peterson went on to write scripts for TV and film. He wrote an episode of the TV series Danger, entitled "Padlocks" that starred James Dean; it aired on November 2, 1954. In 1956, he wrote Joey, which starred Anthony Perkins and Kim Stanley. He received an Emmy Award nomination for the "Joey" episode of the Goodyear Playhouse in 1957.

In addition, Peterson wrote film screenplays, and was the first African-American screenwriter in Hollywood. In the 1960s, Peterson left Hollywood for New York. Peterson's plays in the 1960s and 1970s tend to employ complex plots. His play Entertain a Ghost opened off-Broadway in 1962 at the Actors Playhouse. This was a semi-autobiographical play with a double-plot; it deals with issues of interracial relationships, focussing on a character who is a playwright and his wife, a "self-absorbed young woman determined to become an actress".Tallmer, Jerry. "Theatre: Entertain a Ghost." The Village Voice. 19 April 1962
In 1972, he began teaching in the theatre arts department at the State University of New York at Stony Brook. While teaching, he wrote the screenplay The Confessions of Nat Turner.
His 1979 drama Crazy Horse, which was produced at the Henry Street Settlement's New Federal Theatre, deals with interracial relationships.  In 1983 he wrote Another Show, which concerns an increase in suicide by adolescents.

Peterson received the Benjamin Brawley Award for Excellence in English at Morehouse College (1944). Take a Giant Step was named one of the best plays of 1953–54 by the Burns Mantle Yearbook. He was nominated for an Emmy for his script, Joey'' (1956).  He was inducted into the Black Filmmakers Hall of Fame in 1975. Peterson retired from teaching at Stony Brook in 1993, but continued writing. He died due to lung cancer in New York City on April 27, 1998.

References

External links

1922 births
1998 deaths
20th-century American dramatists and playwrights
African-American dramatists and playwrights
Morehouse College alumni
Neighborhood Playhouse School of the Theatre alumni
Stony Brook University faculty
Tisch School of the Arts alumni


text:
How EU copyright reform will give the creative ecosystem a boost
Brussels 16th November 2018
As things heat up again on the copyright directive, IMPALA's Executive Chair Helen Smith speaks out. The Financial Times has given IMPALA the lead letter slot today to reply to YT's CEO opinion piece posted in the FT earlier this week.
The theme is, far from threatening our ecosystem as YT claims, the directive will make things clearer, fairer and sustainable for all. It will also have the safeguards that platforms of all shapes and sizes need - it should not just become about one platform's business model.
Helen's conclusion is "This directive has been years in the making — decision makers know what the answers are. We can now move fast and we don't even need to break things. Let's not get distracted. Let's make the online world clearer, fairer and sustainable for all."
Read more below...
Originally published in the Financial Times
Creators and citizens enjoy a unique relationship online. As independent music companies, we see creators, users and platforms as all essential parts of an amazing creative ecosystem.
Now we hear from Susan Wojcicki, chief executive of YouTube, that we should be scared of the proposed EU copyright directive ("The EU should change its unrealistic copyright plans", November 13). Far from threatening our ecosystem, however, the directive will make things clearer, fairer and sustainable for all. As the Financial Times itself commented in an editorial in July, reform is much needed.
First, it confirms what the courts in Europe have already said. It clarifies that responsibility cannot lie only with the user and the owner of the content, but also with the platforms which give access to the works. That's the clearer part. The directive also tackles the value gap — the difference between the economic value produced by a work of art or music and the money that trickles down to its creator. Platforms will have to play by the same rules. No more "take it or leave it" deals. Same rules for everyone. That's for the fairer part.
So are we scared the directive will take away our jobs? No. On the contrary, increased remuneration for uploaded creative works will make it easier for artists and their partners to thrive. Do we think that platforms will deal with big companies only? No. The directive levels the playing field in a way that means we can all negotiate in a normal licensing environment. That's how you make the ecosystem sustainable for all. This is about the artists you haven't heard of yet.
For YouTube and other platforms, there are a number of safeguards in the various texts on the table. We now need to let decision makers agree on the final recipe to achieve balance. This should not be about protecting one platform's business model. YouTube's recent figures are designed to dazzle, but our members' own revenue results show that for every €1 from YouTube, Spotify pays €10.
This directive has been years in the making — decision makers know what the answers are. We can now move fast and we don't even need to break things. Let's not get distracted. Let's make the online world clearer, fairer and sustainable for all.
Helen Smith Executive Chair,
Impala — the Independent Music Companies Association,
IMPALA was established in April 2000 to represent European independent music companies. 99% of Europe's music companies are SMEs. Known as the "independents", they are world leaders in terms of innovation and discovering new music and artists - they produce more than 80% of all new releases and account for 80% of the sector's jobs (for more information, see the features of independents). IMPALA's mission is to grow the independent music sector, return more value to artists, promote cultural diversity and entrepreneurship, improve political access and modernise perceptions of the music sector. See the organisation's key achievements in IMPALA's milestones.

redpajama_set_name: RedPajamaCommonCrawl


The article reviews the book "Demystifying FRAD: Functional Requirements for Authority Data" by Qiang Jin.
Bothmann, Robert. 2013. "Review of Demystifying FRAD: Functional Requirements for Authority Data, Qiang Jin." Technicalities 33 (1): 17-19.


text:
Airworthiness Directives; Airbus SAS Airplanes
A Proposed Rule by the Federal Aviation Administration on 08/03/2018
We must receive comments on this proposed AD by September 17, 2018.
Docket No. FAA-2018-0704
Product Identifier 2018-NM-066-AD
as of 01/19/2020 at 12:15 am EST
Enhanced Content
Relevant information about this document from Regulations.gov provides additional context. This information is not part of the official Federal Register document.
FAA-2018-0704
Docket Name:
2018-NM-066-AD Airbus SAS Model A330?200 Freighter, ?200 and -300 series airplanes; and Airbus SAS Model A340?200, ?300, ?500, and ?600 series airplanes
Docket RIN
Supporting/Related Materials:
U.S. DOT/FAA - Supplemental AD Documents
Examining the AD Docket
Relationship Between Proposed AD and AD 2017-01-08
Related Service Information Under 1 CFR Part 51
FAA's Determination
Proposed Requirements of This NPRM
Costs of Compliance
Authority for This Rulemaking
Regulatory Findings
List of Subjects in 14 CFR Part 39
The Proposed Amendment
PART 39—AIRWORTHINESS DIRECTIVES
(a) Comments Due Date
(b) Affected ADs
(c) Applicability
(d) Subject
(e) Reason
(f) Compliance
(g) Definitions for This AD
(h) Part Number Inspection
(i) Replacement
(j) Part Re-identification
(k) Terminating Action
(l) Parts Installation Prohibition
(m) Other FAA AD Provisions
(n) Related Information
This PDF is the current document as it appeared on Public Inspection on 08/02/2018 at 8:45 am.
If you are using public inspection listings for legal research, you should verify the contents of the documents against a final, official edition of the Federal Register. Only official editions of the Federal Register provide legal notice to the public and judicial notice to the courts under 44 U.S.C. 1503 & 1507. Learn more here.
Federal Aviation Administration (FAA), DOT.
Notice of proposed rulemaking (NPRM).
We propose to adopt a new airworthiness directive (AD) for all Airbus SAS Model A330-200 Freighter, -200 and -300 series airplanes; and Airbus SAS Model A340-200, -300, -500, and -600 series airplanes. This proposed AD was prompted by reports of depressurization of hydraulic reservoirs caused by air leakage from the pressure relief valve (PRV) of the hydraulic reservoir (HR) due to the extrusion of the O-ring seal from certain HR PRVs. This proposed AD would require identifying the part number of the HR, and replacing and re-identifying affected HR PRVs. We are proposing this AD to address the unsafe condition on these products.
You may send comments, using the procedures found in 14 CFR 11.43 and 11.45, by any of the following methods:
Federal eRulemaking Portal: Go to http://www.regulations.gov. Follow the instructions for submitting comments.
Fax: 202-493-2251.
Mail: U.S. Department of Transportation, Docket Operations, M-30, West Building Ground Floor, Room W12-140, 1200 New Jersey Avenue SE, Washington, DC 20590.
Hand Delivery: Deliver to Mail address above between 9 a.m. and 5 p.m., Monday through Friday, except Federal holidays.
For service information identified in this NPRM, contact Airbus SAS, Airworthiness Office—EAL, Rond Point Emile Dewoitine No: 2, 31700 Blagnac Cedex, France; telephone: +33 5 61 93 36 96; fax: +33 5 61 93 45 80; email: airworthiness.A330-A340@airbus.com; internet http://www.airbus.com. You may view this service information at the FAA, Transport Standards Branch, 2200 South 216th St., Des Moines, WA. For information on the availability of this material at the FAA, call 206-231-3195.
You may examine the AD docket on the internet at http://www.regulations.gov by searching for and locating Docket No. FAA-2018-0704; or in person at Docket Operations between 9 a.m. and 5 p.m., Monday through Friday, except Federal holidays. The AD docket contains this NPRM, the regulatory evaluation, any comments received, and other information. The street address for Docket Operations (phone: 800-647-5527) is in the ADDRESSES section. Comments will be available in the AD docket shortly after receipt.
Vladimir Ulyanov, Aerospace Engineer, International Section, Transport Standards Branch, FAA, 2200 South 216th St., Des Moines, WA 98198; telephone and fax: 206-231-3229.
We invite you to send any written relevant data, views, or arguments about this proposal. Send your comments to an address listed under the ADDRESSES section. Include "Docket No. FAA-2018-0704; Product Identifier 2018-NM-066-AD" at the beginning of your comments. We specifically invite comments on the overall regulatory, economic, environmental, and energy aspects of this NPRM. We will consider all comments received by the closing date and may amend this NPRM because of those comments.
We will post all comments we receive, without change, to http://www.regulations.gov, including any personal information you provide. We will also post a report summarizing each substantive verbal contact we receive about this NPRM.
The European Aviation Safety Agency (EASA), which is the Technical Agent for the Member States of the European Union, has issued EASA Airworthiness Directive 2018-0064, dated March 23, 2018 (referred to after this as the Mandatory Continuing Airworthiness Information, or "the MCAI"), to correct an unsafe condition for all Airbus SAS Model A330-200 Freighter, -200 and -300 series airplanes; and Airbus SAS Model A340-200, -300, -500, and -600 series airplanes. The MCAI states:
Some events of depressurisation of hydraulic reservoirs have been reported, due to air leakage from the HR PRV [hydraulic reservoir pressure relief valve]. The results of the investigations revealed that the air leakage was due to the extrusion of the O-ring seal from the HR PRV. This may have Start Printed Page 38089happened during HR maintenance, testing or during flight, if HR over-filling was performed, as a result of which hydraulic fluid could pass through the PRV, causing [the] PRV seal to migrate from its nominal position, leading to loss of HR pressurisation.
This condition, if not detected and corrected, could lead to the loss of one or more hydraulic systems, possibly resulting in loss of control of the aeroplane.
To address this potential unsafe condition, Airbus issued the AOT [Alert Operators Transmission (AOT) A29L005-16, dated January 28, 2016] to provide instructions to inspect the HR fluid level of each hydraulic circuit and to provide instructions for certain actions when servicing with hydraulic fluid is accomplished on an HR. Consequently, EASA published AD 2016-0107 [related FAA AD 2017-01-08, Amendment 39-18775 (82 FR 1593, January 6, 2017) ("2017-01-08")] to require accomplishment of these actions for aeroplanes in service.
Since that [EASA] AD was issued, it was determined that the detected air leakage was due to the extrusion of the O-ring seal from a specific batch of HR PRV. Airbus published the applicable inspection SB [service bulletin] to inspect the HR of each hydraulic circuit and to provide instructions to identify the affected parts, and the Modification SB to provide instructions for replacement of each affected part fitted on an affected HR.
For the reasons described above, this [EASA] AD retains the requirements of EASA AD 2016-0107, which is superseded, and requires the [identification and] replacement [and re-identification] of the affected parts.
You may examine the MCAI in the AD docket on the internet at http://www.regulations.gov by searching for and locating Docket No. FAA-2018-0704.
This NPRM does not propose to supersede AD 2017-01-08. Rather, we have determined that a stand-alone AD is more appropriate to address the changes in the MCAI. This proposed AD would require identifying, replacing, and re-identifying affected HR PRVs. Accomplishing the proposed actions would then terminate all requirements of AD 2017-01-08.
Airbus SAS has issued the following service information, which describes procedures for identifying HR part numbers. These documents are distinct since they apply to different airplane models.
Service Bulletin A330-29-3134, dated August 16, 2017.
Airbus SAS has also issued the following service information, which describes procedures for replacing and re-identifying affected PRVs and HRs. These documents are distinct since they apply to different airplane models.
Service Bulletin A340-29-4099, dated August 11. 2017.
Safran has issued Vendor Service Bulletins 42-29-005, Revision 01, dated September 26, 2017, and 42-29-006, Revision 01, dated September 27, 2017. These documents are distinct since they apply to different airplane models. This service information describes procedures for replacing affected HR PRVs, and including the serial numbers of those PRVs.
This service information is reasonably available because the interested parties have access to it through their normal course of business or by the means identified in the ADDRESSES section.
This product has been approved by the aviation authority of another country, and is approved for operation in the United States. Pursuant to our bilateral agreement with the State of Design Authority, we have been notified of the unsafe condition described in the MCAI and service information referenced above. We are proposing this AD because we evaluated all the relevant information and determined the unsafe condition described previously is likely to exist or develop on other products of the same type design.
This proposed AD would require accomplishing the actions specified in the service information described previously.
We estimate that this proposed AD affects 103 airplanes of U.S. registry. We estimate the following costs to comply with this proposed AD:
Estimated Costs
Parts cost
Cost per product
Cost on U.S. operators
Up to 6 work-hours × $85 per hour = Up to $510 $3,390 Up to $3,900 Up to $401,700
Title 49 of the United States Code specifies the FAA's authority to issue rules on aviation safety. Subtitle I, section 106, describes the authority of the FAA Administrator.
Subtitle VII: Aviation Programs, describes in more detail the scope of the Agency's authority.
We are issuing this rulemaking under the authority described in Subtitle VII, Part A, Subpart III, Section 44701: "General requirements." Under that section, Congress charges the FAA with promoting safe flight of civil aircraft in air commerce by prescribing regulations for practices, methods, and procedures the Administrator finds necessary for safety in air commerce. This regulation is within the scope of that authority because it addresses an unsafe condition that is likely to exist or develop on products identified in this rulemaking action.
This proposed AD is issued in accordance with authority delegated by the Executive Director, Aircraft Certification Service, as authorized by FAA Order 8000.51C. In accordance with that order, issuance of ADs is normally a function of the Compliance and Airworthiness Division, but during this transition period, the Executive Director has delegated the authority to issue ADs applicable to transport category airplanes to the Director of the System Oversight Division.
We determined that this proposed AD would not have federalism implications under Executive Order 13132. This proposed AD would not have a substantial direct effect on the States, on the relationship between the national Start Printed Page 38090Government and the States, or on the distribution of power and responsibilities among the various levels of government.
For the reasons discussed above, I certify this proposed regulation:
1. Is not a "significant regulatory action" under Executive Order 12866;
2. Is not a "significant rule" under the DOT Regulatory Policies and Procedures (44 FR 11034, February 26, 1979);
3. Will not affect intrastate aviation in Alaska; and
4. Will not have a significant economic impact, positive or negative, on a substantial number of small entities under the criteria of the Regulatory Flexibility Act.
Accordingly, under the authority delegated to me by the Administrator, the FAA proposes to amend 14 CFR part 39 as follows:
End Part Start Amendment Part
1. The authority citation for part 39 continues to read as follows:
End Amendment Part Start Authority
Authority: 49 U.S.C. 106(g), 40113, 44701.
§ 39.13
2. The FAA amends § 39.13 by adding the following new airworthiness directive (AD):
Airbus SAS: Docket No. FAA-2018-0704; Product Identifier 2018-NM-066-AD.
We must receive comments by September 17, 2018.
This AD affects AD 2017-01-08, Amendment 39-18775 (82 FR 1593, January 5, 2017) ("AD 2017-01-08").
This AD applies to the airplanes identified in paragraphs (c)(1), (c)(2), (c)(3), (c)(4), (c)(5), and (c)(6) of this AD, certificated in any category, all manufacturer serial numbers.
(1) Airbus SAS Model A330-223F and -243F airplanes.
(2) Airbus SAS Model A330-201, -202, -203, -223, and -243 airplanes.
(3) Airbus SAS Model A330-301, -302, -303, -321, -322, -323, -341, -342, and -343 airplanes.
(4) Airbus SAS Model A340-211, -212, and -213 airplanes.
(6) Airbus SAS Model A340-541 and -642 airplanes.
Air Transport Association (ATA) of America Code 29, Hydraulic power.
This AD was prompted by reports of depressurization of hydraulic reservoirs caused by air leakage from the pressure relief valve (PRV) of the hydraulic reservoir (HR) due to the extrusion of the O-ring seal from certain HR PRVs. We are issuing this AD to address air leakage from the HR PRV, which could lead to the loss of one or more hydraulic systems, with the possible loss of control of the airplane.
Comply with this AD within the compliance times specified, unless already done.
(1) Affected HRs are identified in table 1 to paragraphs (g), (h), (i), and (j) of this AD.
(2) Affected PRVs are installed on affected HRs and have part number 42F0026 and a serial number identified in Safran Vendor Service Bulletins 42-29-005, Revision 01, dated September 26, 2017; and 42-29-006, Revision 01, dated September 27, 2017, as applicable.
(3) A Group 1 airplane has an affected PRV installed.
(4) A Group 2 airplane does not have any affected PRV installed. A Model A330 airplane on which Airbus SAS modifications 206863, 206864, and 206965 have been embodied in production is a Group 2 airplane, provided the airplane remains in that configuration.
(5) In table 1 to paragraphs (g), (h), (i), and (j) of this AD: Green hydraulic circuit is (G), blue hydraulic circuit is (B), and yellow hydraulic circuit is (Y).
At the applicable time specified in table 1 to paragraphs (g), (h), (i), and (j) of this AD, identify the HR part number, in accordance with Airbus Service Bulletin A330-29-3134, dated August 16, 2017; or Airbus Service Bulletin A340-29-4102, dated August 16, 2017; as applicable.
For Group 1 airplanes: At the applicable time specified in table 1 to paragraphs (g), (h), (i), and (j) of this AD, replace each affected PRV in accordance with the Start Printed Page 38091applicable service information specified in paragraphs (i)(1) through (i)(7) of this AD.
(1) Airbus Service Bulletin A330-29-3131, dated August 11, 2017.
(4) Airbus Service Bulletin A340-29-4099, dated August 11. 2017.
(1) For Group 1 airplanes: Concurrently with the PRV replacement required by paragraph (i) of this AD, re-identify the part numbers of affected HRs as specified in table 1 to paragraphs (g), (h), (i), and (j) of this AD, in accordance with the applicable service information specified in paragraphs (i)(1) through (i)(7) of this AD.
(2) For Group 2 airplanes: At the applicable time specified in table 1 to paragraphs (g), (h), (i), and (j) of this AD, re-identify the part numbers of affected PRVs and HRs, in accordance with the applicable service information specified in paragraphs (i)(1) through (i)(7) of this AD.
Replacement of all affected PRVs on an airplane, as required by paragraph (i) of this AD, terminates all requirements of AD 2017-01-08 for that airplane.
(1) For Group 1 airplanes: After replacement of all affected parts as required by paragraph (i) of this AD, do not install any affected PRV.
(2) For Group 2 airplanes: As of the effective date of this AD, do not install any affected PRV.
The following provisions also apply to this AD:
(1) Alternative Methods of Compliance (AMOCs): The Manager, International Section, Transport Standards Branch, FAA, has the authority to approve AMOCs for this AD, if requested using the procedures found in 14 CFR 39.19. In accordance with 14 CFR 39.19, send your request to your principal inspector or local Flight Standards District Office, as appropriate. If sending information directly to the International Branch, send it to the attention of the person identified in paragraph (n)(2) of this AD. Information may be emailed to: 9-ANM-116-AMOC-REQUESTS@faa.gov. Before using any approved AMOC, notify your appropriate principal inspector, or lacking a principal inspector, the manager of the local flight standards district office/certificate holding district office.
(2) Contacting the Manufacturer: For any requirement in this AD to obtain corrective actions from a manufacturer, the action must be accomplished using a method approved by the Manager, International Section, Transport Standards Branch, FAA; or the European Aviation Safety Agency (EASA); or Airbus SAS's EASA Design Organization Approval (DOA). If approved by the DOA, the approval must include the DOA-authorized signature.
(3) Required for Compliance (RC): If any service information contains procedures or tests that are identified as RC, those procedures and tests must be done to comply with this AD; any procedures or tests that are not identified as RC are recommended. Those procedures and tests that are not identified as RC may be deviated from using accepted methods in accordance with the operator's maintenance or inspection program without obtaining approval of an AMOC, provided the procedures and tests identified as RC can be done and the airplane can be put back in an airworthy condition. Any substitutions or changes to procedures or tests identified as RC require approval of an AMOC.
(1) Refer to Mandatory Continuing Airworthiness Information (MCAI) EASA AD 2018-0064, dated March 23, 2018, for related information. This MCAI may be found in the AD docket on the internet at http://www.regulations.gov by searching for and locating Docket No. FAA-2018-0704.
(2) For more information about this AD, contact Vladimir Ulyanov, Aerospace Engineer, International Section, Transport Standards Branch, FAA, 2200 South 216th St., Des Moines, WA 98198; telephone and fax: 206-231-3229.
(3) For service information identified in this AD, contact Airbus SAS, Airworthiness Office—EAL, Rond Point Emile Dewoitine No: 2, 31700 Blagnac Cedex, France; telephone: +33 5 61 93 36 96; fax: +33 5 61 93 45 80; email: airworthiness.A330-A340@airbus.com; internet http://www.airbus.com. You may view this service information at the FAA, Transport Standards Branch, 2200 South 216th St., Des Moines, WA. For information on the availability of this material at the FAA, call 206-231-3195.
Issued in Des Moines, Washington, on July 25, 2018.
James Cashdollar,
Acting Director, System Oversight Division, Aircraft Certification Service.


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Harry Potter Golden Snitch Necklace is rated 5.0 out of 5 by 10.
Rated 5 out of 5 by Anonymous from Awesome! Purchased for my daughter who is a Harry Potter fanatic. Safe to say she is, ecstatic!


Webb Strategic has added 9News reporter Taunia Hottman as an account manager. Hottman is a veteran of CNN and stations in New York, Chicago and Kansas City, and she will provide strategic counsel to a mix of Webb's clients. The firm also launched "Take Meds Seriously," a statewide social marketing campaign aimed at increasing awareness of the problem of prescription drug abuse, for the Governor's Office last week.
Happy 23rd birthday to Webb PR. You can celebrate by watching a three-year-old 20th-anniversary video the Webb team created.
If you were getting tired of the Is-the-Michael-Hancock-story-really-a-story debate, good news. The proposed Gaylord Hotel development in Aurora is the newest catfight in town, and it is splitting Denver's PR community. On one side are Wendy Aiello (repping Aurora) and Pete Webb (repping Gaylord). And on the other side is Andrew Hudson, who doesn't want to see the Stock Show relocate from Denver.
And if you aren't tired of the Michael Hancock debate, Big Media blogger Jason Salzman takes Denver media to task for running with a story that was broken by a guy using rampant rumors as a source.
Webb PR has hired Kris Schindler as a vice president. Schindler recently relocated to Denver from Wichita, where she ran the digital communications design agency Start-Thinking.
The dust has finally settled from last week's announcement that the BMW Championship, a PGA Tour FedExCup series event, will be held at Cherry Hills County Club in 2014, so a quick congratulations to Webb PR for pulling it off in style. The announcement included a Denver trifecta: local legend John Elway, pro golfer David Duval and a bow-tied John Hall.


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Tag: Grandmaster Flash
Is graf a part of hip hop or not?
Grandmaster Flash has opened up the longstanding debate on the basic elements of hip hop culture. In a recent interview, he stated writing has nothing to do with hip hop, and should be considered a separate movement apart, and not an integral element. In fact, Flash blamed the media for incorporating writing into hip hop, and a lot of writers immediately agreed with his position.
I have to admit being a bit stung by some of his comments because I wrote the first major magazine article on the subculture and put the words "hip hop" into play in the national media, and included writing as a part of the culture.
Writing was a city-wide phenomenon that started in the late 1960s in upper Manhattan and spread to the South Bronx before going all city, all boroughs. It spread quickly wherever there were subway tracks and trains. When the original masters of the first generation emerged as gallery artists calling themselves United Graffiti Artists, almost all were from the South Bronx, and the list was headed by Phase 2 and Bama.
Few realize today Kool Herc began as a writer, long before he got his first deejay system, and he ran with Phase 2 and Stay High 149, both of whom would go on to have epic status. Herc threw his first jam in 1973, and hip hop was his to incubate for the first three years. Coke La Rock was the first emcee during this period, inventing lines like "you rock and you don't stop," and putting "ski" on the end of everything. Coke was also the weed dealer, as well as emcee and deejay whenever Herc took a break. I'm pretty sure Herc considers graf a part of his culture, why else would he pose in front of it?
Afrika Bambaataa at Bronx River by Sylvia Plachy
In 1977, Afrika Bambaataa began forming what soon became known as the Universal Zulu Nation, dedicated to peace, unity and having fun. Bambaataa declared that deejaying, emceeing, breaking and writing were the four elements of what he named "hip hop," a phrase invented by Cowboy and made popular by Lovebug Starski. You simply can't discard the fact the primary visionary behind this movement expressly included writing as a part of the culture from its inception. Bambaataa will tell you he had this vision of a new culture in 1974, shortly after he discovered Kool Herc, so he dates the birth of hip hop not with Herc's first jam in 1973, but a year later.
There have always been hundreds of writers who say hip hop never influenced them, and they are correct. Most writers never attended a hip hop jam, and didn't know much about the culture until the media began covering it around 1980, and even then, awareness moved very slow at first because there was so much resistance to recognizing the culture. But it is incorrect to say the media invented the "graf-rap" connection, because that honor goes to Bambaataa.
In 1981, I went to an exhibit titled "New York/New Wave" at PS 1 curated by Diego Cortez. Although panned in the Village Voice, that show changed my life. There was a huge room filled with photos of over a hundred subway cars, but one in particular drew my interest. I'd recently been given a copy of "The Breaks" by Kurtis Blow, which had recently become the second 12-inch gold record in history, and the first rap song to go gold as well. The subway car that caught my eye was "Break" by Futura 2000. I contacted Diego, got Futura's phone number, and ended up attending a Soul Artists meeting on the Upper West Side. Futura introduced me to Fred Brathwaite, who gave me Bambaataa's phone number. And that's how I ended up writing a story called "Afrika Bambaataa's Hip Hop" for the Village Voice. So, I entered this universe through graffiti, and while I respect Flash and the many writers who reject any hip hop-graf connection, I know one actually does exist.
Buddy Esquire: King of Hip Hop Flyers
Here's a shot of Easy AD of the Cold Crush with Buddy Esquire (wearing sunglasses).
Buddy started writing graffiti in 1972 and used a variety of tags until he settled on ESQ. Most people would consider 1972 to be pretty early in graffiti history, but to his credit, when Buddy was asked if he was one of the graffiti pioneers, he said, "no that was Phase 2," who only started a year earlier.
One day some officers from the local precinct came by his house to tell his parents about his artistic vandalism, and Buddy got grounded for half the summer and lost his comic book collection as punishment. So Buddy got out of graffiti, even though neither the police nor his parents found his marker and spray-paint stash.
Buddy must have been pretty good at b-ball (as was Phase 2), as his partner in park basketball throughout the 1970s was a 6'9″ dude named Eddie Pinckney, who went on to win a championship with Villanova in 1985 before going pro.
In 1976 rap music began spreading in the Bronx. The new style had kicked off in 1973 with a Kool Herc party, but a year later Afrika Bambaataa merged the creative elements of ghetto culture and soon began calling it Hip Hop.
In 1977, Buddy was customizing jean jackets, and had mastered a professional style that looked nothing like his graffiti or the stencil letters others were applying to shirts and jackets. The Funky Four all got their jean jackets customized by Buddy. Later that year, he made his first hip hop flyer for a local block party. In November of 1978, Tony Tone asked him to do a flyer for a Breakout jam. The results were so good that when Tony, Charlie Chase and Grandmaster Caz put together the Cold Crush, they began using Buddy for almost all their flyers. Meanwhile, Phase 2 had already established himself as the main flyer maker for Grandmaster Flash and the Furious, as well as the creator of the "hood deco" style, which certainly helped goose vibrations and expectations. Before long, The Furious and Cold Crush would become the premier groups of hip hop, and Buddy and Phase would be known as the hip hop flyer kings.
I just saw on Facebook Buddy is no longer with us, and wonder what could have possibly happened. If anyone knows, please drop me a note or a comment and I'll update this. And if anyone knows about any upcoming tributes, please spread the info.
http://www.amazon.com/Hip-Hop-Steven-Hager-ebook/dp/B00IOXGNHY/ref=sr_1_1?ie=UTF8&qid=1415014199&sr=8-1&keywords=hip+hop+by+steven+hager
The first history of Hip Hop
Long out-of-print and with copies selling for upwards of $500, the original hip hop history written by the first journalist to document the scene is now available. When the book first appeared in 1984, here's what some of the press had to say:
"…extremely well-written…"
Rock&Roll Confidential, #16/September 1984: HOME XEROXING PROSPECTS…Hip Hop by Steven Hager is an intelligent, vividly illustrated and extremely well-written account of the rise of hiphop culture. It begins at the beginning, that is to say, with James Brown and details the destructive policies of New York planner Robert Moses that created the South Bronx in the first place. By the end of the book you'll feel close enough to many of the graffiti writers, breakers, djs and rappers that they'll seem like old friends. —Dave Marsh
"…sets the record straight…sorted out fact from fiction…"
Paper Magazine: Steven Hager's Hip Hop attempts to set the record straight on the endlessly argued questions of who did what first where. On the case for years, interviewing anyone and everyone, Hager (who also came up with the idea of Beat Street) has sorted out fact from fiction and written as "true" a story as we're likely to get. — David Hershkovits
"…the best and most reliable history…"
Penthouse October 1984: Within a few months time the Hollywood films Breakin' and Beat Street were huge summer hits. A half-dozen books on break dancing are on the market, not to mention more movies and instructional aids. In Hip Hop, the best and most reliable history of the break-rap-graffiti subculture, author Steven Hager reveals that break dancing actually started around 1973 amid the urban devastation of New York's South Bronx and had all but disappeared by 1978, supplanted by newer dances like the "freak" (ritualized dry-humping) and robotic "electric boogie," What saved breaking from disappearing into the limbo of great lost dances? Mostly the growing popularity of disk jockeys like Kool Herc, Afrika Bambaataa, and Grandmaster Flash, who encouraged competitive dancers at club and community-center functions.—Robert Palmer
"…thrilling intricate story…"
Artforum: Did Keith Haring's use of found frames make his work something other than graffiti, which defines its own field? Did the Funky Four + 1s "That's the joint" and Grandmaster Flash and the Furious Five's "The Message" speak separate languages? Such questions don't come up in this fine book; Hager is stronger on sociology than art, more acute on the secret history of the scene than on its spectacular emergence. The prehistory was really secret: budding graffiti writers seeking the new Bronx Kilroys, would-be DJs looking for the right party to crash, cops chasing guerrilla artists, turntable wizards stripping the labels from their records to out-fox the competition. Hager makes it all a thrilling, intricate story, all set against the heroic opposition between master-builder Robert Moses, destroyer of the Bronx, and Afrika Bambaataa, tribune of a new culture built on the ruins of the old. But Hager loses his tale once it becomes public, as perhaps it has lost itself. His claim that hip hop "has the potential to infiltrate and subvert the mass media, energizing them with a fresh supply of symbols, myths, and values" doesn't define hip hop: it defines America's ability to recuperate the idea of subversion itself. Still, Hager talked to the right people—better yet, they talked to him.—Greil Marcus
"…thorough job of research…"
Pulse: New York City always seems to be at the cutting edge of trends in pop culture. Recently, breakdancing, hip-hop and rap records, and, to a lesser degree graffiti art have broken out of their Gotham origins, gotten picked up by the media and—as a result—have become important movements in '80s pop culture. Steven Hager's Hip Hop is a fast reading history of how these movements started—and developed —that focuses on the many personalities that made it happen. Hugo Martinez and Keith Haring, Afrika Bambaataa and Grandmaster Flash—from street-gang origins to recognition by serious art and music critics—they all come alive here in Hip Hop. This is a quick read—you can knock it off in an evening—but don't get the idea that Hip Hop is one of those quickie exploitation jobs cranked out to cash in on current fads. Hager—whose original newspaper article inspired the film Beat Street—has done a thorough job of research, tracked down many obscure artists, breakers, and DJs for some cool interviews, and tied everything together in beautiful style.
"…Hager is an ace reporter…"
Village Voice January 14, 1986: Hager offers a good helping of relevant data, bringing us through the two phases of graffiti's art world acceptance, pinpointing crucial journalistic moments (though not his own Voice profile of Afrika Bambaataa, which is where Beat Street began), and devoting an epilogue to the fallout from the biggest of all hip hop's breakthroughs—the crassly out-of-context appearance of the Rock Steady breakers in the crassly pop-populist Flashdance. But Hager is an ace reporter, not a critic or social historian. —Robert Christgau
"…for those who wonder how it all started…"
The Palm Beach Post October 26, 1984: Most of us have probably seen enough break dancing to last us several lifetimes. For those who still wonder how it all started, a new book has come out called Hip Hop by Steven Hager, who tells us, among other things, that the graffiti sprouted on subways and walls were started by a young Greek named Taki, who put his first tag on an ice-cream truck in 1970.
"…formidable job of reporting…"
Knight-Ridder News Service March 30, 1985: Hip Hop takes its title from the street term for the entire urban subculture of rap music, break dancing, and graffiti art. The book comes packaged as if it were a bit of fluff intended to capitalize on the break dancing craze. The text, however, is a formidable job of reporting. Hager, a former reporter for the New York Daily News, tracked down many of rap's most elusive figures, like the South Bronx disk jockeys who played the first rap records on turntables set up on street corners, and the earliest rappers, whose performances were given a parties and on inner-city playgrounds. The result is a description of a vibrant subculture.—Ken Tucker
"…fine investigative report…"
Voice of Youth Advocates: New York journalist Hager, who followed the hip hop scene for years before mass appeal set in, does a fine investigative report here. His sources: the horse's mouth. The book is full of quotes of original New York hip hoppers he has interviewed: graffiti artists such as Futura 2000 who began "writing" on subway trains and now commands thousands of dollars in commissions, deejays such as Grandmixer DST who reveals here the secrets of his "scratchin'" technique, rappers who record their staccato rhymes now but whose tradition extends back to prisoners composing rhyming fables called toasts, and break dancers in hit films who began as street gang warriors. Their voices give Hager's account authenticity.—Cathi Edgerton
"…explains how hip hop happened…"
The Boston Herald December 9, 1984: Hip Hop was written by Steven Hager, a longtime reporter on the musical and artistic subculture that's rocked the world after busting out of New York's slums. This serious but not heavy-handed guide explains how hip hop happened and what it's all about.
"…it's impressive…"
New York Daily News: Steven Hager's Hip Hop isn't a definitive study but, considering how hard it is to get information on the street culture of the South Bronx (few written sources, many reluctant or self-serving informants), it's impressive.—David Hinckley
"…hits home with little-known facts…"
Billboard Sept. 15, 1984: Hager hits home with some little-known facts: that blacks were performing a form of break dancing in the mid-70s and at some point abandoned it, to be revived by Latin males, that graffiti artists often collect in "gangs" to study each other's technique and avoid police while utilizing their favorite canvasses, New York City subway cars, and that a Bronx DJ named Kool Herc played a crucial role in the development of hip-hop music. —Nelson George
"…excellent book…"
KLIAT January 1985: This fascinating book is not a how-to manual, but a discussion of the evolution of Hip Hop, that subculture of dance, art and music that started in the South Bronx. He doesn't romanticize Hip Hop, but he doesn't treat it condescendingly either. An excellent book Hip Hop is worth owning. —F.L.
"…the best read on the subject…"
East Village Eye: Steven Hager's new book Hip Hop is certainly the best read to be found on the subject. Hager was the first major writer to pick up on the movement, and he remains the best. His book encompasses the entire spectrum. —James Marshall
"…messy, ego-obsessed scrawls…"
New Musical Express September 22, 1984: There seems to be an inability to ridicule the more ridiculous aspects (like the graffiti artist who arrived at a rival's house with a shooter threatening to use it unless he changed his pen-name). He also shares the age-old white critic's fallibility of reading more importance than is necessary into black man's art—most of the illustrations herein show street graffiti to be messy ego-obsessed scrawls. —Gavin Martin
"…obsolete as last month's Magic Marker…."
Heavy Metal Feb/March, 1985: The walk from the South Bronx to the Lower East Side is long, and Hip Hop is like the view from a Greyhound bus. Encompassing break dancing, rapping, scratching, and street fashion, spanning from the present day New York back into the beyond, Hip Hop is a lot to digest. Even worse, the bleached-out black-and-white pages lack the visual beauty of their subject. Writer Steven Hager has renovated his Soho News and Village Voice articles to dissertation length, and even tacked on a glossary and bibliography that will, if we know Hip Hop, be obsolete as last month's Magic Marker. —SM


At The Cheese Shed there are just a very few things that we have made especially for us. These have come about because we just couldn't quite find what we wanted, so needed to work with a producer to get some made and fill the gap.
One is a soft fresh cheese in three versions - Parke, Pepperdon and Drogo (depending on what it's flavoured with). Another is the jars of rather special Cheese Shed Pickled Onions made by Dave Cartwright who works here. Dave was very sniffy about the pickled onions we were selling, and insisted he could do better - once we'd tried them we had to admit he was right. In his version they benefit from a little mixture of spices, which we love.
Now here's the latest of these 'exclusive' products: The Cheese Shed's Walnuts In Honey. Some time ago I was talking to Clare Gault, the brilliant chutney, marmalade and jam maker who gave here name to Clare's Preserves, and who lives a stone's throw from here. "What", I asked her, "could you make for The Cheese Shed that would be ... different?" She wasn't sure at the time, but later on turned up with an idea. Did I know that in Greece they were very keen on walnuts in honey as an accompaniment to cheese? Well, I didn't, but she had come equipped with a little tester jar for us, which we tried with various different cheeses. Lovely, was the unanimous verdict.
The honey was easy, since Clare had a good source of that from hives located on Dartmoor (which we're just on the edge of). Locally-grown walnuts proved a bit trickier, but as if by magic we suddenly heard about a couple who had an orchard-full of walnut trees just near Shaldon, about 10 miles away. All that remained was for Clare to lightly roast them and then pour in the honey, together with a little thyme and lemon zest.
They arrived yesterday (Thurs 22nd) and have already created quite a bit of interest. Take a look at them here and see what you think!


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Assistant Professor - Aeronautics & Astronautics (Structures)
The William E. Boeing Department of Aeronautics & Astronautics at the University of Washington invites applications for a full-time tenure-track faculty position in the field of aerospace materials and structures with a nine-month service period. Our faculty embrace a culture of excellence and inclusion, are committed to graduate and undergraduate education and develop novel research programs. Candidates must have expertise in aerospace materials and/or structures, but the search is not constrained to specific sub-fields in aerospace materials/structures. Candidates with interdisciplinary expertise (e.g., materials/structures research combined with data science, robotics, biology, chemistry, and/or manufacturing) are also strongly encouraged to apply. Candidates are expected to complement existing research areas in the Department and across campus, and to develop a leadership position in aerospace-related research.
The Department is committed to excellence in research and teaching, with the expectation that all University of Washington faculty engage in teaching, research, and service. The successful candidate is expected to develop a vigorous and innovative externally-funded research program, to provide high-quality teaching that integrates research with instruction at both the undergraduate and graduate levels, and to participate in service activities.
The William E. Boeing Department of Aeronautics & Astronautics is one of the original aerospace engineering departments in the nation and the only one of its type in the Pacific Northwest, a region whose extensive aerospace industry continues to be a major contributor to the technological development, economic vitality, and security of the United States. Under its strategic plan the department has been building strength in the multidisciplinary areas of aircraft systems, space systems, and energy systems, while continuing to pursue basic research in areas of fundamental importance to aeronautics and astronautics. For information about the department, please visit www.aa.washington.edu.
Applicants are required to have a Ph.D. or foreign equivalent in aerospace engineering or related discipline by the date of appointment.
The position will be open until filled, but we expect interviews to begin in January 2020. Our anticipated start date is September 1, 2020. UW is using Interfolio's Faculty Search to conduct this search. Applicants to this position receive a free Dossier account and can send all application materials, including confidential letters of recommendation, free of charge.
Please provide pdf files for the following requested materials:
Cover letter indicating interest and fit with the position.
A current curriculum vitae.
Complete contact information for five references.
A research statement that includes the candidate's vision for their research for the next five years and the potential for research collaboration.
A statement of teaching and education interests and/or philosophy.
A statement of diversity/equity/inclusion reflecting how your approach to research, education and/or service contributes to positive social change and is inclusive of individuals with different gender, class, race, ethnicity, religious affiliation, national and cultural boundaries, national origin, worldview, ability, and other identities. We invite you to discuss related experiences in research, education and service, personal areas of growth with regard to issues of diversity, inclusion, equity, and justice, and your potential to mentor and educate students from diverse backgrounds.
For any administrative issues or inquiries related to the search, please contact Kimberly Maczko, kmaczko@aa.washington.edu. For help signing up for Interfolio, accessing your account, or submitting your application, please check out Interfolio's help and support section or get in touch via email at help@interfolio.com or phone at (877) 997-8807.
University of Washington is an affirmative action and equal opportunity employer. All qualified applicants will receive consideration for employment without regard to race, color, creed, religion, national origin, sex, sexual orientation, marital status, pregnancy, genetic information, gender identity or expression, age, disability, or protected veteran status.
The University of Washington is committed to building diversity among its faculty, librarian, staff, and student communities, and articulates that commitment in the UW Diversity Blueprint (http://www.washington.edu/diversity/diversity-blueprint/). Additionally, the University's Faculty Code recognizes faculty efforts in research, teaching and/or service that address diversity and equal opportunity as important contributions to a faculty member's academic profile and responsibilities (https://www.washington.edu/admin/rules/policies/FCG/FCCH24.html#2432).
About University of Washington
Founded in 1861, the University of Washington is one of the oldest public institutions in the west coast and one of the preeminent research universities in the world. The University of Washington is a multi-campus university comprised of three different campuses: Seattle, Tacoma, and Bothell. The Seattle campus is made up of sixteen schools and colleges that serve students ranging from an undergraduate level to a doctoral level. The university is home to world-class libraries, arts, music, drama, and sports, as well as the highest quality medical care in Washington State and a world-class academic medical center. The teaching and research of the University's many professional schools provide undergraduate and graduate students the education necessary toward achieving an excellence that will serve the state, the region, and the nation. As part of a large and diverse community, the University of Washington serves more students than any other institution in the Northwest.


Batman's cash flow is sound - can the same be said for your SME?
What did Ghostbusters teach us about working capital?
How does your business collaborate with our closest neighbour?
What does an unchanged cash rate mean for the economy?


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Villon ist eine französische Gemeinde mit  Einwohnern (Stand: ) im Département Yonne in der Region Bourgogne-Franche-Comté (vor 2016 Bourgogne) im Osten Frankreichs. Die Gemeinde gehört zum Arrondissement Avallon und zum Kanton Tonnerrois (bis 2015 Cruzy-le-Châtel).

Geografie
Villon liegt etwa 57 Kilometer ostnordöstlich von Auxerre. Umgeben wird Villon von den Nachbargemeinden Arthonnay im Norden und Nordosten, Cruzy-le-Châtel im Süden und Osten sowie Rugny im Westen.

Bevölkerungsentwicklung

Sehenswürdigkeiten
 Kirche La Nativité-de-la-Notre-Dame

Weblinks

Ort in Bourgogne-Franche-Comté

redpajama_set_name: RedPajamaWikipedia


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Indian Scout launched at a price of 11.99 lakhs by Polaris
After electrifying India by revealing their 2014 Indian Chief range, Polaris India Pvt. Ltd, a wholly owned subsidiary of Polaris Industries Inc., the world leader in Off-Road and All-Terrain Vehicles has announced the availability of the new Indian Scout through bookings.
Mr. Pankaj Dubey, Managing Director, Polaris India Pvt. Ltd.
"The launch of the Indian Scout in the United States has proved to be successful in stirring a new wave of enthusiasm. The launch just added another feather in our effort to revive the history of Indian Motorcycle. The launched model is designed to possess the heritage of the past, blended with modern technology. We are now giving Indian enthusiasts a chance to own a piece of history in a modern package by booking their own Indian Scout."
Meanwhile, the all-new Indian Scout is an innovative and aesthetically stunning American cruiser. It introduces the first-ever liquid-cooled Indian Motorcycle engine — an efficient and reliable 69 cubic inch V-twin engine offering 100 HP of performance for impressive power on demand. This new model carries the legendary Indian Scout name into the future in authentic Indian Motorcycle style. It also features:
A liquid-cooled, 1131 cc V-twin engine offering high performance
A classic rigid triangle design coupled with premium mono-tube rear shocks that deliver exceptional handling and comfort
A 244 kg/253 kg (538/558 lbs) dry weight, 1562 mm (61.5 IN) wheelbase, 135 mm (5.3 IN) ground clearance and 31 degrees of lean for precise high and low speed maneuverability
Price: Starting from Rs. 11.99 lakhs (ex-showroom Delhi)
Polaris India introduced the Indian Motorcycle in India early this year. Indian Motorcycle is an iconic brand that gained immense popularity across world geography. In April 2011, Polaris Industries acquired Indian Motorcycle and in July 2013, it unveiled the all-new range of Indian motorcycles. Since the April 2011 acquisition of Indian Motorcycle by Polaris Industries, the company has made an unprecedented commitment of time, resources and passion into the design of the all-new power plant. From the outset, the goal was to capture the iconic design and styling aspects of the 113-year old brand's most historic model and fuse that heritage with state-of-the-art technology and progressive design elements. The new design reflects an unparalleled investment into researching the complete history of Indian Motorcycle power train development.
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2022 Indian Motorcycle FTR gets Stealth Gray Special Edition
Indian FTR Black Swan by Workhorse Speed Shop
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Indian Motorcycle announce 2021 BS6 motorcycle lineup and prices for India
Indian Motorcycle developing an electric bike: 'EFTR' trademark filed
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Have your kids every been to the ballet? Have YOU? Join NCHE for this once in a lifetime opportunity! Connect with other homeschool families as you experience the Charlotte Ballet perform the age-old story of Peter Pan, the boy who didn't grow up. Enjoy his adventures in Neverland with mermaids, native americans, and, of course, Captain Hook and Tinkerbell!
This special performance will last about 60-90 minutes and include a Q&A time with the performers. Educational materials will be provided a couple weeks prior to the show for all families.
Performance starts at 10 a.m., but we need to be on-site by 9:20. The theater location is 430 South Tryon Street, Charlotte.
Pre-registration and payment is required. Tickets will be sold while supply lasts or until FEBRUARY 27. Tickets for this show sell for $25-85, but going with our group to the school performance, tickets are only $12! Tickets are transferable to others for the same performance but are non-refundable. Questions? Contact NCHE Activities Director Evelyn Bickley at evelyn.bickley@nche.com.
NOTE: Our original tickets are SOLD OUT. We are wait listed for additional tickets if/as they become available after February 15. Please check back then to see if space has become available.


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The Samsung Galaxy Mega® 2 to Arrive at AT&T on Oct. 24
The new Samsung Galaxy Mega® 2 is set to join the nation's most reliable 4G LTE network1 on Oct. 24. It features a quad-core processor for speedy multi-tasking and responsiveness along with the added benefit of battery management features.
The Samsung Galaxy Mega 2 is available for purchase starting Oct. 24 at www.att.com and in AT&T2 retail stores for $19.80 a month with Next 18,3 $23.75 a month with Next 12,4 $149.99 with a new two-year contract, 5 or $474.99 with no annual commitment.6
You can also receive a $100 bill credit7 when you activate a new or existing line of service on AT&T NextSM with a smartphone.
The Galaxy Mega 2 is designed for those who want to get the most out of their large-screen smartphone, featuring a 6-inch High Definition screen with a smaller overall "just-right" size and one-hand operation mode that puts most everything within easier reach. It also includes key features such as:
8MP Camera with 4X Zoom: Capture your special moments with the Galaxy Mega 2's 8MP rear-facing camera with 4X zoom. The camera's on-screen controls make sure you're ready to snap a picture at a moment's notice.
Multi-task without Interruptions: Not only can you have two apps open at once with the split-screen mode, but with the new multi-instance Mode you can open the same application in two windows at once. The Galaxy Mega 2 offers all this without having to pause your navigation or a movie when receiving phone calls or texts.
Private Mode TM: The Galaxy Mega 2's Private Mode allows you to keep personal files protected with a password, making it more secure than ever before.
Improved Battery Management: What's better than quad-core speed? The ability to use it all day with limited charging. 8 The Galaxy Mega 2 comes equipped with a 2,800mAh removable lithium-ion battery, and Ultra Power Saving Mode, which allows you to receive calls and tests for up to 24 hours on a 10 percent charge.9
AT&T currently offers the largest selection of Samsung devices. For more information on the Galaxy Mega 2, visit www.att.com/galaxymega2 and Samsung Galaxy Mega® 2 device launch video.
AT&T is focused on giving our customers a top-notch experience through fast and friendly service. Being recognized as the highest ranked wireless provider for overall purchasing experience by J.D. Power, 10 for the third time in a row, shows this commitment to the customer experience is making a difference. AT&T outperformed competitors in the J.D. Power 2014 Volume 2 study and received the "Highest Satisfaction with the Purchase Experience among Full-Service Wireless Providers, Three Times in a Row."
View this post on our Consumer Blog.
Samsung and MEGA are both registered trademarks of Samsung Electronics Co., Ltd.
1Reliability based on data transfer completion rates on nationwide 4G LTE networks. LTE is a trademark of ETSI. 4G LTE not available everywhere.
2AT&T products and services are provided or offered by subsidiaries and affiliates of AT&T Inc. under the AT&T brand and not by AT&T Inc.
3Requires 20-mth or 24-mth 0% APR installment agreement and qualifying credit and wireless service. Tax due at sale. If wireless service cancelled, device balance due. Service costs additional. Other charges and restrictions apply. AT&T Next Requirements: www.att.com/shop/wireless/next.html#fbid=mkEz9ThvDiO.
4$149.99 pricing. Requires 2-year agreement with qualifying data plan. Activation/upgrade, early termination and other fees, and restrictions apply. Pricing Requirements: www.att.com/att/planner/index.html#fbid=yRbS77904im.
5Requires activation of new line of qualified wireless service.
7Bill Credit Offer ends 10/31/14. Requires activating a new qualified line of service on a new smartphone purchased on AT&T NextSM. Remain in good standing to receive credit within 3 bills. Other charges & restrictions apply. Visit a participating store for promo details.
8Results may vary. Battery power consumption depends on factors such as network configuration, signal strength, operating temperature, features selected, vibrate mode, backlight settings, browser use, frequency of calls and voice, data and other applications usage patterns.
9Testing under laboratory conditions. Results may vary. Battery power consumption depends on factors such as network configuration, signal strength, operating temperature, features selected, vibrate mode, backlight settings, browser use, frequency of calls and voice, data and other applications usage patterns.
10AT&T received the highest numerical score among full service wireless providers in the proprietary J.D. Power 2013 (Vol. 2) and 2014 (Vol. 1 & 2) Full Service Wireless Purchase Experience StudySM. 2014 Vol. 2 based on responses from 10,079 consumers measuring 4 full service wireless providers and measures opinions of consumers who purchased a wireless product or service within last 6 months. Proprietary study results are based on experiences and perceptions of consumers surveyed January-June 2014. Your experiences may vary. Visit jdpower.com.
AT&T Delivers Remote Patient Monitoring for High-Risk Patients
We're teaming up with Samsung and Qure4u to provide remote patient monitoring for patients with high blood pressure.
'Tis the Season for Savings at AT&T
We're spreading holiday cheer by giving our best deals to everyone, on every smartphone with any unlimited plan.
Step Up Your Game With AT&T and the New Samsung A-Series
New and existing AT&T customers can get the Galaxy A52 5G for as low as $5 a month or the Galaxy A12 for as low as $1 a month.


text:
Home/Microbiology/Scientists find powerful potential weapon to overcome antibiotic resistance
UNC School of Medicine researchers discover how molecules called rhamnolipids could make common aminoglycoside antibiotics effective against the toughest Staph infections
The BioScientist Follow on Twitter Send an email August 14, 2019
Staphylococcus aureus bacteria are a major cause of serious infections that often persist despite antibiotic treatment, but scientists at the UNC School of Medicine have now discovered a way to make these bacteria much more susceptible to some common antibiotics.
The scientists, in a study published in Cell Chemical Biology, found that adding molecules called rhamnolipids can make aminoglycoside antibiotics, such as tobramycin, hundreds of times more potent against S. aureus – including the strains that are otherwise very hard to kill. The rhamnolipids effectively loosen up the outer membranes of S. aureus cells so that aminoglycoside molecules can get into them more easily.
"There's a great need for new ways to kill bacteria that tolerate or resist standard antibiotics, and to that end we found that altering membrane permeability to induce aminoglycoside uptake is an extremely effective strategy against S. aureus," said study senior author Brian Conlon, PhD, an assistant professor in the department of microbiology and immunology at the UNC School of Medicine.
The U.S. Centers for Disease Control has estimated that in 2017 there were more than 119,000 cases of serious bloodstream Staph infections in the United States, of which more than 20,000 were fatal.
Standard treatments for many strains of the S. aureus do not kill the bacteria, either because the bacteria have genetically acquired specific antibiotic resistance or because they grow in the body in a way that makes them inherently less vulnerable. For example, S. aureus can adapt its metabolism to survive in low-oxygen zones in abscesses or in the mucus-filled lungs of people with cystic fibrosis. In these environments, the bacterial outer wall or membrane becomes relatively impermeable to aminoglycosides, such as tobramycin.
Conlon and colleagues, including first author Lauren Radlinski, a Ph.D. candidate in the Conlon laboratory, found in a 2017 study that rhamnolipids greatly enhance tobramycin's potency against standard test strains of S. aureus. Rhamnolipids are small molecules produced by another bacterial species, Pseudomonas aeruginosa, and are thought to be one of P. aeruginosa's natural weapons against other bacteria in the wild. At high doses they make holes in rival bacteria's cell membranes. The UNC researchers found that rhamnolipids greatly boost the uptake of tobramycin molecules, even at low doses where they have no independent anti-bacterial effect.
In the new study, Conlon, Radlinski and colleagues tested rhamnolipid-tobramycin combinations against S. aureus populations that are particularly hard to kill in ordinary clinical practice. The researchers found that rhamnolipids boost tobramycin's potency against:
S. aureus growing in low-oxygen niches;
MRSA (methicillin-resistant S. aureus), which are a family of dangerous S. aureus variants with genetically acquired treatment resistance;
tobramycin-resistant S. aureus strains isolated from cystic fibrosis patients;
and "persister" forms of S. aureus that normally have reduced susceptibility to antibiotics because they grow so slowly.
Radlinski said, "Tobramycin doses that normally would have little or no effect on these S. aureus populations quickly killed them when combined with rhamnolipids."
Conlon, Radlinski, and colleagues determined that rhamnolipids even at low doses alter the S. aureus membrane in a way that makes it much more permeable to aminoglycosides. Each antibiotic in this family that they tested – including tobramycin, gentamicin, amikacin, neomycin, and kanamycin – had its potency enhanced. The experiments showed, moreover, that this potency-boosting strategy is effective not just against S. aureus but several other bacterial species, including Clostridioides difficile (C-diff), which is a major cause of serious, often-fatal diarrheal illness among the elderly and patients in hospitals.
Rhamnolipids come in many variants, and the scientists now hope to determine if there is an optimal variant that works powerfully against other bacteria while having little or no toxic effect on human cells. The team also plans to study other microbe-vs.-microbe weapons to find new ways to enhance the potency of existing antibiotics.
"There's a huge number of bacterial interspecies interactions that could be influencing how well our antibiotics work," Radlinski said. "We aim to find them with the ultimate goal of improving the efficacy of current therapeutics and slowing the rise of antibiotic resistance."
Cell Chemical Biology
Here's How E. Coli Knows How to Make You Really Sick
New Method To Fight Drug Tolerant Bacteria
How Zika virus shuts down the function of macrophages as immune cell
Cystic Fibrosis Bacterial Load Initiates in The Course of First Years of Life
Scientists Discover A New Method To Block Tumour Reappearance


Discussion in 'AdSense' started by 18tubecocc, Oct 7, 2013.
I hear many sites like hubpages and squidoo are working on adsense sharing.
I want some information which is best adsense sharing site and can we use same account on our website or not.
Adsense sharing as in click exchange or placing your ads on another persons site?
Please don't rely on Adsense sharing websites, I have tried them long time ago, absolutely waste of time.
If you want to know the sytem work or not then answer is yes.
If you want a list of sites, that is already above metional by a awesome person, and if you want to know which one is best other may work well but Hubpages and Squidoo work are best.
Answer for your last question whether you can use same account or not ? Answer is Both Yes and no . Dont be confused. Yes Yes but How you can use i will explain now.
Case No. 1. If you have already adsense account & want to connect this servic you can use it well. This is the case you can.
Case No. 2. If you have applied for adsense buy using this service your account will be tagged as Hosted Adsense account, then you cannot use or creat your own ad units. then you have to request Adsense team via contact form with you own website to upgrade your account from hosted Adsense to Self Account. That is pretty much easier, but only thing you should have is a website. This is the case you can't.
You can try Techulator, indiastudychannel, chennaispider and zlobber.
Add NewsForShoppers.com to the adsense sharing list. 70% share. They don't accept all writers though, you have to apply and be approved.
Yes NewsForShoppers.com does have a good reputation.
Article has been denied because of grammar, spelling or formatting issues in title. Ensure your title is properly capitalized. --- Article needs additional formatting to make it understandable to your readers. Please take a look at your paragraphs, capitalization and punctuation and make the necessary adjustments. --- Article does not meet the quality standards of InfoBarrel. You are receiving for one of the following reasons: - Articles with very thin content created to generate back links - Articles that do not provide value to the reader and are geared towards capturing search traffic. - Articles that use bad grammar or poorly structured English Low quality articles are also against Google's terms of service as you can see here under the Doorway Pages section.
The article was very well written, taken from a book. So impossible to make mistakes. It is clear that he is a bot who sends these messages, so the site is 100% SCAM! STAY AWAY!
The article was very well written, taken from a book.
or maybe they just left plagiarism out of the reasons for rejection?
You can't say which website is on top in adsense sharing, because the websites which are doing good today might not do good tomorrow.
WOW i can teach how to increase your cpc to $1.00 per click adsense.


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Ekstasy produced a Case Study Video of LG's happy customer Etihad Man City football stadium.
Produce the video under strict guidelines of the stadium, sky and premier league.
Ekstasy found a way to shoot around the game footage which was not allowed to be filmed. Two interviews were filmed and the multiple cutaways (b-roll) were filmed on a total of 4 cameras over two days.
LG have used this video in sales pitches, corporate presentations, trade shows and across social media in multiple languages.


Successful doubles teams don't wait to see what might happen, they make things happen. One of the best ways to do this is with an aggressive style of play -- controlling the net. This style of play doesn't mean you have to hit hard to win, it simply means you must recognize and take the opportunity to attack the net and put pressure on your opponents. The more you do drills that require you to attack and control the net, the more confident you'll become at the net -- and the more trophies you'll win.
Practice charging the net and putting pressure on your opponents with the rush-and-crush drill. You will need four players for this drill. Pair up into two teams. Start with the teams standing on opposite baselines.


text:
Media, Campaigning and Social Change MA
Part of Journalism, Digital Media and PR
Course Leaders
Part-time day/evening - September 2020
UK/EU Fees £950 *
Cavendish, Central London
* Price per 20-credit module
This innovative Master's degree aims to equip students with the skills, knowledge and strategic approach to develop and analyse social change campaigns and activism, with a particular focus on the role of communications and the media. This is the only postgraduate programme of its kind, and has a flexible delivery to suit both full-time and part-time students.
The course builds on our close links with leading campaigners and communicators in London's vibrant social change sector. An advisory panel, with representatives from Amnesty UK, Friends of the Earth, WaterAid, SumOfUs, Advocacy Hub, Campaign Bootcamp, FairSay and The National Council of Voluntary Organisations among others, will ensure we always reflect the skill sets in demand and deliver an exciting learning experience. A limited number of work placements and internships will be available.
The course is aimed at those with some experience or interest in social change, the media, and communications or campaigns within not for profit organisations. The course will help you improve your practical skills, develop a deep understanding of the theories and frameworks that underpin and shape campaign communications, and enjoy the space to reflect critically on current and past practice. It is designed to help you start, or progress, a career in charity, pressure group or public sector campaign communications. It may also be of interest to those working in corporate social responsibility. Alumni work in a range of senior campaign and communications roles in charities, NGOS, agencies, think tanks and government departments.
The course team has extensive experience both in developing social change campaigns and in academic research into the connections between media, protest and social change. The course is jointly led by Michaela O'Brien and Dr Anastasia Kavada, with additional teaching by practitioners and members of our internationally renowned Communication and Media Research Institute. It is taught at our campuses in the West End of London, and also at the Harrow campus.
The course offers a number of delivery modes to suit the different needs of students and can be taken as either part-time or full-time. In addition to the Media, Campaigning and Social Change MA, we offer a Media, Campaigning and Social Change Postgraduate Diploma and a Media, Campaigning and Social Change Postgraduate Certificate, which comprise fewer modules than the full MA and so can be completed in a shorter period of time.
To study for the Postgraduate Certificate, you will be required to take the three core 20-credit modules listed in the Course Structure. The Postgraduate Certificate usually takes one year to complete part-time. Apply for the Postgraduate Certificate now via UCAS Postgraduate (UCAS code P052128)
To study for the Postgraduate Diploma, you will be required to take the three core 20-credit modules listed in the Course Structure and also choose an additional three 20-credit modules from the Option modules list. The Postgraduate Diploma usually takes one year to complete full-time or two years to complete part-time. Apply for the Postgraduate Diploma now via UCAS Postgraduate (UCAS code P052127)
There are three core modules. The first develops practical planning and campaign communications skills, the second considers media and activism theories, and the third combines theory with practice, reflecting on applying concepts like power and ethics within the setting of campaign communications. Each module has assessments – e.g. essays, campaign plans, reflective blogs, debates and presentations - rather than exams. These three core modules make up the Postgraduate Certificate.
Students can take another three modules - chosen from a very wide range of options including practical media and content production skills, diversity issues, development and policy, social media, theories of communication and more - to complete a Postgraduate Diploma.
Students wanting to take the Masters course also complete either a 15,000-word research dissertation, or a professional practice project (which can be work-based).
Critical Issues in Campaigning (Semester 1)
In this module, you will consider the factors that influence social change in the context of current campaigns around the world, and the historical development of campaign techniques and practices. You will apply a critical analysis of concepts such as power, theories of change, ethics, innovation, media representation, narrative and framing to practical scenarios and topical campaigns. This module requires you to monitor and critically evaluate practice in the UK and/or internationally.
Media, Activism and Politics (Semester 2)
The module investigates the relationship between media, activism and politics. It offers a critical assessment of the role of media in political mobilisation, social movements, dissent, memes, satire and art, and political and social crises. The module looks at the impact of the communications on activism in a range of circumstances from secure democracies through different kinds of political systems. The module combines traditional academic lectures and seminars with attendance at topical events and visits to relevant exhibitions and institutions.
Strategic Campaign Communications (Semester 2)
In this module you will learn how to research and plan a strategic campaign for social change based on the theories of social change examined in Semester One. You will produce communication material such as news releases, e-alerts, tweets, infographics and/or videos to support your campaign strategy. Where possible, you work to live briefs from campaigning organisations. This is a practical, hands-on module taught through a series of workshops, visits to campaign communication teams in London-based campaigning organisations, masterclasses and guest talks by leading campaigners and social change communicators.20 credits
Dissertation or Professional Project
MA students only
The module will provide you with the opportunity to undertake independent research in the form of a dissertation that critically, systematically and theoretically develops an understanding and analysis of the role of media in campaigning and social change. Alternatively, you can complete a professional practice project (which can be work based).
Semester 1 option modules
Choose two of the following 20 credit modules in addition to the core module in Semester 1:
Approaches to Social and Cultural Diversity
Media and Content Strategy
Political Economy of Communication
Reporting Diversity: Sexuality, Age, Disability
Technology and Communications Policy
Choose one of the following in addition to the core modules in Semester 2:
Communications Policy and Development
Digital Media and Critical Theory
Media Audiences in the Digital Age
Emerging Journalism
Journalism Practice and Inclusive Society
Researching Media and Communication
Sociology of News
The course offers a number of delivery modes to suit the different needs of students and can be taken as either part-time or full-time.
Michaela O'Brien
Head of School - West. Sch Media Comms
Michaela O'Brien has more than 20 years experience developing campaign communications for national and international charities and not-for-profits including Amnesty International, War on Want and Carers UK. She set up the U.K.'s first postgraduate module on not-for-profit communications in 2007. Leading not-for-profit practitioners, and Westminster academics with relevant expertise including Winston Mano and Roza Tsagarousianou, also teach students on the course.
Anastasia Kavada
Anastasia Kavada's research focuses on the role of digital media in the development of collective action and activism including at Occupy, Avaaz and 38 Degrees. She is deputy director of CAMRI.
The passion and diversity of the students makes this course what it is; together we explore how communications can help deliver progressive social change.
A minimum of an upper second class honours degree (2:1) or a lower second class honours degree (2:2) and substantial relevant work experience. Applicants who do not meet the normal entry requirments can be considered with lower qualifications if they have significant work experience. The Personal Statement must reflect the understanding of the course and how you will contribute.
If your first language is not English you should have an IELTS 7.0 with 6.5 in writing and speaking and 6.0 in listening and reading.
Applicants are required to submit one academic reference.
This course is particularly relevant if you want to start, or to progress, a career in communications and campaigning for social change, whether in a charity or non-governmental organisation; in a public sector body; in a political party or election campaigning setting; or even in a corporate social responsibility role. It could also be a stepping-stone towards a PhD and an academic career in this growing field of study.
Graduates from this course are confident campaign communicators and work in senior roles in charities, government, trades unions and NGOs including Amnesty International, Change.Org, the RSPCA, the Campaign Against Living Miserably and the Church Mission Society. Alumni also work at the United Nations High Commission for Refugees, in virtual reality, in think tanks, in communications and public affairs agencies and in national government departments in the global south running behaviour change campaigns.
They work in roles as varied as digital content manager, campaigns manager, head of fundraising and communications intern.
Alumni from each cohort are building an international course network through our course-specific Facebook group.
Our advisory panel, with representatives from Amnesty UK, Friends of the Earth, FairSay, Mencap, the National Council of Voluntary Organisations and WaterAid among others, ensures that we always reflect the skill sets in demand and deliver an exciting learning experience.
Leading campaigners and communicators give guest lectures, run practical training sessions for students, provide live briefs for assessed coursework and host visits to their offices.
A limited number of work placements and internships are available, and students have interned at charities and not-for-profits including WaterAid, the Sheila Makechnie Foundation, Children England, Mencap and Climate Bonds Initiative.
Recent visit to one of WaterAid's offices
Students on the Media, Campaigning and Social Change programme create strategic campaign plans, produce campaign communications materials, publish a reflective blog, draft codes of conduct, write essays, take part in debates and make presentations in teams on case studies.
In class we discuss the connections between theory and practice. In the photos below, students are exploring the evolution of campaigning globally through creating a history wall and visiting the Museum of London, creating apps for a live NGO brief and taking part in a masterclass on storytelling.
History Wall
Change Because
A student blog
Reflections on Campaigning
Taking part in masterclass on storytelling
Creating apps for a live NGO brief
We take full advantage of our location in London to visit relevant institutions, including the Houses of Parliament and the Museum of London suffragette archives, as well as exhibitions such as Disobedient Objects at the Victoria and Albert Museum (shown above). Students have access to both the newsroom and software training facilities on Harrow campus and classrooms in our central London campuses.
Watch an online information session with course leader Michaela O'Brien, or email her at [email protected].
UK and EU tuition fee: £950 (Price per 20-credit module)
Postgraduate Certificate fees for 2018-19
Fee per 20-credit module
UK/EU - £875
Postgraduate Diploma fees for 2018-19
Course fee: 6 x 20-credit modules
UK/EU – £5,250
International tuition fee: £1,900 (Price per 20-credit module)
International - £1,675
International - £10,000
Our Media, Campaigning and Social Change course is part of Westminster School of Media, Arts and Design, based at our Harrow Campus. Teaching will take part at both our Harrow Campus and in central London, at our Cavendish Campus. You will benefit from the vibrant and specialist facilities at our Harrow Campus, as well as experiencing central London's dynamic commercial music industry.
Media and Development MA
Duration 1 year
Diversity and the Media MA


text:
package debug

import (
	"bytes"
	"encoding/json"
	"fmt"
	"io"
	"os"
	"path/filepath"
	"reflect"
	"runtime"
	"strings"

	"github.com/labstack/gommon/color"
	"github.com/mattn/go-colorable"
	"github.com/mattn/go-isatty"
)

var enableDebug = false

func Switch(on bool) {
	enableDebug = on
}

var gopaths = func() []string {
	paths := strings.Split(os.Getenv("GOPATH"), ";")
	for i, path := range paths {
		paths[i] = filepath.Join(path, "src") + "/"
	}
	if goroot := runtime.GOROOT(); goroot != "" {
		paths = append(paths, filepath.Join(goroot, "src")+"/")
	}
	return paths
}()

var debugOut, debugColor = func() (io.Writer, color.Color) {
	clr := color.Color{}
	out := colorable.NewColorableStdout()
	ColorSwitch(&clr, out, os.Stdout.Fd())
	return out, clr
}()

func Debugf(format string, args ...interface{}) {
	if !enableDebug {
		return
	}
	_, file, line, _ := runtime.Caller(1)
	fileline := makeFileLine(file, line)
	fmt.Fprintf(debugOut, "[DEBUG]"+debugColor.Bold(fileline)+" "+format+"\n", args...)
}

func Panicf(format string, args ...interface{}) {
	buff := bytes.NewBufferString("")
	buff.WriteString(fmt.Sprintf(format, args...))
	buff.WriteString("\n\n[stack]\n")
	skip := 1
	for {
		_, file, line, ok := runtime.Caller(skip)
		if !ok {
			break
		}
		skip++
		buff.WriteString(makeFileLine(file, line))
		buff.WriteString("\n")
	}
	panic(buff.String())
}

func TypeName(i interface{}) string {
	t := reflect.TypeOf(i)
	for t.Kind() == reflect.Ptr {
		t = t.Elem()
	}
	return t.Name()
}

func JSON(v interface{}) string {
	data, err := json.MarshalIndent(v, "", "\t")
	if err != nil {
		return ""
	}
	return string(data)
}

func makeFileLine(file string, line int) string {
	for _, path := range gopaths {
		if strings.HasPrefix(file, path) {
			file = strings.TrimPrefix(strings.TrimPrefix(file, path), "/")
			break
		}
	}
	return fmt.Sprintf("%s:%d", file, line)
}

func ColorSwitch(clr *color.Color, w io.Writer, fds ...uintptr) {
	clr.Disable()
	if len(fds) > 0 {
		if isatty.IsTerminal(fds[0]) {
			clr.Enable()
		}
	} else if w, ok := w.(*os.File); ok && isatty.IsTerminal(w.Fd()) {
		clr.Enable()
	}
}

redpajama_set_name: RedPajamaGithub


text:
NCWV in the News
Federal Battalion
140th Pennsylvania Infantry
1st Nevada Cavalry
II Corps Medical Detachment
1st Rhode Island Light Artillery
Pinkerton National Detective Agency
US Marine Corps Detachment
Confederate Brigade
14th Texas Cavalry
CS Marines Artillery
South Carolina Sharpshooters
4th Texas Infantry
Norfolk Light Artillery
Civilian Corps
FCLHO
For many years the effect of the Civil War on civilian life was neglected in the history books. Telling the tales of generals and soldiers on the battleground during a brutal conflict naturally took precedence. But recently, with understandings shaped by their own times, historians have begun telling the story of the home front--Confederate and Union. This new approach focuses on the interaction between military and domestic events, and is grounded in the understanding that what happens on the battleground is never isolated from considerations of politics, government policies, economics, and morale, especially during a civil war. Nor are the lives of civilians--ordinary people in unusual times--removed from the events taking place on the battlefield, no matter how distant they may be.
The Civilian Corps of NCWV portrays men and women of all classes and statuses, in all professions imaginable. In addition to their individual portrayals, the Civilian Corps hosts tea and organizes balls for the organization.
Civilian Chief of Staff:
Mrs.Paulette Grune
United States Christian Commission
The United States Christian Commission (USCC) was an organization that furnished supplies, medical services, and religious literature to Union troops during the American Civil War. It combined religious support with social services and recreational activities. It supplied Protestant chaplains and social workers and collaborated with the U.S. Sanitary Commission in providing medical services.
United States Sanitary Commission
The United States Sanitary Commission (USSC) was a private relief agency created by federal legislation on June 18, 1861, to support sick and wounded soldiers of the United States Army (Federal /Northern / Union Army) during the American Civil War. It operated across the North, raised an estimated $25 million in Civil War era revenue (assuming 1865 dollars, $399.67 million in 2018) and in-kind contributions to support the cause, and enlisted thousands of volunteers. The president was Henry Whitney Bellows, and Frederick Law Olmsted acted as executive secretary. It was modeled on the British Sanitary Commission, set up during the Crimean War (1853-1856), and from the British parliamentary report published after the Indian Rebellion of 1857 ("Sepoy Rebellion"). During the Civil War, The US Sanitary Commission made over 250,000 quilts for the Soldiers.
Currently, the NCWV's own US Sanitary Commission is working on a Soldier's cot quilt in camp at our events. When it is finished, it will be raffled off to support the organization.
Nevada Civil War Volunteers
info@nevadacivilwar.org
Dayton, NV 89403