text:
WWE Spoilers: Another Match Announced For WrestleMania!
by Cassidy Haslett on 20 March 2010 2:50 am
World Wrestling Entertainment presents: WrestleMania XXVI, LIVE, at a special start time of 7/6c, from the University of Phoenix Stadium in Glendale, AZ a week from Sunday (March 28). It was revealed on SmackDown that CM Punk will go one-on-one with Rey Mysterio at the event and, if Rey Mysterio loses, he will be forced to join The Straightedge Society. Here is the updated card:
Streak Vs. Career: No DQ: The Undertaker Vs. Shawn Michaels
WWE Championship: Batista (c) Vs. John Cena
World Heavyweight Championship: Chris Jericho (c) Vs. Edge
No Holds Barred: Bret Hart Vs. Mr. McMahon
Triple H Vs. Sheamus
CM Punk Vs. Rey Mysterio
Triple Threat Match: Randy Orton Vs. Cody Rhodes Vs. Ted DiBiase
Money-in-the-Bank Ladder Match: Christian Vs. Dolph Ziggler Vs. Kane Vs. Shelton Benjamin Vs. Jack Swagger Vs. MVP Vs. Matt Hardy Vs. Evan Bourne Vs. Drew McIntyre
Unified WWE Tag Team Championship: The Miz & Big Show (c) Vs. R-Truth & John Morrison
Source: WWE.com
Making an �iMPACT!� #5By Dan - 10/22/2005 11:00 PMTAT: WWE Great American Bash 2004 ThoughtsBy Boyo - 06/28/2004 11:00 PMA Blast from the Past: Summerslam 1992, 1996 and 2002By Naitch - 08/19/2006 11:00 PMThe Iron Jung #3: Maybe It's Time To Tag Out: The Truth Behind WWE Tag-Team WrestlingBy The Iron Jung - 04/25/2008 11:01 PMWWE No Way Out 2008 DVD ReviewBy Draven Cage - 07/13/2008 5:15 PMThe Undertaker ProfileBy Cassidy Haslett - 05/18/2008 4:31 PMHollywood Hulk Hogan Book ReviewBy Simon Lamb - 04/07/2004 11:00 PMThe Triumph and Tragedy of World Class Championship Wrestling DVD ReviewBy TheBigBoot - 07/06/2008 11:28 AMThe UnLive Wire: WrestleMania XXI PreviewBy Tony Cottam - 04/01/2005 11:00 PMT3C: Do we really need ECW?By Stephen Ashfield - 12/02/2006 12:00 AM
WWE SmackDown June 12, 2009 ResultsBy Cassidy Haslett - 06/13/2009 2:13 AM WWE: Details on John Cena's Next WWE Films ProjectBy Cassidy Haslett - 10/25/2009 3:18 AM WWE: Smackdown Taping *Spoilers*By Devilish Angel - 03/21/2006 2:52 PM Scott Hall Continues His Quest To Kill His Wrestling CareerBy Cassidy Haslett - 01/04/2008 6:33 PM WWE: DiBiase and Horner Leave, ECW on Sci-Fi Rating & David Taylor Injury UpdateBy Devilish Angel - 10/27/2006 12:40 PM WWE: Raw Preview (10/11/03)By Chris Dewing - 11/08/2003 7:55 PM Big WWE News: Reasons Why Young Superstars Are Getting Big Pushes Lately!By Nemesis Enforcer - 11/29/2009 2:50 PM WWE: SmackDown Taping Results, 14th January 2004 (Spoilers)By Chris Dewing - 01/14/2004 9:02 PM WWE: Big Update on the 2008 Hall of Fame InducteesBy Cassidy Haslett - 02/11/2008 12:28 AM TNA: More on Scott Hall's No-ShowBy Cassidy Haslett - 12/04/2007 12:43 AM
KR: The Road to WrestleManiaBy Robert Heard - 03/29/2008 11:06 PMFPU: Analysis On The WWE Draft 2007By Seabass - 06/22/2007 1:16 AMTSC: WrestleMania VIIIBy The Beltster - 02/04/2008 12:07 AMCBlog XXXIX- Thoughts On 2009 WWE Draft and WWE Backlash PredictionsBy Cassidy Haslett - 04/21/2009 11:40 PMCBlog IIBy Cassidy Haslett - 05/25/2007 4:00 PMCBlog XXVIII- No Mercy, RAW and Cyber SundayBy Cassidy Haslett - 10/08/2008 6:01 AMRuses WWE Raw Review: 11th January 2010By David Ruse - 01/16/2010 12:20 AMTHWD: The case for a WWE off-seasonBy Tink Holloway - 05/03/2008 10:12 PMThe Rumor Mill: Featuring Rey Mysterio, Jim Ross, Scott Hall and More...By The Informant - 09/17/2009 10:31 PMFPU: Smackdown Title Situation *Contains Smackdown Spoilers - 20th July 2007*By Seabass - 07/18/2007 11:33 AM


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text:
BNP Paribas's head of FI services: keep it regulated
Bruno Campenon says unregulated disruptive tech "is not a threat" as the industry waits for CBDCs.
Bruno Campenon, BNP Paribas Securities Services
Bruno Campenon is BNP Parbias's global head of banks, brokers and corporates for the firm's securities services arm. Now based in Paris, after running departments in Hong Kong and New York, he oversees digital strategy, among other things.
He sat down with DigFin to argue that "digital transformation" is now moving from a marketing pitch to specific services that benefit clients. This reflects how far some technology has evolved, and therefore its importance to global players such as BNP Parbias – and it is also a reality check, because global financial institutions are above all designed to be compliant.
Campenon's business provides a variety of support functions, including clearing and settlement for securities and derivatives, cash management, middle-office outsourcing, corporate trust, custody and a variety of financial solutions such as foreign exchange and collateral management.
With that array in mind, he says BNP Paribas has four digital priorities: distributed-ledger technology, data, digital assets, and user experience.
Campenon says the bank is ready to enter this space when the regulatory landscape allows, and when the industry begins to mature.
"We will be ready as soon as something takes place," he said. "Today it's just about crypto, which we don't touch."
But the bank has not been passive. It has a stake in vendor Digital Asset Holdings, and has been engaged with DA's work to deliver solutions to the stock exchanges of Australia and Hong Kong, as well as Swiss exchange SIX'S digital-asset arm. The bank is also following DLT-related experiments by America's DTCC, the entity that clears and settles virtually all transactions in the U.S.
"We want to see these able to interoperate," Campenon said. "That is what will make the difference." Unlike in traditional markets, where stock trading coalesces around one or two national exchanges, the virtual space has hundreds of global venues, making it too costly to connect to them all – and fragmenting liquidity.
He expects this will be a slow process, given the variation among systems and protocols. "Each system needs collateral or other measures to ensure one exchange doesn't jeopardize another," Campenon noted. This implies virtual asset exchanges will need to follow bank-like rules around capitalization if they are to cater to regulated financial institutions.
One trigger that can accelerate interoperability is the expected arrival of regulated digital cash. This is necessary to create DVP, or delivery versus payment in a securities transaction.
Digital cash could take the form of stablecoins (including a commercial bank's own token), but Campenon expects the winner to be central-bank digital currencies.
Given the European Union's messy history of merging currencies into the euro, Campenon doubts its regulators will want to see multiple stablecoins take on this role, including those minted by commercial banks. The U.S. will eventually issue a digital dollar to ensure its currency remains dominant.
Similarly, most big banks will welcome a CBDC, because it's safer to default to using central-bank money than take a risk with another kind.
Solving digital cash will encourage other financial institutions, corporates and investors to embrace tokenized securities – that is, regulated instruments that exist in purely digital form.
BNP Paribas can't take custody of crypto, and Campenon says the bank won't bother with DeFi (decentralized finance) so long as it relies on unregulated instruments. Nor does he worry about missing an opportunity, or being disrupted.
"DeFi right now is all about crypto, and if it's crypto, I'm not concerned," he said. "Anything not in a regulated contractual framework is not a threat. New technology doesn't automatically make things simpler."
J.P. Morgan Onyx wants to "liberate the bank account"
What's a custodian bank to do in a blockchain world?
ADDX, private markets, and the path to tokenization
For example, he agrees that the current settlement cycle involves too many reconciliations among many players – a process that transactions executed in pure digital fashion could consolidate. Campenon expects technology to make the industry more efficient.
But it won't eliminate roles such as custodian, executing broker, or central counterparty. "Technology will push us to work better, possibly in partnerships," he said. "Clients still need funding and the lending of securities, cash and repo. They need someone to connect them to regulators, to guarantee the security of their assets."
For example, the bank is exploring ideas with crypto players such as Metaco and Fireblocks, to connect it to blockchain and enable BNP Paribas to custody digital assets.
Data and cloud
The ability to operate in new environments requires a tech stack ready to handle things like blockchain and smart contracts. Banks are also being attacked on all fronts by fintechs, from payments to transactions, that are built on cutting-edge tech.
Campenon says for big banks, however, the focus must be on security and compliance.
BNP Paribas has made the decision to work with IBM to bolster its on-prem use of servers, and not gone to public cloud.
For now, Campenon says it is better to continue augmenting the legacy I.T. infrastructure, and focus on becoming more agile internally with data. BNP Paribas has worked on consolidating banking services data in basic areas such as settlement, custody and cash management, as well as commingling this with external reference data.
"Once we see a business case, then we invest more in cloud and big data," Campenon said. "But for how we rely on legacy infrastructure."
This dovetails with his reluctance to put client data on public cloud. "You can't be more secure than what you master internally," he said. The bank is also not prepared to allow third-party fintechs into its data environment.
It does work with fintechs when a client requests it, in which case BNP Paribas can run an API to feed third parties the relevant data.
Otherwise, Campenon fears that throwing open the doors to a cloud-based working environment will be a waste of resources, and probably too ambitious to be practical. "It would take you ages to reach it," he said.
He is not too worried about being outmaneuvered by fintechs or neobanks that are building agile tech stacks on cloud. "Clients come to a bank to get funding and related services," he said. "Fintechs aren't banks, and can never provide funding."
Instead he says he is open to partnering with fintechs, which the consumer bank has done. "They are not a threat, but a chance to see what we can really do."
Lastly, the bank is using a variety of artificial-intelligence tools to service its clients. This begins with chatbots (Campenon calls them "virtual agents"). These not only help clients with basic queries. The bank is building additional capabilities on top.
This could include APIs to fulfill client data requests, or building a network of robots to run calculations and analytics. It's early days, and Campenon feels the bank has only scratched the surface of what robotics can deliver.
"With A.I, we can develop more use cases over time," Campenon said.
Related Topics:blockchainBNP Paribas Securities ServicesBruno CampenonCBDCclouddistributed ledgerDLTfeaturedIBMstablecoinstokenization
Bitcoin for instos | Adrian Chng, Fintonia | VOX Ep. 30
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VC, seeking tech gorillas, prepares for digital IPO
Digital exchange wins final license for carbon "ADRs"
Digital banking is built on the cloud
How ASX's blockchain dream went up in smoke
China's new killer app: NFTs (but don't call them that!)…Capital MarketsAs crypto-less blockchain platforms flourish in China, a crypto-less version of NFTs is taking off.…
Bitcoin for instos | Adrian Chng, Fintonia | VOX Ep. 30…Capital MarketsAdrian Chng of Fintonia Group takes questions on Bitcoin suitability, stability, and ESG concerns.…

redpajama_set_name: RedPajamaCommonCrawl


text:
class AddLastViewedLectureToStudentUsers < ActiveRecord::Migration
  def change
    add_column :student_users, :last_viewed_lecture, :string
  end
end

redpajama_set_name: RedPajamaGithub


text:
Q: ASP.NET - Validating a CustomValidator I'm trying to get a CustomValidator to call a server method (it's a checksum, I think it's right but as you'll see I can't really tell) but it's never called, I can enter anything into the text box and the error message never appears, and adding a break-point in the method reveals that it's never called at all not matter what's entered in the text box. Do I need client-side validation too?
My OnServerValidate looks to be calling the method correctly to my eyes - I really am at a loss here. Help much appreciated!
The ASP.Net code:
   <asp:Label ID="lblPPSN" runat="server" Text="PPS number: "></asp:Label>
    <asp:TextBox ID="tbxPPSN" runat="server"></asp:TextBox>
    <asp:CustomValidator ID="customval_PPSN" runat="server" ErrorMessage="Please enter a valid PPSN" ControlToValidate="tbxPPSN"
        OnServerValidate="customval_PPSN_ServerValidate" ForeColor="Red"></asp:CustomValidator>

The c# code-behind:
 protected void customval_PPSN_ServerValidate(object source, ServerValidateEventArgs args)
    {
        string checkChar = "", formatChar = "", input = tbxPPSN.Text;
        bool newFormat = false;

        if (input.Length > 9)
        {
            args.IsValid = false;
            return;
        }

        if (input.Length == 9)
        {
            newFormat = true;
        }

        char[] PPSArray = input.ToCharArray();
        Array.Reverse(PPSArray);
        checkChar = PPSArray[0].ToString();

        if (newFormat)
        {
            checkChar = PPSArray[1].ToString();
            formatChar = PPSArray[0].ToString();
        }

        checkChar = checkChar.ToLower();
        formatChar = formatChar.ToLower();

        int seed = 2, PPSParsed = 0, PPSsum = 0, PPSMod = 0;

        foreach (char ppschar in PPSArray)
        {
            if (int.TryParse(ppschar.ToString(), out PPSParsed))
            {
                PPSsum += PPSParsed * seed;
                seed++;
            }
        }

        if (newFormat)
        {
            PPSsum += Convert.ToInt32(formatChar.ToCharArray()[0] - 96) * 9;
        }

        PPSMod = PPSsum % 23;

        if (PPSMod == 0) PPSMod = 23;

        if (Convert.ToString((char) (96 + PPSMod)).ToLower() == checkChar)
        {
            args.IsValid = true;
            return;
        }
        else
        {
            args.IsValid = false;
        }
    }

A: If you never post back to the server your server side validation will not get called. You may want to put in some client side validation so your users don't need to submit the form to get their validation results.
This MSDN article has an example of using both server side and client side validation:
CustomValidator Example
I used your markup and code-behind and it seems to work.
Markup:
<%@ Page Language="C#" AutoEventWireup="true" CodeBehind="Val.aspx.cs" Inherits="CustomValidatorExample.Val" %>

<!DOCTYPE html>

<html xmlns="http://www.w3.org/1999/xhtml">
<head runat="server">
    <title></title>
</head>
<body>
    <form id="form1" runat="server">
        <div>
            <asp:Label ID="lblPPSN" runat="server" Text="PPS number: "></asp:Label>
            <asp:TextBox ID="tbxPPSN" runat="server"></asp:TextBox>
            <asp:CustomValidator ID="customval_PPSN" runat="server" ErrorMessage="Please enter a valid PPSN" ControlToValidate="tbxPPSN"
                OnServerValidate="customval_PPSN_ServerValidate" ForeColor="Red"></asp:CustomValidator>
            <asp:Button runat="server" ID="button1" Text="Validate" OnClick="button1_Click" />
        </div>
    </form>
</body>
</html>

Code-behind:
using System;
using System.Collections.Generic;
using System.Linq;
using System.Web;
using System.Web.UI;
using System.Web.UI.WebControls;

namespace CustomValidatorExample
{
    public partial class Val : System.Web.UI.Page
    {
        protected void customval_PPSN_ServerValidate(object source, ServerValidateEventArgs args)
        {
            string checkChar = "", formatChar = "", input = tbxPPSN.Text;
            bool newFormat = false;

            if (input.Length > 9)
            {
                args.IsValid = false;
                return;
            }

            if (input.Length == 9)
            {
                newFormat = true;
            }

            char[] PPSArray = input.ToCharArray();
            Array.Reverse(PPSArray);
            checkChar = PPSArray[0].ToString();

            if (newFormat)
            {
                checkChar = PPSArray[1].ToString();
                formatChar = PPSArray[0].ToString();
            }

            checkChar = checkChar.ToLower();
            formatChar = formatChar.ToLower();

            int seed = 2, PPSParsed = 0, PPSsum = 0, PPSMod = 0;

            foreach (char ppschar in PPSArray)
            {
                if (int.TryParse(ppschar.ToString(), out PPSParsed))
                {
                    PPSsum += PPSParsed * seed;
                    seed++;
                }
            }

            if (newFormat)
            {
                PPSsum += Convert.ToInt32(formatChar.ToCharArray()[0] - 96) * 9;
            }

            PPSMod = PPSsum % 23;

            if (PPSMod == 0) PPSMod = 23;

            if (Convert.ToString((char)(96 + PPSMod)).ToLower() == checkChar)
            {
                args.IsValid = true;
                return;
            }
            else
            {
                args.IsValid = false;
            }
        }

        protected void button1_Click(object sender, EventArgs e)
        {
            if (Page.IsValid)
            {
                Response.Write("Valid");
            }
        }
    }
}

redpajama_set_name: RedPajamaStackExchange


This whole issue runs pretty deep. What with patents, licenses, law suits, settlements, fees, "open" standards, documented standards, approved standards, proprietary standards, cross-platform issues, revenue from sales, revenue from advertisments, etc., ... it's one ugly mess.
Good thing the world didn't have to depend on these guys to develop TCP/IP, otherwise there never would have been any Internet. Can't the government fund a couple of geniuses from MIT (or wherever) to get together and crank out a video format + hardware decoder for the world/posterity so we can move forward already?
[oh, i intentionally left slashdot out of the picture... as FTM is a friendly, family-oriented place.
I know you'll find a few +5's in there from me on the subject.
I thought they were focusing on the "have to use C for store apps" limitation?
True (i believe). Yes, the overall "issue" is actually divided into two areas: Flash Player for web video and Flash Professional developer environment for cranking out cross-platform code. The two often get conflated (or confused) in forum discussions, but that only serves as further evidence of Adobe's omnipresence.
What i find most often missing in all the media coverage are references to the fact that Apple/Jobs isn't the only entity dissatisfied with Flash. [e.g., the Free Software Foundation and probably any Linux fan feel about the same, to mention two.] It's just that Apple/Jobs is the most notable figure actually *doing* something about it. So i guess that's where the focus will go... but the full story encompasses a wider swath.
Lawyer: Antitrust move against Apple would 'sink'.
H.264 Already Won—Makes Up 66 Percent Of Web Videos.
- Lights out for Flash and its RIA brethren.
- Apple-Adobe Feud: Is Flash as Bad as Jobs Says?
It's on now as well (8pm EST).
"Flash Works On Touch-Based Devices"
It's not so much a matter of running it, it's an interface implementation problem.
Think of all the flash based games you've played in the past. Think of how you move the mouse around, and for example, a hand or a crosshairs moves, or maybe your guy starts waking toward where you have the arrow now. Or you have to swing the mouse around between targets.
AND then at some point of course you have to click the mouse.
These two operations can be independent because Flash has "mousehover". It means the app can tell where you've moved the mouse to, before you click it. This is a very handy control feature, and not surprisingly, and to no fault of the devs, they use it. A lot. Almost 100% of the time.
Problem. Touch interfaces don't currently have any way to indicate you are say, sweeping your finger across the surface without clicking. As far as the touch interface is concerned, your "mouse button is down" the entire time. This is the primary problem. There's no way to move the pointer on a touch surface without it interpreting a click down. The only way around this is to require the user to do some other additional interaction, like a quick release and tap down. This is something of a hack, but it will suffice for many of the games. BUT it's likely to require a recode of the app to smoothly support.
Second problem, much less frequently noticed. Your finger is in the way. It's often very important to get a very precise position in those games, AND you often need to see when the pointer changes colors, patterns, etc, indicates you're over the thing you can click on etc etc. On a touch interface, your finger is covering the pointer. It doesn't need you to see the pointer because you can't hover anyway. So if you fix hover, you have this new problem. This can also be hacked around by feeding such apps false touch information, such as placing the input 1/4" up from the actual finger location. This would either require a switch on the device or modifying the app.
There are other issues that are also less obvious. A few games have a very real need to intercept when you sweep your cursor over certain things. They could be walls or enemies or whatever. Basically pointer-to-object collision detection. For example, navigate your man through a maze. You can't cheat them because your pointer is always on the screen, and you can't move from A to C without crossing B. Except if you can lift your finger off the touch screen. So this breaks some game dynamics. (your man could teleport to the exit) This too could be hacked around, we could say that if you lift your finger and drop it somewhere else, the ipod feeds a fast hover sweep from A to C, crossing B, and causing whatever that may cause to happen.
So... yes, it can be done, but there are several severe limitations you have to work around. It could be done, and we may yet see it happen, especially if touch interfaces continue to increase in popularity. But these problems cannot be dismissed or ignored. They are legitimate, serious problems to be addressed.
Second problem, much less frequently noticed. Your finger is in the way. It's often very important to get a very precise position in those games, AND you often need to see when the pointer changes colors, patterns, etc, indicates you're over the thing you can click on etc etc. On a touch interface, your finger is covering the pointer. It doesn't need you to see the pointer because you can't hover anyway. So if you fix hover, you have this new problem.
Very perceptive! (do you have an iPad?) Anyway, you are correct... and that aspect has not been discussed much. Even for insertion point positioning and text selection (such as I just did while editing this post), Apple pops up a little magnifying glass which shows me (from its offset location) the area under my finger. So yes, I would certainly think that any game (or website gateway even) in which any degree of precision when pointing is needed, would also require retooling.
Excellent... I'll keep this in mind now, as I do battle in forum threads.
Nope, but I do have an ipod touch, and I use it quite a lot. That's one of the big issues with my use, trying to figure out exactly where it thinks my fat finger is.
I have a flip case for it that comes right up to the edge of the screen left and right, and makes it hard to move the insert to the far left side of the screen because the cover's edge is in the way and I have to sort of mash my finger into the corner where the side of the cover bezel meets the ipod.
My mind tends to fall immediately into "devil's advocate" mode during discussions like this - I tend to analyze problems from all alternate angles trying to spot problems before they get a chance to attack me.
I had another revelation when pondering flash on a touch device... lets say you are a man walking on a map. One of the terrain types is swamp. When you walk your man through the swamp, he walks slower.
This works because the position of your mouse or finger on the trackpad is not 1:1 with the movement of the man on the map. You may move your mouse 3" to the right and the man crosses the entire map, or maybe only 1/3 of the map. It works because you are moving the pointer/man, and it's ok for it to move at a different speed (or stop completely) even if your mouse keeps moving. Say you hit a wall and stop. You can continue to move your mouse to the right as the man tries to push through the wall and gets nowhere. Eventually you move your mouse up instead and he continues up.
Now think about how weird that would get on a touch interface. You move your finger past the wall and the man stops at the wall. Your finger continues moving right for several inches as the man "jogs in place". Then you start swiping upward.
Now the man is at a different location on the screen than your finger is.
I have no idea how you'd work around that as a developer. Probably your only sensible solution would be top STOP the movement until the user stopped swiping, and picked up his finger and put it back down on the man and re-acquired control. Clumsy but I suppose doable. Absolutely would require recoding the app.
The same problem would come up with the swamp example above. I can think of several other games where you can get "nommed" by critters that you have to "shake off" or they slow you down or stop you completely. Games like that would have the above issue.
Of related interest: Ted Landau on Solving Flash problems on a Mac.
^ some stuff i missed apparently, while away for the summer.
Apple to stop bundling Flash with Mac OS X.
In other third-party plug-in news, looks like Java may be on its way out as well: Apple hints no Java in Lion's tank.
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text:
6 Rules for Making Art
George Orwell is best known as for writing the books Animal Farm and Nineteen Eighty-Four, both published in the 1940's. But in addition to his dystopian stories, he also wrote many essays on language, the craft of writing, and his concern about where writing and language was headed at the time.
Good ol' George and I tend to align on many philosophies, and many of his thoughts on writing can be applied more broadly to drawing and art making in general.
Orwell's Work
Orwell's novel, Nineteen Eighty-Four hinges on the importance of language, writing, and literature. The book involves a Big Brother scenario where the top tier of society controls language, restricts vocabulary, and ultimately limits discussion and even thoughts in an effort to control society.
"If people cannot write well, they cannot think well, and if they cannot think well, others will do their thinking for them." –George Orwell
Prior to Nineteen Eighty-Four, Orwell published Politics and the English Language, a nonfiction essay on writing. We can see now how this essay was a precursor in his mind to creating the fictional dystopia in Nineteen Eighty-Four. In both the essay and in Nineteen Eighty-Four, Orwell is concerned about the deterioration of writing and language.
"Most people who bother with the matter at all would admit that the English language is in a bad way, but it is generally assumed that we cannot by conscious action do anything about it." –George Orwell
Orwell's Six Rules for Writing
Of course, Orwell thinks we can do something about it and as part of that belief he presents his six rules for writing. They're quite good.
"But one can often be in doubt about the effect of a word or a phrase, and one needs rules that one can rely on when instinct fails. I think the following rules will cover most cases:
Never use a metaphor, simile, or other figure of speech which you are used to seeing in print.
Never use a long word where a short one will do.
If it is possible to cut a word out, always cut it out.
Never use the passive where you can use the active.
Never use a foreign phrase, a scientific word, or a jargon word if you can think of an everyday English equivalent.
Break any of these rules sooner than say anything outright barbarous."
Aside from being good writing advice, I'm sure you know the part I love most about this list is that almost every line includes "never" or "always" but then the very last line is "break any of these rules" when necessary. Right on, George.
Aiming for Something Deeper
But Orwell wasn't trying to tell everyone how to write or how to write the way he does. He was trying to get you—the writer, the artist—to think more deeply about how you write. And beyond that, and get super meta, he's trying to get you to think about how you think when you write.
"These rules sound elementary, and so they are, but they demand a deep change of attitude in anyone who has grown used to writing in the style now fashionable." –George Orwell
Orwell is aiming for much more than a simple list of how to write well. That would be easy, and that has already been done. He's not interested in that. He's interested in how language and writing can affect how we think.
The essay speaks primarily about language used in politics, but it can easily expand beyond that. Orwell says he aims not only to focus on helping people learn how to get their point across—i.e. writing better—but instead on helping people learn how to cultivate a point worth making.
Having Something to Say
Orwell was focused on helping people write more clearly to communicate their ideas more clearly. But more than that, he was more intent on helping writers have something meaningful to communicate in the first place.
Just like me, Orwell is more fascinated and intrigued with the thinking, formulating, and nurturing of ideas, rather than solely the craft of art. We both agree that the ability to have and nurture a meaningful idea is more important than the ability to communicate the idea.
Before you can say something, you have to have something to say. And that applies whether we're writing, speaking, drawing, or any other artmaking.
In Orwell's essay, he applies this idea to politicians slinging around meaningless words, empty phrases, and incomprehensible gobbledy-gook that has the sole aim of sounding good. It's dressing up a weak idea in different clothes. Or, in Orwell's (better) words: "to give an appearance of solidity to pure wind." He wants writers to stop focusing on how to say things, and instead start focusing on how to have things worth saying.
Drawing as Communication
And this concept applies beautifully to other crafts as well. We can focus on learning composition, shading, and perspective to be able to communicate elegantly and beautifully. But if we don't have something meaningful to communicate, then what good is that ability to communicate?
We can learn how to say something, but we also need something to say.
Question Your Process
Orwell goes on in his essay to include a series of questions writers should get used to asking themselves while writing:
"A scrupulous writer, in every sentence that he writes, will ask himself at least four questions, thus:
What am I trying to say?
What words will express it?
What image or idiom will make it clearer?
Is this image fresh enough to have an effect?
And he will probably ask himself two more:
Could I put it more shortly?
Have I said anything that is avoidably ugly?" –George Orwell
The order of these questions is crucial. Orwell's first question is "what am I trying to say", it is NOT "what words will express it".
In visual artmaking, like drawing, I think artists often begin in the opposite direction. They begin with what pen should I use, what colors should I use, what style should I use? Those questions are rooted in the realm of how to communicate, not what to communicate. Pens, colors, and style are all just ways to communicate an idea, not ideas in themselves. They are the tools we use to speak.
And they are secondary to the "something" we speak. Before we can say something, we have to have something to say. We have to first consider, "what am I trying to say?" before we can consider how to say it, write it, or draw it.
The Purpose of Art
What is the purpose of our art making? Why do we make art? And even more broadly, what is the purpose of any art making? Why does anyone make art?
I believe art's purpose is to illuminate.
It's a way to share, tell stories, and spread human truths. It's a way to share your story, but only if you're able to see, think about, and cultivate your story first.
Orwell's stated purpose in art making—both in his novels and essays—was to use his art as a way to fight against totalitarianism. He saw language being used in the 1940s as a means of control and confusion, and he used his own writing to fight back. He urged writers to be more clear and simple, instead of complex but empty as was the trend back then. And he believed in order to write clearly, you have to think clearly first.
"The great enemy of clear language is insincerity. When there is a gap between one's real and one's declared aims, one turns as it were instinctively to long words and exhausted idioms, like a cuttlefish spurting out ink." –George Orwell
The Purpose of Our Art
And so, what is the purpose of your art? It doesn't have to be as grandiose as Orwell's. And you don't always have to think about it so consciously. Eventually, the purpose will shine through and persist in everything you make, even without you being aware it's working behind the scenes. It will happen when you start thinking clearly.
Each story we write or drawing we create can communicate something meaningful. Some will be big and important, like fighting fascism. Others some are small and incidental, like just saying your tired. What's meaningful is up to you.
But beyond each piece, when all your art is seen from above as a body of work, an overall purpose begins to emerge. And once we find that overall purpose, it can serve as a guiding principle for what we're saying in all our art. So we can automatically begin each piece not with "how will I say this" but with "what will I say".
The Purpose of My Art
My purpose in art making has only recently begun to crystallize. I'm beginning to realize that my purpose has two parts. The first is to use writing and drawing as a way to think through and organize my thoughts and experiences into coherent beliefs and learnings.
The second is to use writing and drawing as a way to help others learn to do the same. To show them how to use writing and drawing as a way to think through and organize their thoughts and experiences into their own coherent beliefs and learnings.
These two purposes are what allow me to focus on what I am trying to say. They give me a point of calibration for the tools I use to speak, including these weekly essays, my daily sketchbook drawings, Might Could Studiomates, and Sketchbook to Style.
No artistic purpose is ever completely nailed down and figured out, because our art is constantly growing, evolving, and changing as more and more art is made. But having the ability to think about the meaningful-somethings we're trying to say, can be the key to finding the right pathway to follow.
So, now you have some questions to ask yourself. Why do you draw? Why do you make art?
What are you trying to say?


West Coast Harvest is one of the MMJ industries first 24/7 delivery service here to provide the finest medication delivered to your doorstep graciously by some of San Diego's finest customer service. Prop215 & SB420 compliant.
Herbal Solutions is a fully licensed medical marijuana provisioning center in Ypsilanti, Michigan 48197. They provide services to qualifying medical marijuana patients and caregivers in the attainment of medical marijuana. The Herbal Solutions mission statement is to provide their members with the highest quality medicine in an environment that is professional, friendly, welcoming, and safe. In turn, their medical marijuana products are lab tested by Iron Labs.


Several Condor configurations are in use on the RCAS/RCRS processor farm. The different configurations separate machines into groups of hosts which advertise similar ClassAds (parameters) and accept the same subset of job types. By examining the Condor Monitoring Page (RACF authentication required), and selecting "List Node Configuration" in the lower left margin, you can view the detaills (including system memory, and CPU benchmark ratings) of the hardware resources allocated to a particular configuration/host group.
By default, RHIC jobs submitted to Condor will run in the general queue, allowing them to make opportunistic use of other experiments' unused processing resources. While this queue gives you access to additional batch hosts, jobs submitted to it may be preempted after 2 hours of execution if the occupied slots are required by the experiment owning the resource. You can avoid the use of the general queue by adding CPU_Experiment == "MYEXPERIMENT" (replace with experiment name: brahms, phenix, phobos, star) to your job description file's Requirements line, i.e. Requirements = (CPU_Experiment == "phenix"). See the General Queue Page for more information.
In order to specify the execution host group for your jobs, you'll need to modify one or more ClassAds in the job description files (JDF) you pass to condor_submit. The parameters affecting host group selection are unique for each experiment, and defined in detail in the next section. Before submitting a JDF which requests the use of a particular host group, ensure that you are not submitting to the general queue.
Special users access the Analysis Train, Simulation, and Reconstruction queues, and are ranked higher in various configurations where they can run (the crs6res queue is not accessible to any normal users). User jobs that coexist on these machines (like cas4/crs6) are given only 36 hours of runtime before being preempted if there are CRS/anatrain jobs that want these slots. Jobs that go over the memory limit are evicted immediately without any waiting period.
User Analysis jobs run on these nodes (CAS Jobs), and users can access the special "long"/"high" queues to get longer runtimes/higher priorities although they are rather small compared to the "cas" queue. CAS jobs will preempt each other based on user-priority fair-share.
No "long" or "high" slots on these nodes.
all "cas" (crs0*) configs are able to run CRS jobs on up to 1/2 of their slots, and CRS jobs will have priority there and aren't subject to user-priority based preemption.


Pin pointed and sharp looking is not all what the McLaren 570S is all about, thanks to Al-Wajba Motors we were able to take it out for a photoshoot and of course a chance to experience the next level of sport car offerings.
The word Super-Car is thrown around often these days, many companies are working hard to be unique in the space and dominate the competition. Manufactures are pushing the boundaries of performance with mind boggling specifications and vehicles are becoming more and more track focused but still usable on the street, this is exactly the case with the 570S. Before the driving experience has even begun, you're taken in by the stunning beauty of this machine, the first impression give you a feeling of excitement and wonder. The beautiful engine on display behind the driver's cockpit, you know you're stepping into something special. Pressing the start button, you hear the satisfying purr of this twin turbo 3.8 liter V8 which produces 562bhp. Once you head out and get onto the open road, you can immediately feel the sense of balance in the car. Hitting that gas pedal especially in Sport mode, the level of craftsmanship and the feeling in the driving experience is what makes it special.
Simple is not the word to describe this interior, the idea of a vertical screen in the center console is something unique to all McLarens. The cockpit is driver focus and distractions are cast aside in terms of controls for music, air conditioning and so on.
Most of the interior is covered in Alcantara, it might just be one of my favorite things in the design. There is also a wonderful mix of 2 tone leather and many options that you can add to the interior.
However being a lucky gentleman with a height of 6.2 feet, the limited movement of the driver's seat and subsequent leg space left something to be desired. Don't get me wrong, the seats are amazingly comfortable but don't be fooled by the pictures, its smaller than it looks!
GO-KART. The 570S in a nutshell feels like a giant Go-Kart to me. The amount of down force you have you can feel the car sticking to the ground, the steering is so precise it goes where you want almost telepathically, it's just a work of art. The driving experience left such an impression, I still vividly remember the almost race car like feeling as the car moves around just eating up the open road. The 570S has 3 handling modes Normal, Sport and Track. Normal is very smooth, great for buzzing around town. Sport mode is what I kept it on most of the day to be honest, everything is sharpened up and responses are quicker. Track mode, or as I'd prefer to call it ADRINLINE mode, is the full Monty unleashing the full potential of what the vehicle can do. But really this can only be truly explored on a track, the bumpy streets are not the best place to get the most out of Track mode.
I'm in love with the 570S and looking forward to drive more of these amazingly well designed well-crafted machines, enjoy this photoshoot by our talented photography team and we look forward to posting a montage of our experience soon, until the next Night Run, see ya!


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Dino Crisis 3 – trzecia i ostatnia gra z serii Dino Crisis. Pojawiła się tylko na konsolę Xbox 26 czerwca 2003. Gra w tym samym czasie miała się ukazać także na PlayStation 2. Z nieznanych powodów ta wersja została anulowana. Przez pierwsze 10 tygodni w Japonii sprzedano 30 tys. kopii.

Fabuła
Fabuła nie jest kontynuacją Dino Crisis 2, którego historia jest kontynuowana w Dino Stalker spin-offie serii. Dino Crisis 3 przedstawia zupełnie nowy wątek. W roku 2548 po ponad 300 latach w pobliżu orbity Jupitera pojawia się statek U.N. Ozymandias. Drużyna S.O.A.R. (Special Operations And Reconnaissance – Specjalna jednostka rozpoznania) zostaje wysłana aby dokonać rekonesansu. Po przybyciu na miejsce pięcioosobowy oddział próbuje dostać się na pokład statku widmo. Przenoszą się ze swojego statku Seyfert na pokład mniejszej jednostki. W tym samym czasie z Ozymandiasa padają strzały, które przecinają na pół ich statek-matkę. Po chwili dzieje się to samo z mniejszą jednostką. Załodze dzięki jetpackom udaje się dolecieć do Ozymandiasa i dostać do środka. Trójka bohaterów Sonya Hart, McCoy i Patrick Tyler spotykają się na pokładzie, by za moment odkryć, że razem z nimi na pokładzie są nieprzyjaźnie nastawione zmutowane dinozaury...

Rozgrywka
Rozgrywka w Dino Crisis 3 jest zbliżona do tej z Dino Crisis 2. Ponownie jest to strzelanina z widokiem TPP. Liczba broni została zmniejszona do 2 sztuk (każda z grywalnych postaci otrzymała po jednej broni). Standardowo broń ma jeden tryb strzelania + dwa dodatkowe. Ponadto można dołączyć tzw. "WASPS", które dodają nowe tryby strzelania i odblokowują drzwi. Gracz ma do dyspozycji 3 rodzaje kamizelek ochronnych. Kamery po raz pierwszy w serii nie są statyczne, podążają za bohaterem, choć widać też nawiązania do dwóch poprzedniczek. Podobnie jak w drugiej części za zabijanie dinozaurów otrzymuje się punkty, które można łączyć w coraz dłuższe i lepiej punktowane łańcuchy. Na końcu każdego poziomu za zdobyte punkty można zakupić różne przedmioty.

Dodatkowe tryby
Po ukończeniu gry na jakimkolwiek poziomie trudności odblokowane zostają dwa dodatkowe tryby gry:
 Sonya Express: gracz kieruje Sonyą Hart. Posiada ona szybszy jetpack oraz nowy strój kelnerki. Naszym zadaniem jest wędrówka po Ozymandiasie i zabicie jak największej liczby dinozaurów.
 Wheel of 4 tune: gracz kieruje Patrickiem Tylerem. Ta gra jest podobna do głównej historii, poziom trudności jest jednak wyższy. Naszym zadaniem jest zabicie jak największej liczby dinozaurów przed upływem limitu czasowego. Mamy dostęp do broni, której używała Sonya.

Postaci
 Patrick Tyler – Członek drużyny S.O.A.R., jedna z dwóch grywalnych postaci. To nim gracz steruje przez większą część gry.
 Sonya Hart – Jedyna kobieta w zespole S.O.A.R. Druga grywalna postać.
 McCoy – Niewiele wiadomo na jego temat. Kiedy Sonya i Patrick dostają się na pokład Ozymandiasa znajdują roztrzęsionego McCoya, który powtarza, że "wszyscy nie żyją". Po chwili zostaje on zaatakowany przez tyranozaura, który chwyta go w szczękę i rzuca o ścianę.
 Jacob Ranshaw – Lider S.O.A.R. Poświęca się odbezpieczając granat, którym zabija siebie i ankylozaura.
 Caren Velázquez – Jako jedyna ocalała z załogi Ozymandiasa. Z czasem okazuje się, że jest hybrydą stworzoną przez M.T.H.R. Poświęca się by uratować Tylera.
 Kapitan Satoko Evans – Kapitan Ozymandiasa. Ostatnie dni wraz z ocalałymi członkami statku spędziła na poszukiwaniu DNA zwierząt, które łączyła ze swoim własnym.

Bronie
 Patrick: Heavy Vulcan, standardowa broń. Duża szybkostrzelność.
 Sonya: Freeze Laser, standardowa broń. Strzela odbijającymi się promieniami laserowymi.

Dodatkowe pociski dostępne dla obydwu postaci:
 Wide-Shot: bardzo dobre na krótki dystans i w większych pomieszczeniach. Działanie podobne do strzelby. Najlepsze przeciw grupie algolsów.
 Laser: używane na długich dystansach. Najlepsze jako precyzyjne strzały np. w starciach z bossami.

WASPS dostępne dla obydwu postaci:
 Tempest: automatycznie namierza przeciwnika, tworząc zaporę ogniową z wystrzelonych pocisków. Służą także do otwierania niebieskich drzwi.
 Juggernaut: automatycznie namierza wroga trafiając go potężną dawką energii. Otwierają żółte drzwi.
 Inferno: Unosi się w powietrzu i wybucha w pobliżu przeciwnika obejmując go płomieniami. Dodatkowo otwierają czerwone drzwi.

Przeciwnicy
Przeciwnicy w grze to mutacje powstałe w wyniku eksperymentów na DNA dinozaurów.
 Australis powstał z DNA tyranozaura – pierwszy dinozaur, którego spotykamy w grze. W całej grze pojawiają się 4 osobniki. Potrafi wytworzyć energetyczny podmuch.
 Rigel powstał z DNA giganotozaura – najbardziej pospolity przeciwnik w grze. Robi się niebezpieczny w dużej grupie.
 Cebalrai powstał z DNA giganotozaura – dorosła wersja Rigela. 3-głowy, finałowy boss w grze. Podobnie jak Australis jest w stanie wytworzyć energetyczny podmuch.
 Regulus powstał z DNA ankylozaura – jego skóra jest pokryta odpornymi na strzały płytkami organicznymi. W grze pojawia się tylko w laboratorium DNA.
 Rigel Domain powstał z DNA giganotozaura – wielka organiczna wieża. W kierunku bohatera wysyłane są fale składające się z wielu rigelsów.
 Algol powstał z DNA welociraptora – dzięki tylnym łapom potrafi skakać na bardzo duże odległości. Potrafi wytworzyć elektryczny strzał z organu, który znajduje się na jego głowie.
 Kornephoros powstał z DNA welociraptora – atakuje tylko w grupie.
 Miaplacidus powstał z DNA spinozaura – gracz potyka się z nim 2 razy – w wodzie i na lądzie.
 M.T.H.R. – komputer pierwszej generacji użyty jako główny system na Ozymandiasie. Po 300 latach istnienia nabywa ludzkie cechy. Twórczyni zmutowanych dinozaurów, uważająca je za swoje "dzieci".

Przypisy

2003 w grach komputerowych
Gry na platformę Xbox
Survival horrory

redpajama_set_name: RedPajamaWikipedia


text:
Cornell Peter and Stephanie Nolan School of Hotel Administration
The Center for Hospitality Research (CHR)
Center for Hospitality Research Publications
Who's Next? An Analysis of Lodging Industry Acquisitions
Ma_202010_20Whos_20next.pdf (1.013Mb)
Ma, Qingzhong; Liu, Peng
The years 2004 through 2007 witnessed a rush of takeover deals in the lodging industry, in which numerous publicly traded hotel companies and hotel real estate investment trusts (REITs) were acquired—mostly by private equity firms, in many cases, Blackstone Group. Notwithstanding the suspension of such activities in the past two years, this article analyzes what factors determine the choice of the targets during that period in the lodging industry. An examination of these takeover deals determined that targets were most likely to: (1) be either a large hotel company or a relatively small REIT; (2) have a high percentage of fixed assets and a low level of debt; (3) have a mismatch between growth prospects and available resources; and (4) be in their middle age as publicly traded firms. Conditions that permit acquisitions, including availability of credit, will eventually return, making this analysis useful to current and future owners, investors, and executives in the lodging industry. Those who want to be acquired, for instance, can adjust their corporate profile to be more attractive, and those who wish to discourage acquisition can take on debt and spin off assets to be less attractive.
lodging industry; investments; takeover deals
Required Publisher Statement: © Cornell University. This report may not be reproduced or distributed without the express permission of the publisher


SAN DIEGO, CA, Sept. 16, 2015 – CareFusion, a BD company (NYSE: BDX), announces the availability of a new respiratory diagnostics tool that is a complete mobile solution for assessing functional exercise capacity in patients.
Vyntus® WALK allows clinicians to conduct the 6-minute walk test (6MWT) fully independent of any external wires or means of connection. The application seamlessly integrates with CareFusion's Windows-based SentrySuite diagnostic platform and software to enable further evaluation, central data management and reporting, but it also functions in standalone mode, independent of a proprietary database interface. In the latter case, reports can be printed directly from the tablet, scanned into the electronic medical record (EMR) or printed to a network PDF location.
A recommended protocol of the American Thoracic Society because it mirrors the levels of exertion typical of daily living, the 6MWT is conducted using Vyntus WALK with the patient wearing wireless sensors that communicate heart rate and SpO2 values from a wrist pulse oximeter to a tablet PC.
The clinician can also manually enter related data such as blood pressure, oxygen supply, oxygen supply type, rate of perceived exertion and BODE index.


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Life Story of Ashley Biden, Daughter of Joe Biden
Ashley Biden Facts
Her Age:- 41
Famous As:- Social Worker, Fashion Designer and Daughter of U.S. President Joe Biden and First Lady Jill Biden
Zodiac:- gemini
Place of Birth:- Wilmington, Delaware, United States
Wife/Husband/Ex:- Howard Krein
Mother:- Jill Biden
Father:- Joe Biden
Brothers/Sisters:- Beau Biden, Hunter Biden, Naomi Biden
Ashley Biden is an American social worker, activist, philanthropist, and fashion designer who is the youngest child of the U.S. President, Joe Biden, and First Lady, Jill Biden. She focused on juvenile justice, foster care, and mental health during her 15-year stint with the Delaware Department of Services for Children, Youth, and Their Families and also served as executive director of the Delaware Center for Justice from 2014 to 2019. She also raises money for community programs focused on eliminating income inequality through her clothing brand, Livelihood Collection.
https://www.youtube.com/watch?v=QoLHmygu_JI
She Cherishes Her Bond with Step-brothers
Ashley Blazer Biden was born on June 8, 1981, in Wilmington, Delaware, United States to Joe Biden, who then represented Delaware in the United States Senate, and his second wife, Jill Biden, an educator. She is the only child of her parents. Joe and Jill married in 1977, five years after the death of Joe's first wife, Neilia Hunter, in a car accident. Ashley grew up with two older brothers, Beau and Hunter, who had survived the accident that also killed their younger sister Naomi at the age of one. Coming from a tight-knit family, she shared a special bond with her step-brothers, who were over a decade older than her and took care of her since she was a baby. She was the one who took her older brother Beau to chemotherapy treatments every other week and was particularly affected when he succumbed to brain cancer in 2015.
https://www.youtube.com/watch?v=udZXActHuWU
Her Parents Inspired Her into Social Work
Ashley, who has a bachelor's degree in cultural anthropology from Tulane University and a master's of social work degree from the University of Pennsylvania's School of Social Policy and Practice, is a social worker and social justice activist. In an interview with Glamour magazine, she mentioned that her passion for public service started at a very young age, "My dad is a lifelong public servant; my mom was a public-school teacher—it's in my DNA." Between her two degrees, she worked as a clinical support specialist at the Northwestern Human Services Children's Reach Clinic for four years. Later, she served as a social worker in the Delaware Department of Services for Children, Youth, and Their Families for fifteen years, focusing on juvenile justice, foster care, and mental health. She was the Executive Director of the Delaware Center for Justice when she left it in 2019 ahead of her father's presidential run.
She Began Fighting for Animals as a Child
Ashley showed early signs of activism when she was a kid in elementary school. After learning that Bonne Bell lip gloss was testing their products on animals, she rallied her school to write letters to the company to change their policy. Shortly after, she became "obsessed with the plight of dolphins getting stuck in tuna nets", and with the help of her father, got in touch with Congressman Barbara Boxer, her "dolphin lady", who guided her to lobby Republican congressman for The Dolphin Protection Consumer Information Act.
https://www.youtube.com/watch?v=UbzHLrmVxwM
She Founded an Ethical Clothing Brand
Ashley showcased her talent at fashion designing by launching the ethical fashion clothing brand, Livelihood Collection, at Spring Place in TriBeCa during New York Fashion Week in 2017. She also raised $30,000 for the Delaware Community Foundation in collaboration with the website Gilt Groupe and actress Aubrey Plaza. The brand, which manufactures products from American-sourced organic cotton, strives to combat income inequality and racial inequality. She paid homage to her late brother Beau with the brand's logo, a bow, which signifies shooting forward after being pulled down. She told The Lily, "He was my bow. His cancer brought me to my knees. I had no choice but to shoot forward, keep going, keep aiming at my own dreams." She was one of several fashion designers to design outfits for the 2017 Snoopy and Belle in Fashion exhibition.
She Was Arrested for Obstructing a Police Officer
Ashley Biden, who largely stayed out of limelight in her early life, had a couple of brushes with the law when she was in her twenties. She was arrested in 2002 in Chicago after she "verbally intimidated" a police officer when two of her friends became involved in an altercation with the police while leaving a club on Division Street. In 2009, New York Post published a story that one of her friends had approached the publication trying to sell a video of Ashley using cocaine at a party. It was subsequently revealed that she was arrested in 1999 in New Orleans for possession of marijuana, but the charges were later dropped.
https://www.youtube.com/watch?v=5BYzpoRXAkA
Her Father's Opponents Threatened to Expose Her Diary
During the 2020 presidential run of Joe Biden, his political opponents repeatedly attacked his family members, including Ashley Biden and her brother Hunter. According to a New York Times report from December 2021, when Joe Biden's Republican opponents were hounding his son Hunter about his business dealings, the conservative group Project Veritas was secretly trying to expose the contents of Ashley's diary that she kept while attending rehab in Florida in 2019 for addiction treatment. The report shared how the Justice Department and the FBI were investigating whether there was a criminal conspiracy to steal and publish the diary. The diary reportedly got into the hands of a woman, a Donald Trump supporter, who took residence in the Florida rental house she stayed during her treatment.
She Had an Interfaith Marriage
Ashley Biden began dating Howard Krein, a plastic surgeon and otolaryngologist, after being introduced to him by her brother Beau in 2010. While she was raised as a Catholic and attended Archmere Academy, a private Catholic school, Krein is Jewish. The two got married in a Catholic-Jewish interfaith ceremony at St. Joseph's on the Brandywine in 2012. She and her husband, along with her father and her brother Hunter, had a private audience with Pope Francis in the Vatican in 2016. Her husband, who practices at Thomas Jefferson University Hospital in Philadelphia, is also an assistant professor of facial, plastic, and reconstructive surgery.
Things You Didn't Know about Kennya Baldwin, Stephen Baldwin's Wife
The Murder of Catherine Cesnik – Unsolved Mystery for More Than 50 Years
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All About Dancer, Model & Actress Rina Lipa
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Atomic Tattoos Tyrone Square Mall Studio : Come see us with your Toys for Tats gift vouchers before they expire!
Atomic Tattoos and Piercing is proud to announce the location of our newest Tampa Bay area studio. Conveniently located in St. Petersburg, FL in the Tyrone Square Mall.
The Atomic Tattoos Tyrone Square Mall Studio is your retail outlet for brands such as Rebel 8, Sailor Jerry, Lux de Ville, Sourpuss Clothing, Black Market Art Company, Felon Clothing, Lucky-13, Too Die For, and H2Ocean.
We currently have many talented artists at this location!
Everton Jordao, Peter Lamos, Jeremy thompson, Hawk Estevez and guest artists always coming through.
More information on each artists and piercer will be in there personal Atomic profiles. Feel free to take a look!
Come see us with your Toys for Tats gift vouchers before they expire!


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Overview Experience Case Studies Insights Events News Outside the Office Community Leadership Career Journey
Megan J. Bricker
St. Louis*
Overview Experience Case Studies
Insights Events News
Outside the Office Community Leadership Career Journey
Download Bio Download vCard
Megan coordinates the defense of asbestos claims nationwide in some of the most dangerous jurisdictions for corporate defendants and their insurers.
Megan has more than a decade of experience defending clients with portfolios of cases involving alleged diagnoses of mesothelioma, lung cancer, asbestosis and other malignancies or pulmonary impairments across Missouri, Illinois and other states at the forefront of the latest wave of asbestos litigation. Megan specializes in crafting strategies for discovery, depositions and settlement negotiations for manufacturing defendants in the industrial equipment, transportation, HVAC and cosmetic products industries. Megan is particularly well-versed in the intricacies of defending talc litigation such as the variety of available microscopy techniques and the plaintiff's challenges in establishing causation. Megan's recent research interests focus on new developments in the scientific and medical literature concerning the known and anticipated carcinogenic potential of a variety of environmental factors and the expert witnesses who can effectively testify about these developments to juries.
Clients value Megan's ability to build long-standing relationships in the field and the delivery of cost-effective and optimal solutions to complex mass tort litigation, clearing dockets with the firm's innovative technology and proven approaches.
Asbestos Litigation
Missouri & Kansas Super Lawyers, Product Liability, Rising Star, 2015-2018
J.D., Saint Louis University School of Law
B.A., University of Illinois at Urbana-Champaign
Professional Memberships and Certifications
Bar Association of Metropolitan St. Louis (BAMSL)
Defense Research Institute (DRI)
Illinois State Bar Association (ISBA)
*Contact Megan to set up an in-person consultation by appointment in the St. Louis office.
Partners in your success.
Learn how we achieved excellence in legal operations
Analyzed liability and potential damages for clients and insurers in order to expedite efficient and favorable resolutions prior to trial.
Collaborated with national and in-house counsel for high-profile asbestos defendants, offering client-specific defense strategies.
Represented wide variety of defendants at fact and expert witness depositions including boiler, pump, valve, automotive parts manufacturers; premises owners; contractors; and suppliers of raw materials.
Negotiated with opposing counsel leading to dismissals of numerous client cases, secured tolling agreement resulting in dismissal of 100+ claims and conducted settlement negotiations with opposing counsel leading to favorable resolution.
News Releases | July 13, 2020
Husch Blackwell Announces Creation of Virtual Office
News Releases | May 28, 2020
Husch Blackwell Named CLOC's Inaugural Legal Innovation in Operations Project Award Winner
Husch Blackwell is believed to be the only law firm to date to be recognized by both the CLOC LIO Project and ACC Value Champion award series for its ability to implement legal solutions that cut spending, improve predictability and achieve better outcomes.
Outside the Office
Megan looks forward to an annual trip to Napa Valley. She and her fiancé also regularly travel overseas. Recent destinations include Hong Kong, Thailand and London. At home, she enjoys cooking and is a devoted University of Illinois sports fan.


It's kind of weird to watch the Weinstein brothers, who are bound together tightly to Tarantino — Miramax was the house that Pulp Fiction built, as the legend goes, and in order to sustain the complete creative control and freedom every artist desires, Tarantino relies on Bob and Harvey to fund and promote all of his films — be crossing their fingers that Basterds would be a moneymaking hit, one their company desperately needed. Even before seeing this movie, and concluding that Tarantino was an Artist with a capital A, I was saying to myself, "Tarantino makes art films." Yes, he does think about entertaining audiences, delivering payoffs, and so forth (though he will always make the quirky artistic choice if his muse says he must, which is partly what allows me to define him as an artist), but if you look at all of his movies, they're quirky art films, not pack-em-in-seats blockbusters. He has this huge reputation, still partly from Pulp Fiction — which was a huge hit in one of those concoctions of timing and public taste where something new was embraced for being new, rather than rejected for being new — for being an exciting filmmaker, someone whose releases are highly anticipated. However, I hang around in a film geek crowd in a city with a thriving film-fan culture, so of course it tends to feel to me like his releases are anticipated. Yet, there's a huge audience out there that is just people who go to see the latest thing at the mall every week before renting it again a few months later on DVD. They are fine with McMovies. Then here comes chef Tarantino with his five course platter of weird foods.
Tarantino's movies are weird. His tics and obsessions are on full display. He returns to the same wells over and over again, doing variants on the same ideas. He throws in references that even people who have taken film school classes are likely to miss half the time. The violence in his movies is bloody, huge, and gross. His sense of humor is mischievous and geeky and as apt to unsettle and audience as make it chuckle. By all rights, he shouldn't be as famous as he is, shouldn't have the clout he does, shouldn't have the budget to indulge himself that he's given. It's pretty shaky to build a career on catering to a small audience of super film geeks like yourself; the economics just shouldn't sustain it. But he does. And he's built his career from the ground up, by following his muse and doing his quirky art. There's no cheating or short cuts, although there is luck.
I remember seeing Pulp Fiction when it came out. I remember seeing it with a big audience. I remember taking my Dad to see it, and he was blown away by it from the moment Amanda Plummer swung that pistol around on her bony arm and screamed profanities, until the lacerating chords of surf music cut her off and the title came up, big and fat and yellow like a young lion pouncing. It was the kind of moviegoing experience where you've never seen anything like it and you wanted to shout, "Hot damn!" It was like a slug of adrenaline right in your chest, just like the one Mrs. Marcellus Wallace got, watching Pulp Fiction when it was brand new. It also had the benefit of Sam Jackson as the anchor man, racing the baton home in the last scene. There's a lot of lowlifes in Pulp Fiction's gallery of characters, but there's two who make moral choices: Butch (Bruce Willis) and Jules (Jackson). So the movie ends on this positive note, on this right moral choice. So after taking this long, bizarre ride, you step out of the theater feeling like maybe it was worthwhile, as bizarre and as long as it was. A year earlier, we saw Jurassic Park for the first time, and we were like, hey, dinosaurs, cool. Never seen dinosaurs not move like clunky claymation creatures before, that's neat, that's kind of new. Then here comes Pulp Fiction, and it was a new kind of storytelling altogether. Dialogue like that was new. The disordered chronology was new. Seeing someone get an andrenaline shot in the heart was new. Seeing a wad of bills five inches thick was new. And somehow, the public was ready for all this.
Doing something new can get you drummed out into the street and your career destroyed as it's getting started. There's been more of a history of that in the history of art than the reverse. And if you do manage to create a breakout success, then comes the burden of following it. Do you have the goods? Can you keep doing it? Will anyone care when it's not new any more? That's destroyed quite a few artists as well.
And now I'm sitting here in this all-night cafe pondering Quentin Tarantino's career and his status as an artist who has managed to keep the conditions alive for creating the art he wants to create, because I consider myself an artist, too. I'm nearly 40 years old, though, and have yet to find much of any audience for what I do. That doesn't stop me from doing it, it never has — and my inability to stop creating what I consider to be creative works of art, despite all financial, social, psychological, and practical impediments to doing so is part of why I easily identify myself as such. I am quite simply compelled to.
What I grapple with, of course, is what to spend my time working on, which projects to throw energy and time into completing, which to let lie fallow, which to reject, which to play around with until it seems like it's going in a better direction. Sometimes, there's something that I just feel like I have to get done, so I do that. Other times I can dither around with a project for years. I can throw everything I have into something that's totally not commercial or perhaps so self-indulgent there's no reasonable way that anybody but myself is going to like it. I can scrap things because I am full of endless anxieties about whether anyone will like them or not, or because my strongest suspicion is that they won't, so I don't bother. It is very perplexing, most of the time.
When I was a kid and didn't have much invested in my own ego, I proved to have a knack for writing stories that had an audience appeal. There were all these little ideas I'd scooped up from various places, from things that had pleased me — from comic books and from Spielberg movies and from young adventure novels and such — that I was able to sort of stick in at the right moments to thrill the little audience of my classmates and my writing teacher. By the time I was finishing college, I was preoccupied with delving into my own private angst and finding some way to express it, and pleasing an audience was pretty low on my list of artistic prioirities. Then I sort of moved out of that into a phase of trying to reclaim those earlier sensibilities, but I was still not the best judge of what projects would find a receptive audience and which wouldn't. My artistic ambitions were enormous by that point.
It's all still in flux. I still wonder, of course, whether I'll ever make a movie again, or if The Krone Experiment was it. I was watching Tarantino expound upon his own oeuvre, as he called it, to Charlie Rose, and about how one watches the development of a unique voice over the course of a career. He said something interesting, which is that being a writer-director, as opposed to a director who is happy to pick up scripts written by other people and develop them, necessarily means you're not going to make as many movies, partly because you have to start from scratch at the bottom of Mount Everest every time, facing the blank page and scratching something onto it that hopefully will be a movie three years later. I am now aware that I may be lucky to make three movies in my life, and that would be better than making one, but it's too bad I won't get to make ten or twenty, because I'd be very interested in seeing what my gimmick is, what my voice sounds like, what my themes are that I go back to over and over again, what is a Rob Wheeler movie (or a J. Robinson Wheeler movie, or a John Robinson Wheeler movie — I'm kind of schizo on the whole naming thing right now, which is a whole other deal), and what isn't. Back when I was making Krone, I remember saying that it would be great if my partner, Ben Pascoe, ended up making a lot of movies on his own, and so did I, so that later we could look back and see how Krone was, indeed, a collaborative mix of two distinct filmmakers. With just the one movie, it's a little harder to tease out the difference.
Of course, the other thing is, that unlike Quentin Tarantino, I have never exclusively been a film artist. I have lately been making serious plans to take some movie scripts I've written, that I might have to admit I will never be able to produce as movies, and draw them as webcomics (serialized graphic novels, basically) instead. I think this is a great idea and I'm very keen to do it, but it's turning out that drawing comic pages is an incredibly labor-intensive activity, and one of the things I'm slowest at, just as I'm reaching an age where I can feel myself slowing down. So then it starts looking like it'll take three years to do each of these comics projects, about the same amount of time it would take to make them into movies. The main advantage is economic, of course.
These days, it can cost nearly nothing to make a movie, unless you really want to rent some equipment, pay actors and crew for their time and talent, and need anything special in the way of costumes, props, or special effects. I have a lot of confidence in my talent as a filmmaker, but I have zero skill and experience at raising money. The main trick of doing Krone was figuring out a way to do it without raising any money at all, and I did, but I don't think I can or will do that again. What I have to spend on any project is my own time, which is a limited resource, and my own energy, which is renewable but also limited.
Thus it does all come down to trying to choose every day which project to invest in. Every now and then someone will poke me with a request to finish something I started that they wanted to see more of, and they probably wonder why I don't do so. It's not necessarily that I don't want to, but when a project cools off, it takes an extra investment of energy to heat it up again, so that, in a way, it's more expensive than a newer project, which is hot to start with. The energy economics don't make sense, and there's no money economics to balance it out.
I've drifted far away from Tarantino and Inglourious Basterds, I know, but this wasn't supposed to be a review of that. It was my own situation that was on my mind, but seeing that movie and thinking about Tarantino and his situation brought it into focus.


text:
8 Arrested as Police Clear Out Occupy Coachella Valley
by Source on November 1, 2011 · 2 comments
in California, Civil Rights
At 1:46 a.m. Tuesday, November 1, 2011 Riverside County sheriff's deputies arrest protester and Los Angeles Free Press publisher Steven Finger, 56, of Palm Desert (on ground) and protester Ryan Cartwright, 21, of Palm Desert (background) and warn other protesters to get back after both men were accused of stepping on grass considered inside the boundaries of Civic Center Park in Palm Desert. Deputies swept the Occupy Coachella Valley encampment, which was set up in a small parking lot inside the park, and arrested nine people overnight. / Crystal Chatham, The Desert Sun
By Desert Sun staff / November 1, 2011
PALM DESERT — At least eight people were arrested overnight as Palm Desert police cleared the park where Occupy Coachella Valley protesters camped for a week.
"I saw a brigade of cops; it was unbelievable," said protester Steven Finger, 56, of Palm Desert. "They were in two rows wearing gear and they were marching down the street."
Five protesters and two other people not involved with Occupy Coachella Valley were arrested at Civic Center Park, Riverside County sheriff's Lt. Bill Sullivan wrote in an email to The Desert Sun about 1:30 a.m. A Desert Sun photographer saw two more protesters arrested about 15 minutes later.
Eight unlawful assembly suspects arrested near the park were booked into the Riverside County jail in Indio, jail records show. Four of those people had been released by about 6:45 a.m.
Finger, who was in the second round of arrests, told The Desert Sun that protesters weren't given any orders to disburse on Monday night.
"There was no order to disburse, no warning. They were just pointing at who to arrest and saying 'that one, that one.'"
City officials last week granted temporary overnight permits during the camp's first few days, but when it grew clear the protesters planned to stay indefinitely, the city refused to renew the permit on Friday.
Since then, police have visited the camp after the park's 11 p.m. closing time at least twice to warn protesters to leave, or at least stand on the adjacent sidewalk instead.
"We have tried everything possible to accommodate (the protesters)," Sullivan said. "We gave warnings, letters."
No one was hurt as the arrests were made, he said.
"My perception is that those who wanted to be arrested were arrested and those who didn't moved to the sidewalk," Sullivan said.
Police arrived at the park about 11:30 p.m., Sullivan said. The first wave of arrests was made at 12:15 a.m., according to jail records.
About 1:20 a.m., 13 people stayed on the sidewalk as four officers and two police cars remained on scene. Some of the protesters who weren't arrested remained and shouted at officers.
Tagged as: occupy
Oscar November 1, 2011 at 10:44 am
We will not be stopped, We will not be Silenced. We have the 1st amendment! We are the People, We are the 99%!
joel kaye November 1, 2011 at 1:05 pm
OCCUPY AMERICA..and Everywhere's…in USA.: WE MUST WAKE UP AMERICA….OR ELSE….. Are we really afraid of being protectionists….or should we STOP IMPORTS….or slow it down…. or else we will loose everything we built after WWII….!!!
WHY IS THERE AN OCCUPY OF AMERICA…..!!!
BECAUSE ALL OUR AMERICAN JOBS EVAPORATED AND WERE SENT TO ASIA THE LAST 45 YEARS….!!!
OCCUPY AMERICA….!!!
Lets talk about Occupying America…. which I know best….!!!
Let me know how I can help…I live near the Sherman Oaks in CA…I am 78 years old and don't do real big things anymore…but my old brain still wants to…like Occupy – Lake Balboa next…Long Beach and Los Angeles Ports etc….!!!
There is a lot more about it…. as I have analyzed America for the last 62 years as an adult…I came to America in 1949 after WWII….and started to work in Manhattan in 1951 right after I graduated from High School…yes I always thought then that I had come to the land of Milk & Honey…or someone told me so….now it has turned to be more about Democrats, Republicans, Corporations and Government …plus coffee drinking Tea Party folks….and Politics…!!!
I gave up on America some time ago…!!! but still am hunging in…!!!
Yes picketing Fashion Square in the San Fernando Valley of Los Angeles….should be next if you can get an Army to go there every day…covering all the entrance doors…….and explain with signs how Americans keep buying products made overseas and in the same breath eliminate American jobs by buying those products for the last 45 years…………all of our malls around America should be prime targets for sure… as they all Import….and you need to picket our 2 ports where 13,000 Container ships unloaded in Long Beach port alone in 2010…and I'm not not even counting the Los Angeles port….and many more along our 3 coasts…around the USA…so we have been loosing jobs to Imports since the Mid 1960's…!!!! and nothing has been done about it…President Bush Jr signed & sealed our fate in 2006 with his NO QUOTA bill…the last Bill necessary that allowed Asia to dump goods at will beyong the means of our manufacturing base to recover……..and made our Chain Stores and Mass Merchandisers & Importers that started and finally killed our American's Camel's Back Economy for good and a final blow during that 45 years lapse………..and it made these Special Interest businesses and Corporations and Wall Street and banks rich & fat…rich and non-caring about our American work force………and now our Economy is lamenting every day…with no end in sight…!!!! and I am not surprised…!!!
I have been urging DC to listen and do something about it for since January 21st 2009…on the first day my Candidate Obama said he would be ready on Day 1….no instead…. he traveled to 21 countries to show off and even got a Nobel Prize for Peace….which he did not deserve….as we should not have invaded Iraq in the first place…yes Bush Jr and Obama should divide their shallow accomplishments…and get nothing each…!!!!! not even an ice Cream cone…!!!!
JK :o
Meanwhile we should only focuss on one issue…Jobs & our Econmy…
I wrote this last April….below….
WAKE UP AMERICA…. WE MUST…..WAKE UP OR THE FUTURE WILL NOT BE VERY ROSY THIS CENTURY…..!!!!!!
Or else we will loose everything we built up after WWII….
Are we really afraid of being protectionists….or should we STOP IMPORTS….or slow it down a lot so our decimated industries can get back in the game and compete against Asia and other foreign countries……..
After 45 years of offering Exports to Asia it is no wonder we have no jobs at home in America……plus our richest companies now are Importers but do not have jobs for Americans at home…as we have finally hit the Wall…finally…I am not surprised as everything now is going up in price…it is called inflation for sure….that will be the final blow to America….
How about picketing all the US Malls who carry 95% of Imports like in my 2 industries….Manufacturers who are hanging on still and who are still in business but have been decimated or many others have gone out of business for the last 45 years because they could not compete with Foreign countries or American Importers either………..so "America" …. and at any store that sells Imports…Picket them…they will eventually get the message and sell American products eventually …….and say in your picket signs that WE WILL NOT BUY IMPORTS ANYMORE…and…SELL ONLY MADE IN THE USA PRODUCTS….those IMPORTS benefits all the Special Interest Folks who eliminated our Manufacturing bases over the last 45 years…with the help of our Government and with campaign financing which they offered to legislators to pass just the right bills for them in exchange……..I have seen it happen with my own eyes….IMPORTS are our long lost jobs mostly transferred in Asia…..picketing with signs will raise the ears of those Buyers who put Imports in our Retail Stores and who sell them willingly to naive consumers……consumers who have zero ideas that they are eliminating American Jobs….so…..!!!!!!
Also wondering why we have a 2% of rich folks who have as much money as the rest of the 98%…IMPORTS are full of benefits and profits…that is why our Retailers don't buy American made products….as there less profits in buying or selling American products for sure….this issue Imports has contributed to our demise economically for a very long time….
Many of us are already Liberals….but Liberals & Conservatives and folks in the middle have all created this economic problem over the last 45 years……..and it has not helped in this century or the last one to have 2 parties that can't work together in Washington or in our 50 States………as they don't have common senses on how to fix America….how many times more am I going to vote out legislators and replace them with another while the problems get worse after I voted…….!!!!!
What do we have to be and do to overcome our present situation….???? START OVER…!!!
Here is one of my ideas to fix our economy first and get our jobs back…….STOP IMPORTS…!!!…and stop trading Boeing Airplanes for Sweat shirts with China……it won't work well for us to Trade this stupid way……..Imports are Imports that have eliminated our jobs sources at home….!!!!
And is becoming protectionist necessary…..!!! YES
And can we overcome the world order that we impose on many countries…!!! YES if we don't get involved unless someone attacks us….
And so on….and on…..and on…..!!!!
So… Stop Imports and slow down Asia or they will control all of our best markets….and Asia will have the jobs for their People and we won't….it's that simple.
Joel in LA 8-) at EMAIL: jasaguide@sbcglobal.net
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text:
De Porta Sanqualis was een stadspoort in de Muur van Servius Tullius in het Oude Rome.

De poort stond aan de voet van de Quirinaal, op de heuveltop die Collis Mucialis werd genoemd. De Porta Sanqualis ontleent zijn naam aan de Tempel van Semo Sancus die dichtbij stond.
Delen van de poort zijn in de 20e eeuw opgegraven aan het Piazza Magnanapoli, waaruit bleek dat de poort voorzien was van een binnenplaats. Een boog behorend bij de fortificaties van de poort is bewaard gebleven in de kelder van het Palazzo Antonelli.

Sanqualis
Antiek bouwwerk in Rome


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Disturbing Things For Sale on the Black Market You used his shortcomings to bribe him and give the money to Alexis, spend it on her or waste it otherwise. I had no idea that she was living with you when I. 28 Sep Businesswoman receives threats after accusations of taking bribe from Mbete has falsely accused her of receiving R15 million in black plastic bags from ANC Speaker of Parliament Baleka Mbete praying with women and. BellHooks writes of the sexual exploitation of black women by their white masters during slavery: 'Whitemale slaveowners usually triedto bribe black women as.