text:
La  è stata una banca giapponese. È esistita fra il 1880 e il 1946 ed era la banca specializzata nel commercio estero.

Storia

In base alla legge sulla Banca Nazionale del 1879 un consorzio di 23 finanzieri fondò la Yokohama Shōkin Ginkō, i cui compiti erano il finanziamento del commercio estero e il cambio delle valute nell'area dell'Estremo Oriente. Lo stato giapponese si riservò l'amministrazione e un terzo del capitale. L'istituto cominciò ad operare il 28 febbraio 1880 e nel 1882 iniziò anche l'attività di cambio delle valute.

Dopo la sede di Yokohama, la prima filiale aprì a Kōbe nel 1880. Nello stesso anno fu aperta l'agenzia di New York. Nel 1881 fu inaugurata la subagenzia di Londra, che nel 1884 fu elevata ad agenzia normale. Quest'ultima agiva anche come filiale della Banca del Giappone in Europa. Vennero poi Bombay (1894) e Hong Kong (1896).

Un'apposita ordinanza del 1887, modificata nel 1889, conferì alla YSB uno statuto speciale come banca di cambio, soggetta a controlli più stringenti che le banche ordinarie, ma anche titolare di aiuti da parte dello Stato e della Banca del Giappone.

Nel 1893 fu aperta l'agenzia di Shanghai. A partire dalla guerra sino-giapponese del 1895 il compito principale della Yokohama Shōkin Ginkō divenne quello di finanziare il commercio con la Cina. Furono così aperte anche le agenzie di Tientsin (1899), Newchwang (1900), Pechino (1902) e Dairen (1906).

Nel 1901 la Yokohama Shōkin Ginkō ottenne il diritto di stampare cartamoneta nei territori d'oltremare. La prima emissione avvenne a Tientsin nel 1902  e Shanghai, esse erano garantite dalle riserve di argento della banca e denominate in dollari messicani o tael. Allo scoppio della guerra russo-giapponese furono emesse banconote per pagare l'armata del Kwantung, che circolarono in Manciuria: esse erano denominate in yen e sen. Per garantire il controvalore delle banconote il ministero delle finanze stanziò 15¼ milioni di yen. Vennero poi le emissioni di banconote (garantite da riserve d'argento) per Pechino (1910), Tsingtao (1915), Hankow (1917), Tsinan (1920) e Harbin (1921).

Intanto venivano aperte nuove filiali, a Lione, San Francisco, Honolulu, Buenos Aires, Rangun, Surabaya, Calcutta, Sydney.

Al termine della seconda guerra mondiale il Comandante supremo delle forze alleate riorganizzò l'istituto nel 1947 come Tōkyō Ginkō.

Note

Bibliografia
 Horesh, Niv, Money for Empire: The Yokohama Specie Bank Monetary Emissions Before and After the May Fourth (Wusi) Boycott of 1919 Modern Asian Studies, 2013; pagg. 1–26.
 Ishii Kanji, Japanese Foreign Trade and the Yokohama Specie Bank, 1880–1913; in Checkland Olive; Shizuya Nishimura; Norio Tamaki (a cura di) Pacific Banking, 1859–1959: East Meets West, Hampshire, 1994.
 The Yokohama Specie Bank in Journal of Commerce and Commercial Bulletin (a cura di), A History of Banking in all the Leading Nations …, New York, 1896.
 Nishimura, Takeshi, The Activities of the Yokohama Specie Bank in the Foreign Trade Financing Operations for Raw Cotton before the First World War in: The Origins of International Banking in Asia: The Nineteenth and Twentieth Centuries, Oxford, 2012. ISBN 9780199646326.
 , (208), 1984, pagg. 41–81, , (209), 1984, pagg. 1–27.
 Tamaki Norio, Japanese Banking: a History, 1859–1959, Cambridge, Cambridge University Press, 1995.
 Tōkyō Ginkō, Yokohama Shōkin Ginkō Zenshi; Tōkyō 1980–1984; 6 voll.
 [Anon.], Yokohama Specie Bank Opens New Quarters for Shanghai Branch in Far Eastern Review, Vol. 20, 1924, 9, pagg. 420–423.
 Yokohama Shokin Ginko in Japan in the Taishō Era, Tokyo, 1917, pag. 231

Altri progetti

Banche giapponesi cessate


Bail can be a vitally important step of the criminal justice process. When someone is released on bail, as opposed to staying in jail awaiting trial, they can often access family support, community resources, employment opportunities and many other things more easily.
At McElroy Law, we fight hard to have our clients released on bail. Whether it is by negotiating a consent release with the Crown, or fighting at a contested bail hearing, we work to make sure that you have the best possible plan for release that will satisfy the court that you are safe to be in the community.
At McElory Law, we offer our clients a detailed plan when preparing for their bail. Bail is the first step towards your freedom and we take it seriously. Call us at 613-702-3328 or complete the online form provided to discuss further.


text:
General Service Medal – SOUTH-WEST ASIA (GSM-SWA)
This general service award has been created as a means to recognize in a more timely manner those who provide direct support to operations in the presence of an armed enemy. Rather than creating a new honour for each new Canadian Forces operation as it arises, the General Campaign Star and General Service Medal - with the addition of individual operational bars - can be awarded in future to honour participation in any operation that meets the criteria.
The General Service Medal (GSM) is awarded to members of the CF and members of allied forces serving with the CF who deploy outside of Canada - but not necessarily into a theatre of operations - to provide direct support, on a full-time basis, to operations in the presence of an armed enemy.
The GSM may also be awarded, depending on the operation, to Canadian citizens other than members of the Canadian Forces, who are deployed outside Canada, either inside or outside a theatre of operations and working with the CF to provide direct support, on a full-time basis, to operations in the presence of an armed enemy.
The GSM is always issued with a ribbon specific to the theatre or type of service being recognized, and each ribbon has its own criteria.
The GSM with SOUTH-WEST ASIA ribbon is awarded to:
Canadian citizens other than members of the Canadian Forces who served either:
in direct support of the Canadian participation to the International Security Assistance Force (ISAF) in Afghanistan while deployed inside the theatre of operations consisting of the political boundaries of Afghanistan and its airspace for at least 30 cumulative days between April 24, 2003 and July 31, 2009; and/or
in direct support of the Canadian military operations while deployed inside the theatre of operations consisting of the political boundaries of Afghanistan, the Persian Gulf, the Gulf of Oman, the Gulf of Aden, the Red Sea, the Suez Canal and those parts of the Indian Ocean and the Arabian Sea that are west of sixty-eight degrees East longitude and north of five degrees South latitude, as well as the airspace above the aforesaid areas for at least 30 cumulative days commencing on August 1, 2009. For more details, consult the Eligible service list.
Members of the Canadian Forces, members of allied forces and Canadian citizens other than members of the Canadian Forces who served with the Canadian Forces either:
in direct support of the Canadian participation to the International Security Assistance Force (ISAF) in Afghanistan from outside the theatre of operations consisting of the political boundaries of Afghanistan and its airspace for at least 30 cumulative days between April 24, 2003 and July 31, 2009; and/or
in direct support, provided from outside the theatre of operations, of the Canadian military operations conducted in the theatre of operations consisting of the political boundaries of Afghanistan, the Persian Gulf, the Gulf of Oman, the Gulf of Aden, the Red Sea, the Suez Canal and those parts of the Indian Ocean and the Arabian Sea that are west of sixty-eight degrees East longitude and north of five degrees South latitude, as well as the airspace above those areas for at least 30 cumulative days commencing on August 1, 2009. For more details, consult the Eligible service list.
The only civilians eligible are Members of the Public Service working for the CF, Canadian civilians under contract with the CF and Canadian Police Officers serving under the authority of the CF in the locations and with the units described at the link above and between the dates indicated. Foreign civilians are not eligible for the GSM.
The only members of allied forces eligible are those who serve in Afghanistan on behalf of Canada. They are usually foreign exchange personnel who deploy with our units or personnel seconded to the CF specifically to serve in our mission. In all cases, they must be on the CFTPO filling a Canadian position and they are usually assigned a CF service number. Foreign personnel working in concert with the CF or reporting to a Canadian superior in an international context are not eligible for Canadian service medals.
Service in South-West Asia between 11 September 2001 and 31 July 2009 which was not under the NATO-led ISAF is not eligible for this award but may be eligible for the South-West Asia Service Medal, see the page for this medal for further details.
To be eligible to be awarded the Medal, direct support must be performed under exceptional circumstances and the person must have been deployed specifically to provide this support on a full-time basis to the operations. Only when there is a certain level of risk, threat, hardship or operational intensity can recognition be provided. Any support which is comparable in nature to normal duty or which is performed from the relative safety of a country distant from the theatre shall be excluded from eligibility.
Visits and inspections do not constitute qualifying service. Specifically, visits for the purpose of leadership, familiarization, ceremonial, or morale by civilian or military VIPs as well as Staff Assistance Visits (SAVs), Staff Inspection Visits (SIVs), and specialist visits for the conduct of summary/criminal/administrative investigations, courts martial, Boards of Inquiry, trial evaluations, academic studies, surveys or other similar administrative activities are excluded from qualification.
When a person meets the criteria for the GCS-SWA or a Bar to it and the GSM-SWA or a Bar to it within a period of 180 days, the person shall only be awarded the GCS or a Bar to it. In other words, one cannot earn both the GCS and the GSM for SWA (or bars to them) during a six months period.
The GSM is a silver-coloured circular medal, 36 mm across bearing on the obverse a contemporary crowned effigy of Her Majesty the Queen of Canada surrounded by the inscriptions "ELIZABETH II DEI GRATIA REGINA" and "CANADA" separated by small crosses pattée. The crosses pattée represent military valour and merit. On the reverse are two crossed swords, an anchor and a flying eagle superimposed on each other, the whole surrounded by two branches of maple leaves which form a wreath and surmounted by the Royal Crown. The wreath represents honour, the maple leaves represent Canada, the anchor, crossed swords and eagle represent the three services of the Canadian Forces and the Crown as well as the effigy on the obverse represent the Queen of Canada and her role as the Fount of all honours.
A claw at the top of the medal is attached to a straight slotted bar. A central maple leaf overlapping two others ornaments this suspension.
The ribbon is 32 mm wide with a central stripe of red (18 mm), on either side of which are stripes of white (2 mm) and green (5 mm). Red and white are the official colours of Canada as appointed by King George V in 1921, and green represents service.
The rotations bars for the Medal are silver in colour with a raised edge and bear either one or five maples leaves.
The GSM-SWA shall be worn in the sequence prescribed in the Canadian Orders, Decorations and Medals Directive, and in the following manner:
On the left breast, suspended from the ribbon described above, between the General Service Medal with ALLIED FORCE ribbon and the General Service Medal with EXPEDITION ribbon;
If multiple bars have been awarded, they shall be evenly spaced on the ribbon in the order earned, with the first bar earned worn the closest to the Medal; and
The following is a list of members who have died while performing service eligible for this award:
Cyr M.B.J.
Downey B.A. Cpl
The GCS and GSM were created by Her Majesty The Queen in March 2004. Initially both medals were issued each with only one ribbon (those currently used for South-West Asia) with bars specifying the operation being recognized. Two bars were created, namely ALLIED FORCE and ISAF+FIAS.
The inaugural ceremony took place on 29 November 2004 in the ballroom of Rideau Hall in Ottawa. On this occasion, Her Excellency, the Right Honourable Adrienne Clarkson, CC, CMM, COM, CD, Governor General and Commander-in-Chief of Canada, presented the Medal to 17 representative recipients, 6 with ALLIED FORCE bar and 11 with ISAF+FIAS bar. The first presentations of the General Campaign Star were also made during that event.
In 2009, the GCS and GSM were modified so that the existing bars were abolished, being replaced with theatre or service-specific ribbons thus allowing the use of bars to recognize multiple rotations where appropriate. As a result, recipients of the original GSM with ISAF+FIAS bar must have their medal remounted without the bar but using the same ribbon. The ISAF+FIAS bars shall be returned to DH&R. On the same occasion, the criteria for the GSM was reduced from 90 to 30 days. Moreover, because the provision that no one could earn both the GCS and the GSM for ISAF service has been modified, some recipients who had to relinquish their GSM in order to receive the GCS will be able to claim it back provided they did not meet the criteria for both awards within the same period of six months.
Captain Carl Gauthier of the Directorate of History and Heritage, DND, prepared the design. The Canadian Heraldic Authority at the Chancellery of Honours, Rideau Hall, completed the final artwork.
The Medal is engraved on the edge with the service number, abbreviated substantive rank, initials and surname of the recipient. Civilian recipients have only their name engraved on the Medal.

redpajama_set_name: RedPajamaCommonCrawl


text:
Pitching Us
Bio Services
For the Love of Music
Today's Song
Music You Should Know
Nostalgia Tracks
Editorials, Music January 12, 2021 January 12, 2021
Flipping the Switch: Will Taylor Swift's Battle for Her Master Recordings Change the Music Industry for the Better?
by Emily Algar
Taylor Swift 'evermore' © Beth Garrabrant
Atwood Magazine's Emily Algar explores the fate of the music industry through the lens of Taylor Swift and her ongoing battle for her masters, and asks the question: Is now the time to change that most coveted thing in music – the recording contract?
•• ••
Two years ago, when the news broke that Taylor Swift's master recordings had been sold to a man who had had no hand in her success and who had actually set out to destroy her career, according to Swift herself, I know I wasn't the only one who felt this was personal and sickening.
Not because Swift isn't immensely privileged or because she needs the money or because her career was going to suffer without her owning her master recordings. No, it felt personal because it was yet another example of rich white men controlling and financially benefitting the work and artistry of a woman. We have seen this play out across the music industry and other industries for decades as well as in our own professional and personal lives. Men in gatekeeping positions manipulating and controlling female artists and their art. Remember Ryan Adams and his abusive behaviour towards Mandy Moore, Phoebe Bridgers, and Jillian Jacqueline? Or Dr Luke's (Lukasz Sebastian Gottwald) sexual assault of Kesha?
Taylor Swift © Beth Garrabrant
The argument that "the owning of an artists' masters by a label is common practice and the selling of masters to anyone other than the artist is common practice" is now starting to come apart at the edges, given how much the music industry has changed with the advent of streaming and how little artists receive in royalties.
Swift's plight has helped with this. From the start of her career, she made it clear she is a songwriter and all her songs come from her; 2010's Speak Now speaks to this: All of its songs come directly from her, as she wrote it alone. Swift has consistently taken ownership of her music and her brand. She has always been very clear in her communication with her fans and the music industry as whole, as to where her inspiration for her comes from. Swift has also been very careful in involving her fans as much as possible in her creative decisions and allowing them to feel part of her career, which has been incredibly beneficial to Swift in many ways. It has also allowed her the circumvent the usual channel of communication by speaking directly to her fans on social media, even from the very beginning on MySpace and in her music. In other words, all roads lead back to Swift.
The reason the selling of Swift's masters felt personal and relatable to us is because Swift has allowed us to see what it means to make art and also what it feels like to lose that art. It has made us ask ourselves the question, "How would I feel if someone took ownership of my work without my permission and then financially benefitted from that work?"
In November 2020, it was reported that Scooter Braun had sold Taylor Swift's master recordings, which includes all the albums' associated music videos and artwork, for $300 million to Shamrock Capital Advisors, a Los Angeles based investment firm. Shamrock describe themselves as an "investment firm with a rich history of investing in the media, entertainment and communications sectors." Master recordings refer to the sound recordings of those albums and songs. Swift as the creator of her music owns the publishing rights to her songs, which includes the lyrics, melodies, and compositions that comprise them.
A quick catch-up: In 2019, Scott Borchetta, the President and CEO of Big Machine Record Group and Swift's former manager, sold the label to Scooter Braun's company Ithaca Holdings LLC, which included Big Machine's client roster, distribution deals, publishing sides and owned artist masters, which includes Swift's master recordings from her self-titled debut to 2017's reputation. The sale was worth $300 million and as part of the deal Borchetta joined the Ithaca's board, continued to remain the CEO and President of BMLG as well as having acquired a minority interest in Ithaca.
Ithaca Holdings LLC. is Scooter Braun's new business venture. The Carlyle Group is a minority investor in Ithaca, and their Head of Global Consumer team, Jay Sammons sits on their board. It is still unclear whether Ithaca Holdings and by extension Scooter Braun would have been able to purchase BMLG without the added cash injection from the Carlyle Group.
It is worth noting, that according to Vanity Fair, Big Machine "derived as much as 80% of its revenue from Swift's music in recent years", which calls into question how much Taylor Swift was responsible for BMLG's success and profit.
Swift released a statement mere hours after the announcement accusing Braun of incessant bullying and manipulation over the course of her career. She also accused Borchetta of not allowing her to buy back her masters on the same terms that Braun was granted. At the time, Borchetta said Swift could have bought her masters but only if she re-signed with BMLG for another ten years, and for each new album she made, she would earn a master recording back. There is still no word as to whether Swift would have secured the master rights to these new albums straight away, or if again, she would have needed to resign in another ten years to earn those masters back too.
cover art for 'evermore,' Taylor Swift's recently-released ninth studio album
Since the initial sale there have been various skirmishes between Braun and Swift, most notably that Braun, Borchetta and BMLG were preventing Swift from performing her old songs at the 2019 AMA's and also being able to include her old songs in her 2019 Netflix documentary Miss Americana.
Swift reacted to the sale of her masters to Shamrock by posting a lengthy statement on her social media platforms, detailing her negotiations with Braun and her intention of wanting to work with Shamrock.
In her statement, she said was not given the opportunity to make a fair-market bid for her own masters. Swift alleges that Braun and his legal team wanted her "to sign an ironclad NDA (non-disclosure agreement) stating I would never say another word about Scooter Braun unless it was positive, before we could even look at the financial records of BMLG (Big Machine Label Group), (which is always the first step in a purchase of this nature). My legal team said that this is absolutely NOT normal, and they've never seen an NDA like this presented unless it was to silence an assault accuser by paying them off. He (Scooter) would never even quote my team a price." In other words, Braun either values his reputation above everything else including the possibility of selling an artist back her own masters, or he was never serious about selling Swift back her own masters and the NDA and the lack of transparency was to assuage her from entering into negotiations and buying them back.
Shamrock even reached out to Swift letting her know that they had bought 100% of her music, videos and album art from Braun. Shamrock also told Swift that they had wanted to reach out before the sale was finalised but "Scooter Braun had required that they make no contact with me or my team, or the deal would be off". Swift had initially been open to working with Shamrock and began planning how to do so, however after communications had opened between the two, Swift learned that, "under their (Shamrock's) terms Scooter Braun (and Ithaca Holdings) will continue to profit off my old musical catalogue for many years". Swift continued that, "if I support you, as you request, I will be contributing to these payments to Scooter Braun and Ithaca Holdings. I simply cannot in good conscience bring myself to be involved in benefitting Scooter Braun's interests directly or indirectly. As a result, I cannot currently entertain being partners with you." Swift also told Shamrock that she continues to re-record her past albums, which she knows will devalue to the originals.
So, what does the re-selling of the masters actually means for Shamrock, Swift, and Braun?
It means Braun effectively acquired BMLG for a negligible fee, having bought the whole company, including Swift's masters, for a similar $300 million price tag last summer. According to Swift's statement, Braun still has a financial stake in Swift's master recordings, videos or album artwork. It is currently unclear how or why Braun or Ithaca Holdings should still have a financial stake now that it has been sold to a separate investment firm with no clear ties to Braun or Ithaca Holdings. At the time of writing, neither Braun, Ithaca Holdings, nor BMLG have commented on the sale or Swift's statement, so we can only speculate that perhaps Braun or Ithaca Holdings have a share in Shamrock or the terms and conditions of the sale, still see Braun being a partial owner of Swift's work. There is also no word as to whether Scott Borchetta, the President and CEO of BMGL continues to have a financial stake in Swift's back catalogue like Braun is accused of having.
In Swift's statement, she also mentions artwork from albums being sold to Shamrock, which means Shamrock could use the art from the albums including the album sleeves for future merchandise, including re-issues of albums (BMLG have already re-issued all Swift's albums on vinyl), clothing and accessories, which Swift will be unable to block or profit from, or duplicate.
Swift is a songwriter on all her songs and therefore has the power to block synchronization license requests for films, tv shows, adverts, which she has publicly acknowledged to doing with abandon. However, according to the RIAA, the US recorded music industry in 2019 generated $11.1 billion in gross revenues, but only 2.5% of this figure was generated by synchronization license fees. Even on a wholesale basis, sync's $276 million contribution only made up 3.8%. The remaining income generated was from physical music sales, digital downloads, and streaming, which Swift is unable to stop Shamrock and Braun profiting from. However, because Swift is a songwriter on all her songs, she therefore still profits from the publishing rights on her master recordings. In other words, if you choose to stream 1989 or Fearless on Spotify Swift is not losing out but then neither is Braun or Shamrock.
cover art for 'folklore', Taylor Swift's first release of 2020 and her eighth overall studio album
Re-recording: A stroke of genius?
In my opinion, I do understand why Swift is re-recording her last six albums. They are undoubtedly her work and she wants to maintain control over her art and also wants those, including herself, who made that art, to be able to benefit financially and make decisions about the future of her art. Not a manager who she alleges tried to dismantle her career nor an investment group – The Carlyle Group and Shamrock. All three had no hand in the making of her art and all three are definitely not responsible for her success, financially or critically. It could even be argued, with regard to BMLG, that Swift is partially if not majorly responsible for the label's success.
At the time of writing this article, I was very skeptical about whether Swift re-recording her albums would really be worth it. Surely music listeners will just go back to the originals anyway, both out of curiosity and because the originals will hold more sentimental value. I was also sceptical at how a 31-year-old Swift could pull off singing 'Tim McGraw' or 'You Belong With Me' in a convincing and authentic way.
In December, Swift licensed a portion of her re-recorded 'Love Story' to the Ryan Reynold's directed MATCH advert. I expected a poppier, more polished version of the song, which sounded very much like a 31-year-old Swift singing the song, not an 18-year-old Swift. However, the arrangement is pretty true to the original, with some slight tweaks in that the fiddle is now more prominent. And Swift's vocals? Well, they are pretty close to how she sounded at age 18.
If Swift continues in this vein for her other six albums, then it is likely that those looking to use her music in films, tv and adverts will opt for her re-recordings over the originals for a whole host of reasons. Firstly, it will be easier to go to Swift for both the publishing rights to the song and the master recording rights of the re-records than having to go to Swift and Shamrock separately. Secondly, Swift will likely offer the licensee a deal, which will be far cheaper than them going to Shamrock or Ithaca Holdings. On top of this, the licensee will also ultimately have the endorsement of the artist, Swift herself, and they would have to be stupid to not understand what power that holds amongst her fans and the public.
The trouble comes in the form of streaming platforms with Swift effectively competing against herself. Her original music is already sitting in thousands of people's music libraries and it is unlikely that they would be willing to switch the originals for the re-records, no matter how ardent a fan they are. Ultimately, music listeners are still going to stream the original music no matter how much the re-records sound like the originals.
Robin Hood?
Swift is no stranger to acting in her own and other artists' interests. In 2014 she removed all her albums from Spotify due to lack of transparency and revenue that Spotify gives to musicians in turn for streams. "Piracy, file sharing and streaming have shrunk the numbers of paid album sales drastically, and every artist has handled this blow differently," Swift wrote in a Wall Street Journal op-ed. "It's my opinion that music should not be free, and my prediction is that individual artists and their labels will someday decide what an album's price point is. I hope they don't underestimate themselves or undervalue their art."
Remember, 2014 was the year of 1989, her most successful and universally acclaimed album. Her holding back that album and her previous four would have had a big financial impact on Spotify, and also on Swift. I want to point out that Swift is one of the few artists who can boycott Spotify. I have spoken to so many artists on smaller labels or independent artists, and while they all acknowledge the lack of revenue from streaming platforms, they also acknowledge that streaming platforms like Spotify are one of the few ways listeners can find their music. In 2017 Swift came to an agreement with Spotify and all her albums were put back on, along with her doing two exclusive performances for them. It is unclear what the agreement was or how or if this helped other artists.
1989, Taylor Swift's "most successful and universally acclaimed album"
In 2015 Swift decided not to make 1989 available on Apple Music. Swift's reason was that Apple planned not to pay any royalties to artists or songwriters over their three-month free trial period and how were artists expect to survive three months unpaid. Swift acknowledged that she herself would be able to take the financial hit, but other artists would not be so fortunate. Swift published the letter on her Tumblr account. Within days Apple conceded and agreed to pay artists for those three months.
In 2018 when Swift signed her new record deal with Universal Music Group (UMG)/Republic Records, part of that deal was a built-in provision that UMG must promise to hand over to artists, on a non-recoupable basis, a portion of the windfall from its Spotify shares in the future. At the moment, the three majors have shares in Spotify, and a hypothetical equity sale on UMG's part will result in payments to their artists regardless of their account status, meaning they'll receive money even if they're in the red with the company for unrecovered advances.
"We've always done it this way."
The act of a label owning at artist's master recordings has always been the case. It makes the label money and essentially represents their 'risk' in signing the artist in the first place. One artist's success can in theory provide for 100s or 1000s of careers. However, the argument that because something has been done a way for decades means it should continue, really doesn't cut it anymore. Think back to when film studios owned actors. This went on for decades until it didn't. Now with streaming being so lucrative for labels, the question should be asked, do labels really need to own an artist's masters to secure their own future?
Just because something has been done way doesn't mean it can't be changed. In Swift's 2020 interview with Zane Lowe from Apple Music, she argued that instead of labels owning an artist's work in perpetuity the music should be licensed exclusively to that label for a period of time so the label can earn back its money but also allowing the artist to retain full control of their work. Think Maggie Rogers and Lana del Rey. The negotiations should be about how long the label can license the work, not if an artist can ever hope to own their own work.
The upside to this is that those less invested in the music industry suddenly have an understanding of it. Music listeners and fans who didn't know what a master recording was or the intricacies of a recording contract, now do. Artists and musicians embarking on recording contracts now can see a modern-day example of what happens when you don't own your masters and what that can mean for you financially and psychologically. In Swift's interview with Lowe she said, "I am having lots of conversations behind the scenes with record labels, trying to help them understand this. The psychological perspective of what you do to an artist when you separate them from their work. You break something, and I'm trying to figure out how to put that thing back together in a way that heals what was broken by a system that is not designed for artists to have a chance at … that's an artist's pension plan, that's their retirement, that's their legacy, what they want to leave to their children."
The music industry and the way we consume music has changed exponentially since Taylor Swift first signed with BMLG.
Music sales no longer guarantee you a career or if you're lucky, a pension. Gone are the days where you sold enough albums so you could tour. The reason artists spend 80% of the year touring is so they can pay their rent, provide for their family, and maybe have enough left over to make another album. Given that touring has all but stopped since March 2020, how are artists expected to make a living?
The question is now will Swift use her experience and also her privileged position as leverage for better contractual terms for other artists. In her interview she hinted that she has been educating and encouraging labels to instead offer exclusive license contracts to artists instead of the traditional contract that is currently on offer. Swift re-recording her music, effectively undercutting and devaluing her own work, will not go unnoticed from major labels, who will have other big named artists on their rosters whose contracts are up for renewal and who do not own their master recordings. Will they tighten up the already outdated and grossly unfair contracts they give to artists to sign or is the music industry in for a big overhaul in how it functions and what rights and profits artists receive?
I am hoping that we start to see from movement from labels in the right direction, but what can be expected as of right now?
When, and if, UMG sell their shares in Spotify like Warner and Sony have done to varying degrees, the artists on their rosters will receive a windfall of income, given that UMG have promised to ignore artists' unrecouped balances. However, as of August 2020, UMG has said it has no intention of selling it shares in the near future, so it maybe a long wait until artists see any of that money but the failsafe is now in place.
Other options are for artists to audit their labels looking for revenue, particularly royalties from streaming. Swift did this after she left BMLG and found they owed her money. The Chicks said they regularly audit Sony and will probably do so now that their contract with the label has been fulfilled. However, this all rests on the artist being able to afford to pay for independent auditors; most are barely able to make their rent.
The hope is that new artists will go into negotiations with labels demanding that ownership of their masters will be theirs and that the negotiations will be about how long the label can license their music for. Swift being vocal about her own plight has sent a flare up and pulled the curtain back on a system that is outdated and no longer fit for purpose. The current business model doesn't guarantee the survival of the music industry, especially as one of the only revenues for artists, and to a degree labels, has been cancelled and is likely to remain cancelled for the next six months.
There is also the hope that music listeners will also demand more of labels and more of streaming services. What form this demand might take is unclear, but at the end of the day it is the fans who stream the music, buy albums, and go to concerts. It is the fans and their appetite for new music that ultimately decides the fate of the music industry, and we have already seen what this power can look like. With the help of social media, artists have built loyal relationships with their fans. This should not just be seen as merely a cult following, though I appreciate it can turn into that – but it also can be a powerful weapon at the artist's disposal.
Connect with Taylor Swift on
Discover new music on Atwood Magazine
📸 © Beth Garrabrant
:: Stream Taylor Swift ::
Emily Algar
More from Emily Algar
Our Take: Lera Lynn Settles into Herself in 'On My Own' & Finds Forgiveness In-Between the Bars
With an independent spirit and undeniable female energy, Lera Lynn's 'On My...
Premiere: Freedom Rings in Tadhg Daly's Anthemic Debut "Too Late"
Premiere: The Rareflowers Bloom in Catchy "New Generation"
Premiere: Intimacy & Intensity Color I, Alexander's Debut "Divide"
Exclusive Premiere: The Polished Punch of Bridges and Powerlines' "Even Killers Need A Home"
Feature: JJ Wilde's Debut Album Is a 'Ruthless', Spirited, & Energizing Rock Affair
A Conversation with Emilíana Torrini
Previous articleReview: Radkey's 'Green Room' Is a Rock Album for the 21st Century
Next articlePremiere: Frances Luke Accord Bring Soothing Folk to 2021 with Stirring Song "Dust to Dust"
Atwood is a digital music magazine that seeks out visionary artists and fresh voices with the goal of promoting the arts. The Atwood team is made up of individuals from all over the world that are passionate about art and innovation. We aim to showcase not only incredible creation, but also the stories behind them.
Subscribe to Atwood Magazine
Artist to Watch Ric Wilson Stuns with "Pull a James Baldwin": "Two pandemics going on – one with health, one with race"
Midwestern Glitz: Spirit of the Bear's Soaring & Stunning Eponymous Third Album
Summery Naturalness and the Comfort of Imagination: A Conversation with Buck Meek
Breaking the Record with Roan Yellowthorn, Part 46: Processing
G Flip & mxmtoon Revel in "Queen," a Fierce Anthem of Strength, Grace, and Love
Today's Song: Get Giddy on Wild Youth's New Single "Champagne Butterflies"
Rewriting History with Love and AmarElo: A Conversation with Emicida
:: discover something new ::
:: discover something new :: Select Category (archived) Art Columns Albums of the Decade Atwood On Tour Atwood x LiveSyphon Breaking the Record Concert Conversations DIY Radio Editor's Picks Harmony Hidden Gems Mistletones Music You Should Know Nostalgia Tracks Pop Matters Sophomore Series Sound Tracks The Craft Table Time Machine Today's Song Tunes & Tumblers Variations Viewfinder Watts' Weekend Picks Weekly Roundup Editorials Events Fashion Features From The Zine Contributor Interview Preview Interviews Music Concerts Covers Debut Festival Lists Mixtape Playlists Brillboard Premieres Previews Reviews This Just In Track-by-Track Music Videos News Does Anybody Remember Laughter? Our Take Photography Podcast Uncategorized Video Weekly Discoveries
Atwood On Tour, Columns, Features, Interviews, Music
Catching Up With Sir Sly, Pt. II
The postings on this site belong to Atwood Magazine's writers alone and do not reflect the views of any third party.
Artist to Watch Ric Wilson Stuns with "Pull a James Baldwin": "Two pandemics going on – one with health, one with race" January 15, 2021
Midwestern Glitz: Spirit of the Bear's Soaring & Stunning Eponymous Third Album January 15, 2021
Summery Naturalness and the Comfort of Imagination: A Conversation with Buck Meek January 15, 2021
Breaking the Record with Roan Yellowthorn, Part 46: Processing January 15, 2021
G Flip & mxmtoon Revel in "Queen," a Fierce Anthem of Strength, Grace, and Love January 15, 2021
Today's Song: Get Giddy on Wild Youth's New Single "Champagne Butterflies" January 15, 2021
Rewriting History with Love and AmarElo: A Conversation with Emicida January 14, 2021
Interview: Denai Moore on Artistic Authenticity & Unapologetic Album 'Modern Dread' January 14, 2021
Premiere: BEL's Indie Folk Anthem "Treading Water" Is a Visceral Surrender & Existential Release January 14, 2021
"Magical, Uplifting, Exciting": Folk Pop Trio WILD Shine Bright on Debut Album 'Goin' Back' January 14, 2021
Copyright © Atwood Magazine 2021


text:
Search - Haydn, Weil, Tafelmusik :: Symphonies 41-43
Haydn, Weil, Tafelmusik
Symphonies 41-43
Symphony No. 41 in C major, H. 1/41: I. Allegro con spirito
Symphony No. 41 in C major, H. 1/41: II. Un poco andante
Symphony No. 41 in C major, H. 1/41: III. Menuet - Trio
Symphony No. 41 in C major, H. 1/41: IV. Finale. Presto
Symphony No. 42 in D major, H. 1/42: I. Moderato e maestoso
Symphony No. 42 in D major, H. 1/42: II. Andantino e cantabile
Symphony No. 42 in D major, H. 1/42: III. Menuet. Allegretto - Trio
Symphony No. 42 in D major, H. 1/42: IV. Finale. Scherzando e presto
Symphony No. 43 in E flat major ('Mercury'), H. 1/43: I. Allegro
Symphony No. 43 in E flat major ('Mercury'), H. 1/43: II. Adagio
Symphony No. 43 in E flat major ('Mercury'), H. 1/43: III. Menuetto - Trio
Symphony No. 43 in E flat major ('Mercury'), H. 1/43: IV. Finale. Allegro
All Artists: Haydn, Weil, Tafelmusik
Title: Symphonies 41-43
Re-Release Date: 11/17/1992
Styles: Historical Periods, Classical (c.1770-1830), Symphonies


Microsoft has confirmed it is investigating a problem causing some Windows 7 users to receive incorrect battery warnings on their laptops. The warning is triggered when a laptops BIOS detects a battery replacement is required. Windows 7 provides the following alert: "Consider replacing your battery. There is a problem with your battery, so your computer might shut down suddenly." One user who spoke to The Register claimed their laptop battery life had decreased from two hours to half hour and others posted their experiences in a TechNet forums thread. Microsoft officials said on Tuesday the company is looking into the issue, "we are investigating this issue in conjunction with our hardware partners, which appears to be related to system firmware," a Microsoft spokesperson confirmed. Some commenter's in the thread are hinting at a class action lawsuit with one stating "If my battery has been permanently damaged or a fix not issued quickly, I will be forced to seek a class action lawsuit. Thank you." Microsoft said it's working with PC manufacturers to determine the issue, "We are working with our partners to determine the root cause and will update the forum with information and guidance as it becomes available." In recent Windows 7 news, Microsoft confirmed it had sold more than 60 million Windows 7 licenses in the second quarter making it the fastest selling operating system in history. Windows 7 also accounts for 10% of the operating system market share.


AirAsia Berhad, is located near Kuala Lumpur, Malaysia. It is a low-cost Malaysian airline and the major airline company in Malaysia, considering both, fleet size & destinations. Air Asia operates to more than 165 destinations over 25 countries. The Company was founded on 20th December,1993.
Air Asia family longs to serve its customers better. Since baggage is an essential part of travelling, we at Air Asia wish to keep you updated with all the baggage information you need to know.
Infants are not given any free baggage-allowance, since they are not allocated seats. However, we permit baby buggies/strollers/prams, etc. to be carried free of cost.
The rate is dependant on the airport from which you fly.
We do not allow pets on board our flights. This also includes guide/assistance dogs.
If your luggage is damaged and you find it thus at arrival, speak to a member of the staff at the information desk as soon you arrive at the airport. You can also contact us by calling us.


text:
/*

A multiplex transform class for handling cases when you want to
take a single input stream and send the output different places
depending on some aspect of the input chunk.

*/
import * as stream from 'stream';

type ChunkFn = (
  chunk: string,
  encoding: string,
  pushFn: (
    streamName: string,
    chunk: string,
    encoding?: string,
    callback?: () => void
  ) => void
) => void;

// Safe multiplexing from input stream to many output streams.
// This class will pause and resume the input stream to this transform.
export class Multiplex extends stream.Transform {
  outputStreams: { [streamName: string]: stream.Writable } = {};
  finishedPromises: { [streamName: string]: Promise<void> } = {};
  fullStreams: { [streamName: string]: null } = {};
  // A list of stream transform callback functions (pending being called back)
  private transformCb: Function[] = [];
  private completeCloseFn?: () => void;
  private inputProcessor: ChunkFn = (chunk: string, encoding: string) => ({});
  // defined only when closing.
  constructor(options?: stream.TransformOptions) {
    super(options);
  }

  setInputProcessor(f: ChunkFn) {
    this.inputProcessor = f;
  }

  // Only safe to call when not paused.
  checkClose() {
    console.debug('checkClose');
    if (
      this.completeCloseFn !== undefined &&
      Object.keys(this.fullStreams).length === 0
    ) {
      const closeFn = this.completeCloseFn;
      console.debug('closing.');
      Promise.all(
        Object.keys(this.finishedPromises).map(streamName => {
          this.outputStreams[streamName].end();
          return this.finishedPromises[streamName];
        })
      )
        .then(() => {
          closeFn();
          console.debug('closed.');
        })
        .catch(e => {
          console.error(e.message);
        });
    }
  }

  // Try to resume the input queue; returns true when all output queues not full,
  // i.e. that resume has succeeded.
  checkResume(): void {
    console.debug('checkResume');
    if (
      this.transformCb !== undefined &&
      Object.keys(this.fullStreams).length === 0
    ) {
      for (const cb of this.transformCb) {
        cb(undefined);
      }
      this.transformCb = [];
      console.debug('resumed.');
    }
  }

  // Must only be called when writable is not full (waiting for drain event).
  addOutputStream(streamName: string, writable: stream.Writable) {
    this.outputStreams[streamName] = writable;
    writable.on('drain', () => {
      console.debug('drain: ' + streamName);
      delete this.fullStreams[streamName];
      this.checkResume();
      this.checkClose();
    });
    writable.on('error', e => {
      console.error(`${streamName}: error:` + e.message);
    });
    writable.on('close', () => {
      console.debug(`${streamName}: close`);
    });
    this.finishedPromises[streamName] = new Promise((resolve, reject) => {
      writable.on('finish', () => {
        resolve();
        console.debug(`${streamName}: finish`);
      });
    });
    writable.on('pipe', () => {
      console.debug(`${streamName}: pipe`);
    });
    writable.on('unpipe', () => {
      console.debug(`${streamName}: unpipe`);
    });
  }

  pushToQueue(
    streamName: string,
    chunk: Buffer | string | {},
    encoding?: string,
    cb?: () => void
  ) {
    this.push(streamName);
    const isNotFull = this.outputStreams[streamName].write(
      chunk,
      encoding ? encoding : 'utf8',
      cb
    );
    if (!isNotFull) {
      this.fullStreams[streamName] = null;
    }
  }

  _transform(chunk: string, encoding: string, cb: Function): void {
    this.inputProcessor(chunk, encoding, this.pushToQueue.bind(this));
    if (Object.keys(this.fullStreams).length === 0) {
      cb(undefined);
    } else {
      console.debug('full: adding transformCb');
      // Otherwise a drain event will be used to call transformCb.
      this.transformCb.push(cb);
    }
  }

  _flush(cb: (error?: Error, data?: Buffer | string | {}) => void): void {
    console.debug('_flush');
    this.completeCloseFn = cb;
    this.checkClose();
  }
}

redpajama_set_name: RedPajamaGithub


text:
/*
    Various utility functions (for input, output etc.)
    used in programs that implement sorting algorithms
*/

#include <algorithm>    // swap, min, max, reverse
#include <cstdlib>      // exit
#include <iostream>
#include <vector>

#define EXIT_INPUT_SIZE_IS_ZERO 2    // exit code for when input size is 0

using namespace std;

/*
    Input utils
    -----------
    get_input_size
    get_input_values
    get_order
    get_whether_to_show_state
*/

void get_input_size(size_t& size) {
    cout << "Enter the input size : ";
    cin >> size;

    if ((int) size < 0) {
        cout << "Invalid input size! Try again.\n";
        get_input_size(size);
    } else if (size == 0) {
        cout << "Nothing to sort here.\n";
        exit(EXIT_INPUT_SIZE_IS_ZERO);
    }
}

void get_input_values(vector<int>& values, const size_t& size) {
    cout << "\nEnter " << size << " integers :\n";
    for (int& val: values)
        cin >> val;
    cin.ignore();
}

void get_order(int& order, string& orderText ) {
    cout << "\nSorting order?\n";
    cout << "[A]scending / [d]escending : ";
    getline(cin, orderText);

    if (orderText[0] == 'd' or orderText[0] == 'D') {
        order = -1;
        orderText = "descending";
    } else {    // ascending order by default
        order = 1;
        orderText = "ascending";
    }
}

void get_whether_to_show_state(bool& toShowState) {
    string answer;
    cout << "\nShow state of values after each iteration?\n";
    cout << "[y]es / [N]o : ";
    getline(cin, answer);

    toShowState = false;        // by default, don't show state
    if (answer[0] == 'y' or answer[0] == 'Y')    // unless user asks for it
        toShowState = true;
}

/*
    Output utils
    ------------
    display_state
*/

void display_state(const vector<int>& values) {
    for (const int& val: values)
        cout << val << ' ';
    cout << '\n';
}


text:
Боровце () — село и одноимённая община в районе Пьештяни Трнавского края Словакии. В письменных источниках начинает упоминаться с 1262 года.

География
Село расположено в центральной части края, при автодороге . Абсолютная высота — 163 метров над уровнем моря. Площадь муниципалитета составляет 10,88 км².

Население
По данным последней официальной переписи 2011 года, численность населения селa составляла 991 человек.
Динамика численности населения общины по годам:

Примечания

Населённые пункты Словакии
Трнавский край
Пьештяни (район)

redpajama_set_name: RedPajamaWikipedia


"Dr. Robert Stanga. They are always very friendly and we really like him! We been seeing him for at least 5 years now."
"It depends why you need an eye doctor. Dr. Enzenauer at the Children's Hospital is a pediatric ophthalmologist who deals with complex eye problems and conditions in children requiring surgery. He is excellent and has a national reputation."


text:
Q: Removal of foreign key constraints, Referential integrity and Hibernate My colleague mentioned that our client DBA proposed the removal of all foreign key constraints in our project Oracle DB schema. Initially I did not agree with the decision. I am a developer not a DBA. So later realized that there could be some reasons behind the decision. So I am trying get the pros and cons of this decision.
Proj info:

*

*Spring application with Hibernate persistent.

*Oracle 10g DB

*There are batch jobs use only SQL-loader or plain JDBC.

Here is my list of pros and cons (Please correct me if I am wrong)
Pros:

*

*Since application persistent is managed by Hibernate, foreign key cascading is not necessary. it is managed by Hibernate with appropriate cascading option.

*Hibernate DELETE action(includes delete cascading option) removes the foreign key table records before removing its primary key record (i.e to avoid referential integrity issue). This behavior is same for no-foreign-key case, foreign-key case and foreign-key-with-cascade case. But adding foreign-key will unnecessarily slow down Oracle delete operation.
Cons

*

*Hibernate provides a mechanism for managing association between objects and cascading operations within association. But it never provides complete referential integrity solution that DB has.

*Referential integrity is required for those batch jobs use only SQL-loader or plain JDBC.
Guys, I need your advice on this. If anyone of you are a DBA, please provide DBA side reasons.
Thank you.

A: I have never heard such a proposal from a DBA before!  From an application developer, yes, but never from a Database Administrator.  It beggars belief.
Tom Kyte has said many times (for example here): applications come and go, but data is forever.
In my own experience, I have worked on Oracle databases that are 20+ years old.  They started out in Oracle 6 and got migrated up to 10G or 11g over the years - the same data.  But the applications that sat on top?  First they were Forms 3.0, then in some cases they got migrated to C++, in some got re-built in Forms 6i, in some rebuilt in Application Express.  ADF is another possibility of course; or perhaps a SOA architecture...
What's so special about the current application development tool that it suddenly takes over Oracle's job as the DBMS?

A: I've worked on databases in projects that decided to drop referential integrity constraints.
We had to write "QC script" to detect orphaned rows with respect to every table relationship (orphaned rows would have been prevented by a foreign key constraint).
Then when (not if) they occured, we had to have policies for how to resolve the orphans.  Choices included the following:

*

*Delete orphaned rows.

*Archive orphaned rows.

*Update any orphaned foreign key values to NULL.

*Update any orphaned foreign key values to some existing value in the parent table.

*Live with the anomalies.  Write more code to exclude orphans from reports.  Maybe a set of VIEWs over all the tables?

You might want to schedule a recurring weekly meeting with the stakeholders of this database to review the QC script report, and decided what to do with each of the orphaned rows.
No framework can enforce referential integrity as reliably as constraints that run in the database.  Only the database can provide truly atomic changes and ensure consistency.

A: Since database constraints are guaranteed they can, in some circumstances, allow additional optimizations.
For example, say you have a view
CREATE VIEW orders_vw AS
SELECT ord.order_id, ord.customer_id, lin.product_id
FROM orders ord JOIN order_lines lin on ord.order_id = lin.order_id

Then you have a query that does a SELECT product_id FROM orders_vw WHERE order_id = :val
With the integrity enforced, the database knows that any order_id in order_lines has one row in the parent table and, since no value from the orders table are actually selected, it can save work by not visiting the orders table.
Without the constraint, the database can't be sure that an entry in order_lines has a parent, so it has to do the extra work of visiting the orders table to check it.
Depending on your query patterns, you may find removing constraints actually increases the workload on the DB.

A: Usually, foreign key removal is what database performance optimization starts with. It's kind of trade-off: you sell guaranteed integrity on DBMS level and have to manage it yourself (which is fairly easy with Hibernate but requires to be very accurate in plain SQL), and you get increased query performance since foreign key checks in queries are quite expensive.

redpajama_set_name: RedPajamaStackExchange


text:
Farewell To The Good Place: The Show That Told Us People, And Justice, Are Still Worth Fighting For
** This post contains lots of spoilers for The Good Place, don't read if you haven't finished the show! **
After four wonderful seasons, The Good Place has finally come to an end.
Like the other notable sitcoms Mike Schur has turned his hand to (The US Office, Parks & Recreation and Brooklyn Nine-Nine, specifically), the show was wildly funny, endearing and optimistic without being saccharine. But The Good Place was also wickedly smart, and through its incredibly unique concept and approach, it achieved great depths. Through its weekly half-hour slots, it also managed to get us talking about ethics and moral philosophy, to ponder what it means to be human, and to consider the notion of justice more thoroughly and more accessibly than I think any sitcom has ever achieved before.
It was, without a doubt, one of the smartest things I've ever watched.
The thing about the philosophy on The Good Place is that it creeps up on you. You tune in for the laughs, wondering where the completely unpredictable story is going to turn next. But before you know it you're thinking about buying a copy of 'What We Owe to Each Other', debating the trolley problem with friends, and wondering what a truly fair moral system looks like.
Because beyond the humour lies a very real heart. One that asks how our world has gotten to where it is today, and how we might change it for the better.
We can't know what we don't know
I remember the moment in season three when The Good Place hit home for me. It touched upon how the modern world has become so complex that almost everything we ever do is muddied by some form of unethical interference.
As season three goes on, the idea of cluelessness, that the consequences of our actions are so manifold and unpredictable and impossible to account for — a constant concern in contemporary ethics raised by writers like James Lenman and Hilary Greaves — also gains force as a critique of highly demanding moral theories. By the end of the season, it becomes clear that the Good Place's criteria for entry are too high: It knocks people excessively for harms they could never have anticipated.
One example the show lays out: In 2009, Douglas Ewing of Scagsville, Maryland, gave his mother a dozen roses and lost moral points per the Good Place's tally — because the flowers were picked by exploited migrant workers, grown using toxic pesticides, ordered using a cell phone made in a sweatshop, delivered through a process emitting excessive greenhouse gases, and profiting a delivery company with a racist sexual harasser for a CEO. Each moral action has spiraling consequences that are hard if not impossible to anticipate.
In this one example, I felt the whole moral quandary of trying to write about sustainability and social justice was laid bare. For those of us who dedicate our time to trying to write about these things, we're always trying to think about each step in the chain mentioned above. But ultimately, there is often something we miss due to lack of transparency, globalised supply chains, or thinking we're choosing something better which later turns out to be worse.
Ultimately, we can't know what we don't know. And it suddenly becomes difficult to categorise things as simply good or bad. The more I write, the more grey areas I find, and the more I become convinced that all we can do is try our best and advocate for wider systemic change.
From this point onwards, The Good Place started building to an overarching idea of looking at intent and action separately. It reminded me of an old episode of This American Life that talked to a prisoner named Richard, who was set to be released soon. He had been incarcerated for 28 years for arson. On paper that's a pretty clear cut situation – don't burn down buildings – but his full life story told a more complex tale. Isolated from childhood, subject to abuse and unable to deal properly with his mental health, he started lighting fires which he found released his emotions. No one was ever hurt, and he only burned things that were empty or abandoned. The arson that resulted in a sentence of up to 60 years was a restaurant in a big condominium building, which ultimately led to harsh prosecution because of its size and how quickly he violated parole, not because anyone was harmed.
If we look simply at the acts of arson we get one idea, but if we widen our lens it becomes clear that Richard's actions were informed by myriad factors including a society steeped in toxic masculinity, lack of access to mental health resources, and failings and abuses of his family. Instead of dealing with these systemic root issues a man was simply sent to jail. Luckily, in Richard's case, psychologists at the jail were able to help him move past his isolation, and after release, he got married and moved to Colorado. But it just goes to show that these acts can often be complex, and not everyone has access to the same help that Richard ultimately found.
Like the point system in The Good Place and the judgement that ensues, the issue at hand is dealt with based on action alone, but is this really the fairest option?
The concept of cruelty
This notion of true justice and questioning cruelty was where Schur finally ended up in a recent episode of the final season when The Good Place laid forth its deeper convictions most clearly. In an attempt to redesign the entire moral system of the universe Chidi cites the 1982 essay "Putting Cruelty First" by Judith Shklar. The essay posits that cruelty is society's primary flaw while pointing out the frequent inequality between the cruelty of an act, and the cruelty of the punishment that follows. Schur had previously stated that he wanted the show's point system to also work as a critique of the prison system, something which is most clear in how Chidi explains the issue of cruelty:
This becomes explicit in Chidi's opening speech in the episode, when he says, "Imagine someone sells a joint and then gets locked away in a dangerous prison for years. The crime isn't cruel, but the punishment is. That's a problem."
The idea that one can be treated as no more than the worst thing one has ever done is a recipe for cruelty, one that infests much of the prison system in this country. As someone who teaches regularly in a maximum-security prison, I am well aware of this. It is likely that many of the people I teach have done terrible things; but it is just as true that they are not only that, and our time together is an exercise in that recognition.
The underlying cruelty of The Good/Bad Place point system is in how it paints people with a broad brush. The Bad Place argues that it's ok to be cruel, because humans are bad and deserve it. They see people as frozen, defined by the things they've done regardless of intent, or context, or circumstances.
We see the opposite of this in how the characters react to each other. When Eleanor, fully aware of all the things she did on earth, let's Chidi read the file on her life she is convinced that he will hate her. Instead, he accepts her fully, saying that she did pretty well, considering her circumstances. He didn't just see the things she had done, he saw all the factors that had led Eleanor to be and act the way she did. He saw that it is these things that need to be considered too, something which is ultimately demonstrated in the new system they design. People, rather than being judged on acts alone, are given the chance to improve. To try again and again, until they get it right.
The problem of the point system and, on another level, many of our approaches to justice is clear. In the rush to categorise everything in a good/bad binary (through literal numbers on the show) we miss the opportunity to deal with the wider issues that can lead to individual acts. The failure to acknowledge, for instance, that systemic inequality is baked into our systems, means we don't deal with the root issues that lead to a lot of crime or violent culture. We can send people to prison, argue that they should work their own way out of poverty, or say that the state doesn't owe anyone a handout. But this runs the risk of never working to helping people find alternatives. To truly make our world better is to work systemically, and to acknowledge that it can take time and work to help people become more than their worst acts.
One example could be the UK's attitude to knife crime. When we become focused on the punishment, looking at knife crime as simply a policing issue, we miss the chance to actually makes things better. In contrast, Scotland decided to look at it as a public health issue, funnelling funding into youth programs, mentoring, and education. While not perfect, this approach has seen a decrease in violent crime, particularly in Glasgow. It suggests that where a punishment-based approach can result in more cruelty, taking a chance to believe that people can get better with the right encouragement can achieve real, systemic results.
There are, of course, exceptions to this. I'm certainly not arguing that every murderer is simply misunderstood. After all, even in the show's new system, there is no guarantee that everyone eventually makes it to The Good Place. It is also true that there will always be people who weaponise intent as an excuse not to do the work of becoming better. In the case of situations such as racism, for example, it's important to acknowledge that impact matters more than intention and to right wrongs we have caused, regardless of what our intentions might have been.
In the long run, I think it's also about encouraging people to unlearn the systems they've internalised and move towards better understandings of our world to achieve systemic change, and that usually takes difficult learning, research and education from others.
What I'm really trying to say is that becoming better rarely happens in a vacuum.
The power of other people
This is another concept that The Good Place has looked at extensively.
This idea that redemption is an interpersonal affair, one that requires others, recalls Aristotle's view in his "Nicomachean Ethics" that ethics is a branch of politics — that the ability to become virtuous requires a political arrangement, a social context, that can foster it. Aristotle, however, seemed to think that to become ethical requires the exposure to people who are already virtuous, people who can act as models for others. "The Good Place" begs to differ on that score: The show's characters are hardly models of virtue when they meet. They are deeply flawed human beings who make one another better.
The Good Place shows that people (with a demon and a Janet thrown in) can help each other become better if the right circumstances allow it. In the case of the show, this circumstance wasn't pure ethical motivation, it was a survival instinct. Eleanor believed she was in the wrong place, and learning to become better was an act of self-preservation. Her motivations didn't start in the right place, but over time those shifted. She became better, to the point where she becomes crucial to saving humanity a few seasons later. By forming important connections with others, Eleanor moved beyond the isolationist, selfish worldview she'd held on earth and towards believing that people can be worth fighting for.
And it's the fight that matters. T. M. Scanlon's 'What We Owe to Each Other', a key text in the show, lays out the idea of contractualism: the idea that we must live up to our duties to each other, through creating moral rules that can't be reasonably rejected by anyone. But the show has also referenced Aristotelian virtue ethics, which argues rather than duties to others or rules to follow to be a good person, we live up to what it means to be good by acting in accordance with deeply held ethical values.
Ultimately, the show holds space for both. Eleanor initially works to live up to what it means to be a better person, but the gang end up saving the whole of humanity because they feel it's their moral duty. It is also this moral duty that allows Eleanor to finally let Chidi leave, in the end, because she knows that there could never be a good enough justification for creating a rule to make him stay.
The characters in The Good Place grow beyond actions to simply save themselves. As time progresses they act based on what they see as their moral duties to everyone else on earth, and to each other. As they have moved forwards as individuals, they recognise that everyone deserves the same chances they have had.
Schur suggests that contractualism and virtue ethics need not be in conflict — they could just be different ways of accounting for the same moral truths. Virtue ethics explains our duties to each other in humanity's existence as a social animal; contractualism prioritizes our social life as part of a community, before turning to human nature. But they might arrive at the same endpoint.
It's about trying
In one of the most famous Western morality tales, To Kill A Mockingbird, Atticus Finch sets out to do the right thing, though he already knows he will probably fail. He argues that this is real courage:
I wanted you to see what real courage is, instead of getting the idea that courage is a man with a gun in his hand. It's when you know you're licked before you begin, but you begin anyway and see it through no matter what
The Good Place seems to think the same:
The Good Place has laid out a moral vision that's surprisingly sophisticated and deeply informed by academic philosophy — a vision that puts learning, and trying, to do good front and center…
"The idea that Mike keeps coming back to is that you try — you won't always succeed but you try," says Todd May, a Clemson professor who started advising The Good Place in later seasons after Schur encountered his book Death (which argues life's finitude gives it meaning). "He says we're going to try but we're going to fail and the key is trying knowing you're going to fail."
It makes sense that the new eternal system the gang design would give someone infinite chances to try, to fail, and to try again. If our whole lives are exercises in trying to become our best selves, this shouldn't end at the point of death. Especially if some people have had a disadvantaged beginning.
Why should we care about any of this?
Good question. This is something I've thought about a lot because I don't quite know why I have such a personal fascination with pop culture.
However I recently learned about the idea of New Sincerity, and it clicked with me.
you can't determine the ethos of an entire age by looking at a sub-sub-sub-sub-culture. Rather, there are far more prominent indicators like, for example, a society's cultural output. Take that into account, and a different picture emerges. The success of filmmakers like Judd Aptatow, the increasing popularity of ultra-sincere indie artists from Arcade Fire to Vampire Weekend, and the proliferation of wholesome, though not traditional, family-centered television…
All across the pop culture spectrum, the emphasis on sincerity and authenticity that has arisen has made it un-ironically cool to care about spirituality, family, neighbors, the environment, and the country.
A society's cultural output can reflect its values. The Good Place reflects a society that cares about getting better and that cares about understanding what has gone wrong, in order to fix it. Whether it be a broken point system sending everyone to eternal torture or a broken system that destroys the planet and oppresses others, the answer to both problems is the same. It is ordinary people, the team cockroaches of the world, who will refuse to let things continue as they are. In the attempts to make ourselves better we can also recognise that it is vital to uphold the moral duties we have to the service of others too.
It is said that the moral arc of the universe is long, but it bends towards justice. This is not a call to sit back and wait for things to naturally get better, it is a call to action.
Ultimately, it is up to us to reform what true justice is. It is up to us to help each other, to right the wrongs of the past, to live by our virtues, and to think about moral duty. Like the characters of The Good Place, it is up to us to achieve the seemingly impossible and design an entirely new world system built on different values.
What The Good Places tells us is that, despite being difficult, not only is this possible, but it is worth the hard work. Because it's the right thing to do, and because the trying makes it worth it. If we want to be the best version of ourselves, we also need to build the best world possible for everyone else. And that is true justice.
And on that note, I'll leave you with these words from the AV Club's review of the finale:
The Good Place has always been about how the individual is worth more than the systems designed to judge it, corral it, or punish it, as inconvenient as that is…
Thinking about it as I watched and rewatched this series over the past four years, it struck me how much Michael Schur's shows all examine this conflict between organizations and individuals, how individuals are perpetually and inevitably screwed by those systems, and how justice involves flipping the priorities between expedience and humanism. Everybody deserves a chance to— as Eleanor puts it when speculating on how Michael is doing once he finally gets his greatest wish—fuck up, learn, change, fuck up again, and keep on trying. Maybe there are those individuals too broken to ever earn the right to a peaceful, complete, and satisfying ending, but even the Judge concedes that her position as the benignly dispassionate dispenser of mandatory minimums (eternity-scale) is obsolete.
Pingback: Netflix's The Politician: What It Gets Right & Wrong On Climate Activism – ETHICAL UNICORN


text:
NESA Eagle Scout scholarship deadline is Oct. 31, 2018
August 1, 2018 Bryan Wendell Eagle Scout 14
Becoming an Eagle Scout is its own reward.
Earning a college scholarship because you're an Eagle Scout? That's like a reward on top of a reward.
The National Eagle Scout Association will award nearly $700,000 in scholarships to more than 150 Eagle Scouts based on their academic performance, Scouting background, college plans and financial need.
The window for the latest round of National Eagle Scout Association scholarships opens today — Aug. 1, 2018. It will close for good on Oct. 31, 2018.
Scholarship recipients will be notified by mail on July 15, 2019, and money will be disbursed to these deserving Eagle Scouts in fall 2019.
These scholarships reward the best of the best, and they are extremely competitive. About 3 percent of the expected 5,000 applicants will receive a scholarship.
If you're an Eagle Scout between your senior year of high school and junior year of college, you'll want to apply and give yourself a chance at earning some cash for college.
Read on for more details, and be sure to consult this list of FAQs if you still have questions.
How much does NESA award?
For the current window — 2018-2019 — NESA plans to award at least 150 scholarships with amounts ranging from $2,500 to $50,000 per recipient.
You must be a National Eagle Scout Association member to receive a scholarship. However, Eagle Scouts can apply for a NESA scholarship before registering to become members of NESA.
Academic scholarship applicants must apply during their senior year in high school unless the Eagle Scout board of review was held after Oct. 31, 2018. In those cases, the applicant must apply during the Aug. 1 to Oct. 31, 2019, scholarship cycle, even if he is already attending college.
Academic scholarship applicants must have a minimum 1800 SAT (or 1290 if taken after March 2016), or 28 ACT score to apply. A "super score" may be used to meet this requirement.
Eagle Scouts may apply for NESA merit scholarships beginning in their senior year of high school and may continue applying every year until their junior year in college.
Applicants may receive a NESA scholarship one time only.
In the past, NESA scholarships were available only to Scouts attending four-year universities. Now Scouts attending vocational trade schools and other approved programs may apply. NESA scholarships are not payable to any of the U.S. military academies.
How does an Eagle Scout apply?
All NESA scholarship applications must be submitted online. Paper copies from previous years are out of date and will not be accepted.
Applications must be submitted using the instructions found here.
In depth: Academic scholarships
Academic scholarships are based on school and Scouting participation, academic performance and financial need.
Applicants must apply during their senior year in high school unless the Eagle Scout board of review is held after Oct. 31, 2018. In those cases, the applicant must apply between Aug. 1, 2019, and Oct. 31, 2019, even if he is already attending college.
Eagle Scouts may apply for an academic scholarship one time only and must apply during the time frame defined above.
All academic scholarship applicants must have a minimum 1800 SAT (or 1290 if taken after March 2016), or 28 ACT score to apply. A "super score" may be used to meet this requirement.
All applicants must be members of the National Eagle Scout Association to receive a scholarship.
Types of academic scholarships:
Cooke scholarships ($2,500 to $48,000): Awarded based on school and Scouting participation, academic performance, and financial need. Applicants must meet the minimum SAT or ACT score to apply.
NESA STEM scholarship ($50,000): Awarded to one applicant annually who has chosen to pursue a career in a STEM-related field. Applicants for the STEM scholarship who are not selected will automatically be considered for a Cooke scholarship worth $2,500 to $48,000 each.
In depth: Merit scholarships
Merit scholarships are awarded based on school and Scouting participation and community service.
Eagle Scouts may apply for the NESA merit scholarships beginning in their senior year of high school and may continue applying every year up through their junior year in college.
Applicants may win a NESA scholarship one time only. Previous NESA scholarship winners are not eligible to apply again.
Types of merit scholarships:
Hall/McElwain scholarships ($5,000): Awarded based on school and Scouting participation and community service.
Robert and Rebecca Palmer scholarships ($2,500): Awarded based on school and Scouting participation and community service.
Michael S. Malone/Windrush Publishing Journalism scholarship ($2,500): Awarded to one Scout who plans to pursue a degree in journalism.
NESA has posted this list of helpful FAQs. Good luck!
Other scholarships for Eagle Scouts
Be sure to consider these scholarships:
Institution-specific
Cub Scout pack sings 'around the world'
Four epic reasons Scouts should be pumped for the new movie 'Alpha'


text:
Q: iOS App Store Review Crash Hey :) So I've been programming an app that I want to have available on the App Store. However, I have already submitted it twice with rejections concerning a crash when the app is played on an iPad (running 7.0.6 and 7.1, for both submits). The app works perfectly fine on my phone and on my mom's iPad, along with all the simulators. I also looked at the crash log (relevant info posted here):
Date/Time:           2014-03-15 14:29:04.504 -0700
OS Version:          iOS 7.1 (11D167)
Report Version:      104

Exception Type:  EXC_CRASH (SIGABRT)
Exception Codes: 0x0000000000000000, 0x0000000000000000
Triggered by Thread:  0

Last Exception Backtrace:
0   CoreFoundation                  0x182fb6950 __exceptionPreprocess + 132
1   libobjc.A.dylib                 0x18f9901fc objc_exception_throw + 60
2   CoreFoundation                  0x182ec0c7c -[__NSPlaceholderDictionary initWithObjects:forKeys:count:] + 396
3   CoreFoundation                  0x182ec0ac4 +[NSDictionary dictionaryWithObjects:forKeys:count:] + 72
4   Water Balloon                   0x1000b0be4 -[WBLogic updateScoreboard:] (WBLogic.m:406)
5   Water Balloon                   0x1000b0598 -[WBLogic checkCollision:] (WBLogic.m:341)
6   Water Balloon                   0x1000aff10 -[WBLogic update] (WBLogic.m:231)
7   SpriteKit                       0x185e47fb0 -[SKView(Private) _update:] + 236
8   SpriteKit                       0x185e45ab0 -[SKView renderCallback:] + 876
9   SpriteKit                       0x185e43794 __29-[SKView setUpRenderCallback]_block_invoke + 76
10  SpriteKit                       0x185e62a90 -[SKDisplayLink _callbackForNextFrame:] + 288
11  QuartzCore                      0x185bbccbc CA::Display::DisplayLinkItem::dispatch() + 36
12  QuartzCore                      0x185bbcac8 CA::Display::DisplayLink::dispatch_items(unsigned long long, unsigned long long, unsigned long long) + 300
13  IOKit                           0x183eb7e74 IODispatchCalloutFromCFMessage + 364
14  CoreFoundation                  0x182f682e0 __CFMachPortPerform + 192
15  CoreFoundation                  0x182f76890 __CFRUNLOOP_IS_CALLING_OUT_TO_A_SOURCE1_PERFORM_FUNCTION__ + 56
16  CoreFoundation                  0x182f767f0 __CFRunLoopDoSource1 + 444
17  CoreFoundation                  0x182f74a14 __CFRunLoopRun + 1620
18  CoreFoundation                  0x182eb56d0 CFRunLoopRunSpecific + 452
19  GraphicsServices                0x188b51c0c GSEventRunModal + 168
20  UIKit                           0x185fe6fdc UIApplicationMain + 1156
21  Water Balloon                   0x1000b1c38 main (main.m:16)
22  libdyld.dylib                   0x18ff83aa0 start + 4

Thread 0 name:  Dispatch queue: com.apple.main-thread
Thread 0 Crashed:
0   libsystem_kernel.dylib          0x000000019007e58c __pthread_kill + 8
1   libsystem_c.dylib               0x0000000190012804 abort + 108
2   libc++abi.dylib                 0x000000018f238990 abort_message + 84
3   libc++abi.dylib                 0x000000018f255c28 default_terminate_handler() + 296
4   libobjc.A.dylib                 0x000000018f9904d0 _objc_terminate() + 124
5   libc++abi.dylib                 0x000000018f253164 std::__terminate(void (*)()) + 12
6   libc++abi.dylib                 0x000000018f252a7c __cxa_throw + 132
7   libobjc.A.dylib                 0x000000018f990314 objc_exception_throw + 340
8   QuartzCore                      0x0000000185bbcd7c CA::Display::DisplayLinkItem::dispatch() + 228
9   QuartzCore                      0x0000000185bbcac4 CA::Display::DisplayLink::dispatch_items(unsigned long long, unsigned long long, unsigned long long) + 296
10  IOKit                           0x0000000183eb7e70 IODispatchCalloutFromCFMessage + 360
11  CoreFoundation                  0x0000000182f682dc __CFMachPortPerform + 188
12  CoreFoundation                  0x0000000182f7688c __CFRUNLOOP_IS_CALLING_OUT_TO_A_SOURCE1_PERFORM_FUNCTION__ + 52
13  CoreFoundation                  0x0000000182f767ec __CFRunLoopDoSource1 + 440
14  CoreFoundation                  0x0000000182f74a10 __CFRunLoopRun + 1616
15  CoreFoundation                  0x0000000182eb56cc CFRunLoopRunSpecific + 448
16  GraphicsServices                0x0000000188b51c08 GSEventRunModal + 164
17  UIKit                           0x0000000185fe6fd8 UIApplicationMain + 1152
18  Water Balloon                   0x00000001000b1c34 main (main.m:16)
19  libdyld.dylib                   0x000000018ff83a9c start + 0

Usually a crash log would be useful in pointing out where the crash occurred, which would lead to why the crash occurred, but line 406 only points to this line in the code:
scorelabel.position = CGPointMake(width/2, height/2 + 150);

the entire method that this line is in is this:
- (void) updateScoreboard:(BOOL) on
{
    if(on)
    {
        int w = scoreboard.size.width;
        int h = scoreboard.size.height;

        if(score > highScore)
        {
            highScore = score;
            [[NSUserDefaults standardUserDefaults] setObject:[NSNumber numberWithInt:highScore] forKey:@"HighScore"];
        }
        [highScorelabel setText:[NSString stringWithFormat:@"High Score: %i", highScore]];

        CGSize defs;
        CGSize ss;
        CGSize hs;

        defs = [@"Score: 1" sizeWithAttributes:@{NSFontAttributeName: [UIFont fontWithName:@"04b_19" size:scorelabel.fontSize]}];
        ss = [[scorelabel text] sizeWithAttributes:@{NSFontAttributeName:[UIFont fontWithName:@"04b_19" size:scorelabel.fontSize]}];
        hs = [[highScorelabel text] sizeWithAttributes:@{NSFontAttributeName:[UIFont fontWithName:@"04b_19" size:highScorelabel.fontSize]}];

        scorelabel.position = CGPointMake(width/2 - w/4 - defs.width/2 + ss.width/2, scoreboard.position.y + h/4);
        highScorelabel.position = CGPointMake((scorelabel.position.x - ss.width/2) + hs.width/2, scorelabel.position.y - ss.height/2 - hs.height/2);
    }
    else
    {
        scorelabel.position = CGPointMake(width/2, height/2 + 150);
    }
    [scoreboard setHidden:!on];
    [taplabel setHidden:!on];
    [highScorelabel setHidden:!on];
}

I have no idea what the problem could be... Please help me find out why the app is causing their iPads to crash.
EDIT In response to the comment, height and width are determined like this:
width = scene.frame.size.width;
height = scene.frame.size.height;

Which is in - (id) init: (SKScene *) s. Also, I just found out that the entire time my app had been running with the logic scene inheriting from NSObject, not SKScene... Could that have had an influence (the app runs the same when I test it).

A: It is likely that the actual line of code in the symbolicated report is off by some lines. Since above the reported lines you actually do create dictionaries, and the crash is caused by an exception when creating a dictionary, it is likely that the crash happened. there.
So the lines in question are:
defs = [@"Score: 1" sizeWithAttributes:@{NSFontAttributeName: [UIFont fontWithName:@"04b_19" size:scorelabel.fontSize]}];
ss = [[scorelabel text] sizeWithAttributes:@{NSFontAttributeName:[UIFont fontWithName:@"04b_19" size:scorelabel.fontSize]}];
hs = [[highScorelabel text] sizeWithAttributes:@{NSFontAttributeName:[UIFont fontWithName:@"04b_19" size:highScorelabel.fontSize]}];

And the dictionary is always the same:
@{NSFontAttributeName:[UIFont fontWithName:@"04b_19" size:highScorelabel.fontSize]}

So as a first step you should create a local variable for that dictionary and re-use that.
Now the crash is caused when creating the dictionary, since the exception message is missing in the crash report we have to guess here. One option is that you are trying to set a key to a nil value. So when can [UIFont fontWithName:@"04b_19" size:highScorelabel.fontSize] be nil?
The documentation doesn't really say, but I'd assume this can happen if the font with a given name cannot be found. So you should check if the font is really part of the app bundle you submitted to Apple. Then check if the fontName property is set to the correct value that also works on a device. The documentation says:

The fully specified name of the font. This name incorporates both the font family name and the specific style information for the font

This thread may provide an idea what can go wrong in that case: Crash with exception attempt to insert nil object from objects[0]


The Global IoT Summit (GIOTS) is an international conference established to attract and present cutting-edge research results on the Internet of Things. It is endorsed by IEEE and intends to select best papers through a systematic peer review process. The GIOTS 2019 will be collocated with the IoT Week 2019 in Aarhus, Denmark from June 17th to 21st 2019. It intends to become a global reference conference on IoT research and innovation.
More than 70 scientific articles were presented by authors from 24 countries. The Award for Best Paper was given to authors Fang-Jing Wu, Gurkan Solmaz and Erno Peter Kovacs, for their paper titled "Toward the Future World of Internet of Things".


The written report should : Explain briefly what is revealed by the ratios and other calculations in the context of the company's profitability, asset efficiency,liquidity,capital structure, and market performance. In particular, any important changes over the period 2013 rto 2014 should be identified, discussed and where possible, explained. provide an overall assessment of whether the company's performance over the 2014 financial year have been better than 2013, and which of the companies has improved its performance to a greater extent over this period. the judgement should be made from the perspective of existing equity investors (shareholders).
Comparing Qantas Airline (ASX ... has been added in your library.


Windows 10 is designed to work on Tablets and smartphones as well as desktop and laptop computers. When you use a device with a touch screen, though, the interface is pretty different. If you use a two-in-one computer, like the Microsoft Surface, which switches from a laptop mode to a tablet mode, you will find that Windows 10 can adjust its interface on the fly. This movie will show how to switch between desktop and tablet mode and will go through the basic controls in tablet mode.


text:
Printed from https://ideas.repec.org/a/oup/indcch/v23y2014i6p1523-1539..html
Access to banking finance and exporting
Roberto Álvarez
Ricardo A. López
Roberto Alvarez
Ricardo A. Lopez
This article uses firm-level data for the period 1995–2002 to examine whether access to finance increases the probability of exporting of Chilean manufacturing plants. We exploit information on firms' access to banking debt and changes in the real exchange rate (RER) to identify the causal effect of finance on exporting. This is an interesting case to study. The Chilean economy experienced a sustained RER depreciation since 1999, which increased export profitability. We use this episode as a quasi-experiment to study the impact of access to banking finance on exporting. Our results show that RER depreciations increase the probability of exporting for firms with access to banking finance and especially for firms in industries with higher financial needs. These results are robust to controlling for other firm characteristics affecting the probability of exporting and also for time varying industry-specific shocks that may affect export performance and banking finance.
Roberto Álvarez & Ricardo A. López, 2014. "Access to banking finance and exporting," Industrial and Corporate Change, Oxford University Press, vol. 23(6), pages 1523-1539.
Handle: RePEc:oup:indcch:v:23:y:2014:i:6:p:1523-1539.
File URL: http://hdl.handle.net/10.1093/icc/dtu031
Download Restriction: Access to full text is restricted to subscribers.
As the access to this document is restricted, you may want to look for a different version below or search for a different version of it.
Roberto Alvarez & Ricardo A. Lopez, 2014. "Access to Banking Finance and Exporting," Working Papers 68, Brandeis University, Department of Economics and International Businesss School.
Roberto Alvarez & Ricardo A. Lopez, 2014. "Access to Banking Finance and Exporting," Working Papers wp387, University of Chile, Department of Economics.
Roberto Alvarez & Ricardo A. López, 2005. "Exporting and performance: evidence from Chilean plants," Canadian Journal of Economics/Revue canadienne d'économique, John Wiley & Sons, vol. 38(4), pages 1384-1400, November.
Roberto Alvarez & Ricardo López, 2005. "Exporting and performance: evidence from Chilean plants," Canadian Journal of Economics, Canadian Economics Association, vol. 38(4), pages 1384-1400, November.
Kalina Manova, 2013. "Credit Constraints, Heterogeneous Firms, and International Trade," Review of Economic Studies, Oxford University Press, vol. 80(2), pages 711-744.
Kalina Manova, 2008. "Credit Constraints, Heterogeneous Firms, and International Trade," NBER Working Papers 14531, National Bureau of Economic Research, Inc.
Marc J. Melitz, 2003. "The Impact of Trade on Intra-Industry Reallocations and Aggregate Industry Productivity," Econometrica, Econometric Society, vol. 71(6), pages 1695-1725, November.
Mark J. Melitz, 2002. "The Impact of Trade on Intra-Industry Reallocations and Aggregate Industry Productivity," NBER Working Papers 8881, National Bureau of Economic Research, Inc.
Melitz, Marc J, 2002. "The Impact of Trade on Intra-Industry Reallocations and Aggregate Industry Productivity," CEPR Discussion Papers 3381, C.E.P.R. Discussion Papers.
Berman, Nicolas & Héricourt, Jérôme, 2010. "Financial factors and the margins of trade: Evidence from cross-country firm-level data," Journal of Development Economics, Elsevier, vol. 93(2), pages 206-217, November.
Nicolas Berman & Jérôme Héricourt, 2008. "Financial factors and the margins of trade: evidence from cross-country firm-level data," Documents de travail du Centre d'Economie de la Sorbonne bla08050, Université Panthéon-Sorbonne (Paris 1), Centre d'Economie de la Sorbonne.
Nicolas Berman & Jérôme Héricourt, 2008. "Financial Factors and the Margins of Trade: Evidence from Cross-Country Firm-Level Data," Post-Print halshs-00321632, HAL.
Nicolas Berman & Jérôme Héricourt, 2008. "Financial Factors and the Margins of Trade: Evidence from Cross-Country Firm-Level Data," Université Paris1 Panthéon-Sorbonne (Post-Print and Working Papers) halshs-00321632, HAL.
Greenaway, David & Guariglia, Alessandra & Kneller, Richard, 2007. "Financial factors and exporting decisions," Journal of International Economics, Elsevier, vol. 73(2), pages 377-395, November.
Rajan, Raghuram G & Zingales, Luigi, 1998. "Financial Dependence and Growth," American Economic Review, American Economic Association, vol. 88(3), pages 559-586, June.
Raghuram G. Rajan & Luigi Zingales, "undated". "Financial Dependence and Growth," CRSP working papers 344, Center for Research in Security Prices, Graduate School of Business, University of Chicago.
Raghuram G. Rajan & Luigi Zingales, 1996. "Financial Dependence and Growth," NBER Working Papers 5758, National Bureau of Economic Research, Inc.
Mélise Jaud & Madina Kukenova, 2011. "Financial development and survival of African agri-food exports," Working Papers halshs-00586320, HAL.
Jaud, Melise & Kukenova, Madina, 2011. "Financial development and survival of African agri-food exports," Policy Research Working Paper Series 5649, The World Bank.
Robert C. Feenstra & Zhiyuan Li & Miaojie Yu, 2014. "Exports and Credit Constraints under Incomplete Information: Theory and Evidence from China," The Review of Economics and Statistics, MIT Press, vol. 96(4), pages 729-744, October.
Robert C. Feenstra & Zhiyuan Li & Miaojie Yu, 2011. "Exports and Credit Constraints Under Incomplete Information: Theory and Evidence from China," NBER Working Papers 16940, National Bureau of Economic Research, Inc.
David Greenaway & Richard Kneller & Xufei Zhang, 2010. "The Effect of Exchange Rates on Firm Exports: The Role of Imported Intermediate Inputs," The World Economy, Wiley Blackwell, vol. 33(8), pages 961-986, August.
Kalina Manova & Shang-Jin Wei & Zhiwei Zhang, 2015. "Firm Exports and Multinational Activity Under Credit Constraints," The Review of Economics and Statistics, MIT Press, vol. 97(3), pages 574-588, July.
Kalina Manova & Shang-Jin Wei & Zhiwei Zhang, 2011. "Firm Exports and Multinational Activity Under Credit Constraints," NBER Working Papers 16905, National Bureau of Economic Research, Inc.
Minetti, Raoul & Zhu, Susan Chun, 2011. "Credit constraints and firm export: Microeconomic evidence from Italy," Journal of International Economics, Elsevier, vol. 83(2), pages 109-125, March.
Ricardo A. López, 2009. "Do Firms Increase Productivity in Order to Become Exporters?," Oxford Bulletin of Economics and Statistics, Department of Economics, University of Oxford, vol. 71(5), pages 621-642, October.
Sascha O. Becker & Andrea Ichino, 2002. "Estimation of average treatment effects based on propensity scores," Stata Journal, StataCorp LP, vol. 2(4), pages 358-377, November.
Dominykas Poderys, 2015. "Does Access to External Finance Affect Development of Small and Medium Enterprises and Economic Growth?," European Journal of Business Science and Technology, Mendel University in Brno, Faculty of Business and Economics, vol. 1(1), pages 43-53, November.
Durairaj Kumarasamy & Prakash Singh, 2018. "Access to Finance, Financial Development and Firm Ability to Export: Experience from Asia–Pacific Countries," Asian Economic Journal, East Asian Economic Association, vol. 32(1), pages 15-38, March.
Gnangnon, Sèna Kimm, 2019. "Financial Development and Tax Revenue in Developing Countries: Investigating the International Trade and Economic Growth Channels," EconStor Preprints 206628, ZBW - Leibniz Information Centre for Economics.
F14 - International Economics - - Trade - - - Empirical Studies of Trade
O16 - Economic Development, Innovation, Technological Change, and Growth - - Economic Development - - - Financial Markets; Saving and Capital Investment; Corporate Finance and Governance
O54 - Economic Development, Innovation, Technological Change, and Growth - - Economywide Country Studies - - - Latin America; Caribbean
All material on this site has been provided by the respective publishers and authors. You can help correct errors and omissions. When requesting a correction, please mention this item's handle: RePEc:oup:indcch:v:23:y:2014:i:6:p:1523-1539.. See general information about how to correct material in RePEc.
For technical questions regarding this item, or to correct its authors, title, abstract, bibliographic or download information, contact: (Oxford University Press). General contact details of provider: https://academic.oup.com/icc .


text:
Q: iOS - Custom view frame.size.height gives a 0 value I'm new to iOS programming. I was following this tutorial, but I have a problem with the intrinsicContentSize() function. I wrote this code:
    override func intrinsicContentSize() -> CGSize {
        let buttonSize = Int(frame.size.height)
        let width = (buttonSize * starCount) + (spacing * (starCount - 1))
        return CGSize(width: width, height: buttonSize)
    }

It belongs to a custom class that I created to make a custom view (it's a control that must handle a five-star rating).
The problem is that frame.size.height gives a 0 value, so the view is not displayed on the screen.
So, where is the problem? I have copied the code from the tutorial, you can check it if you go under "Implement a custom control" and then to "Declare a Constant for the Button Size".
I'm using Xcode beta, so swift version is 3.0, while the tutorial is for swift 2.3, could this be a problem?

A: I ran into this issue as well. intrinsicContentSize() has been changed to a property so you'd override it like this:
override var intrinsicContentSize: CGSize {
    let buttonSize = Int(frame.height)
    let width = (buttonSize * starCount) + (spacing * (starCount - 1))
    return CGSize(width: width, height: buttonSize)
}

A: Did you use StackView in your project? Check the image bellow: