The interpreterwill workfor 2working days (8 hours/day) starting from the implementation of the project coordinationmeeting (25 – 26 October 2018). Please mention your daily rate in your application.
Interested and suitably qualified candidates should forward their applications together with an updated curriculum vitae, and a sample of writing work indicating their relevant qualifications, skills and experience to the e-mail address yacinta.jati@aseanfoundation.orgwith cc to amy.utomo@aseanfoundation.org; please put the subject Interpreter Yogyakarta ASEAN Learning Exchange.
Deadline for Application: 14 September 2018.


The boundary of each precinct is described in text. No polling place is establish for polling places identified a "Vote by Mail Precinct".
District-Precinct Boundary descriptions are currently being updated for the 2018 Elections, please check back regularly.
Click on the District-Precinct Boundary to open the boundary description.
Click here for help on using this table. A PDF reader (Adobe Acrobat Reader DC) is required to view these maps.


text:
Ударник — починок в Завьяловском районе Удмуртии, входит в Среднепостольское сельское поселение.

География
Находится в 24 км к западу от центра Ижевска.

Население

Примечания

Населённые пункты Завьяловского района Удмуртии

redpajama_set_name: RedPajamaWikipedia


text:
La VII edizione dei BRIT Award si tenne nel 1987 presso il Grosvenor Hotel. Lo show venne condotto da Jonathan King.

Vincitori
Miglior produttore britannico: Dave Stewart
Miglior registrazione di musica classica: Julian Lloyd Webber/Royal Philharmonic Orchestra "Elgar Cello Concerto"
Miglior artista solista internazionale – Paul Simon
Miglior colonna sonora: "Top Gun"
Miglior album britannico: Dire Straits "Brothers in Arms"
Rivelazione britannica: The Housemartins
Cantante femminile britannica: Kate Bush
Gruppo britannico: Five Star
Cantante maschile britannico: Peter Gabriel
Singolo britannico: Pet Shop Boys - "West End Girls"
British Video: Peter Gabriel - "Sledgehammer"
Gruppo internazionale: The Bangles
Outstanding contribution: Eric Clapton

Collegamenti esterni
 Sito ufficiale dei BRIT Awards

Musica nel 1987
 1987


Imagine a place that women considered beauty heaven: Nails, Cocktails, Makeovers, Music, Pajamas and more.
My name is Analisa Wade, Spelman College alumna and owner of the brand Asilana Nail Bar & Lounge.
Asilana is a nail bar and lounge that takes a different spin on the typical nail salon visit by offering restaurant-style service in the nail and spa environment. I wanted to create a safe space for women to relax and feel completely free with their bodies, form a beauty experience, and allow them to have a comfortable space to network with one another. What differentiates us from other nail salons is that we focus primarily on the experience, encouraging guests to come in their robe or favorite pajamas along with friends while they relax with food and beverage among other women.
For our pop-up shop this fall, we will have create a mock experience for our guests with a DJ, specialty cocktails, wine, makeup/makeovers, our licensed nail techs for gel manicures, regular manicures, henna tattoos and more. Part of the proceeds with go to Seeds of Fortune, a non-profit organization that helps high school minority girls in the New York area with mentoring, college applications, etiquette class, and scholarships for school.


There are very many services that are needed on a construction site and people are supposed to make sure that they get them all done so that the outcome of the construction can look great. After the construction is over, there are normally many construction leftovers that are trash because they have no use at all and they are left in these sites.
Any construction that has just been completed is supposed to be cleaned by experts so that the people who move in are going to enjoy staying in a clean environment that is free from dirt and other unnecessary construction leftovers. There are many benefits of doing a thorough cleaning because the outcome of the construction is going to look amazing for the people who move in them. There are the post construction cleaning services and they are amazing in the delivery of this job to their clients.
Among the cleaning services that are being delivered by this company is post construction cleaning, window and carpet cleaning and they are very significant to people's lives. These construction companies have heavily invested in the cleaning equipment and man power and this is the reason why they deliver nothing but the best to the clients. There are many benefits that people are going to get when they read the information uploaded on this site about these cleaning services and they are going to be amazing for the people who use them. All the people who own newly constructed buildings can find it easy for them to hire the North Denver number one post construction company to deliver the service to them.
The price of the carpet cleaning service is affordable for the people who hire these services to do the cleaning for them. People are supposed to have clean carpets because they are hygienic this way. When the carpet is cleaned it is going to last long and still be in good shape for use in a house. These carpet cleaning companies are always ready to respond to your carpet cleaning needs. You can learn more by clicking here on how you are going to access these services and they are going to be good for you.
It is very beneficial for the people to keep windows of their construction clean so that they can be appealing. This is the reason why many windows are made of glass panes so as to allow maximal right through them so as to light the rooms. When the panes are being installed they may get dirty or even after installation due to exposure. The best option is to contact a professional window cleaner and they are going to make them clean and decent.


MyFamilyMobile: We can see millions of post updates on Facebook, YouTube, Instagram, Twitter, Snap Chat and other social media. 2018 becomes the year for everyone to exit on the internet. If we are one of them we need to know about MyFamilyMobile. As it is different from other products.
The website www.walmart.com will provide you all the necessary information which you needed.
T-Mobile US, Inc., is the United States-based wireless network operator. T-Mobile is the third largest wireless carrier in the United States. It is the wireless telecommunications based industry. The company's advanced nationwide 4G LTE networks deliver outstanding wireless experiences. The products of the company include Mobile telephony and Wireless broadband.
Please visit the official website of www.t-mobile.com where you will get all the necessary information which you needed.
MyFamilyMobile is a communication service from Walmart as it is the great service to protect your family. If you want to become the user of MyFamilyMobile, you should go through three simple steps. First, you need to buy a new phone. You can buy a new phone or you can use your own mobile phone. After that, you have to select a plan. Actually Walmart family mobile offers various kinds of plans. For instance, it offers unlimited text, voice, and data. As this plan is very helpful since you can enjoy unlimited calling and also you can use the data freely in a month. Next, you need to activate the service for yourself or you can add some lines to your account.
What are the Requirements for MyFamilyMobile Activation?
The process of the mobile activation is very simple. As the process of Family Mobile Activation is very easy and simple. You can activate MyFamilyMobile activation in three ways.
if you want to activate FamilyMobile Service at Walmart store you need to keep ready some required documents such as you need your Family Mobile SIM Card. You can buy this SIM Card at Walmart Online store. Then you need your Activation Code as this code is available at MyFamilyMobile Starter Kit. You can buy this starter kit at Walmart. Next, you need your IMEI Number. This IMEI number is the serial number of your phone as this number is unique for each mobile phone. Then you need your ID number or driver license number these details are used to verify your identity. After that, you need to bring your starter kit and MyFamilyMobile package to Walmart Service store to activate.
You can activate your MyFamilyMobile service by visiting the official website at www.myfamilymobile.com web portal as this way the process is the easy and fastest way to activate MyFamilyMobile service. First, you need to visit the web portal once the page loads completely navigate to the activate option on the menu bar. After clicking the activation menu, you need to select the type of phone. There will be two options such as you can activate your own phone or you can activate Family Mobile phone. Then you need to enter yo SIM card number in the required field. Usually, this SIM card number starts with 890. After that, you need to enter your IMEI phone serial number as this number is unique for each mobile. Next, enter your activation code which is of 11 or 12 digits in length. After that get your plan and set your phone.
You can contact Family Mobile Customer Service at 1 877 308 8621 to activate this FamilyMobile Service.
You can activate your Family Mobile by calling to the customer service number. But you need to be ready with all the required documents such as your phone and SIM card number, IMEI phone service number, Activation code and etc.
How to Activate Walmart Family Mobile Login?
After activating your MyFamilyMobile Account, you cannot use the account immediately. You need to get a confirmation text informing that your account is active. Then you will get a temporary password. After that, you need to log into your account with your login details. Once your page loads completely you can receive the first bill, pay your monthly bill, and much more.
Here we are providing some Beneficial points to you which make interested in purchasing Walmart Family Mobile internet plans.
All we know that MyFamilyMobile internet service is a prepaid plane. Which means every month we get the bill as per we use. And also we no need to pay any extra charges for the plan we buy. This internet plan package offers you with unlimited calls, text, and data.
One more benefit of Walmart Family Mobile is to once you purchase the service for the first time, you need to login to your account with your login details and manage all your backs.
The internet quota of Walmart Family Mobile varies from 1GB up to 10GB. And also you can enjoy unlimited calls, text, and data.
You can visit the official website at www.walmart.com where you will get all the information which you needed. You can also contact our customer service number 1 479 273 6463.
If you have any issues or you want any information about T-Mobile, you can visit the web portal at www.t-mobile.com where you will get all the information which you needed. You can also contact our customer service number 1 800 318 9270. And also you can send a letter to T-Mobile headquartered office.
If you want any information please visit www.myfamilymobile.com web portal where you will get all the necessary information which you needed. You can also contact our customer service number 1 877 760 8760, 1 800 229 6846, or 1 800 649 7570. Our customer representative will clear all the doubts and make you feel comfortable.


$260.99 plus free ground shipping anywhere in the US.
This is the 3rd most powerful battery in the Antigravity line up. It has 480 cranking amps that is double the cranking power over stock lead acid batteries for bikes up to 1500cc.


I've been on the Revolt Now Fitness (#RevoltNowFit) program for 15 weeks. Like I said last week, I've stagnated in my progress and am working hard to refocus my efforts and move forward.
This week was a detox week. I didn't know you could grow to loathe brussel sprouts so much. They are just hard to eat. The flavor I can get past, but the texture is just too much for me. Maybe that's why they are on the detox diet – bitter and take forever to get down. Oh well. That's done. But the scale moved only 3/10s of a pound. Yes, only .3 of a lb. I felt like crying.
Then I had an idea – get out the measuring tape. Though I did not lose anything in my midsection my arms and legs tightened up about a 1/4 inch each. Well, I guess that means I have less fat and more muscle in my body.
The new Metabolic Sculpt program in this month's Uprising has got me hurting in places I didn't know I could hurt. But this isn't an OMG I hurt so bad I'm going to break if I move feeling, but more of a wow I just discovered a new muscle I've never worked before kind of pain.
Yep, the scale is not the only judge! I did the same thing the other week… Scale didnt move, but my midsection was down 1/2 inch! I like the new sculpt days!
Thanks for sharing Amy! Sometimes keeping motivated can be hard and we have to remember the process of losing weight can be tricky at times.


Welcome to the monthly Fearless Conversations newsletter - information and ideas to support and inspire us to create a world in which fearless conversations are common in our workplaces, communities, families and friendships.
In light of recent events in our country, I want to highly recommend a video on racism and white privilege by Brene Brown. It is worth listening to all thirty minutes. It is very practical and is something you could use for conversation with family or friends, in your communities, in schools, parishes, workplaces.
Questions come up about HOW to have fearless conversations, sometimes called "hard conversations", "difficult conversations".
Facilitators typically refer to the need to build a "container" in which a challenging conversation can occur. A container usually is a set of agreements that participants consent to that will support having a successful conversation.
I liken building a container to setting a table. Setting a table introduces the notion of hospitality. The intent is to invite each person's wholehearted engagement given whatever thoughts, feelings, needs, beliefs, information, ideas, perspectives they bring. The first step in setting a table is to listen - that is to listen deeply to each person to hear what they are bringing to the table. I usually ask something like: "Tell us what is alive in you [about such-and-so]." "What is mattering most to you about . . . ?" We don't respond in any way - just take in what we hear.
This is an important step in setting a table. It begins to change the power of fears and worries as barriers to challenging conversations. Instead, people begin to relax and feel supported.
Then I ask for requests. Each person has a chance to ask for something that will help him or her "stay at the table". For example: "If I say something hurtful, will you tell me rather than keep silent about it?" "Can we agree that everything that is said here is confidential?" The requests lead to some agreements that I usually write on a flip chart or we note in a simple way. The agreements keep us grounded in the knowledge of the needs and values of everyone at the table. The table is set for a fearless conversation.
The empathy tip for this month is prompted by a friend's request to share an article about how to talk to people in difficult or traumatic situations.
Q: I want to be supportive of my friend going through a hard time, but I'm not confident about what to say.
A: This "Ring Theory" might help. Think of your friend in the center of concentric circles. Draw the circles. Each circle represents your friend's relationships - the closer the relationship, the closer the circle. The key is "comfort in, dump out".
Never "dump in". To anyone in a smaller circle than yours, offer only comfort and support. Many times the best comfort is just giving a listening ear - not giving advice or telling your own story. Share your particular difficulties, discomfort, opinions, stories with people in the larger, outer rings.
Fearless Conversations serves non-profit organizations, schools, faith communities and businesses. Typical requests are for design and facilitation of visioning or team-building retreats, strategic planning, meeting facilitation, transition planning, decision-making processes.


text:
News > Medscape Medical News > Oncology News
Two New Drugs for EGFR+ Lung Cancer That Has Progressed
Zosia Chustecka
Two new drugs for a specific lung cancer scenario are approaching the market –-- AZD9291 (AstraZeneca Pharmaceuticals LP) and rociletinib (Clovis Oncology), and both companies are preparing to file for approval.
Both drugs are third-generation EGFR inhibitors destined for use in patients who have non–small cell lung cancer (NSCLC) that is EGFR-mutation-positive and has responded to treatment with first-line EGFR inhibitors, but is now progressing.
In about 60% of these cases, the disease is progressing because the tumor has developed a new mutation, known as EGFR T790M. This mutation confers resistance to treatment with first- generation EGFR inhibitors, such as erlotinib (Tarceva, Osi Pharmaceuticals, Inc) and gefitinib (Iressa, AstraZeneca Pharmaceuticals LP) or the second-generation EGFR inhibitor afatinib (Gilotrif, Boehringer Ingelheim Pharmaceuticals, Inc).
When the disease progresses, as it invariably does after about 10 to 12 months in patients receiving EGFR inhibitors, it has not been clear what treatment to offer next, commented Pasi Jänne, MD, PhD, director of the Lower Center for Thoracic Oncology at the Dana-Farber Cancer Institute, Boston, Massachusetts.
"We now have a good treatment strategy for these patients," he told Medscape Medical News.
Dr Jänne is the principal investigator on a clinical trial with AZD9291 published in this week's New England Journal of Medicine. The results of a clinical trial with rociletinib are published in the same issue, from a team led by Lecia Sequist, MD, from Massachusetts General Hospital.
Both drugs appear to have similar efficacy, Dr Jänne commented. Results in the subgroup of patients who are progressing and who have been identified as having the T790M mutation show that for both drugs, response rates are around 60%, and median progression-free survival is around 10 months.
But there are important differences between the two drugs, he added. AZD9291 is taken once daily orally, whereas rociletinib is taken twice daily, and rociletinib has a side effect of hyperglycemia that is not seen with AZD9291.
Dr Sequist and colleagues report that in their clinical trial, hyperglycemia was noted as the most common grade 3 toxic effect (occurring in 47% of 92 patients), but it was successfully managed with dose reduction, oral medication (usually metformin), or both, they wrote.
Better Tolerated
These third-generation EGFR inhibitors are much better tolerated than the earlier EGFR inhibitors, Dr Jänne noted, because they are more specific for mutated vs wild-type EGFR than the earlier drugs. In particular, there is less skin toxicity and diarrhea than is seen with the earlier drugs.
Skin toxicity is seen with all of the earlier EGFR inhibitors and can manifest as an acnelike rash, but it can also lead to dry skin that cracks at the fingertips, leading to infections of the nail bed, he explained.
"We see very little of that with AZD9291," Dr Jänne said. "We start to see a bit of it with the higher doses, but not with the 80-mg once-daily dose that has been selected for future use."
The diarrhea seen with the earlier EGFR inhibitors can result in patients having to take antidiarrheal medication, particularly with afatinib and sometimes with erlotinib, and again, this has not been the case with AZD9291, he said.
The patients taking part in the AZD9291 clinical trial acted as their own controls, inasmuch as they had all previously taken a first- or second-generation EGFR inhibitor. When asked how they compared their experience of taking AZD9291 with that of their taking the earlier EGFR inhibitors, patients said "it was night and day different.... They felt so much better on the new drug and felt closer to their precancer baseline," Dr Jänne commented.
For Patients With T790M Mutation
AZD9291 was recently designated as a fast-track drug by the US Food and Drug Administration, and Dr Jänne predicts that it will be approved before the end of the year. He also anticipates that the labeling will specify that it is for use in patients who have been identified as having developed T790M after experiencing disease progression with EGFR-inhibitor therapy.
"Unfortunately, resistance to first-line EGFR inhibitors happens virtually in everybody, and in the majority of cases (60%), this is mediated by the T790M mutation.... We now have a specific treatment option for these patients, but what this means clinically is for patients who are progressing, we need to test them for this new mutation," he said.
At present, this means having them undergo a tumor biopsy, he said, although in the future, it may be possible to get this information from circulating tumor DNA in the blood or urine, as recently reported by Medscape Medical News.
"If a patient who is progressing has the T790M mutation, then this new class of third-generation EGFR inhibitors makes absolute sense," he said.
At the moment, patients with NSCLC that is EGFR positive (about 10% to 15% of all NSCL among Western patients, and 30% to 35% of Asian patients) are treated up front with a first- or second-generation EGFR inhibitor, which gives them about 1 disease-free year on oral therapy. When they progress, if they have the T790M mutation, the clinical data show that a third-generation EGFR inhibitor will give them about another year disease free on oral therapy, after which, when they progress, they can then move on to chemotherapy or another option. "So we are extending the time to twice as long, and we ultimately hope that this will lead to a prolongation of survival," Dr Jänne said.
"But if patients don't have this mutation, then it becomes less clear as to what the best treatment option is," he said.
It may be that the patients without the T790M mutation would do better to go onto chemotherapy at this point, or perhaps immunotherapy, or perhaps an experimental combination, such as afatinib with cetuximab (Erbitux, Genentech, Inc), an anti-EGFR monoclonal antibody used in the treatment of colorectal cancer. "This is an area of ongoing investigation," he said.
It is also not clear whether there would be benefit from using a third-generation EGFR inhibitor up front as a first-line therapy, he added. This is also being tested in clinical trials.
In an editorial that accompanies the publication of the clinical trials, Ramaswamy Govindan, MD, from Washington University School of Medicine, in St. Louis, Misouri, comments that the studies "underscore the importance of repeating biopsies with molecular analysis at the time of disease progression in patients with EGFR-mutated NSCLC."
Finding a T790M mutation in such a repeat biopsy now has practical relevance, he writes: "In the immediate future, before these drugs are approved and widely available, these patients should be considered for ongoing clinical trials with T790M-specific EGFR tyrosine kinase inhibitors."
Both studies were supported by the manufacturer -- AZD9291 by AstraZeneca, and rociletinib by Clovis. Dr Jänne reports receiving consulting fees from AstraZeneca, Boehringer Ingelheim, Chugai Pharmaceuticals, Pfizer, Merrimack Pharmaceuticals, and Clovis Oncology; receiving lecture fees from Roche; and owning stock in Gatekeeper Pharmaceuticals. Dr Govindan reports consulting for Pfizer, Merck, Boehringer Ingelheim, Clovis Oncology, Helsinn Healthcare, Genentech, AbbVie, and GlaxoSmithKline.
N Engl J Med. 2015;372:1689-99, 1700-1709, 1760-1761.
Cite this: Two New Drugs for EGFR+ Lung Cancer That Has Progressed - Medscape - Apr 29, 2015.
Zosia Chustecka is the News Editor for Medscape Oncology. A pharmacology graduate based in London, UK, she has edited and written extensively for publications aimed at clinician audiences. Winner of a 2011 Award for Excellence in Urology Health Reporting for an article on prostate cancer, her work also has been recognized by the British Medical Journalists Association, and recently she was awarded a Harvard University Fellowship on Cancer Genetics (May 2011) as well as a US National Press Foundation Cancer Issues Fellowship (October 2010). She can be reached at zchustecka@medscape.net.
Disclosure: Zosia Chustecka has disclosed no relevant financial relationships.
Now Takeda Offers Rebate if Lung Cancer Drug Fails to Work
Health Policy Expert Peter Bach, MD, Goes to Biotech Company
Lung Cancer Risk Rises With A1c, Falls With Medication
In Early-Stage NSCLC, Give Nivolumab Before or After Surgery?
Where Are Checkpoint Inhibitors Standard of Care for NSCLC?
Adagrasib (Krazati) Approved for KRAS-Mutated NSCLC
Imaging in Lung Cancer Staging
Small Cell Lung Cancer Staging
Small Cell Lung Cancer (SCLC)
Non-Small Cell Lung Cancer (NSCLC)
Non-Small Cell Lung Cancer (NSCLC) Imaging
ALK+ Non–Small Cell Lung Cancer
10 Brain Lesions to Recognize
How Should PRAME Be Used to Evaluate Melanocytic Lesions?
Approvals and Withdrawals: Inside the Cancer Drug Terrain of 2022
Blood, Urine Tests for EGFR as Alternatives to Lung Biopsy
EGFR Inhibitor Poised to Change Practice in NSCLC
Lung Cancer News & Perspectives

redpajama_set_name: RedPajamaCommonCrawl


text:
Global financial watchdogs take aim at Big Tech's data dominance amid creep into banking
Financial Stability Board calls for 'vigilant monitoring' of shift, which could crimp banks' ability to generate capital through retained profits
As Facebook's plan for its Libra "stablecoin" faces scrutiny, a global body of regulators from the world's main financial centres said that Big Tech's growing tentacles raised questions for financial stability, competition and data privacy.Justin Sullivan/AFP/Getty Images files
Huw Jones
Embracing the enemy: Canadian banks partnering with fintech firms after once seeing them as rivals
RBC ventures into unusual territory with social network for baby boomers, Chinese e-commerce tool
Fintech startup Planswell shuts down, lays off 57 employees amid steep losses, sexual harassment allegations
LONDON — Google, Alibaba and other "Big Tech" companies could be forced to share data on financial services customers with banks and financial technology firms to prevent unfair competition.
As Facebook's plan for its Libra "stablecoin" faces scrutiny, a global body of regulators from the world's main financial centres said that Big Tech's growing tentacles raised questions for financial stability, competition and data privacy.
The Financial Stability Board (FSB) called in a report released on Sunday for "vigilant monitoring" of Big Tech's shift into financial services, which it said could crimp the ability of banks to generate capital through retained profits.
Monetary establishment panic about Libra is five months in and rising
Facebook is the trigger for a currency revolution that's long overdue — like it, or not
While still only "nascent" in most countries, Big Tech in countries like China has brought financial services within reach of underserved communities, the FSB, which is chaired by Federal Reserve Governor Randal Quarles, said in the report.
The FSB said players including Microsoft, Amazon, eBay, Baidu, Apple, Facebook and Tencent, have massive databases, while some offer asset management, payments and lending.
Many Big Tech firms like Amazon, Facebook, eBay, Alipay and Google have acquired payments-related licences in European Union countries including Luxembourg, Ireland and Lithuania, although most have not yet built up any big volumes.
Banks in Europe and elsewhere are already required to share customer data with third party "fintech" companies that want to offer rival payments services, and this may need to be the case with Big Tech too, the FSB said.
"Big Tech firms' ability to leverage customer data raises the question of whether — and the degree to which — authorities could consider the potential to promote the mobility of data between the various actors that are involved in the provision of financial services," the FSB said.
"Doing so may help encourage competition and help ensure a level playing field amongst market participants."
Regulators may also need to replicate their approach to insurers and asset managers by focusing on "activities that have implications for financial stability" rather than a focus solely on the size of the firm, the FSB said.


Widely recognized as one of the most creative and influential musicians of the 20th century, Jimi Hendrix pioneered the explosive possibilities of the electric guitar. Hendrix's innovative style of combining fuzz, feedback and controlled distortion created a new musical form. Because he was unable to read or write music, it is nothing short of remarkable that Jimi Hendrix's meteoric rise in the music took place in just four short years. His musical language continues to influence a host of modern musicians, from George Clinton to Miles Davis, and Steve Vai to Jonny Lang.
Jimi Hendrix, born Johnny Allen Hendrix at 10:15 a.m. on November 27, 1942, at Seattle's King County Hospital, was later renamed James Marshall by his father, James "Al" Hendrix. Young Jimmy (as he was referred to at the time) took an interest in music, drawing influence from virtually every major artist at the time, including B.B. King, Muddy Waters, Howlin' Wolf, Buddy Holly, and Robert Johnson. Entirely self-taught, Jimmy's inability to read music made him concentrate even harder on the music he heard.
Al took notice of Jimmy's interest in the guitar, recalling, "I used to have Jimmy clean up the bedroom all the time while I was gone, and when I would come home I would find a lot of broom straws around the foot of the bed. I'd say to him, `Well didn't you sweep up the floor?' and he'd say, `Oh yeah,' he did. But I'd find out later that he used to be sitting at the end of the bed there and strumming the broom like he was playing a guitar." Al found an old one-string ukulele, which he gave to Jimmy to play a huge improvement over the broom.
In 1961, Jimmy left home to enlist in the United States Army and in November 1962 earned the right to wear the "Screaming Eagles" patch for the paratroop division. While stationed at Fort Campbell, Kentucky, Jimmy formed The King Casuals with bassist Billy Cox. After being discharged due to an injury he received during a parachute jump, Jimmy began working as a session guitarist under the name Jimmy James. By the end of 1965, Jimmy had played with several marquee acts, including Ike and Tina Turner, Sam Cooke, the Isley Brothers, and Little Richard. Jimmy parted ways with Little Richard to form his own band, Jimmy James and the Blue Flames, shedding the role of back-line guitarist for the spotlight of lead guitar.
Throughout the latter half of 1965, and into the first part of 1966, Jimmy played the rounds of smaller venues throughout Greenwich Village, catching up with Animals' bassist Chas Chandler during a July performance at Café Wha? Chandler was impressed with Jimmy's performance and returned again in September 1966 to sign Hendrix to an agreement that would have him move to London to form a new band.
Switching gears from bass player to manager, Chandler's first task was to change Hendrix's name to "Jimi." Featuring drummer Mitch Mitchell and bassist Noel Redding, the newly formed Jimi Hendrix Experience quickly became the talk of London in the fall of 1966.
The Experience's first single, "Hey Joe," spent ten weeks on the UK charts, topping out at spot No. 6 in early 1967. The debut single was quickly followed by the release of a full-length album Are You Experienced, a psychedelic musical compilation featuring anthems of a generation. Are You Experienced has remained one of the most popular rock albums of all time, featuring tracks like "Purple Haze," "The Wind Cries Mary," "Foxey Lady," "Fire," and "Are You Experienced?"
Although Hendrix experienced overwhelming success in Britain, it wasn't until he returned to America in June 1967 that he ignited the crowd at the Monterey International Pop Festival with his incendiary performance of "Wild Thing." Literally overnight, The Jimi Hendrix Experience became one of most popular and highest grossing touring acts in the world.
The summer of 1969 brought emotional and musical growth to Jimi Hendrix. In playing the Woodstock Music & Art Fair in August 1969, Jimi joined forces with an eclectic ensemble called Gypsy Sun & Rainbows featuring Jimi Hendrix, Mitch Mitchell, Billy Cox, Juma Sultan, and Jerry Velez. The Woodstock performance was highlighted by the renegade version of "Star Spangled Banner," which brought the mud-soaked audience to a frenzy.
Nineteen sixty-nine also brought about a new and defining collaboration featuring Jimi Hendrix on guitar, bassist Billy Cox and Electric Flag drummer Buddy Miles. Performing as the Band of Gypsys, this trio launched a series of four New Year's performances on December 31, 1969 and January 1, 1970. Highlights from these performances were compiled and later released on the quintessential Band of Gypsys album in mid-1970 and the expanded Hendrix: Live At The Fillmore East in 1999.
Copyright © 2003-2018, Estate Of James "Al" Hendrix. All Rights Reserved.


A Memorial Mass for Genevieve Lopez, 87, will be held at St. Vincent's Catholic Church in Sun City on Friday, March 18, at 10:30 a.m. Genevieve died quietly, at the home of her daughter in Sun City, in the early morning hours of March 1, 2016.
She was born in El Paso, Texas and lived in Canyon Lake for 37 years. She and Joe, her husband of 48 years, owned Pepe's Restaurant in Canyon Lake for 10 years. Together, they were very active in clubs, activities and community service.
Genevieve is survived by three daughters, Margarita, JoAnn and Jennifer, all of Sun City, along with eight grandchildren, eight great-grandchildren and two great great- grandchildren.
In lieu of flowers, the family asks friends to donate to Arbor Hospice of Hemet, whose staff made their journey a little easier.


text:
Q: Prevent user to type more than one decimal dot in a JS calculator In my calculator project with Javascript I'm trying to prevent a user to input multiple decimal points if there is one already (example : 5.2.3.56 not allowed).
All the numbers, decimal and operator buttons that the user clicks on are pushed and stored in an array.
How can I check if there is a dot already and disable the button using an array of values?

const numButtons = document.querySelectorAll('.number');

const opButtons = document.querySelectorAll('.operation');

const display = document.querySelector('.display');

const decimal = document.querySelector('.decimal');

let opClicked;

let resultArray = [];

// Event listeners

numButtons.forEach(number => {
    number.addEventListener('click', function(e) {

    numClicked = e.target.textContent;

    if (display.textContent === '0') {
        display.textContent = '';

    } else if (resultArray[resultArray.length - 1] === opClicked){
        display.textContent = '';
    }
    resultArray.push(numClicked);
    display.textContent += numClicked
});

opButtons.forEach(operator => {
    operator.addEventListener('click', function(e) {

    empty();

    opClicked = e.target.textContent;
    resultArray.push(opClicked);

    operate();

});

decimal.addEventListener('click', function(e) {

    let decimalClicked  = e.target.textContent;

    resultArray.push(decimalClicked);
    display.textContent += decimalClicked;

});

A: decimal.addEventListener('click', function(e) {

    var decimalClicked  = e.target.textContent;

    if(resultArray.includes(decimalClicked) == false){
        resultArray.push(decimalClicked);
        display.textContent += decimalClicked;
    }
});

The code above checks the resultArray to see if it contains a decimal, if it does not, then it appends the decimal to the array

redpajama_set_name: RedPajamaStackExchange


text:
Nortec Completes Acquisition of Critical Mineral Zinc Properties in Ontario and Closes $250,000 Financing
Vancouver, British Columbia--(Newsfile Corp. - September 2, 2022) - NORTEC MINERALS CORP. (TSXV: NVT) ("Nortec" or the "Company") is pleased to report that it has completed its previously announced acquisition (the "Acquisition") of a private Ontario corporation ("PropertyCo") which holds 100% of the interests in the Sturgeon Lake VMS Property and the Mattagami River Zinc Property (together, the "Properties"), both located in Ontario, Canada. (For more information on the Acquisition and the Properties, please see the Company's news releases dated June 14 and July 18, 2022).
Pursuant to the share purchase agreement dated June 10, 2022, as amended on July 14, 2022, (the "Share Purchase Agreement") between Nortec, PropertyCo and the all of the shareholders of PropertyCo (the "Sellers"), Nortec issued an aggregate of 85,000,000 common shares of the Company (the "Payment Shares", each such common share in the authorized share structure of Nortec, a "Share") to the Sellers on a pro rata basis, at a deemed price of $0.01 per Payment Share, as partial consideration for 100% of the outstanding shares of PropertyCo. Additional consideration will be payable to the Sellers as follows: (a) $25,000 in cash one year after the closing of the Acquisition; (b) an additional $1.5 million in cash upon the completion of a mineral resource estimate by an independent Qualified Person (as such term is defined in National Instrument 43-101 - Standards of Mineral Disclosure by the Canadian Securities Administrators ("NI 43-101") and in accordance with NI 43-101, in respect of any of the Properties totaling a minimum of 5 million tonnes of inferred resources; and (c) a further $5.0 million in cash upon the commencement of Commercial Production (as this term is defined in the Share Purchase Agreement). The Payment Shares issued to the Sellers will represent 36.6% of the issued and outstanding shares of the Company upon completion of the Acquisition and the Private Placement.
Nortec is also pleased to announce that it has closed its previously announced private placement (the "Private Placement" - please see the Company's news release dated June 14, 2022). Under the Private Placement, Nortec issued 25,000,000 units of the Company ("Units") at a price of $0.01 per Unit for gross proceeds of $250,000. Each Unit is comprised of one Share and one Share purchase warrant (a "Warrant"), each Warrant exercisable into one additional Share at an exercise price of $0.05 per Share until September 2, 2023.
The Company paid finders' fees in cash of $9,000 to Haywood Securities Inc., being equal to 6% of the proceeds realized from the efforts of the finder.
Proceeds of the Private Placement will be used to fund exploration work on the Properties and for general working capital. In accordance with recent amendments to the policies ("TSXV Policies") of the TSX Venture Exchange requiring enhanced disclosure for financings that involve the issuance of listed shares below the $0.05 minimum pricing requirement of the TSXV Policies, Nortec advises that none of the proceeds from the Private Placement will be used to pay non-arm's length parties or persons conducting investor relations activities. The Company anticipates preparing a NI 43-101-compliant technical report on the Mattagami River Zinc Property, which it expects to file with the TSX Venture Exchange and securities regulatory authorities no later than December 1, 2022.
The Payment Shares and all securities issued under the Private Placement are subject to resale restrictions under applicable securities laws and, as well, the Exchange Hold Period under the TSXV Policies, which will both expire on January 3, 2023.
The securities described above have not been, and will not be, registered under the United States Securities Act of 1933 (the "U.S. Securities Act") or any U.S. state securities laws, and may not be offered or sold in the United States or to, or for the account or benefit of, United States persons absent registration or any applicable exemption from the registration requirements of the U.S. Securities Act and applicable U.S. state securities laws. This press release does not constitute an offer to sell or the solicitation of an offer to buy securities in the United States, nor in any other jurisdiction.
About Nortec Minerals Corp.
Nortec is a mineral exploration company based in Vancouver, British Columbia. Nortec has a 17% interest in the Tammela Gold and Tammela Lithium projects in Southwest Finland. Nortec also has a 100% interest in each of the Sturgeon Lake VMS Property and the Mattagami River Zinc Property, both located in Northern Ontario, Canada
Information on the Tammela Gold and Tammela Lithium projects and the Properties are disclosed in the Company's MD&A for the period ended June 30, 2022 available under the Company's profile on SEDAR at www.sedar.com.
On behalf of the Board of Directors,
"Michael Malana"
Interim CEO and Director
Neither TSX Venture Exchange nor its Regulation Services Provider (as that term is defined in policies of the TSX Venture Exchange) accepts responsibility for the adequacy or accuracy of this release.
This press release contains certain forward-looking statements which involve known and unknown risks, delays and uncertainties not under the Company's control which may cause actual results, performance or achievements of the Company to be materially different from the results, performance or expectations implied by these forward-looking statements. This news release does not constitute an offer to sell or a solicitation of an offer to buy any of the securities in the United States.
NOT FOR DISTRIBUTION TO UNITED STATES NEWSWIRE SERVICES OR FOR DISSEMINATION IN THE UNITED STATES
Sign up to receive news releases by email for Nortec Minerals Corp. or all companies belonging to the Mining and Metals industry.
Nortec Announces Drilling at the Kietyonmaki Lithium Project in Finland
Nortec Closes Flow-Through Private Placement Financing
Nortec Minerals Corp. Announces TSXV Approval of Share Consolidation
JuniorMining Mining MiningStocks Acquisition Financing Metals Ontario Zinc SmallCaps TSXV Investing


The Pulitzer Prize-winning author and presidential historian comes to Seattle as part of SPU's Downtown Business Breakfast. She will give a free public lecture on Thursday, April 7, 7 p.m. in Brougham Pavilion. At this event, Goodwin will reflect on presidents from Abraham Lincoln to the Roosevelts, describing their paths to leadership. Michael Hamilton, associate professor of history, will moderate the event, as well as a host a Q&A with Goodwin. There will be an opportunity to purchase books, as well as a time for Goodwin to autograph books.
"Reconciliation" has different meanings to different people. It can mean intimacy with God, or being nice to other people, or as an ambiguous concept of justice. During the annual Winifred E. Weter Faculty Award Lecture for Meritorious Scholarship on Tuesday, April 12, Associate Professor of Theology, Discipleship, and Ministry Michael Langford will look at reconciliation from a theological perspective.
The next Lectio series features the Book of Hebrews. This online guided Bible reading is led by Professor of Scripture and Wesleyan Studies Rob Wall.
The Spanish Conversation Table will be available Spring Quarter to anyone who wants to chat with others in Spanish. Beginners are welcome. Meet your classmates and colleagues, make new friends and improve your Spanish. If you want to get some help on vocabulary or figure out how those reflexive verbs work, come see us. You don't have to sign up ahead of time; just bring your lunch and join us. The table meets on Fridays, 12:30-1:30 p.m. in Marston Hall 252. If you have questions, email adjunct faculty member Vilma Illanes at villanes@spu.edu.
Come to the annual biometric screening April 5 or 6. You can earn activity points toward your wellness incentive and $75 through the myCigna Motivate ME program. Human Resources, Cigna, and Summit Health are offering these free, confidential health and wellness screenings. On-campus sessions will be held Tuesday, April 5, 7:30-11:30 a.m. in the Library Seminar Room; and Wednesday, April 6, 8:30 a.m.-12:30 p.m. in the Falcon Club in Brougham Pavilion. Plan on arriving five to 10 minutes prior to your appointment to complete some general paperwork.
Screenings will be done by skilled nursing staff and certified health professionals. Personal screenings will include a brief health-risk questionnaire, as well as tests to determine height, weight, waist circumference, cholesterol levels, glucose levels, blood pressure, and body mass index. You will need to fast from food, beverages (with the exception of water), and personal medications for at least eight hours prior to your appointment. Make sure to bring your Cigna card with you to be able to process your $75 incentive through myCigna Motivate ME program. Contact Alie Dorsey in Human Resources at dorseya@spu.edu with any questions. Sign up online at Summit Health Appointment's confidential website and register as a New User, regardless of whether you have used this site in the past.
All faculty and staff are invited to the annual Career Fair, Wednesday, April 6, 11 a.m.-2 p.m. in Upper Gwinn. Encourage your students to attend, and stop by for a free headshot for your LinkedIn profile.
Dr. Michelle Pacansky-Brock, educational technologist and author of Best Practices for Teaching with Emerging Technologies, will offer a workshop for SPU faculty and staff on Thursday, March 31, 11 a.m.-12:20 p.m. in the Ames Library Seminar Room. Dr. Pacansky-Brock currently serves the California State University system as a specialist in innovative pedagogies, and is a nationally respected author and speaker on how classroom environments can promote inclusivity and diversity. The workshop will explore the question, "How do culturally constructed notions of what it means to be a professor conflict with fostering inclusivity in higher education?" Participants will consider this question and explore why vulnerability is an essential characteristic for instructors to discover the human potential of blended and online learning. If you are interested in the workshop, email etm@spu.edu for registration. Registration is open to all faculty and staff. The event is sponsored by Education Technology and Media and the Center for Scholarship and Faculty Development.
Join the School of Education for a "Ways of Knowing" panel and discussion featuring Dr. Geneva Gay, an internationally known expert in multicultural education, on Friday, April 1, 9 -11 a.m. in Upper Gwinn Commons. Dr. Gay and several other scholars will explore and reflect on ways people know (epistemology) and how that affects us as college educators and learners.
The Falcon Gymnastics Center is excited to announce the addition of a parent and baby gymnastics program beginning in April. The Baby Birds program is for toddlers between the ages of 18 months and 3 years. All children must be accompanied by one adult. The cost is $70 for each six-week program. The sessions are Tuesdays (April 19 and 26, May 3, 10, 17, and 24) 11-11:45 a.m.; and Wednesdays (April 20 and 27, May 4, 11, 18, and 25), 9-9:45 a.m. Email cbd@spu.edu for more information.
Here are the Campus Retail Dining Services promotions for March 28 through April 3.
Common Grounds/Academic Perks: Grande Iced Peachy Green Tea Lemonade for $2.89.
Common Grounds: All baked items are 50 cents, Monday-Friday, 7-9 p.m. or Saturday-Sunday 5-7 p.m.
Academic Perks: All baked items are 50 cents, Monday-Friday 4-6 p.m.
Medley: 5-Topping Salad for $5, or a 3-Topping Salad for $3.
Subway: 6-inch Chicken Breast Sandwich for $3.99. Visit Subway for daily selections of the 6-inch Sub-of-the-Day.
Sandella's: Any Sandella's panini is $6. Limited Time Offer beginning April 1-Gourmet Chicken Salad Wrap for $5. Add a 21-ounce fountain drink for $1 more.
Einstein's Bagels: Medium coffee and coffee cake for $3.89.
Grill: Bacon-Blueberry Pancakes for $4.99.
C-store: Matador Beef Sticks for $1, while supplies last. "Extra" gum for $1.
The Faculty/Staff Bulletin is published weekly during the academic year. If you have information or event news, send it as soon as possible to Bulletin editor Tracy Norlen at fsb-editor@spu.edu. Submissions may be edited for clarity. The next deadline is Thursday, March 31. The next Bulletin will be published Monday, April 4, 2016.
In recognition of her service to the SPU community, Assistant Director for Visits and Events Amanda McGovern was nominated and selected as the March Staff Member of the Month. Congratulations, Amanda! Read about Amanda online, and visit the Staff Council website to submit a nomination for someone you think should be recognized as a future Staff Member of the Month.
Rob Wall, professor of Scripture and Wesleyan studies, presented his research titled "New Birth in the Letter 'To the Hebrews:' A Wesleyan Theological Reading" to the annual meeting of the Wesleyan Theological Society at Point Loma Nazarene University in San Diego.
Professor of Political Science Reed Davis recently presented his paper "Lamarck's Ghost: Classical Realism, Scientific Naturalism, and the Biological Foundations of Leadership" at the annual meeting of the International Studies Association in Atlanta, Georgia.
The Department of Psychology is pleased to announce that an article by Associate Professor of Psychology Paul Y. Kim was recently published in the peer-reviewed journal Psychology of Religion and Spirituality. The article, titled "Religious Support Mediates the Racial Microaggressions-Mental Health Relation Among Christian Ethnic Minority Students," is an empirical study identifying the harmful correlates of racial microaggression experiences among students of color.
Two students with SPU's Justice Coalition and President Dan Martin were interviewed for the KUOW-FM (94.9) public affairs program "The Record." The show aired March 22.


text:
Thinking Fiction: Protecting an Editor's Rights — If Any
Filed under: Editorial Matters,The Business of Editing Redux,Thinking Fiction — An American Editor @ 6:31 pm
Tags: agreements, businesslike, Carolyn Haley, claiming copyright, contract, copyright, edited manuscript, editing, editors, fiction, getting paid, indie authors, manuscript, publishers, rights to work
By Carolyn Haley
A subject that comes up from time to time in publishing circles is whether an editor has any copyright interest in an author's manuscript — that is, the edited version of the manuscript. Some editors believe the edited version is unique to them and forms a new and different work, which can give them leverage in demanding payment from a recalcitrant party.
I first saw this tactic suggested as a last-ditch measure against publishers that don't play fair — those that pay late or try not to pay at all. I've since seen editors adding language to the same effect in their contracts with independent authors, to protect themselves from clients who change their tune after the job is done and refuse to pay, or take way longer to pay than was agreed. As part of the language, the editor's claim to having a copyright in the edited version becomes null and void upon receipt of full payment.
In my opinion, attempting to conflate copyright with payment is irrational and unprofessional, regardless of whether a given case is winnable in a court of law. My opinion comes from my combined position as an author, an editor, and a self-employed business entity.
How Copyright Works
Consider first that copyright applies to intellectual property. Per the U.S. Copyright Office, it pertains to "original works of authorship fixed in a tangible medium of expression."
"Original" and "tangible" are the key terms, because ideas themselves are common and fluid, and expressed in myriad ways by myriad people, and have been so over centuries, if not millennia. Copyright law only protects an individual's unique presentation of an idea, not an idea itself. (Nor are titles protected by copyright.) In addition (italics mine), "copyright infringement occurs when a copyrighted work is reproduced, distributed, performed, publicly displayed, or made into a derivative work without the permission of the copyright owner."
A work qualifies as derivative "if the changes are substantial and creative, something more than just editorial changes or minor changes. . . . For instance, simply making spelling corrections throughout a work does not warrant a new registration, but adding an additional chapter would."
With those criteria in mind, how much does an editor have to change in a manuscript before it becomes a different enough "tangible medium of expression" to acquire uniqueness, and thus give the editor a copyright?
How Editing Works
Adjustments in punctuation, spelling, subtleties of phrasing, consistency — the tools of line editing and copy editing — all serve to clarify an author's unique expression of their ideas, not change them. Perhaps developmental editing can get deep and gnarly enough to significantly change an author's presentation, but does it change the book's concept, audience, characters, or plot, or the author's essential language and style?
If so, then the contract between author and editor should be about co-authorship, not editing.
The main thing to understand is that in an editing job, the author has the right to accept or reject the editor's changes and suggestions. That gives the author ownership of the content by default. In some draconian contracts out there, an author may have signed away that right and must accept whatever a publisher's editor or an independent editor does to the work — but in that situation, the author has made a regrettable mistake. In the absence of such contract terms, the agreement between author and editor generally is based on the editor helping improve the author's work, not alter it.
Understanding Editing vs. Revising
Another argument against claiming copyright of the edited version of a work is the nebulous relationship between editing and revising. A manuscript is a work in progress until it's locked into its published form and released. Until that point, starting with the first draft, most authors revise their work numerous times, and may have other parties, such as friends, family, colleagues, beta readers, editors, proofreaders, agents, and pre-publication reviewers — paid or unpaid — participate in the process. These helpers, individually and collectively, contribute to a version of the manuscript different from the one before, which is different from the one before, as often as needed to complete and polish the work.
Should each party in that revision cycle get a copyright interest in the work? Should the parties involved in the next cycle supersede them because a new, copyrightable version has been created?
What if the author desires to register their copyright after the first draft? Registration is not required for an author's copyright to be valid, because copyright is automatically granted the moment a work is "fixed in a tangible medium of expression." Registration is recommended to protect the author's interests in the event of a legal challenge, but is not conditional for protection. Nonetheless, many authors register their copyrights because doing so makes them feel more secure. Imagine, then, what the paperwork and costs would be if they had to register every updated version of a work in progress, each one involving different people!
The whole idea is silly, because all editing occurs before a work is deemed complete. As such, it is subsumed into the overall development and revision process. Without a legal structure to define and support the many layers of building a publishable work, and the many people who might be involved, there is no basis for giving anyone but the author a copyright in the work.
The Alternative to Claiming Copyright
Having copyright-related language in editing contracts might be effective with publishing companies that employ accounting departments and lawyers, who fear legal action and can't or won't take the time to research the efficacy of defending copyright claims. Such language also might discourage individual authors from playing head games with independent editors.
More likely, the language would chase away independent authors of good will who are paying out of their own pockets for professional editing services, and who desire a personal, supportive, and honest relationship with their editors. Many writers have been coached by other writers or online gurus to fear that editors will steal, or drastically change, their work. Adding the threat of somebody claiming a copyright on their work will just reinforce their anxiety and give them a reason to look elsewhere — or go without editing at all.
In which case, an editor won't have to worry about getting paid.
Getting paid does remain the bottom line. It can best be assured through transparency and a straightforward contract. My contract states: "Unless a co-authorship arrangement is made in writing, all royalties and monies gained from the sale of the book will be the sole property of the book's copyright owner. Editor acknowledges no rights to the manuscript beyond the right to withhold delivery of the edited manuscript until final payment for work is received."
In other words, the politically incorrect expression "no tickee, no shirtee" applies. I consider this a reasonable business position (i.e., I do the work, you pay me for it), and that claiming a copyright for something that isn't mine is needlessly aggressive. It is also not trustworthy, owing to the copyright claim's dubious enforceability and the specious element of "oh, that claim disappears as soon as you pay me."
From an author's standpoint, I wouldn't hire an editor who would hang that kind of threat over me. My book is my book, and somebody who thinks they have the right to hijack it is somebody I wouldn't deal with.
A Balanced Approach
Editing is — or should be — a cooperative profession, not an adversarial one. Editors stating plainly that they expect to be paid are declaring themselves professional businesspeople. Editors stating plainly that they are prepared to co-opt an author's copyright are inviting trouble. Most publishers and indie authors will pay for services rendered. The minority who won't pay are the reason that editors consider using the copyright-claiming ploy.
One way to avoid needing such a ploy is to require a deposit before commencing work. This usually isn't an option for independent editors dealing with publishing companies, which state the terms that editors must take or leave. In such cases, editors need to weigh the pluses and minuses, negotiate the best they can, and be prepared to accommodate a loss should the project go awry.
When making deals with indie authors or amenable companies, however, editors should state their terms and stick to them. I have found that a signed agreement delivered with a 50 percent deposit demonstrates a client's intention to pay. They go into the deal knowing that I will sit on the finished edit until they pay the balance, and if they don't pay, they lose the work and have to start all over again.
In the event they don't pay, I may have wasted time but not suffered a total loss. The less-than-expected final compensation might end up being a painful learning experience, but still, learning can't be discounted. Meanwhile, I still have something in my pocket to show for the effort.
Nine times out of 10 (more accurately, 9.999 times out of 10), I end up with full payment on time, a happy client, an open relationship, and future work from the client or someone they refer. These benefits come from respecting authors' work and position, and not messing with their heads. Better yet, their work goes to publication; and with luck and a good story, cleanly edited, they enjoy publishing success. I doubt I would have this track record if I made it a policy to step on their writerly toes.
How many of our readers have invoked copyright claims on edited work with authors who have not paid as promised and planned? Has it worked for you? What other techniques have you used to ensure being paid?
Carolyn Haley, an award-winning novelist, lives and breathes novels. Although specializing in fiction, she edits across the publishing spectrum — fiction and nonfiction, corporate and indie — and is the author of two novels and a nonfiction book. She has been editing professionally since 1997, and has had her own editorial services company, DocuMania, since 2005. She can be reached at dcma@vermontel.com or through her websites, DocuMania and New Ways to See the World. Carolyn also blogs at Adventures in Zone 3 and reviews at the New York Journal of Books, and has presented on editing fiction at the Communication Central conference.
The Commandments: Thou Shall be Businesslike
Filed under: Business of Editing,Commandments for Editors,Contributor Article,The Commandments — Rich Adin @ 4:00 am
Tags: businesslike, commandments, contributor article, elements of being businesslike, Ruth E. Thaler-Carter
by Ruth E. Thaler-Carter
The value of presenting an editorial services entity as a business has been discussed here several times. A dreary, rainy day of doing more business tasks than actual editing, writing, or proofreading led me to think about what it means to be, and be seen as, a business.
As has, again, been said before, many freelance editors see ourselves as individuals providing services to clients and value our image as individual, independent, freelance workers. We see ourselves as professionals in terms of our training, experience, skill level, and ability to do what our clients need to make their publishing activities better. Many — maybe even most — of us, though, don't want to be seen as companies or even formally as businesses. There's a sense that our individualness is something to cherish and that it doesn't quite fit with the idea of being "a business."
But being an individual freelancer doesn't have to mean appearing to be unbusinesslike. And being businesslike, or presenting ourselves as businesses, doesn't have to mean being a company with employees or subcontractors. You can be an individual editor and still have a businesslike image.
Rich Adin, An American Editor, has laid out several of the factors he considers essential to being seen as a business: regular work and access hours, a formal phone greeting, etc. (For additional views, see the list of select related AAE essays at the end of this essay.) Here are some of the factors I see as helping an individual, whether freelance writer, editor, proofreader, indexer, whatever, present a businesslike front to the world.
Business name: Even if you function as a sole proprietor, it probably looks better to have a company name. I've been doing this so long as an individual that I can usually get away with being seen simply as Ruth Thaler-Carter, Freelance Writer/Editor, especially because I started out more as a writer than an editor or proofreader. If I were to start out today, though, I'd use something other than my own name as the identity of my business. I have had a couple of clients request that I provide a business name, so my business checking account has one so I can deposit checks regardless of how they're made out.
Your business name should say something about what you do. Poetic names like "Blue Horizons" are all very well, but they don't tell prospective clients what services you offer, so they won't help you gain new projects or be visible on the Internet. Blue Horizons Editorial Services, sure.
Opinions vary on what to call ourselves. I have no problem with being called a freelancer, but some colleagues prefer to use consultant, contractor, entrepreneur, or even (business) owner.
Opinions also vary about whether to incorporate. This is something worth discussing with an accountant or tax professional.
Website: A businesslike editor will have a website, and it will look polished and professional. No amateur snapshots of the editor with kids, cats or dogs, messy desks; no photos of someone other than yourself pretending to be you. No irrelevant information. Easily navigable. Information about your background, training, experience, skills, and why someone should hire you. Whenever possible, examples of your work or, if that isn't doable, strong testimonials from clients.
Work samples: A businesslike freelancer will have a way to present work samples to potential clients without violating the confidentiality or egos of past and present clients. This is more of an issue with editing and proofreading services than with writing; after all, most writing work is meant to be published and seen, while much editing or proofreading work is meant to be invisible. The finished product is what matters, and most clients don't want the world to see what a mess their original versions were before we made our improvements. Always ask before making editing/proofreading samples accessible; use only excerpts that don't identify the client; look for other ways to present your skills, such as testimonials and references from clients who have been happy with your work.
E-mail address: A businesslike editor will have a domain-based e-mail address. Using Ruth@writerruth.com or owner@FreelanceWhatever.com looks more professional and more businesslike than Ruth@gmail.com or FreelanceWhatever@aol.com. Sending e-mail from your domain-based account also might get messages through when major servers like AOL, Hotmail, Juno, etc., experience blockages for some reason. Having such an e-mail address also means you can change service providers every other day without having to notify dozens, if not hundreds, of colleagues and clients of a new address.
E-mail signature: Every e-mail message you send should include a signature (sigline). Opinions vary about what it should include; mine has my full name, business name, e-mail address, website URL, Twitter handle, reference to a booklet I've written and self-published, and a separate line with the name of the business through which I host an annual conference for freelancers. My e-mail program includes it automatically in every message I send. The only time I have to think about it is when I want to use variants, also stashed in the appropriate area of my e-mail program, that relate to my roles with organizations or clients/projects. Some colleagues include phone numbers in their siglines; I don't do that much phone contact with clients, so I don't include my number, but it is on my website and in directory information (yes, I still have a landline), so it's easy to find when needed.
Phone: A businesslike freelancer can have either a landline or a cellphone/smartphone, but whichever you use, will answer it in a businesslike manner. I usually say "Good morning/Good afternoon, this is Ruth," but some colleagues swear by "I can write about anything®, this is Ruth. How may I help you?" Either way, go beyond a plain "Hi" or "Hello" to let callers know whom they've reached when they call you. A businesslike editor also makes sure that their adorable five-year-olds or clueless spouses don't answer their business phones; that callers don't have to strain to hear them against background noise of barking dogs, loud TVs, clinking dishes being washed, or intrusive music.
Queries, job-listing responses, proposals, and pitches: A businesslike freelancer takes a little extra time to make every query, response to job-list opportunities, proposal, and pitch as perfect as possible. That starts with doing at least nominal research on the publication or potential client before pitching/querying ideas for articles so all are relevant to that publication, and only responding to job listings for which the freelancer actually is qualified. It also includes proofreading all such items before sending them; if necessary, having a friend or colleague take a look at them first.
Tools: We've talked here several times about the importance of having the right, and many times the most-current, tools for the freelance or editing job. This includes soft- and hardware; backup systems; style manuals to back up editing decisions; even business cards that go with you everywhere. Backup in the sense of equipment or files is one thing, by the way; in terms of coping with a crisis is another. A businesslike editor has colleagues to turn to if illness or injury — your own or that of a child, spouse, sibling, parent, or good friend — interferes with meeting a deadline.
Finances: The businesslike editor sets rates appropriate to the editor's experience and skill level; has a business checking account and credit card for business-related expenses and payments; and has a savings cushion so the editor doesn't have to beg to be paid earlier than usual or accept projects at rates well below the norm. It's also important to present requests to resolve late payments in terms of being paid because of having done the work, not needing the money to pay the mortgage.
Invoices: A businesslike editor will have invoices that look official and go out promptly on completing a project. They will have all the necessary information to make it easy to get paid — an invoice number; your name; your mailing address and e-mail address so clients can choose between sending checks or paying online; your payment terms; any late fee terms you choose to use; perhaps a statement that the edited version of the work belongs to you until you've been paid.
Memberships: The businesslike editor will belong to associations or organizations that offer useful benefits such as job opportunities, educational programs, interaction with colleagues, and more — all aspects of being a lifelong learner and professional.
What all this boils down to is that, regardless of whether you want to be a sole-proprietor freelance editor or the owner of an editing company, Thou Shall Be Businesslike in all you do. What else do you do to present a businesslike persona?
Ruth E. Thaler-Carter is an award-winning freelance writer, editor, proofreader, desktop publisher, and speaker whose motto is "I can write about anything!"® She is also the owner of Communication Central, author of the Freelance Basics blog for the Society for Technical Communication, and a regular contributor to An American Editor.
Select Related An American Editor Essays:
The Commandments: Thou Shall Know the Basics or Don't Edit
The Commandments: Thou Shall Establish the Rules of Engagement Before Beginning a Project
The Commandments: Thou Shall Treat Editors as Partners
The Commandments: Thou Shall be Efficient
The Commandments: Thou Shall Use a Professional Editor
The Commandments: Thou Shall be Profitable
The Business of Editing: The Key to Success
The Business of Editing: Why a Company?
The Business of Editing: Domains & E-mail
The Business of Editing: Thinking About Invoices
It's Fundamental & Professional, Too
What? The Fundamental Question


text:
Q: when I use design patterns in a small project, can that be considered an "overkill"? I have seen programmers code way too fast in the classic procedural way. They can code authentication systems in a few hours. Nice, neat, and most notably...delivered "lightning" fast.
But, a major flaw is that whenever a change occurs, we had to go through the core code to fix things.
So I thought of using design patterns; but that would mean adding a really big thing to ow we handle things: we had to do systems analysis via diagrams, so we can effectively apply design patterns like observer and composite, decorator, factory, singleton...etc...and our bosses would definitely not like to hear that we "need additional time" when everything we have done the procedural way went a hell lot faster (not to mention we can always modify the core).
With small projects like, say, a hotel listing site...or a product gallery site(with a whle lot of features), would the "additional time" to do diagramming be worth it?
A side question: did you ever have to change things from when your group just jumped straight to programming to having to dedicate a week for "boring" diagramming and analysis?

A: You don't understand the meaning of a "design pattern" - it simply means something that's been done before that someone has perhaps put a name to. So for example, sorting an array and then using binary search on it is a design pattern - I must have used it hundreds of times in the past, and when I'm designing a small application that needs a search, it's one of the first things I think of. Such patterns are used by experienced programmers on both the smallest projects, and on the largest.

A: My experience has been that 90% of the time, jumping straight to code is a bad idea. Even on small projects, I end up wasting time because we implemented things incorrectly or didn't plan well enough for XYZ failure case. Coding without a plan is usually a bad idea.
I'm not saying you have to use UML or write a 300 page spec, but I find that use cases and error conditions are critical to plan out before writing any code.
When it comes to design patterns, the answer is yes take the time to think about them and diagram out where they can be useful... and where they are not useful. For a small project a week might be overkill but some planning will produce better code which is easier to maintain and is more useful in the long run.

A: Design patterns are not something you "decide to use". They come naturally, if you are experienced enough to see them. And they are not overhead - the amount of code to add is rather small.

A: Your question is wrongly worded. You're not asking about design patterns, you're asking about formal design, producing design documents before starting to code. But again, you can have good design without having explicit design documents, and you can have design documents without having to do them before you start coding. Generally:

*

*If you find that you're producing code that is hard to maintain, your design is probably bad

*Spending some thoughts on design before starting to code can lead to better design

*Writing explicit design documents mainly helps coordinating larger teams on larger problems and is typical for "heavy" processes - you seem to be thinking about that kind of thing when you talk about "overkill"

*An alternative (that often yields better results than doing a lot of upfront desing) is to start coding and develop the design along with the code, refactoring as you go whenever you notice a flaw in your current design. This kind of thing is known as an "agile process"

*But that still means you have to spend time thiking about and improving the design rather than coding exclusively towards required functionality - but it will lead to much better code that containes fewer bugs and can be changed more easily and with fewer side effects.

*And you still want to have some sort of documentation of the design to help people understand your code better (and even the person who wrote the code often needs that help when they come back to it for a bugfix 6 monts later). This doesn't have to be fancy; a sentence or two explaining what each major unit of code (e.g. classes) does, and an overview document that gives you a broad idea of how it all fits together (this may contain an UML diagram or two).

A: It's about scale really. In larger projects you'll save time by doing the "boring" analysis, whereas on smaller ones you could actually extend the overall time. (Having said that, even the smallest task will benefit from some upfront thinking/doodling time)
Either way, I'd say don't bend your approach simply to accomodate patterns. They are like any other tool, and not some panacea whose inclusion will guarantee success.

A: The old saying goes that "if you have a hammer, then everything starts to look like a nail", meaning that if you know of design patterns, you keep trying to fit them in, even when you might not need them. Keep in mind, that in terms of coding design patters, singleton, factory, etc... are very lightweight in terms of their time to implement and shouldn't really be anything to mention to management.
However, analysis and "diagramming" as you put it, is very valuable. If its a small project, then it will take a small amount of time, nothing to worry about. Often, a quick analysis and "pre-thought" will highlight any issues earlier than while simply cutting code.

A: Bozho said how it should be ... but in the hands of most people, design patterns turn into hammers in search for a nail ... in the end they solve problems such as closing a bottle of coke by putting nails into the screw top, so they have something to hammer on ... in the end, the actual problem is not solved, because although the screw top is now again fixed to the bottle, the bottle still alows its content to escape ...
design patterns are not to be thought of as the components to build a design from ... design patterns are solutions to common problems that emerge within the process of design ...
your question seems to rather be, whether or not you should take the time to design your software, or whether you should just try to deliver software that seems to solve the problem, as fast as you can ... you shouldn't do the latter ... sometimes it is sufficient to actually design on the fly and this is ok, as long as:

*

*you have figured out a way to keep dependancy low and interfaces small

*you have a consistent way how responsibility is distributed (and hopefully it's not the usage of a god object)

*you produce readable code with sensible naming

*you provide comments about what you did, why you did it and which parts seem to need review

once you take these habits, you are not really slower, but your software turns much more maintainable ... also, for small problems, it sometimes makes more sense to just try to solve them through implementation and then learn from what went wrong and reimplement them with that knowledge ... it may turn out to be faster and includes a learning process, unlike top-down approaches ...
If you succeed in actually dividing a project into such independant small problems and can define interfaces how to access functionality provided by the respective solutions, then your design is actually perfect and you needn't get into details further ...


text:
The E-School
Successful Startups
A wide range of support offers are available to HPI founder teams. Budding entrepreneurs are optimally supervised during the startup process — whether it be through individual coachings or the provision of infrastructure and capital.
Founders Toolkit
MediaTech Hub Accelerator Babelsberg
HPI offers its aspiring entrepreneurs exciting events in conjunction with partners from industry and science. These events provide the ideal framework for networking with other founders and experts from the entrepreneurship ecosystem.
Startup Bootcamps
IT Entrepreneurship Lecture
XPERT-Workshops
HPI Business Plan Competition 2018
HPI Startup Bootcamp 2018
HPI-HHL Startup Bootcamp 2017
HPI PhD Startup Bootcamp 2016
> Business plan competition
> HPI Business plan competition...
Business Plan Competition 2012
At the beginning of August the final round of the HPI Business Plan Competition 2012 took place at Hasso Plattner Institute (HPI). Five teams were in the final round with their innovative business ideas, hoping to be chosen for the € 100,000 prize.
The winning team of Christian Reß and Marvin Killing, both master students at HPI, convinced the jury with their startup idea of the PlaytestCloud.
The jury, led by HPI Institute Director, Prof. Christoph Meinel and Dr. Rouven Westphal, Managing Partner of the venture capital fund Hasso Plattner Ventures, based their decision on PlaytestCloud's potential as an innovative idea for a growth market. Download press release
An overview of the teams
Team Playtest Cloud
Christian Reß (24) and Marvin Killing (26), Master students at Hasso Plattner Institute.
Description: The team provides an Internet platform for game studios that makes testing iPhone games as easy as possible. Game studios can therefore provide their games to real players for testing. Players' opinions are then collected and the studios get help in improving their games. Download press release
Team Appetico
Christoph Neijenhuis (26), Master student at HPI, Silke Werner (27), Bachelor student of business administration at the University of Applied Sciences, (HTW) Berlin.
Description: The team creates an app for smartphones with illustrated step-by-step instructions for cooking. In the future it will be the easiest way to learn to cook.
Team LifeHub
Friedrich Politz (24), Danilo Schmidt (28), Sebastian Meyer (23), Master students at HPI;
Description: The team creates a fitness app that monitors correct exercise performance with sensors and provides the user live feedback. Sport beginners get support in reaching goals and get confirmation that they are doing their exercises correctly.
Team Zepp Lab
Johannes Hoppe, Master student at HPI, Tim Borchmann, business administration studies at the University of Applied Sciences, (BBW) Berlin.
Description: The team prepares a recommendation-based search engine for small and medium-size service companies. One could describe it as a branch directory, like the Yellow Pages, with a Facebook login. Thus users can get recommendations from friends for a good, local dentist, lawyer, tax accountant etc.
Team Clef Notes
Sirje Müller-Viise is a trained opera singer and violinist with international stage experience as a soloist. She holds a Master's degree in Digital Communication and a Bachelor's in English Literary Studies and is currently completing a supplementary study program in Design Thinking at Hasso Plattner Institute. Sirje Müller-Viise is the owner of an advertising and design agency.
Description: The team is preparing a music app that lets users buy, download and edit notes and accompanying materials. Instead of requiring a lot of sheet music for their performances, soloists only need a tablet PC. It also helps with learning and playing pieces implementing, among other things, automatic scrolling.
Please contact us with your questions:
Nicolai Bohn
Ph.D. Student IT-Entrepreneurship | Start-up Coach | Managing Director HPI Seed Fund
Tel.: +49-(0)331 5509-4822
Email: nicolai.bohn(at)hpi.de
Axel Menning (for the HPI Startup Bootcamp)
Ph.D. Student Innovation Management and Entrepreneurship
Email: axel.menning(at)hpi.de