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Home Animation 6 Cartoon Industry Misconceptions (that you're still getting wrong)
6 Cartoon Industry Misconceptions (that you're still getting wrong)
Loryn Stone
"Oh, you make cartoons? Do you work for Disney? Is life working in the studios one big party 24/7? Are the voice actors as cool in real life as they seem in interviews?"
There are many misconceptions and preconceived ideas surrounding the animation industry. Ever since the South Park crew revealed (both in interviews and the more recent documentary 6 Days to Air) that they can get an episode on TV in as little as well…six days, there seems to be a disconnect between how long it takes to make a show. Ever since actor/creators like Mike Judge (Beavis and Butthead), John Kricfalusi (Ren and Stimpy) Seth MacFarlane (Family Guy) Trey Parker/Matt Stone (South Park) and Justin Roiland (Rick and Morty) both run the show and supply voices for the main characters, there's a disconnect between the writer/artist contribution and the voice actor's role.
After talking to our sources (two directors and a creator/executive producer of three number-one-hit cartoons on their respective networks) it was easy to see that very few people had any idea how a cartoon actually makes it onto the screen. "They typically think I make the entire cartoon myself," two of our sources said. "Or they can't wrap their head around how I'm a director on an animated show. They have questions about what that involves, since I'm not sitting on a set/stage barking orders at actors."
6) The disconnect between how people think cartoons are made versus the reality
Here, my office is just up this nostril…
Starting with the work environment, people have a very incorrect view of what a cartoon studio looks like. "People beg me for studio tours, like it's the Double Dare obstacle course," one of our sources said. "They think it's a cartoon calamity. Some kind of zoo filled with goofballs hitting each other with Nerf guns. Like Chuck E Cheese for adults or the outside of Nickelodeon Studios in the 90s with the slime and fire poles and all that shit. But in reality, it's a job, and fairly quiet. People are trying to get work done."
There are apparently animation houses that are wild, fun, and artistic, such as Titmouse Animation in Hollywood. "But they underpay their artists, aren't part of the Animation Union, and take advantage of you. So yeah, have fun with that." A director source states.
But when it comes to the way cartoons are actually constructed, the public's/fan's misunderstandings only fall deeper. All of our sources agreed that the biggest misconception about cartoon making is that one single person (or the show creator themselves) make the entire show.
"It's like they think Seth MacFarlane makes a whole episode of Family Guy by himself. Or one person draws as fast as he can until a whole show is made."
Worse, it seems that people out there aren't even convinced that humans are running the show behind cartoons anymore.
"They're convinced you stick a script into a computer and out comes a cartoon. People don't seem to understand the multi-tiered collaborative process that goes into making a cartoon."
In reality, it's a very long process. The faster it is, the more people it takes or the simpler is has to be. Any cartoon with "high production value" takes a lot of planning. Schedules need to be made, it starts slow and ramps up. If it's script driven, the writers pitch an idea. If approved, the script gets written. It's then recorded by the voice actors. The script is given to the board artists, they plan out the way the shots looks. Meanwhile, the background artists are doing their part, the design team are doing their part. Once the animatic is done, it's sent overseas and they do the actual animating. After it comes back the sound guys and editors piece it together. If fixes need to be made, that happens. It's all really involved and complicated.
"It's highly collaborative but more than that, it's very procedural, we all have to know how to play our cog in the machine so that it functions well."
5) The amount of time it takes to make a show
Discounting South Park, most animated television shows once in production can take eight months to a year from Script to Airing for a single episode. And since production teams/artists are working on multiple episodes simultaneously over time, the process to completing a season of a show, usually takes about fifteen to twenty months of time for a full season order. Shorter season orders (Anything under ten episodes of twenty-two minutes) can cut that time in half. But regardless of the time, episodes are being written, while another is being storyboarded, to having the show designed, before being sent to the animators, and then coloring and editing is happening before the final composite. Also, within that time, the voice actors get squeezed in there, depending if the show is script driven or storyboard driven.
Our executive producer source elaborates, "You also tend to do two seasons at once, so you are always writing and boarding one season and doing post on another season at the same time. It's pretty insane. If you are running a show you are basically involved in every episode at every stage. So in one day you will probably be looking at pieces of 6 different episodes all in different stages. To put in perspective, an average animated movie (that's about 1 and a half hours of content) takes 3-5 years. A season of a TV show (that's about eleven hours of content) takes a year. Everything is rushed. So for those fans that find little inconsistencies and pick everything a part, YOU are probably spending more time analyzing the episode than the people making it."
People in animation encourage viewers to really look at the credits and understand that each and every person listed has a role in successfully getting a single episode of a TV show on the air.
4) Addressing that Voice Actor Disconnect
The first time it came to my attention that people have absolutely no idea what the voice actors' role is was a balmy autumn day in 2012. I had the evening free and decided to attend a live recording of Rob Paulsen's Talking Toons where he (Rob Paulsen, voice of Raphael) reunited with the other three gentlemen who played the roles of Leonardo, Donatello, and Michelangelo in the original Teenage Mutant Ninja Turtles cartoon. They reminisced, relayed charming anecdotes, and did their best to do the voices that fans cling onto so fondly.
But then, there was a Q&A session.
And that's when things got really nerdy.
Many of the questions were not-so-subtle pushes for the actors to say a specific line, or talk about what it was like recording, etc. But there, out of nowhere, one horrifying question emerged. It was a fan looking for detailed breakdown of the lore, what the characters would do in a certain situation, how the character would react, and went on to ask about world building. It got to the point where one of the guys, either the voice of Donatello or Leonardo had to (very politely, the man is a professional) tell the enthusiastic fan that these questions aren't for the voice actors. There are writers and board artists who painstakingly develop the world and have all the say in these things.
Because ultimately, the actors are actors. And no matter how much they like a role, or how attached they are (or aren't) to it, it's a job. They do the voice, they collect the paycheck, they go home. But because people are invested in the character, and then a person shows up sounding like the character, people get excited. They feel as though their cartoon has come to life and that matters to some people.
One of our sources states: "I think fans think Voice Actors contribute everything up until the actual putting it on air, and sometimes even they get credit for that too. Voice Actors do sometimes give a lot to the adlibbing of their character, especially when they've played them for a while. But almost always a script is written out for them and they crank out the lines very quickly because they have so many other projects that they aren't super involved in the creating of any single animation. Unless you have creators doing voices in their own series, in which they are VERY involved with the writing and visual language and maybe even performing of the characters. This is less common than people think, and most times these people are not visual artist that are drawing the cartoon."
Another source agrees: "I think people always think the actors do the writing. That's a big problem in live action as well. Some actors do great ad-lib, but 99.9 percent of everything in animation is written by writers and board artists. A sticking point to a lot of people working in animation is the actors' residuals. For some reason in animation show creators and writers do not get residuals, voice actors do. That means every time an episode airs they get paid. No one else on the animation crew gets that, and the actors have the least time commitment."
3) Why people are so mad at the "terrible" cartoons these days
Nostalgia is a hell of a drug. Watch any old cartoon you grew up with and see how many still hold up. True, there are a lot of things in cartoons we can't do or get away with anymore. Some of it is sign of the times, and stricter broadcast guidelines… the other part of it is simply a changing audience that needs more sophisticated simulation. Also, art always informs more art. Hopefully we are doing better art that communicate with the people who are alive in this time than people who proceeded us. I would imagine if we went back in time and showed artist from the 1910s cartoons now, they wouldn't get it because it wouldn't be an effective way to communicate that idea for them. And the same can be done if you go too far into the future, which is evident when most people watch a Shakespearean play for example. Doesn't mean we don't learn lessons from past works, of course they have to inform how we communicate today, same thing with language or anyway that human beings are supposed to convey ideas to one another. If a cartoon isn't communicating to you, chances are, it wasn't made for you. And yes… some things do suck.
One of our sources said, "Joke's on you- a lot of people who made cartoons in the 80s/90s are still in the industry, kicking around making new cartoons. And if something was made 20 years ago or less, those people are making the same show you hate today. I know a guy who worked on Dexter's Lab and PowerPuff Girls and all that Cartoon Network stuff people used to jack off over. But now he's working on Teen Titans Go, one of those shows people "hate". Go on IMDB and find a show you love. Click on the director's name. Bet he's working on something you hate. It's a small industry with lots of cross over."
But the fan-rage doesn't stop with the quality of certain shows. The same anger emerges when a favorite show is cancelled, seemingly out of nowhere. To this day Why was Young Justice Cancelled? is a topic that still comes up amongst cartoon fans/the animation community alike. Some fans finally understand that it was due to low toy sales, point blank. Others continue to think it's because it was "replaced" by another show.
A source states, "No successful show is cancelled! But success is measured by the arbitrary decision by the network airing it. If your show is on FOX, it'll forever be gauged by the success of Simpsons and Family Guy. At Nickelodeon, it's Spongebob Sqaurepants. Everything is measured next to the success of their biggest hit show. There's a lot of expectations to be met. Sometimes shows are too expensive, or they can't sell merchandise, the ratings are low, etc. Executives don't make cartoons for the art. Executives make them to make a hit and get their financial returns. That said, my personal belief is that some networks don't give shows enough time to flourish (Spongebob was cancelled a whole mess of times, same with Family Guy). Hell, they're even bringing back Young Justice, so everyone can stop complaining for fifteen years about that."
One of our director sources states: "What makes a show disappear? Merchandising, merchandising, merchandising. It's a long history of this, but modern cartoons are made to sell toys or products. If those products don't sell, or if they can sell the idea to manufacturers, then studios have a hard time justifying putting money into a show. It has to have value on the back end of the production, and advertising revenue isn't enough to cover an entire production. Yes, receiving rewards can help to generate interest for a show, and having an audience will help gain a show a notoriety, but most shows live or die if they can't move product. And that is unfortunately a sad reality of animation production around the work, the U.S. and Japan being chief among them."
2) The Female Experience in Animation
The animation industry is another one that's primarily male-dominated. Known as a "Boys Club" that famously pushed women out, more women are entering the field in artistic roles.
One of our director sources states, "Animation is VERY male heavy, especially in specific roles as supervisors and specific art jobs that involve handling the story. Part of this is due to old sexist thinking in the old days that women were only good enough to color (which didn't even start that way) where they were largely regulated in the old "Ink and Paint" departments. The other thing that seems to happen is that males get regulated to action shows and comedies, while women often get regulated to pre-school and kids shows. There are women working in the industry, but most of them still are within the Production/Coordinating roles, assistants, design and colorist roles. The track to most supervising positions are found thru the Animator, Storyboard Artist, Director career track, which has been history seen as a male's prerogative. And we haven't quite yet shaken off all that horrible baggage yet for greater gender equity. I think a huge part of that is going to be more women creators, more studios and artist recognizing their innate biases in hiring and looking at artists work and resumes, and creating environments were women aren't intimidated to speak their piece and their contributions will be shared and respected. Cliques are real and damn hard to break up, but in a professional atmosphere, these things can be forced and pressed upon."
Another one of our sources continues, "It's gotten a lot better, but it was a problem for a long time. There's a long history of weird stuff with Disney Feature in the 1960s separating women from the men. Women could only ink and paint cels, except for the few who were just too good to be locked down (like Mary Blair). But on the flip side, having a female show runner or creator is a trophy, something they're dangling to give them clout. At the same time, show creators are more visible than ever anyway. With that visibility, studios want to appeal to a bigger crowd and play in on diversity. Unfortunately, they risk pandering. But representation is always good. But now, I do think women have equal rights and opportunities. But there's some strange pressures that just come with being a woman. Maternity leave, etc."
1) Analog Drawing in a Digital World
One of our Director sources shared a thought, "Sometimes people think all we do is draw. Other times, they think that just because we have a preexisting character rig built into a computer, it means we aren't actually drawing. It all changes according to the fan's mental agenda. But those accusations seem more pointed at 3D animation. It seems like people think that when you have 3D animation you're not actually drawing. But storyboards aren't in 3D. Some people choose to draw that shit on paper. Hell, I work on an all-digital show but I use Post-It notes to thumb out my thoughts on paper. When I draw a board, I take my stylus and put it to my tablet monitor screen and I draw."
Another source elaborates, "Some people more in the know are confused by the role of an artist who draws in modern animation production. People seem to have always just thought we pluck cartoons out of thin air, and just animate the things straight ahead onto a screen."
But at the same time, the digital world and social media has completely turned around how people build their careers in creative mediums. Whether you're making web comics, flash cartoons, or hand drawing, the internet creates a simple way for unknowns and people in states/countries not surrounded by the industry to become known, or if nothing else, build a portfolio.
According to one of our sources, "Young people have an advantage of connecting with artists they like on live streams and stuff. You can ask artists those questions. And you can make friends with them on social media. Those connections matter. But make stuff, start cranking out material. There's access to fairly affordable software, some free even. Hell, bootleg shit if you want, who cares. Start putting things out there. See what people say, learn from it, and make more stuff. Work towards getting in there. Expose your art, try to pick up some freelance, and then make your way into one of the cities where the industry is happening. Right now, those are Vancouver, Los Angeles, Kyoto, Atlanta, New York, London, Quebec. If you can find yourself to one of the few animation cities, get there."
cartoon industry
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Loryn Stone has dedicated her life to the written Word of the Nerd. Her writing has also been published on other pop culture websites such as Cracked, LoadScreen, PopLurker, and Temple of Geek. Her debut young-adult novel "My Starlight" (a contemporary love letter to fandom, friendship, anime, cosplaying, love, and loss) is out now by Affinity Rainbow Publications. When she's not writing, Loryn's other interests include collecting robots (Megazords, specifically), playing bass, and blasting metal.
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"But now, I do think women have equal rights and opportunities."
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redpajama_set_name: RedPajamaCommonCrawl


Lost it almost immediately. Perfect.
Compact with lots of room. This little gadget is perfect for confusing your friends when they ask for a some files and the stand there slack-jawed wondering how this tiny drive hold so many things. Also I lost this drive 2 days after I got it due to its size. No regrets.
Bought this to load and run various Linux distros on a MBook Pro. Its small profile lets me keep it plugged in even when storing the laptop in its travel sleeve. It's tiny and solid and USB3 rated = fast. One reservation: I wouldn't carry it loose, it would be too easy to misplace or lose. I've nothing to say about tech support as I've not had reason to seek it.
Great storage for a small sized drive.
I have not needed tech support. Everything else is as expected. Super small. It could get lost easily.
The unobtrusive form factor and high capacity of these flash drives makes them useful as an extra drive on laptops. This can be a lifesaver if your C: drive has limited space or is prone to crashing.
Works flawlessly in my nvidea shield tv as adaptive storage. Yes it is a little slow to install an app (taking about 15 seconds to finalize an install). But running apps, games etc off of it is lightning fast..


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text:
Mănăstirea Parincea este o mănăstire ortodoxă din România situată în satul Satu Nou, județul Bacău.

Bibliografie

 România - Harta mănăstirilor, Amco Press, 2000

Legături externe
 Miresele lui Hristos din câmpia de la Parincea, 15 mai 2008, Pr. Constantin Gherasim, Ziarul Lumina

Mănăstiri din județul Bacău

redpajama_set_name: RedPajamaWikipedia


Home Repair: REPLACEMENT OR RETROFIT STYLE FRAME? WHICH IS RIGHT FOR YOU?
Last week i told you how to measure for your vinyl replacement windows when replacing aluminum windows. Now that you're ready to order your new vinyl replacement windows, we need to talk about different frame style options available. In most of country your choices are limited to either new construction or replacement frames. New construction frames come with a nailing fin to attach frame to studs during construction of new home. The replacement frame is basically new construction frame minus nailing fin.
But in west, where stucco homes are common, manufacturers came up with a third type of frame called a retrofit frame. The retrofit frame has a fin about 2 inches wide, located flush with outside face of window. This is best choice when replacing old windows, but not all jobs will accomodate a retrofit frame application. So let's discuss how to determine which frame is going to work for you.
This week we are going to talk about process of actually removing your aluminum windows in preparation for installing vinyl replacement windows. Let's start with a horizontal sliding window, which is pretty common nationwide. There is going to be a sliding panel and a stationary panel. You want to remove slider first. All you do is slide panel open, grab sides of panel with your hands,lift up and swing out. Under ideal circumstances, it would be that easy. However, there are small obstacles that can prevent you from lifting out panel.
Many sliding windows have rollers on top as well as bottom. The top rollers don't actually do anything, they are there more as spares to replace bottom rollers when they wear out. But many times window installer will adjust these top rollers to prevent anyone from lifting out panel. If this is case with your windows, there will be a screw at top of each side rail. If you loosen these screws, then lift up on panel, it should come out. Another obstacle involves a little piece of rubber that manufacturer places in top track. This rubber piece has same effect as adjusting top rollers. It prevents you from lifting out panel because it's wedged between top of window panel and top of upper track. If you can see that window panel isn't lifting all way up in top track, and top rollers are not reason, then you have to dig out that rubber piece. It's usually at point in center, where sliding panel and fixed panel overlap when window is closed. Reach in there with a long, thin screwdriver, and try to pry it out.
Once you have slider out, take out screen. You can just pull it out. No need to be gentle since you're throwing it away anyway. The last step is fixed panel removal. There are a few different applications here. All of them will have a center vertical bar. It's usually there to accept locking mechanism on slider, but not always. Look for screws holding this center bar in place. They will either be on outside top and bottom, or you might find them on side channel where screen would go. Check top and bottom corners.
Assuming you found screws and removed them, you now need to take center bar off. Take a screw driver and a hammer and tap center bar at very bottom. Tap it off fixed panel frame. Now, pull fixed panel away from side where it rests in side channel. What you are trying to do is slide fixed panel open same way that you did sliding panel. Then, you can lift fixed panel up and out. Sometimes, fixed panel won't want to slide open because it has gotten stuck in side track. You can put a screw driver into side channel and pry fixed panel away from side. It doesn't matter if you bend frame that's still attached to house, because we are going to hide all of that anyway.


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When I volunteer for the annual school carnival, I usually get to run the bounce house. That's where the action happens. I wear a black T-shirt and tell parents the bounce house is "for kids only," although I understand their desire to climb in. Bounce houses are awesome.
That's the kind of job dads normally do when they volunteer. But sometimes, when you're a dad named Shannon and the new president of the PTA doesn't know you yet, you get a job that would normally go to a mom. That's how I found myself, a bald middle-aged man, running the hair chalk station.
My first customer, the bravest of the pack, is a kindergartner. He has been eyeing the purple hair chalk on my table. Will it work on his black hair? I have no idea, but I've got many colors to choose from. I have red, blue and chartreuse. Chartreuse is what a color expert would call the yellow-green chalk. I'm bald, not colorblind.
The boy sits in my chair.
"Um, I would like the purple, please," he says.
The boy smiles at my over-the-top delivery. His face eases, and the trepidation gives way to a smile. He's an emperor now.
I learn as I go; it's on-the-job training. Purple chalk has to be applied thicker on darker hair to make it really pop. I finish with the boy, explaining I have given him "the purple flames of a god" and now he must go forth and conquer the mortals. He laughs, and I get a high five. This is how bald dad's color hair. It's not about the shade the child chooses. It's about the show, and I am a great showman.
I start calling out like a beer vendor at the ballpark.
The girls want the pinks and the reds. Some want their ponytails colored so they can be Rainbow Dash. I tell them that surely Rainbow Dash is the best My Little Pony. Unless they say Twilight Sparkle is better. At which point, of course, I point out that Princess Celestia was a great teacher to Twilight Sparkle. Who is the Princess Celestia of the school? Oh yeah, the bald dad running the hair chalk station can talk My Little Pony. I can give you a treatise on Ponyville, and then switch easily to the values of the different Power Ranger franchises.
It occurs to me, as I color the hair of a 1-year-old, I need more "bizness" at my booth. That's how you say it in the hair chalk game — bizness. I'm like a carny now. I've got this. Do you want ticket sales? I'll give you ticket sales.
I move the only trash can in the school gym so that it's next to my booth. Everyone has to come to me to throw away their candy wrappers, wet wipes and empty snack bags. And when they do, I go into straight-up used-car salesman mode.
I reel him in, but I don't stop: "What do you say, mom? Join your son in the world of hair chalk! How about a nice blue streak like Tonks? Don't be a muggle." I'm getting the parents and kids.
This is going well, but it needs to get better. All the proceeds go to the PTA fund, and I want to make a case for quality doughnuts at the next parent breakfast.
That's right — I tap into a market most hair chalk stations will ignore. I look for the guys dressed in slacks and weighed down by overfull backpacks of kids gear. Guys with bulging pockets that hold baby bottles. The father that yearns for a hair chalk toupee. Hair or scalp, I can make it work. The dad market is huge in the hair chalk game if you can reach it. And I can.
I know dads. I am dad. We like to get silly and cut loose. We yearn for the moments where we can just get rid of all that heavy baggage from our shoulders and just be a kid, with our kid. Fathers need that opportunity where we don't have to worry about the future and just live in the moment. I'm not selling hair coloring. I'm selling memories.
The dads start lining up with their babies, their toddlers, their school-aged children. At these things, the school events, sometimes dads can be ignored. I see them standing by the walls, walking around with kids on their shoulders, or changing diapers in the bleachers of the gym. They aren't going to be invisible tonight, no sir. Tonight you are the special guest star. The dads come in droves.
The night goes well and my wife checks in on me. She says the PTA moms asked if she signed me up to volunteer. She laughs. I signed my own self up. And now I'm rocking the hair chalk station. I may not know hair — the last time I used a brush is when I owned a 1992 Ford Ranger. My hands have scars from slip-ups on the table saw, and my knuckles crack holding a pencil. You would think that maybe a dad such as me wouldn't be so good at hair chalk. And honestly, I'm not. But I'm great at selling the hair chalk experience. I've got one more trick to unleash in the last 15 minutes of the carnival.
I've got something the moms don't. Something that makes me special in a hair chalk station, and perhaps explains the reason why the PTA president put me in charge of this booth.
"Color your hair and color my beard!" I yell.
That got them. I've turned hair chalk into an interactive arts and craft exhibit. Pretty soon, other dads are getting their beard colored by the kids. By the end of the school carnival there is a marching band of chartreuse beards headed to the exits.
Shannon Carpenter, shown with his daughter coloring his beard, is the father of three children who enjoy breaking stuff all over Kansas City. He has been a member of our Kansas City Dads Group since it was KCDADS 10 years ago. You can find his weekly column on The Good Men Project or at his blog Hossman At-Home. He is currently represented by The Kepner Agency.
I enjoyed every minute of this.


Hoosiers spend $2.5 billion more each year than they would if they lived in the most efficient health care markets in the country, according to an analysis of data from the federal Medicare program.
And residents in Indiana's highest cost metro area spend more than twice as much as the lowest cost city for treatment of the same conditions, concluded the analysis by Indianapolis-based Better Healthcare for Indiana, a not-for-profit group advocating for grass-roots health reform.
Better Healthcare will release its findings Thursday at an 8 a.m. press conference at Christian Theological Seminary in Indianapolis. Afterwards, it will conduct a day-long summit to help community leaders from around the state develop local strategies to reduce health care costs and improve their citizens' health.
A key part of the summit will be presentations by hospital officials from LaCrosse, Wisc., and Grand Junction, Colo.—two communities that provide the lowest-cost health care, according to Medicare data. President Obama visited Grand Junction earlier this year to kick off his push for health care reform, which is now being debated in the U.S. Senate.
"There are communities that have already managed to produce excellent medical outcomes at costs substantially below the norm, without federal health care/health insurance reform or without reform of the current payment system with its perverse incentives," said Dr. David Cook, a board member of Better Healthcare and the medical director of Indianapolis-based Key Benefits Administrators. "We can learn from those communities and apply the methods used to achieve those outcomes here in Indiana too."
Better Healthcare based its conclusions on data provided by the Dartmouth Atlas for Health Care. It compares the amount of money health care providers spend to provide care to Medicare patients in the last two years of their lives.
The Dartmouth Atlas has famously found that the way doctors practice varies widely from region to region, with some regions prescribing far more—and therefore more expensive—care while achieving quality that is no better, and sometimes slightly worse.
Many health reformers, including Obama's budget director Peter Orszag, say that if all regions practiced like Grand Junction and LaCrosse, it would cut out 30 percent of all health care spending—or about $700 billion each year.
In Indiana, the most expensive metro area is around Hammond, in the northwest corner of the state. Also high on the cost ranking are Terre Haute, Elkhart, Kokomo, Crawfordsville and Evansville.
Those cities all pay at least 56 percent more for their care than Indiana's cheapest city, Seymour.
The Indianapolis area is average for the state. But the Medicare program still pays 45 percent more here than it does in Seymour.
Other lower-cost cities include Logansport and Columbus, but Medicare spending there still runs more than 20 percent higher than in Seymour.
If all cities had the costs of Seymour, the federal Medicare program would spend $2.5 billion less each year than it currently does in Indiana. Private insurance companies and the employers they serve would, presumably, see substantial savings, too.
Dr. Alan Snell, another Better Healthcare board member, insists that these instances of local overspending can be addressed regardless of the reforms Congress passes to reform health care.
"The current federal proposals on health care reform won't necessarily fix health care," said Snell, who is chief medical informatics officer at the St. Vincent Health hospital system. "Health care is local, and leadership within local communities can come together with proper planning and tools to assure their community efforts to improve its health status."


01/05/16 LADBROKES CHAMPIONSHIP . HIBERNIAN V QUEEN OF THE SOUTH . EASTER ROAD STADIUM - EDINBURGH . Hibernian's Jason Cummings celebrates after scoring his side's second goal.
THERE are three things certain in this life. Death, taxes, and, as a group, Hibernian supporters are quite possibly the most tortured souls to have shuffled about this mortal coil in a state of perpetual exacerbation.
Generations of pokes and prods about how it's been that long since they won the Scottish Cup that Greyfriars Boaby had a celebratory can of Chappie to commemorate the event have not been helped in recent years by a new collection of jibes. Heartaches at Hampden, last season's narrow play-off semi-final defeat and this campaign's faltering title challenge only compounding matters for those around Leith. It's not that sunny, either.
While the ghost of Scottish Cup past may be exorcised later this month, yesterday's game against Queen of the South was another agonising and nervy afternoon for the Hibs support.
After Rangers were allowed to canter out of sight earlier in the year, the priority then lay with at least holding on to second place, therefore avoiding two play-off quarter-final games. This even became a hardship for the Edinburgh club who were blindsided by Falkirk and left playing catch up for the final few games of their campaign.
But, in true Hibs style, not even disappointment is straightforward. Tuesday night's 4-0 thrashing of Dumbarton ensured their pursuit of second place would stay alive until the final day, with all sorts of permutations meaning they could still gazump Falkirk. With Peter Houston's side going on to win 1-0, a 4-0 victory for Alan Stubbs' team would have seen them triumph on a head-to-head match up.
Alas, many Hibs supporters will admit that it's the hope that kills you, and there were several doses of it around Easter Road yesterday as the home side, perhaps predictably, came up just short in a 2-0 victory.
In an enthralling match in which they had enough chances to have easily notched up four goals, there were several points in which the expectation level among the vast majority of the 9900 inside the ground started to raise. In a drab first half that ended goalless, there was still some comfort in the news that Falkirk had just gone in with the same scoreline at the break having missed a penalty, only for them to score seconds after the restart.
Into the second period in Edinburgh and a Queen of the South red card only added to the suspense before two goals via Niklas Gunnarsson and Jason Cummings contributed to a grandstand but ultimately futile finish.
Cummings has suffered greatly along with his supporters, even though he has only been at the Leith club for three years. It was the talented forward's penalty that ultimately relegated Hibs back in the 2014 play-off final against Hamilton Academical. It was his 94th-minute goal against Rangers in last year's play-off semi-final that saw his team come up just short, and it was his header on the same ground yesterday that put Hibs within two of their ultimate goal, only for matters to end in disappointment.
"I've been in the play-offs a couple of times now and the last two have obviously not gone well for me, they've been a bit of a struggle – so I hope we do better this time," said the confident 20-year-old who now stands on 25 goals for the season.
"You can't fear it. You can't go in there with fear. I think we'll be going in there as favourites. So, if anything, the other teams will be scared to play us.
In truth, Stubbs could not have asked for much more from his players here as they bossed a game for 90 minutes while not breaking from their philosophy of sharp interplays, clever runs and patient build up. With James Keatings preferred up front over Cummings, the former Hearts man and Liam Henderson both were denied on four minutes by Queens goalkeeper James Atkinson, while Anthony Stokes and John McGinn were also thwarted from the edge of the area throughout the half.
With news of Falkirk's goal coming through, Hibs' charge was inevitably stepped up as the chances started to flow. Keatings had arguably their best of the match when a neat one-two played him through on goal, but he somehow failed to beat Atkinson while unmarked 10 yards out on 50 minutes.
Four minutes later and the key moment arrived as Mark Millar was dismissed for a cynical lunge on John McGinn. This, coupled with Cummings' introduction, gave fresh hope to the Hibs support who eventually got a goal on 67 minutes. The impressive Henderson burst to the byeline to drill a low ball back across goal and into the path of full-back Gunnarsson, who popped up as unlikely goal hero to turn it in from a couple of yards out.
With 12 minutes to go, the second was conjured up from a terrific Martin Boyle cross. The ball fell perfectly for Cummings and his header back across goal deceived Atkinson.
The forward would go close again, as did substitute Chris Dagnall, Stokes and Gunnarsson, but not close enough to spare them a trip to Stark's Park on Wednesday night.


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Valparaiso University Announces Interim President
Effective Sept. 1, 2020, Colette Irwin-Knott '81, a member of Valparaiso University's Board of Directors since 2009, will serve as Valpo's Interim President-Elect. This follows the August 2019 announcement that Mark A. Heckler, Ph.D., recommended to the Board of Directors that it begin the search process to identify the next President of Valparaiso University.
Heckler assumed his position as the University's 18th president in 2008 and has led the University during a time of important financial decisions, the University's response to date related to the COVID-19 pandemic and preparations to resume on-campus instruction for the fall 2020 semester.
Heckler will transition leadership responsibilities to Irwin-Knott during the month of September, then will become President Emeritus. In this role, he will continue active fundraising efforts for Forever Valpo: The Campaign for Our Future, a $250 million endowment campaign focused on raising permanent support for students, faculty and programs to prepare all students for lives of leadership, service and generosity.
Irwin-Knott graduated from Valparaiso University with a bachelor of science in 1981. She spent her career in the field of public finance with HJUmbaugh & Associates in Indianapolis, Indiana, retiring as a partner in the firm in 2014. She worked closely with educators throughout Indiana on hundreds of school and library projects involving the issuance of municipal bonds. She has been an instrumental leader at local, state and national levels of public finance and has represented independent financial advisors at the federal level as regulations were developed for this industry.
"Ms. Irwin-Knott's heart for service and financial acumen will serve Valparaiso University well as it continues to face the global pandemic and focuses on the health and well-being of students, faculty and staff while fulfilling our academic mission," said Frederick G. Kraegel '70, Board of Directors Chair. "On behalf of the entire Board of Directors of Valparaiso University, we sincerely appreciate her willingness to lead the University during this important time."
While at Umbaugh, Irwin-Knott began a women's initiative for career development, and she has mentored numerous young women and men in their respective professions. She has been active in ministries assisting inner-city teenage youth in Indianapolis. Her interests have also included the arts and serving on the Board of the Indianapolis Public Library Foundation. Among her many professional and charitable activities, the Indianapolis Business Journal recognized her as a "Woman in the Lead for Financial Services."
Visit valpo.edu/presidentialsearch for more information about the search for Valparaiso University's next president.
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Hello! Thank you for joining us for another revisited sketch challenge. This week Patti picked one of her sketches for us to use this week. This is a fun sketch with so much possibility.
Our sponsor this week is A Day for Daisies. We are thrilled to have them back as a sponsor this year. The digital images are so sweet, with the look of hand penned drawings.
The prize is $12 shopping credit that is good for 3 images of the winners choice.
And my awesome team is sure to inspire you. We also thank ADFD for their generosity in providing us with images to use. They are linked to where you can find them in the store.
What fantastic cards! Now it's your turn to play along. We can't wait to see what you come up with.
Lovely DT cards and sketch, thanks for the challenge!
OH poop I finally got to play and missed the deadline!! Oh well...thanks for the inspiration!!


This gravel measures 2 to 3 inches and is very effective in ditches and other areas when used to control erosion. Can be the same rusty brown color as the other gravels or sometimes will be more of a tan color. This is also commonly used in French drains.
This gravel is a mixture of sand, clay and gravel. Commonly used as a base for establishing a new drive way or parking area. Packs down tightly and can also be used as a patch for gravel driveways. This is the same red gravel seen on county road shoulders. Stocked seasonally so call first before coming.
Crushed limestone is also referred to as CR610. It is limestone gravel mixed with crushed limestone. This mixture packs down really well and is great for using it as a driveway/parking pad base. As it gets packed down and watered in it becomes quite hard and provides a base that does not sink into the mud. Also very effective when used as a patch for pot holes in gravel drives and even asphalt ones.


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Purified anti-LASP1 Antibody (Previously Covance catalog# MMS-426P)
8C6 (See other available formats)
LIM and SH3 domain protein 1, MLN 50, metastatic lymph node gene 50 protein
Covance Catalog# MMS-426P
Western blot analysis of cell lysates from Daudi (Human), Raw264.7 (Mouse) and UMR106 (Rat) cells using LASP1 Mouse primary antibody (clone 8C6, 1:1000 dilution) and HRP Goat anti-Mouse secondary antibody (Cat. No. 405306, 1:3000 dilution). Direct-Blot™ HRP anti-β-actin (Cat. No. 643807) was used as a loading control (1:8000 dilution).
Total cell lysates (15 µg total protein) from HEL, A431, A549 and NIH/3T3 cells were resolved by 4-12% Bis-Tris gel electrophoresis, transferred to a nitrocellulose membrane, and probed with 0.5 µg/mL (1:1000 dilution) of Purified anti-LASP1 Antibody, clone 8C6, overnight at 4°C. Proteins were visualized by chemiluminescence detection using HRP goat anti-mouse IgG Antibody (Cat. No. 405306) at a 1:3000 dilution. Direct-Blot™ HRP anti-GAPDH Antibody (Cat. No. 607904) was used as a loading control at a 1:50000 dilution (lower). Lane M: Molecular Weight marker. Cell lysates were loaded in order of increasing LASP1 mRNA expression levels (source: Human Protein Atlas).
Immunofluorescence of HepG2 cells with (A) mouse IgG1, κ isotype control (Negative, Cat. No. 401402) or (B-D) LASP1 antibody (Clone 8C6). Alexa Fluor® 488 (Green) Goat anti-Mouse IgG (Cat. No. 405319) was used as secondary antibody. Nuclei were counterstained with DAPI (Blue, Cat. No. 422801). The image was captured with a 60X objective using KEYENCE BZ-X700 fluorescence microscope. Exposure time (Seconds) for (A-D) is 1/15. Concentrations for (A, B) is 10 µg/ml, (C) is 4 µg/ml and (D) is 2 µg/ml.
Compare all formats
909301 100 µL 344€
Lasp-1 (LIM and SH3 domain protein 1) is an actin-binding phosphoprotein expressed in a wide range of cell types rich in F-actin. Lasp-1 is believed to play a role in the reorganization of the actin cytoskeleton, and localizes to sites of cytoskeletal assembly in response to signalling inputs. Lasp-1 binding partners, in addition to actin, include the endocytic proteins dynamin 2, Hip1r and clathrin, and proteins involved in focal adhesion including zyxin and krp1. The functions of Lasp-1 protein are not well defined, but evidence suggests roles in cell migration, tumor formation, and membrane remodeling in the regulation of ion transport.
Human, Mouse, Rat, Rabbit
Clone 8C6 was raised against a KLH-coupled peptide from a conserved region of LASP-1.
The antibody was purified by affinity chromatography.
The antibody solution should be stored undiluted between 2°C and 8°C. Please note the storage condition for this antibody has been changed from -20°C to between 2°C and 8°C. You can also check your vial or your CoA to find the most accurate storage condition for this antibody.
IHC - Quality tested
WB, ICC - Verified
Each lot of this antibody is quality control tested by immunohistochemistry. For immunohistochemistry, a dilution range of 1:100 - 1:200 is suggested. For Western blotting, the suggested use of this reagent is 0.5 - 1.0 µg per ml (1:1000 - 1:2000 dilution). For immunocytochemistry, a concentration of 10.0 μg/ml (1:100 dilution) is recommended. It is recommended that the reagent be titrated for optimal performance for each application.
This antibody is effective in immunoblotting (WB) and immunohistochemistry (ICC).
Predicted MW = 37 kD; Positive Control: MDCK cell lysate
Zhang H, et al. 2009. Physiol Genomics. 38:372. (WB, IF)
Chew CS, et al. 2008. Am J Physiol Gastrointest Liver Physiol. 295:G37. (WB, IF)
Chew CS, et al. 2000. J Cell Sci. 113:2035.
Howard CM, et al. 2019. Front Oncol. 9:284. PubMed
Cell Biology, Cell Motility/Cytoskeleton/Structure, Neuroscience, Neuroscience Cell Markers
3927 View all products for this Gene ID
View information about LASP1 on UniProt.org
Immunocytochemistry Staining Protocol
Western Blotting Protocol
View All LASP1 Reagents Request Custom Conjugation


Honestly speaking, I'm not really a lipstick person.
But I can't deny that lipstick can help to achieve a better preferred look, and also enhance your appearance with your daily outfits.
Lipstick is also a perfect fashion tool for you be more beautiful because I believe it can help you to stand out in the crowd as well as boost your confidence.
Not only that, lipsticks somehow in these days are consider an important health item that can greatly help you in maintaining a healthy lips.
Healthy + beautiful lips = happiness!
Last month, I was glad to be invited to a "pink pink pink" party with The Butterfly Project to discover the Lipaddict, a multi-purpose lip treatment that imported all the way from New York USA.
Lipaddict established in 1999, by Iskin New York which has been dedicated to bringing effective, working skin care solutions to the market.
All their products do not just look good from the packaging, they also comes with special formulation to bring additional and long-term benefits to support and anti-age your skin.
besides, their products are tested by dermatologists and formulated by Cosmetic Scientists, whereby they ensure that their products are both effective and safe.
Lip Addict is a non-injectable anti-aging lip treatment that instantly moisturizes, heals and enhance your lips.
Powerful Anti-aging peptides and marine collagen work to visibly reduce the appearance of lines on the lips and the surrounding lip area.
The proprietary plumping formula is suspended in Hyaluronic Acid, which naturally binds water to give your lips instant, natural volume.
Packed with Vitamin C & E, with superior skin repairing ingredients that helps to sooth and heal dry cracked lips, keeping them healthy and soft in any weather.
Natural and organic moisturizing oils lock in moisture, providing all-day hydration for dry and chapped lips.
Do not worry about the ingredients of the Lipaddict as they are formulated from the USA with medical grade; so you can actually apply it on your lips as many times as you like.
#212 Pink Sugar: A pale pink gloss with beautiful rose gold shimmer to make you look as sweet as the candy.
It has a soft applicator which make it so easy to glides onto the lips.
You can see the texture is very lightweight, and consider a non-greasy type.
Also, it's very easy and fast to wipe off..
When I first putting it on my lips, I can feel a tingling sensation which probably because my lips was too dry.
But, that feeling will not stay too long or uncomfortable.
I like the fresh smell very much, just like putting fresh mints on my lips.
I'm now using the #213 jewel shade at night time, and #206 Pink Princess during day time.
One main thing I like about the Lip Addict is it is so convenient to use.
It works like an all-in-one solution lip balm/lip gloss for me as it's not only provides me a juicy lips for my everyday look, it also contains treatment wise which help to hydrate my lips as well as reduce the fine lines, wrinkles on my lips.
Girls, keep in my mind that not only face and body need to be anti aging, so does our lips!
Here's the before-and-after photos from the Iskin Lipaddict product.
Iskin Lipaddict products only available at certain beauty saloons.
Thanks to The Butterfly Project for organizing such great event for us.
Thanks to ISKIN New York Malaysia for feeding us the info on how to make beautiful lips with Iskin Lipaddict.
Thanks to Ask Joey-The Sweetest Party for the beautiful dessert table.
Thanks to Happ Cafe for such a dreamy venue.
Hope you enjoy today's sharing!
I will end this post with my pink outfit for the lovely party.


— And they shall know that I, Jehovah, their God am with them, and that they, the house of Israel, are my people, saith the Lord Jehovah.
— Thus shall they know that I the LORD their God [am] with them, and [that] they, [even] the house of Israel, [are] my people, saith the Lord GOD.
— "Then they will know that I, the LORD their God, am with them, and that they, the house of Israel, are My people," declares the Lord GOD.
— And they shall know that I Jehovah their God [am] with them, and that they, the house of Israel, are my people, saith the Lord Jehovah.
— So shall they know, that, I Yahweh their God, am with them,—And that, they, are my people, the house of Israel, Declareth My Lord, Yahweh.
— And they have known that I, Jehovah, their God, [am] with them, And they—the house of Israel—My people, An affirmation of the Lord Jehovah.
— And they shall know that I the Lord their God am with them, and that they are my people the house of Israel: saith the Lord God.
— Thus shall they know that I the LORD their God [am] with them, and that they, [euen] the house of Israel, [are] my people, saith the Lord GOD.
— Thus shall they know that I Yahweh their Elohim [am] with them, and [that] they, [even] the house of Yisrael, [are] my people, saith Adonay Yahweh.
See commentary on Ezekiel 34:17-31.
Their God — By covenant, from their forefathers. Am with them — Present with them, and reconciled to them.
Psalms 46:7 The LORD of hosts [is] with us; the God of Jacob [is] our refuge. Selah.
Psalms 46:11 The LORD of hosts [is] with us; the God of Jacob [is] our refuge. Selah.
Isaiah 8:9-10 Associate yourselves, O ye people, and ye shall be broken in pieces; and give ear, all ye of far countries: gird yourselves, and ye shall be broken in pieces; gird yourselves, and ye shall be broken in pieces. ... Take counsel together, and it shall come to nought; speak the word, and it shall not stand: for God [is] with us.
Ps 46:7, 11. Is 8:9. Ezk 16:62; 34:24; 37:27. Mt 1:23; 28:20.
Please post your comment on Ezekiel 34:30.


Shadow Child live on 1xtra.
Hatcha & Crazy D are joined by Tunnidge & MC Footsie on this weeks Kiss FM dubstep show.
Nosaj Thing is in the studio to perform an exclusive live set.
Crazy D and Hatcha are joined by J Da Flex and MC Flowdan.
Chestplate Records deliver this weeks daily dose of dubstep with Cyrus on the controls.
Benga goes it alone while Skream gets down to the chiropractor!
Von D & Riskotheque meet in the studio once again with this stomper, forthcoming on GetDarker in April.
Eats Everything mix up the 130 @ 11:30pm and Pete Tong picks the latest track for A History of Bass!


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Q: deleting/replacing buckets in boto3 Full disclosure, this is for a boot camp, but I am pretty sure my code is correct and I have reached out several times to the admins for guidance but haven't gotten a response. I keep getting an error where it says (Bucket=bucket['Name'])..some error about the preset. I thought maybe I should replace Bucket with Prefix but it doesn't seem to be the case.
The idea here is to delete gim buckets and add the gid buckets in its place.
# Get the list_buckets response
response = s3.list_buckets()

# Delete all the buckets with 'gim', create replacements.
for bucket in response['Buckets']:
  if 'gim' in bucket['Name']:
      s3.delete_bucket(Bucket=bucket['Name'])

s3.create_bucket(Bucket='gid-staging')
s3.create_bucket(Bucket='gid-processed')

# Print bucket listing after deletion
response = s3.list_buckets()
for bucket in response['Bucket']:
    print(bucket['Name'])

A: Going off of what alex067 said, you can remove all objects and then delete the bucket like this:
for bucket in response['Buckets']:
  if 'gim' in bucket['Name']:
    bucket_resource = s3.Bucket(bucket['Name'])
    bucket_resource.objects.all().delete()
    res = bucket_resource.delete()

I would recommend setting this up to be able to run in a "dry" mode so as not to delete any unnecessary resources if something were to go wrong. Here's how that could work:
for bucket in response['Buckets']:
  if 'gim' in bucket['Name']:
    bucket_resource = s3.Bucket(bucket['Name'])
    print(bucket_resource.objects.all())

A: for bucket in response['Buckets']:
  if 'gim' in bucket['Name']:
      res = bucket.delete()

The bucket does have to be empty before you can delete it though.

redpajama_set_name: RedPajamaStackExchange


Fisherman hotel offers a variety of well equipped accommodation: single rooms, double rooms and family rooms with or without private facilities. Bathrooms are positioned on all floors near rooms without private facilities. All rooms have wash basin, television, telephone and hair dryer. Self-catering facility is located in the building. Wireless internet connection is available free of charge for our guests. All rooms and restaurant are non-smoking. Here you have the best travel guide to Iceland. Enjoy!
For information on passport and visa requirements as well as the Schengen area regulations, please view the website of the Icelandic Directorate of Immigration.
There is a medical centre or a hospital in all major cities and towns in Iceland. The emergency phone number (24 hours) in Iceland is 112.
Dæli (Holiday farm since 1988) offers a variety of accommodation and activities for both groups and the individual traveller, 6 twin/double rooms with private facilities, The Old Farmhouse "Gamli Bær" Rooms without private facilities, Cottage "Eyrin", sleeping bag accommodation in 6 small huts and camping ground. In The Service House you will find a kitchen, a large dining room and WC/showers.


Medicaid may assist you in paying for services received. Please contact the Healthcare Center if you have questions about qualifying for Medicaid funding.
Medicare may assist you in paying for services received. Please contact the health care center if you have questions about qualifying for Medicare funding.
Please contact our Customer Care Line to speak with a representative to learn more about our services.
Love cures people, both the ones who give it and the ones who receive it.
While we understand the importance of professional nursing care, we also recognize the value of good mental health. Our compassionate counseling staff offers assistance to residents during their initial admission process, as well as daily intervention and problem solving support.
Social Services contributes significantly to the interdisciplinary team approach to care. Our Social Workers are concerned and involved with the interactions between people and with community resources that affect a person's ability to achieve life tasks, realize aspirations and alleviate distress. Social Workers assist you with problem-solving and accessing community services to support your independence goals.
Copyright © 2018 Willowbrook Nursing Center - Design by Creative Lab.


Growing up, my fondest memories involve family. My grandfather, though a nascent photographer, had his camera in tow wherever he went. He'd get his endless rolls of film developed from our family trips to Trinidad which always filled me with excitement: we would see palm trees, my favorite cousins, and other frozen memories. My mother instilled a deep love for the arts in me at a young age, we would take the train into the city from Queens to visit museums and see Broadway shows. I remember looking at each piece of art as an opportunity to jump into a different world. Paired together, my love for the arts ballooned as I got older.
As a child I aspired to be the female Hype Williams, I appreciated his eye for the unorthodox and how he shaped hip hop video art in the 90s. A failed video project in my junior year of high school brought those dreams of directing Busta Rhymes and Jay-Z to a screeching halt. It was then that I looked to my grandfather's images and decided to give photography a shot. I figured, "it's already in my blood, why not pursue it?" From that day, I've continued hitting my shutter to the sounds of the big apple I live in.
Photography has taught me a lot about myself and the world around me. It's one thing to be in the moment, but another to pull out the photographs and talk about those moments. Photographs help put you back in that place: you remember the weather, endless smiles, and importantly, how it made you feel. That's why photography found me; I have a penchant for photographing people and places to remember the moment forever. Photography has given me the opportunity to create my own worlds and give me the same feelings I had as a child. My grandfather always said, "if you have a passion for what you do, it's never work." I'd like to share my passion with the world, changing everyone's worldview the way that art changed mine.


if anyone could give me a hand.
1. what does the shire party for Bilbo Baggins reflect about how he belongs to the community?
2. identify and explain 2 techniques used by the film director to establish that belonging is a central motif to this aextract from Lord of the Rings.
3.After watching the departure scene explain why Bilbo felt the ring did not belong to him?
4. in your opinion were these reasons strong enough ones to force him to leave his community and to travel so far away from his shire?
Welcome to TORC Maddi! I hope you like us enough to stick around even after your assignment is complete!
First of all, is this based on the books, or the movies?
For question number one, I think seeing as how he got the whole Shire to come out for his 111th birthday party, you could say that he was well-liked and "belonged". Once again, this depends on which medium you look at what happened. From the movies, it seems as if Bilbo is the center of attention and throws a big party, only to vanish mysteriously at the end. Nothing is really seen about his character, nor his reasons for leaving.
From the books however, we can see that Bilbo was definitly popular in the Shire (mostly for his wealth though), being the topic of conversation at dinner tables and pubs. However, I don't think he really "belonged" to the Shire. For one thing, Hobbits are peace loving people who don't like adventures or anything that happens outside of their own lands. When Bilbo went off with Gandalf in The Hobbit, people thought he had gone mad. His return was quite unexpected and changed the way people looked at him. They now all thought he had vast sums of riches hiding in Bag End, and they now alienated him from the traditional Hobbit way of living. He was considered the queer one, often seen wandering the borders of the Shire, and talking to strangers and Gandalf quite often.
So as to the question of whether Bilbo belonged or not, I think that, yes, Bilbo did feel affection for the Shire, but at the same time, he was no longer a part of the Hobbit community, and thus felt compelled to take another journey, this time never to return.
Hope my little bit helped Maddi, and maybe some other, more experienced TORCers will come by and drop their opinions too!
is this for HSC English Advanced by any chance?
if it is, then im in the same situation as you!
im also thinking of using the Hobbit/Lord of the Rings as a text for an essay on belonging. i was wondering if you found anything interesting that i might be able to use because i cant think of anything to use!
i would appreciate it SOOO much if you could send me something!


text:
C&SN Asks UN Special Rapporteur to Address the Negative Impact of Disinformation on NPOs
The UN Special Rapporteur (SR) on the promotion and protection of the right to freedom of opinion and expression solicited public input on the effect of disinformation on democracy, development and human rights in preparation for her June report to the Human Rights Council. On Feb. 15, 2021 the Charity & Security Network (C&SN) submitted input focusing on "use of disinformation to attack civil society organizations through legal processes, including litigation, regulatory complaints and legislative/parliamentary campaigns. The input then sets out the negative impact disinformation has on civil society rights to freedom of opinion and expression.
C&SN acknowledged the complex challenge of protecting freedom of speech and urged the SR to include a focus on the damage to these rights suffered by the targets to disinformation campaigns. It noted that:
Civil society organizations are particular targets of politically motivated disinformation campaigns. In many instances this is due to their exercise of the right of expression, including human rights defense and advocacy. Globally human rights defenders, humanitarian, peacebuilding and other groups that work in some of the world's most conflict-ridden environments speak out against abuses of power by both states and non-state armed actors. This has generated backlash that includes increased legal and regulatory restrictions on civil society and disinformation campaigns intended to discredit and silence them.
The harm caused includes reputational damage, legal costs and diversion of resources from beneficial programs, loss of adequate access to financial services and online platforms, and reduced funding.
The comments explain that this backlash is especially severe for human rights defenders and civil society organizations working in Palestine or that support Palestinian rights. Many have been the targets if disinformation campaigns and examples of attacks by politically motivated groups that use disinformation to file legal proceedings are provided.
C&SN provides a list of specific recommendations for the SR's report, noting that "It is important to recognize the harm done to targets of disinformation campaigns. The first step is to build awareness of this aspect of the issue and identify red flags that stakeholders should be aware of. It is then incumbent on all stakeholders to do a better job of assessing the credibility of information they rely on and to give targets of disinformation opportunities to correct the record."
The full text of C&SN's comments is here.
Other comments addressed the issue of "deplatforming" and the European Legal Support Center filed comments describing the impact of disinformation on advocates for Palestinian rights.


Have you found an online vendor selling Plantation Plantation Jamaica 2002?
First you try this Jamaican (i saw the ages' reviews as well) the smell will be tell you a straight no. After the tasting if you survived the smell test and still want to try it, it's quite mild at start. Not bad, not good.
At the end it has some kind of burn, but not the strongest according to this price range.


Accommodation Services aims to provide the best possible experience to its customers at all times. In order to do this we have set service standards for UWE Bristol accommodation, which we aim to meet.
Please refer to our Residents' guide for additional information on maintenance, services and other support.
Cleaning service standards Cleaning in and around accommodation.
Repairs service standards Repair work and maintenance to University properties, including pest control.
Recycling and refuse service standards Recycling and refuse collection and student responsibilities.
Security service standards Security services provided in UWE Bristol accommodation across University sites.


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Home Books Principles and Practice of Mechanical Ventilation, 3e
Chapter 38. Airway Management
Aaron M. Joffe; Steven Deem
Joffe AM, Deem S. Joffe A.M., & Deem S Joffe, Aaron M., and Steven Deem.Chapter 38. Airway Management. In: Tobin MJ. Tobin M.J.(Ed.),Ed. Martin J. Tobin.eds. Principles and Practice of Mechanical Ventilation, 3e. McGraw Hill; 2013. Accessed February 02, 2023. https://accessanesthesiology.mhmedical.com/content.aspx?bookid=520&sectionid=41692282
Joffe AM, Deem S. Joffe A.M., & Deem S Joffe, Aaron M., and Steven Deem. (2013). Chapter 38. airway management. Tobin MJ. Tobin M.J.(Ed.),Ed. Martin J. Tobin. Principles and Practice of Mechanical Ventilation, 3e. McGraw Hill. https://accessanesthesiology.mhmedical.com/content.aspx?bookid=520&sectionid=41692282
Joffe AM, Deem S. Joffe A.M., & Deem S Joffe, Aaron M., and Steven Deem. "Chapter 38. Airway Management." Principles and Practice of Mechanical Ventilation, 3e Tobin MJ. Tobin M.J.(Ed.),Ed. Martin J. Tobin. McGraw Hill, 2013, https://accessanesthesiology.mhmedical.com/content.aspx?bookid=520&sectionid=41692282.
Airway Management: Introduction
Airway Anatomy
Airway Management Without Intubation
Tracheal Intubation: Indications, Preparation, and Standard Techniques
The Difficult Airway
Pharmacologic Adjuncts to Tracheal Intubation
"Airway management" implies the provision of assistance to a patient in maintaining a patent airway. This chapter will review airway anatomy and basic airway management techniques.
The Nose and Nasopharynx
The nose is lined with vessel-rich mucosa designed to warm and humidify the air. Bypassing the nose causes dry gases to reach the respiratory tract and necessitates warming and humidification of gases during mechanical ventilation.
The two nares are divided by a nasal septum that is often not midline. In each naris are three turbinates (Fig. 38-1) that help to condition the inspired gases. Underneath each turbinate lies the opening of perinasal sinus. When these openings are occluded by nasogastric or nasotracheal tubes, fluid tends to accumulate in the sinuses as reflected by a high incidence of radiographic sinus opacification.1
The nasal turbinates. Note that these are easily traumatized during nasal instrumentation. (Used, with permission, from Pierson DJ, Kacmarek R, eds. Foundations of Respiratory Care. New York, NY: Churchill Livingstone; 1992.)
The floor of the nose leading to the nasopharynx is in the same plane as the nasal orifices. When a tube is introduced into the nose, it should be directed straight back rather than caudad (Fig. 38-2), and advanced carefully to avoid injuring the turbinates.
Insertion of a catheter in the nose. The catheter should be directed in parallel with the floor of the nose. (Used, with permission, from Pierson DJ, Kacmarek R, eds. Foundations of Respiratory Care. New York, NY: Churchill Livingstone; 1992.)
Oral structures relevant to airway management include the lips, teeth, and tongue as each may either impede introduction of airway devices into the pharynx or diminish upper airway patency or both during artificial breathing.
Pharynx
The pharynx is shaped like a cone (Fig. 38-3) and includes the nasopharynx and the oropharynx, which join to form the hypopharynx. The walls of the pharynx are typically soft and compliant, but may become stiff, increase in volume, or both when inflamed from any cause.
Lateral (A) and posterior oblique (B) views of the pharynx and larynx, including the laryngeal skeleton. (Reproduced, with permission, from Pierson DJ, Kacmarek R, eds. Foundations of Respiratory Care. New York, NY: Churchill Livingstone; 1992.)
The digestive and respiratory tracts share a common lumen in the pharynx. The posterior portion of the pharynx continues to form the esophagus whereas the anterior portion ends in a series of pouches or fossae ...


Charan Langton has a unique gift for creating tutorials on complex topics that are easy to read and understand. (She has also been known to attend a Besser Associates course from time to time!) She lists recommended books on her Complex to Real website.


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Q: Why is filecmp.cmp slow for huge files even when its 'shallow' parameter is True? I wrote a Python script to compare files in two directories, using filecmp.cmp. It works, but just now I tried running it for a collection of huge files. It was very slow.
The documentation says that when the shallow parameter is true (which it is, by default), filecmp.cmp should only compare the os.stat results.
The script ran much faster for another big collection of jpg files. I am wondering why the file size is having a larger effect than the number of files as if it checks os.stat only.

A: I think the documentation for the shallow parameter is misleading*. Passing shallow = True does not necessarily prevent the filecmp.cmp function from comparing the contents of the files. If your files are the same size but have different mtimes, their contents will still be checked.
You can see the implementation of cmp in your Python installation, or you can look at the (current as of this moment) source in the Python source repository.
Here are the relevant bit of cmp:
def cmp(f1, f2, shallow=True):
    # long docstring removed

    s1 = _sig(os.stat(f1))
    s2 = _sig(os.stat(f2))
    if s1[0] != stat.S_IFREG or s2[0] != stat.S_IFREG:
        return False
    if shallow and s1 == s2:
        return True
    if s1[1] != s2[1]:
        return False

    # rest of function, which calls a helper to do the actual file contents comparisons

The _sig helper function returns a tuple of values extracted from the stat data structure for a file. The tuple values are the file type, the file size, and its mtime (usually the last time the file contents were modified).
The tests I included in the code excerpt try to quickly determine if two files are the same based on those pieces of metadata. If either file is not a "regular" file (because it's a directory, or special system file), they're considered unequal. Also, if they're not the same size, they cannot possibly equal.
What the shallow parameter does is allow a quick positive test. If shallow is true and the files have the same size and mtime, filecmp.cmp will assume the files are equal.
What I suspect is happening in your program is that your current directory has a number of files that are exactly the same size (perhaps because of very similar contents, or because the file size is fixed by the data format). Your previous data sets did not have as many same-sized files, so your code was able to quickly rule them out.
* I think filecmp.cmp's docstring is so misleading that it indicates a bug (either because it doesn't describe the behavior properly, or because the actual implementation is incorrect and should be fixed to match the docs). And it looks like I'm not alone. Here is a bug report on this issue, though it hasn't been updated in several years. I'll ping the bug with a link to this question and maybe somebody will work on fixing it!


Andrew & Kelsey's 840-Petaled Paperversary! — Paper Rose Co.
But then I looked at the details and remembered chatting with Andy about how I make hydrangea and why they're a little pricier than my usual blooms. Oh yeah—hydrangea. Five of them. This one wasn't going to be as quick as I thought!
I made my first prototype of hydrangea around this time last year after an inquiry. I knew they were possible, I just didn't know the logistics or exactly how much time I'd need.
Many stems later, I have my system down. I compose each of my stems of 42 blooms clustered in groups of 3 and wired into a sphere—if you do the math, that's 168 petals per hydrangea. And no matter how well I've prepped, there's only so many ways to speed these up!
Recently I also started adding little touches of color at the centers of each bloom—this really helps with the all-white versions which usually seem to act more as a filler or as greenery in arrangements. But I felt it was especially important in this recreation to add just a bit of depth and freshness to the piece.
Unlike Kelsey's original bouquet, I kept the petals uniform in size. I wanted to make the arrangement as full as possible and make the most of each and every one of the 840 petals it contained!
And I was thrilled to get an email from Andy the night of their anniversary. "She absolutely loved it." Mission accomplished!


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Diversity & Inclusion at CFANS
Diversity & Inclusion Undergraduate Opportunities
Sustainability Opportunities for Agricultural Research (SOAR) - Research and Extension Experiences for Undergraduates (REEU) Summer Program
The SOAR-REEU program provides summer undergraduate research opportunities in science and sustainable food systems research. The program will provide up to 10 full-time summer research positions to undergraduate students through the USDA-REEU program during the summer of 2023.
This program is open to undergraduate students either majoring in a STEM or Agricultural Science field, or with a passion for plant science, food, and farming with significant science coursework in their program. All participants must be citizens or permanent residents of the U.S. or U.S. territories.
Students from underrepresented groups are strongly encouraged to apply, including (but not limited to):
Hispanic or Latinx
American Indian or Alaskan Native
Native Hawaiian or other Pacific Islander
Veteran of the US Armed Forces, Reserves, or National Guard
A Demonstrated Financial Need
First Generation College Students
Program Details:
June 5 – August 11, 2023 (10 weeks)
Full-time commitment to extensive lab and field work
Accommodations can be made for semesters ending later than June 1st
Summer Undergraduate Research Expo: August 10, 2023
Stipend and housing
$5,000 stipend
Housing, meals, and Boynton Health extended (supplemental) coverage provided
All students must carry private health insurance coverage, or will be required to purchase the U of M Student Health Benefit Plan
Travel reimbursement up to $500
Support for research supplies
The application for the 2023 program is now available. We will begin reviewing applications on December 15, 2022. We will continue to accept applications until all positions have been filled, with no applications accepted after February 15, 2023. Please review the application guide for application details. A complete application consists of an online application form with the following materials:
Statement of purpose: One page (maximum) statement describing why you wish to participate in this program, any previous programs, projects, or research experiences, your career goals, and any personal challenges you may have faced in accessing higher education opportunities
Letters of recommendation: Recommendations should come from someone you have had as an instructor, professor, and/or advisor that can speak to your ability/potential as a student/researcher (1 required, 2 accepted)
Current transcript: Unofficial transcripts are requested
Program and Application Overview Zoom Recording
Need help filling out the application? Want to know what to include in your Statement of Purpose or Resume? Are you interested in hearing more about the program? Would you like to hear from 2022 SOAR-REEU participants?
Watch our recorded Program and Application Overview session!
For questions regarding the SOAR-REEU program, please contact professor Mary Rogers, PhD, at roge0168@umn.edu or by phone at 612-624-8871 or professor Julie Grossman, PhD at jgross@umn.edu or by phone at 612-625-8597.
This work is supported by the Research and Extension Experiences for Undergraduates Project (grant no. 2022-67037-36640/project accession no. 1028225) from the U.S. Department of Agriculture, National Institute of Food and Agriculture. Any opinions, findings, conclusions, or recommendations expressed in this publication are those of the author(s) and should not be construed to represent any official USDA or U.S. Government determination or policy.
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