text:
796 F.2d 1408 (11th Cir. 1986), 84-8852, Iervolino v. Delta Air Lines, Inc.
Party Name: Joseph A. IERVOLINO, Plaintiff-Appellant, v. DELTA AIR LINES, INC., Defendant-Appellee.
Case Date: August 15, 1986
Court: United States Courts of Appeals, Court of Appeals for the Eleventh Circuit
Joseph A. IERVOLINO, Plaintiff-Appellant,
DELTA AIR LINES, INC., Defendant-Appellee.
United States Court of Appeals, Eleventh Circuit
Alan M. Serwer, Chicago, Ill., for plaintiff-appellant.
Eugene G. Partain, Carl Cannon, Scott Greene, Thomas J. Kassin, Delta Air Lines, Inc., Hartsfield Intern. Airport, Atlanta, Ga., for defendant-appellee.
Appeal from the United States District Court for the Northern District of Georgia.
Before JOHNSON and ANDERSON, Circuit Judges, and DYER, Senior Circuit Judge.
ANDERSON, Circuit Judge:
Joseph Iervolino brought this action against his former employer, Delta Air Lines, Inc., alleging that Delta's refusal to permit him to transfer to the position of flight engineer violated the Age Discrimination in Employment Act ("ADEA"), 29 U.S.C.A. Secs. 621-634 (West 1985). On appeal from a judgment rendered on a jury verdict for Delta, Iervolino raises numerous challenges to the jury instructions, the denial of his motion for judgment notwithstanding the verdict ("JNOV") or alternatively for a new trial, and the district court's evidentiary rulings. We affirm.
In its commercial airline operation, Delta operates a variety of aircraft, including the Lockheed 1011. This aircraft requires three crew members in the cockpit: a captain, a first officer, and a second officer. The captain is the pilot and controls the aircraft. He is responsible for all phases of its operation. The first officer is the copilot and assists the captain. The second officer or flight engineer usually monitors a side-facing instrument panel, and does not operate the flight controls.
A regulation of the Federal Aviation Administration prohibits any person from serving as a pilot or first officer on a commercial flight "if that person has reached his 60th birthday." 14 C.F.R. Sec. 121.383(c) (1985). The FAA, however, has refused to establish a mandatory retirement age for flight engineers.
Delta employed Iervolino as a captain until his sixtieth birthday. In March 1980, five months before his retirement, Iervolino requested a transfer to the position of flight engineer so that he could continue his employment beyond age 60. Delta denied Iervolino's request, and he was retired on his sixtieth birthday.
Iervolino filed this action against Delta in the United States District Court for the Northern District of Georgia, arguing that Delta's refusal to permit him to transfer to a flight engineer position violated the ADEA. Delta defended its refusal to permit Iervolino to transfer to a flight engineer position on two grounds: (1) that its policy prohibiting captains from transferring to flight engineer positions ("two-step downbid") qualified as a reasonable factor other than age ("RFOA") within the meaning of 29 U.S.C.A. Sec. 623(f)(1) (West 1985), 1 and (2) that the under-age-60 qualification for the position of flight engineer is a bona fide occupational qualification ("BFOQ") reasonably necessary to the safe transportation of passengers. 2
At trial, the parties offered conflicting evidence as to the existence of a policy prohibiting two-step downbids. Iervolino contended that, except for pilots approaching age 60, Delta had permitted pilots to bid for any vacancy and awarded the bids based on seniority. Between 1973 and 1984, there were 936 transfers from captain to copilot or from copilot to flight engineer by crew members under age 60 ("one-step downbid"). Iervolino presented evidence of two instances in which Delta had permitted a two-step downbid. In 1978, Delta permitted Ralph Sexton to transfer from captain to flight engineer as the result of a medical condition which precluded his continued service as a captain. When Delta acquired Northeast Air Lines, Inc. ("Northeast") in 1972, two Northeast captains were also permitted to transfer to flight engineer positions at Delta.
Iervolino also introduced evidence suggesting that former captains serving as flight engineers would not present any "role reversal" problems. Iervolino pointed out that there have been no "role reversal" problems either when senior captains ride in a cockpit observer seat with more junior captains or when captains are given proficiency checks by senior check captains or FAA inspectors. Iervolino also claimed that Delta could evaluate a former captain's ability to serve as a flight engineer on an individual basis since Delta already evaluates captains on their ability to manage their crew in all situations and observes how well crew members interact and coordinate their efforts.
Delta, on the other hand, introduced evidence that it has a long-standing policy prohibiting captains from bidding down to flight engineer positions. Delta asserts that this policy was based on the safety problems associated with two-step downbids. Expert testimony indicated that when former captains serve as flight engineers, the roles of the crew members may become confused or ambiguous and former captains serving as flight engineers may intimidate other crew members during an emergency. Several pilots also testified as to the potential problems that could result from former captains serving as second officers. Delta also argued that since an individual pilot may be entirely unaware of any difficulty in his transition to a flight engineer position until after a problem occurs, it is impossible to predict which former captains would have difficulty in making the transition.
With respect to the question of whether the under-age-60 rule is a BFOQ for the flight engineer position, Iervolino offered a variety of evidence to support his contention that a flight engineer's normal duties are less critical to the safety of a flight than those of a captain or first officer. For example, the FAA has not extended the age-60 rule to the flight engineer position because the evidence indicates that flight engineers have rarely been a contributing cause or factor in commercial aircraft accidents and because flight engineers do not manipulate any flight controls. Iervolino also introduced evidence that 485 flight engineers over the age of 60, including 134 former captains, were serving on other commercial airlines. Finally, several former captains serving as flight engineers testified that they had experienced no difficulty in safely performing the flight engineer position.
Iervolino also offered evidence that it would be possible for Delta to evaluate its flight engineers on an individual basis for potentially disqualifying medical conditions. For example, Delta has relied on FAA-mandated medical examinations to assess, on an individual basis, the ability of pilots and flight engineers to perform their jobs safely and efficiently. Iervolino pointed out that Delta had permitted pilots to return to flight duty following the diagnosis of serious medically disqualifying conditions, provided these pilots could later pass medical examinations. Delta also has a system of proficiency checks designed to ascertain whether crew members can perform the required duties of the job safely and efficiently.
Delta contended, however, that the age-60 requirement is a BFOQ for the flight engineer position. First, Delta offered evidence that the flight engineer position is essential to flight safety. Several pilots testified that a flight engineer's failure to perform his duties properly could adversely affect flight safety, especially during emergencies. An aircraft simulator demonstration and various accident reports were also introduced to illustrate the importance of a flight engineer's duties and the need for close coordination among cockpit crewmembers.
Delta also presented evidence that certain age-related diseases and infirmities (e.g., heart attacks, strokes, dementia, susceptibility to adverse drug reactions) become more prevalent at or around the age of 60, and that medical science cannot predict who will be susceptible to these diseases. Dr. John Rowe and Dr. Donald Kline concluded that there presently exists no reasonable method for Delta to evaluate its crew members on an individual basis.
After trial the jury returned a general verdict in favor of Delta, and the district court denied Iervolino's motion for JNOV or alternatively for a new trial. The following appeal ensued.
On appeal, Iervolino challenges the jury instructions concerning Delta's policy prohibiting two-step downbids and the BFOQ defense, the denial of his motion for JNOV or for a new trial, and various evidentiary rulings. We consider each contention in turn.
A. Jury Instructions
Iervolino raises numerous challenges to the jury instructions concerning Delta's policy prohibiting two-step downbids and the BFOQ defense. On appeal, we examine "the challenged instructions 'as part of the entire charge, in view of the allegations of the complaint, the evidence presented, and the arguments of counsel, to determine whether the jury was misled and whether the jury understood the issues.' " National Distillers & Chemical Corp. v. Brad's Machine Products, Inc., 666 F.2d 492, 497 (11th Cir.1982) (quoting First Virginia Bankshares v. Benson, 559 F.2d 1307, 1316 (5th Cir.1977)); see also Western Air Lines v. Criswell, --- U.S. ----, 105 S.Ct. 2743, 2755, 86 L.Ed.2d 321 (1985) (reviewing jury instructions in the " 'context of the overall charge' and the circumstances of the case," including defendant's closing argument) (quoting Cupp v. Naughten, 414 U.S. 141, 147, 94 S.Ct. 396, 400, 38 L.Ed.2d 368 (1973)).
1. Downbidding Policy
Iervolino raises three challenges to the jury instructions with respect to Delta's policy prohibiting two-step downbids: (1) that the district court erroneously applied the test set forth in McDonnell Douglas v. Green, 411 U.S....


text:
package com.github.dozermapper.core.vo.index;

import com.github.dozermapper.core.vo.BaseTestObject;

public class Mccoy extends BaseTestObject {
    private String stringProperty;
    private String field2;

    public String getStringProperty() {
        return stringProperty;
    }

    public void setStringProperty(String stringProperty) {
        this.stringProperty = stringProperty;
    }

    public String getField2() {
        return field2;
    }

    public void setField2(String field2) {
        this.field2 = field2;
    }

}

redpajama_set_name: RedPajamaGithub


text:
one to one function examples
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one to one function examples 2021

redpajama_set_name: RedPajamaCommonCrawl


A Crowler is similar to a Growler, but it's can. A recyclable, portable 32-ounce can full of delicious craft beer, to be exact.
Which beer can I take home?
Any draft beer on our Shops of Legacy or North Downtown menus is available to take home in a Crowler. This includes rare and limited-edition brews we frequently have on tap. Check the beer events page and subscribe to Ale Mail to be in the know.
How does the fancy machine work?
1. We spritz the can with water to remove any dust.
2. Our talented bartender blasts a puff of CO2 to force air out. Beer only, please.
3. It's now time to fill the Crowler with your choice of tasty craft beer.
4. Next, we top off the can with a lid allowing some beer to overflow. This ensures the least amount of air sealed in the can. The less air, the longer your beer will stay fresh.
5. The sealing process begins. The can spins right round baby, right round like a record - you get the picture.
6. A careful eye inspects for any leaks. Your trusty bar sever wipes down and labels the can with beer name and date.
Crowlers are currently available at our Shops of Legacy and North Downtown locations in Omaha. Prices vary. Crowlers are for home consumption only. We cannot legally allow you to open your Crowler in Blatt Beer & Table.
Take fresh craft beer home with you in a 32-ounce can at our Shops of Legacy and North Downtown locations.


text:
Q: NHibernate Validator throwing and catching sqillions of MappingExceptions (property not found) After upgrading from NHibernate 2 to 3.1, NHibernate Validator is throwing and catching tons of MappingExceptions with the message "property not found: myProp on entity MyEntity".
The stack trace is:

at NHibernate.Mapping.PersistentClass.GetProperty(String
  propertyName, IEnumerable`1 iter) in
  d:\CSharp\NH\NH\nhibernate\src\NHibernate\Mapping\PersistentClass.cs:line
  921    at NHibernate.Mapping.PersistentClass.GetProperty(String
  propertyName) in
  d:\CSharp\NH\NH\nhibernate\src\NHibernate\Mapping\PersistentClass.cs:line
  934    at
  NHibernate.Validator.Engine.ClassValidator.FindPropertyByName(PersistentClass
  associatedClass, String propertyName)

The NHibernate Validator source code for the method FindPropertyByName doesn't look too hot - there's just a large chunk of commented out code.
Is this just because NHibernate Validator is not ready for NHibernate 3, or is there a workaround?

redpajama_set_name: RedPajamaStackExchange


Inlaks Fine Art Awards 2018 - Inlaks India Foundation presents scholarships for young artists from India. Inlaks Fine Art Awards 2018 is intended to help young artists in their formative years to develop their creative talent. Inlaks Fine Art Awards 2018 is open for candidates who have recently cleared their graduation/post-graduation. It provides financial assistance to enable them to work independently anywhere in India.
The Inlaks Fine Art Award is worth Rs. 3 Lacs for a one-year period.
The Applications can be made on a plain paper by mentioning the relevant details and sending 10 samples of the work done by the artist.
Age: The age of the applicant must be under 30 years as on December 31 in the year of application.
Academic Qualification: The applicant for this award may be a recent graduate/post-graduate or a final year student from a leading Indian institute for visual arts in India.
In case the applicant is not having a formal degree related to the field of visual arts, it is desirable that he/she would have participated in organised art exhibitions.
No student of a first-year masters programme will be considered.
Cash Prize: Inlaks Fine Art Awards 2018 is worth Rs.3,00,000 for a period of one year.
Residency Programme: Inlaks Fine Art awardee will have to attend an art residency programme within India for a period of approximately 4 weeks during the course of the year.
An application on plain paper may be sent with details of name, educational qualifications, contact address, permanent address, email id, mobile phone number, landline number and evidence of the date of birth. The students willing to fill the application form need to download it by following the link below.
Description of your practice and areas of interest (Not more than 300 words).
If the application of the person gets selected, then he/ she will be called for an interview. The selection of the student for Inlaks Fine Art Awards 2018 will be done based on the interview.


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Chlorine ranks among the ten most important commodity chemicals. Approximately 54% of the total U.S. chlorine production is liquefied for sale or for in-plant transport. Tail gas produced from the chlorine liquefaction process is the principal source of chlorine-containing waste gas streams produced by chlor-alkali plants. Currently, such streams are treated by absorption in carbon tetrachloride; however, carbon tetrachloride has a high ozone depletion potential. It is estimated that at least 8.8 x 10 6 lb/yr of carbon tetrachloride are emitted by chlorine liquefaction tail gas treatment. Because of the serious environmental threat of carbon tetrachloride emissions the Environmental Protection Agency had mandated that these emissions be eliminated; carbon tetrachloride production will cease after 1995. Therefore, the chlor-alkali industry must find an alternative treatment technology.
Membrane Technology and Research, Inc. (MTR), proposes to develop a new membrane process to recover chlorine from tail gas streams in the chlor-alkali industry that will eliminate the use of carbon tetrachloride. The chlorine recovery will be recycled back to the plant. Preliminary studies at MTR have demonstrated that rubbery membranes are highly selective for chlorine. In the Phase I program, a laboratory system using these membranes will be tested for its chlorine removal efficiency. An application study will be performed to identify the most efficient methods to capture chlorine from liquefaction tail gas.


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text:
Q: R: transform a dataframe into a visnetwork I am new user of the "visNetwork" package in R, and I am wondering about a way to transform a long data.frame into a visnetwork
I have this kind of dataframe:
data<-data.frame(link=c("A","A","B","B","C","C","D","D","E","E"),node=c("Alpha","Beta","Gamma","Delta","Alpha","Delta","Gamma","Beta","Alpha","Beta"),
       sign=c(1,-1))

   link  node sign
1     A Alpha    1
2     A  Beta   -1
3     B Gamma    1
4     B Delta   -1
5     C Alpha    1
6     C Delta   -1
7     D Gamma    1
8     D  Beta   -1
9     E Alpha    1
10    E  Beta   -1

And my goal is to transform it in a "visnetwork" like this one:
library(visNetwork)
nodes <- data.frame(id = c("Alpha","Beta","Gamma","Delta"),
                label=c("Alpha","Beta","Gamma","Delta"))
edges <- data.frame(from = c("Alpha","Beta","Delta","Delta"), to = c("Beta","Gamma","Gamma","Alpha"),
                label=c("A+E","D","B","C"),
                arrows="middle")
visNetwork(nodes, edges) %>%
  visOptions(nodesIdSelection = TRUE)

Any idea how do to that ?
what I have tried so far:
nodes <- data.frame(id=c(distinct(data,as.character(node))),
                label=c(distinct(data,as.character(node))))
colnames(nodes)[1]<-"id"
colnames(nodes)[2]<-"label"

edges<-tbl_df(data)  %>%
  group_by(link) %>%
  arrange(node) %>%
  summarise(nodes  = paste(node, collapse =","))  %>%
  arrange( nodes) %>%
  separate(nodes,c("from","to"),sep=",") %>%
  mutate(label=as.character(link)) %>%
  mutate(arrows="middle")

visNetwork(nodes, edges)

A: You need two tables for visNetwork, one for nodes and one for links.
Starting with your data example, the nodes table can simply be the names of the nodes and I give them ids too.
data <- data.frame(link=c("A","A","B","B","C","C","D","D","E","E"), node=c("Alpha","Beta","Gamma","Delta","Alpha","Delta","Gamma","Beta","Alpha","Beta"), sign=c(1,-1))

nodes.df = data.frame(id = 1:length(unique(data$node)), label = sort(unique(data$node)) )

The links is harder as you need to aggregate your data table so that each row becomes a link from node A to node B.
Using dplyr with a far from elegant solution:
library(dplyr)
temp.links = as.character(unique(data$link))
# Iterate through link names i.e. A, B...
# and generate a data.frame of link name, from here to there
links.df = data.frame(t(sapply(temp.links, function(x) c(x, unlist(select(filter(data, link == x), node))) )))
# set the names
colnames(links.df) = c('label', 'from', 'to')
# default width to 1 to aggregate next
links.df$width = 1
# Aggregate links with the same from and to values by summing width and combining labels
links.df = merge(aggregate( width ~ from + to , links.df , sum), aggregate( label ~ from + to, links.df, function(x) paste0(x, collapse=' + ')))

Now we have our nodes.df and links.df and we are ready to plot
visNetwork(nodes.df, links.df) %>% visLayout(randomSeed = 123)

Example that resembles the desired:

If your data is very long and the aggregations join a bunch of named links connecting two nodes then the label A+B+C will become very long. I personally don't like to label the edges/links with the names rather the width or weight of that edge.


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Dopamine Receptor and Hypertension
Author(s): Chunyu Zeng, Gilbert M. Eisner, Robin A. Felder, Pedro A. Jose. Department of Cardiology,Daping Hospital, The Third Military Medical University, Chongqing City, P. R. China.
Journal Name: Current Medicinal Chemistry - Cardiovascular & Hematological Agents
Dopamine plays an important role in the pathogenesis of hypertension by regulating epithelial sodium transport and reactive oxygen and by interacting with vasopressin, renin-angiotensin, and the sympathetic nervous system. Decreased renal dopamine production and / or impaired dopamine receptor function have been reported in hypertension. Disruption of any of the dopamine receptors (D1, D2, D3, D4, and D5) results in hypertension. In this paper, we review the mechanisms by which hypertension develops when dopamine receptor function is perturbed.
Keywords: essential hypertension, dopamine receptor, g protein-coupled receptor kinase type 4, protein phosphotase 2a, endocytosis, desensitization, sodium excretion, vasorelaxation
Title: Dopamine Receptor and Hypertension
Author(s):Chunyu Zeng, Gilbert M. Eisner, Robin A. Felder and Pedro A. Jose
Affiliation:Department of Cardiology,Daping Hospital, The Third Military Medical University, Chongqing City, P. R. China.
Keywords:essential hypertension, dopamine receptor, g protein-coupled receptor kinase type 4, protein phosphotase 2a, endocytosis, desensitization, sodium excretion, vasorelaxation
Abstract: Dopamine plays an important role in the pathogenesis of hypertension by regulating epithelial sodium transport and reactive oxygen and by interacting with vasopressin, renin-angiotensin, and the sympathetic nervous system. Decreased renal dopamine production and / or impaired dopamine receptor function have been reported in hypertension. Disruption of any of the dopamine receptors (D1, D2, D3, D4, and D5) results in hypertension. In this paper, we review the mechanisms by which hypertension develops when dopamine receptor function is perturbed.
Chunyu Zeng, Gilbert M. Eisner, Robin A. Felder and Pedro A. Jose, " Dopamine Receptor and Hypertension", Current Medicinal Chemistry - Cardiovascular & Hematological Agents (2005) 3: 69. https://doi.org/10.2174/1568016052773289
Page: [69 - 77]
Clinical Significance of the Cardio-Ankle Vascular Index (CAVI) in Hypertension
Nitric Oxide in Normal and Preeclamptic Pregnancy
Current Pharmaceutical Biotechnology
Lifestyle Modifications in the Treatment of Hypertension
Mechanisms Explaining the Influence of Subclinical Hypothyroidism on the Onset and Progression of Chronic Heart Failure
Endocrine, Metabolic & Immune Disorders - Drug Targets
The Role of PDE5-Inhibitors in Cardiopulmonary Disorders: From Basic Evidence to Clinical Development
The Role of Colchicine in the Prevention of Cerebrovascular Ischemia
The Crosstalk Between Insulin and Renin-Angiotensin-Aldosterone Signaling Systems and its Effect on Glucose Metabolism and Diabetes Prevention
Case Report: Severe Hematological, Muscle and Liver Toxicity Caused by Drugs and Artichoke Infusion Interaction in an Elderly Polymedicated Patient
Determination of the Sodium Concentration in Brazilian Light and Non- Light Powdered Instant Soups by Flame Photometry
Current Nutrition & Food Science
Pharmacological Interactions on Blood Pressure Control in Arterial Hypertension, An Issue not to be Overlooked
Non-Invasive Methods and Techniques for Central Blood Pressure Estimation: Procedures, Validation, Reproducibility and Limitations
Targets of Anti-glucocorticoid Therapy for Stress-related Diseases
Maternal Nutrient Restriction is not Equivalent to Maternal Biological Stress
Pharmacotherapy and Prevention of Vascular Dementia
Drug Development and the Importance of Ethnicity: Lessons from Heart Failure Management and Implications for Hypertension
Isolated Systolic Hypertension: Epidemiology, Pathogenesis and Treatment
Early Vascular Aging: A New Target for Hypertension Treatment
Role of Heme Oxygenases in Cardiovascular Syndromes and Co-morbidities
Ion Channel Architecture of the Renal Microcirculation
The Role of Continuous Positive Airway Pressure in the Treatment of Hypertension in Patients with Obstructive Sleep Apnea-Hypoapnea Syndrome: A Review of Randomized Trials


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Want More Art In Your Home? Here's Your Answer
Whether you're in the market for a David Hockney or keen to discover the next wave of artists, Sydney Contemporary has you covered.
Photography: Jacquie Manning
by Jane Albert
The words "art" and "traffic" aren't often used in the same sentence but so overwhelming were the crowds at the inaugural Sydney Contemporary art fair in 2013, they created a throng of people that was impossible to navigate.
"People still talk about it as the best party in Sydney but also the first art traffic jam. We had a tsunami of people arrive – answering the question was Sydney ready for an art fair – but it got so crowded it was impossible for galleries to conduct business and for people to see the art," Barry Keldoulis tells Broadsheet.
The Sydney Contemporary fair director says they've learned some valuable lessons since then – although the buzz around this year's fair may mean they need traffic wardens on stand-by.
Now in its fourth edition, Sydney Contemporary is arguably Australia's premier art fair, showing the breadth and depth of artistic talent from Australia, New Zealand and further afield, much of it exhibited for the first time. Here's the low-down on what you should see and do.
This year you can catch the first glimpse of new bodies of work from established artists such as Ben Quilty, Tim Storrier and Tony Albert; along with existing works from Brett Whiteley, Emily Kame Kngwarreye, Tracey Moffatt and Sidney Nolan. High-profile international names include Jean Dubuffet, Tracey Emin, Damien Hirst and Julian Opie, who will be exhibiting alongside the local art scene's most exciting emerging talent.
Held over four days throughout Eveleigh's Carriageworks, this year's event hosts around 80 galleries who hail from six continents and represent artists from 32 countries. It includes mediums of painting, drawing, sculpture, installation, video, prints and works on paper.
In addition to prestigious local galleries, including Sydney's Roslyn Oxley9, Sullivan+Strumpf and Melbourne's Tolarno Galleries and ARC ONE, the fair will for the first time welcome Pace Gallery (New York, Hong Kong and London among others), Flowers Gallery (London and New York) and Singapore's Yavuz Gallery to its international line-up.
Keldoulis says the fair deliberately aims for a diverse range of artists who will have broad appeal, from major collectors and state gallery directors and curators, to high-end private collectors and those keen to dip their toe in the art market.
This year's fair may see works sell for more than $1 million – "there is a Jean Dubuffet sculpture worth a few million dollars that I think would look great in your garden," jokes Keldoulis – while others from artists such as Nolan are expected to sell in the hundreds of thousands range. And then there's works from the likes of British painter David Hockney that may surprise discerning collectors.
A highlight will be The Field, by acclaimed Melbourne multimedia artist Patricia Piccinini, a large-scale installation of 3000 genetically modified "flowers" created for Queensland's Gallery of Modern Art that will be reconfigured for Carriageworks. It is the first time this work has been seen outside Brisbane. "She's a fantastic artist; this is her first work looking at the crossover mutation between the animal and plant world. She's also incredibly articulate and will be doing some talks on her work," Keldoulis says.
Those keen to know who our future Hockneys and Kngwarreyes are would do well to check out young Sydney artist Kai Wasikowski (Isabel Rouch Projects); ARC ONE's Prue Stent and Honey Long, whose photography explores the human form in landscape; the Egg & Dart's India Mark; Chalk Horse artist Alex Standen; and Stanley Street Gallery's Jackson Farley; alongside Indonesian painter Zico Albaiquni, who's headed for the Asia Pacific Triennial in Brisbane in November. "They are all young artists to keep an eye on," says Keldoulis.
Sydney Contemporary will host pop-up restaurants and bars for the all-important refuelling. Made by Merivale brings its CBD Work in Progress, along with a dim sum outpost under the guise of revered dumpling master Eric Koh of Mr Wong and Queen Chow.
There will be a Handpicked Wines Art Bar featuring leading artist Karen Black, as well as a vodka bar.
If you prefer some sides with your art, there is also a robust program of talks, tours and performances.
Spare some room and time for the curated elements of Sydney Contemporary, designed by experts including Performance Space CEO Jeff Kahn who has put together the Performance Contemporary program with Tulleah Pearce. The director of Melbourne's Ian Potter Museum Kelly Gellatly will curate moving-image art for Video Contemporary; and independent curator and writer Nina Miall has devised Installation Contemporary.
And if you want to go off-site, three giant art installations by top, internationally-recognised artists Callum Morton, Mel O'Callaghan and Cameron Robbins will be at Barangaroo. There you'll find a giant Donald Trump head protruding from the footpath.
A subsection, Future Contemporary, is for emerging galleries (who pay a slightly subsidised fee to exhibit) and provides a snapshot of the next generation of gallerists. This year the fair will again host Art Money: interest-free financial loans to buy art, ranging from $750 to more than $50,000.
Last year's event attracted 26,000 people – who bought an impressive $16 million worth of art – and this year shows no signs of abating. "That equated to nine or 10 million dollars going straight back to the artists, which is what it's about really, supporting them so they can continue to make work," Keldoulis says. "So that's very exciting."
Sydney Contemporary is at Carriageworks from September 13 to 16.
sydneycontemporary.com.au
Places mentioned
50 King Street, Sydney
Hunt For Affordable and Rare Cacti, Succulents and Agave at a Delightful Appointment-Only Nursery on the Outskirts of Sydney
Enter a Labyrinth of Light, Colour and Air with Dodecalis Luminarium
Carriageworks Unveils Its Large-Scale Summer Artworks and Immersive Installations by Leading Australian Artists
Broadsheet's Photographers' Favourite Images of 2019
Freddie Green's
Lox in a Box
Mimi's
Chaco Ramen
Alala's
I Can't Stop Thinking About


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VyStar Credit Union to acquire Citizens State Bank
JACKSONVILLE, FL (January 15, 2019) — VyStar Credit Union announced it has signed an Agreement and Plan of Merger to acquire Citizens State Bank (CSB), a Florida state-chartered bank headquartered in Perry, Florida, with over $280 million in assets. Established in 1958, CSB has four locations: two branches in Gainesville, and branches in Perry and Steinhatchee, Florida.
After the transaction is finalized, VyStar will maintain all four CSB branch offices and all CSB employees. The acquisition will bring VyStar's total number of branches to 69, and total assets to nearly $8.7 billion, serving more than 650,000 members. The transaction is expected to close midyear, and it is subject to standard closing conditions and CSB shareholder and regulatory agency approvals. VyStar and CSB management expect the sale to move forward quickly and smoothly.
In November, VyStar received approval from the Florida Office of Financial Regulation (FLOFR) to significantly expand its field of membership by 27 counties—more than doubling the original 22 counties—to include all 49 counties of Central to North Florida. This expansion included Taylor County, where CSB's Perry and Steinhatchee offices are located. VyStar currently serves the Gainesville community with two branch locations with plans to open additional offices in Alachua and Ocala by midyear.
"The CSB acquisition and our recent field of membership expansions are significant milestones in our vision to bring credit union services to more people," says VyStar President/CEO, Brian Wolfburg. "VyStar's growth over the past 65 years has been organic, and that has served us well. Now, our recent expansions are taking VyStar into new markets, making it necessary to consider mergers/acquisitions to more efficiently serve these new markets."
"We are proud of CSB's 61 years of quality service, and we are happy to have found a financially strong partner such as VyStar, with a similar history and service philosophy, that can help strengthen our offerings for our customers and bring our employees to the next level," says Gil Levy, CSB President/CEO. "This exciting combination will continue to support and expand our highly personalized service and commercial lending focus."
VyStar's Senior Vice President Strategic Initiatives, Ryan McIntyre, has led VyStar's efforts in identifying potential strategic partners. VyStar was represented in the transaction by Howard & Howard Attorneys PLLC as legal counsel, and Skyway Capital Markets as financial advisor. CSB was represented by Smith Mackinnon, PA as legal counsel, and Hovde Group as financial advisor.
About VyStar Credit Union
VyStar Credit Union is the largest credit union headquartered in Northeast Florida. VyStar now serves over 655,000 members, with assets totaling more than $8.6 billion. VyStar membership is open to everyone who lives or works in the 49 contiguous counties of Central to North Florida and the Southeast Georgia Counties of Camden, Charlton, Glynn and Ware.
Judy Walz
Chief Marketing & Planning Officer
walzj@vystarcu.org
VyStar Credit Union
Jacksonville, FL 32232 US
July 16, 2019 – by John Pettit, CUInsight.com
3 ways to be an inspirational leader
July 15, 2019 – by Randall Smith, CUinsight.com
The CUInsight Experience podcast: Charlie Amato – Attention to detail (#29)


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Law PhD Bas Tadema is visually impaired
Teaching without seeing
Visually impaired PhD candidate Bas Tadema teaches constitutional law and treks through jungles, all while relying on his other senses – and a distinctive white cane.
By Edward Szekeres
A throng of pre-master students waiting to take a class in constitutional law is is standing impatiently outside of a classroom. As the students jostle to get inside, one of them bumps into the tall, slender man who is making his way to the door. The student shoots him an annoyed look, but quickly apologises after spotting his white cane.
Bas Tadema (27), a constitutional and administrative law PhD candidate, is about to teach his first class of the year. Bas is visually impaired and can only faintly recognise large shapes. He is aware of people standing very close to him, but he can't see their faces. Navigating a crowd is like trying to escape a blurry maze.
But Bas knows where he's going. With his cane in one hand, he feels his way along the corridor wall to the door and into the classroom. When he steps inside, his senses process all the information he needs. He hears the steady hum of voices: the room is packed. He quickly taps his cane in a few directions: the desk and blackboard are right over there.
Lightening the mood
At first, the students seem oblivious to their teacher's unusual movements. It's only when Bas plugs earphones into his laptop that they notice something is off. Why would a lecturer listen to music seconds before the start of class?
Students almost never ask me about my impairment in class
But that's not what Bas is doing. Because he can't see what's on the screen of his laptop, his device reads it out to him. It tells him all he needs to know about the lecture. When he stands up straight, the room goes silent. 'Hello, I'm Bas', he introduces himself. 'This class is going to be slightly different. There's no point in raising your hands. I won't see it, so your hands will only go numb', he says with a smile.
Bas likes to start his classes with a touch of humour, 'to lighten the mood'. He knows students can feel uneasy at first when they see that he has a disability. Even when he jokes about it, students still hesitate to inquire about it directly. 'They almost never ask me about it in class. But sometimes, when they linger around afterwards, or come to see me personally in my office, they are curious and want to know more.'
Talk out loud
In Bas' classroom, there's one important rule: if you want to say something, say it out loud. But that doesn't mean it's a free-for-all. Bas is quick to catch on when students take advantage of the situation by whispering to each other or scrolling on their phones. It's not that his hearing is better than the average person's, as the popular myth goes. Bas just pays more attention to his other senses and his surroundings. 'But it doesn't happen all too often. These students are mature. And I can also be strict if needed', he says.
His interactive teaching approach seems to be clicking with his young audience. 'He was very perceptive and understood us very well. His disability had no impact on the class at all', student Zahra says afterwards. 'I thought it was going to be a bit weird that we had to talk all the time, but it turned out to be a very pleasant and interesting hour.'
Bas was diagnosed when he was three, but he has never let his impairment stop him from doing what he wants. In addition to his PhD work, he's secretary of a public transport museum in Friesland. He goes skiing in the Alps. He fed bananas to orangutans in the Sumatran jungle. He toured around the U.S. with friends. 'Travelling is not just about seeing the sights. I feel the atmosphere, I hear the sounds, I meet the people. I might not be able to see the Eiffel Tower, but when I walk up its stairs, I can still feel the cold breeze up high.'
Practical problems
Ask him about his fascination with the law, and he beams. 'When you can't see, language is all you have. The law is about words and relationships between people. It's a good match.' It's not always easy, though: he can only work with digital documents and scanning a book sometimes takes as long as ten weeks.
I made my own braille stickers to mark my way around the building
Bas travels to Groningen by train from Zwolle, where he lives. He memorises the carriage order of the train he takes, so he doesn't end up in first class by mistake. When he arrives at the Harmonie building, he takes the stairs to his office – equipped with a braille printer and keyboard – on the top floor. The elevators don't have braille indicators and there are no guiding tiles outside of the building. But Bas found a way to make it work. 'The Harmonie is simply too big. I made my own braille stickers to mark my way around the building.'
Practical problems like these fly under the university's radar, Bas thinks, yet tackling them is of vital importance. 'There are more visually impaired people at the RUG. I even had a student like that in my very first class here.'
Colleagues and students often try to give him a helping hand. He says he's very grateful and knows people mean well, but sometimes they do more bad than good. 'Someone once grabbed me at the train station and asked where I wanted to go. They took me to the wrong platform and I missed my train', he says. Communication, as in many other facets of life, is key. 'Just ask first and then help, if needed.'
Annewil Schippers contributed reporting.
Over René Lapoutre
View all posts by René Lapoutre


text:
>> Local
>> Local Las Vegas
Local Las Vegas
Las Vegas woman died in Alpine Motel fire steps from bolted door
Her body would later be found in the hallway near the back door, according to her nephew, one of six victims killed in the deadliest residential fire in the city's history.
Alpine Motel fire victim's relative talks about his loss
By Rio Lacanlale and Rachel Crosby / Las Vegas Review-Journal
Updated December 24, 2019 - 11:04 pm
Scotti Hughes, 31, revisits on Tuesday, Dec. 24, 2019, the site of the deadly Alpine Motel Apartments fire that killed six people. One of the six people who died in the Dec. 21, 2019, fire was Tracy Ann Cihal, 57, who was like a second mother to Hughes. (K.M. Cannon/Las Vegas Review-Journal) @KMCannonPhoto
Jeremy Gordon, 18, on Tuesday, Dec. 24, 2019, at his best friend's home in North Las Vegas, where he has been staying since the deadly fire at the Alpine Motel Apartments. His aunt, Cynthia Mikell, was one of the six people killed in the fire on Dec. 21, 2019. (K.M. Cannon/Las Vegas Review-Journal) @KMCannonPhoto
A fire at the Alpine Motel Apartments in downtown Las Vegas left Jeremy Gordon, 18, and his parents homeless. His aunt, who also lived in the building, died in the fire. Gordon has been staying with his best friend in her family's North Las Vegas home since the fire. (K.M. Cannon/Las Vegas Review-Journal) @KMCannonPhoto
Jeremy Gordon, 18, on Tuesday, Dec. 24, 2019, shows a photo of the Alpine Motel Apartment's rear door, which he said was bolted shut. His aunt, Cynthia Mikell, and two other tenants were trapped in the building and died. (K.M. Cannon/Las Vegas Review-Journal) @KMCannonPhoto
Five steps.
Even with her walker, that's likely all it would have taken for 61-year-old Cynthia Mikell to get out of the burning three-story apartment building alive early Saturday.
"She would have been the first person out of the building," Jeremy Gordon, Mikell's 18-year-old nephew, said in an interview on Christmas Eve.
Mikell lived in unit No. 13 on the ground floor of the aging Alpine Motel Apartments in downtown Las Vegas, the unit closest to the rear exit.
But the door was bolted shut. Mikell was trapped.
Her body would later be found in the hallway near the back door, according to Gordon. She was one of six people killed in the deadliest residential fire in the city's history. She was so badly burned, it took at least two days for investigators to identify her.
The five other victims were identified Tuesday by the Clark County coroner's office as Henry Lawrence Pinc, 70; Tracy Ann Cihal, 57; Francis Lombardo Jr., 72; Donald Keith Bennett, 63; and Kerry Baclaan, 46.
The coroner's office said it could take up to two months to determine the cause and manner of death for the victims.
The blaze left 13 more injured — five critically, including a pregnant woman — and nearly 50 people without a home the week before Christmas.
Maintenance concerns
On Monday, Las Vegas Fire Marshal Robert Nolan said the fire was likely accidental and started in a stove in a first-floor unit, though Metropolitan Police Department homicide detectives are investigating.
Residents told investigators that the 41-unit building, built in 1972, did not have heat and that tenants often used their stoves for warmth in the colder months. Other residents have said their smoke detectors were not functional.
Cihal, another victim, had sought legal help against the complex's owner, Adolfo Orozco, the week before the fire.
She was concerned about habitability issues and wanted to withhold her rent, said Scotti Hughes, who had been with Cihal about four hours before she died and considered her a "second mom."
Cihal's concern centered on a bathroom leak that lasted more than a week and had flooded her main living area. She asked management to address the leak more than once, Hughes said, but her requests were ignored.
Between Dec. 18 and 20, Cihal went to a legal aid center for advice. She also was concerned that her unit had no working smoke detector, Hughes said, and whenever Cihal cooked, the apartment would fill with smoke, forcing her to kick on her A/C and open a window.
"She was a hard-working woman who was a widow and disabled, but it was a roof over her head," Hughes said of Cihal and the shoddy apartment she had been living in since September. "It was a place to call her own."
Cihal came home with instructional paperwork and intended to submit a formal complaint to management Saturday, when the deadly fire erupted before dawn. Her body was found in the first-floor hallway, not far from Mikell's.
Attempts to reach Orozco since the fire have been unsuccessful, and a Tuesday afternoon email to his attorney was not immediately returned.
'Follow my voice'
Mikell lived two doors down from Gordon and his parents.
On the afternoon before the fire, Gordon stuffed a change of clothes in a backpack and boarded a city bus to North Las Vegas to spend the weekend at his best friend's house.
"It's like God was watching over me," he said Tuesday.
Gordon was asleep when the fire erupted and was woken up by a frantic call from his mother, Laura Edwards, at 4:12 a.m.
Edwards had just gotten home from gambling at El Cortez when she encountered smoke pouring out of the building. She rushed inside, Gordon said, but the thick black smoke in the hallway blinded and choked her.
Somehow, though, she had managed to get to their apartment. She pushed the front door open, yelling to her sleeping husband, "Randy, follow my voice. Follow my voice."
At the same time, Mikell emerged from the blanket of smoke in the hallway. Edwards, determined to lead the two out of the building, traced her hands along the walls of the hallway toward the front door.
"But when she got out," Gordon said of his mother, "they weren't behind her."
Overcome by the smoke, her husband retreated back into their apartment, hoping to escape through a window. His hand on Mikell's walker, according to Gordon, he told her, "Keep walking. Just keep walking."
When he reached the bedroom window, Mikell was gone.
Survivor's guilt
For the next two days, Mikell's family and Hughes called hospitals across the valley, hoping Cihal and Mikell had survived.
Hughes, who had even called the coroner's office on Saturday trying to track down Cihal, resorted to filling out a missing person's report Sunday.
In a lobby at Metro headquarters, the coroner's office called Hughes back. A woman whose approximate height, age and medical history matched Cihal's was dead. Gordon's coroner call came Monday.
"It was heartbreaking. I didn't want to believe it at first," he told the Las Vegas Review-Journal on Tuesday.
Mikell was like a second mother to him. Since he was born, she had always lived close by.
The two were so close that, at night, Mikell often left her front door cracked open, knowing that her nephew liked to check on her periodically throughout the night.
"She was good, kind," Gordon said. "She would give until she had no more."
As of Tuesday, residents had not been allowed back into their apartments. Gordon, who suspects the family lost most if not all of their belongings in the fire, struggled to shake his guilt ahead of his first Christmas without his aunt.
"I should have been there," he said. "And I know I would have died, because I cared about everyone in that building. I would have tried to get them out."
Contact Rio Lacanlale at rlacanlale@reviewjournal.com or 702-383-0381. Follow @riolacanlale on Twitter. Contact Rachel Crosby at rcrosby@reviewjournal.com or 702-477-3801. Follow @rachelacrosby on Twitter.
Online fundraisers
A GoFundMe has been created to raise money for Cynthia Mikell's funeral service.
Another GoFundMe page is collecting donations for Tracy Cihal's service.
Posted on: Downtown, Local, Local Las Vegas
Tagged: Has Video, mc-local
Pedestrian dies days after being struck by car on Nellis Boulevard
The Las Vegas resident walked into the path of a passing car driven by woman suspected of DUI, Las Vegas police said.
Las Vegas is attracting the most California companies, study says
By McKenna Ross / RJ
Las Vegas is the No. 1 destination for California businesses that have relocated in the last 30 years.
Truck driver crashes on I-15, causing delays, NHP says
The crash occurred around 5:15 p.m. on southbound I-15, near Flamingo Road. The driver is suspected of DUI, according to a Nevada Highway Patrol spokeswoman.
Missing man found dead in Red Rock Canyon area
Luke Saunders, 22, was last seen Tuesday, according to Las Vegas police.
1 killed in southwest Las Vegas Valley crash
By Sabrina Schnur / RJ
Police suspect a 77-year-old man died after a hit-and-run crash near the 215 Beltway.
A's running out of time in Oakland and Las Vegas: 'You've got to commit'
By Mark Anderson The Associated Press
The Oakland Athletics have spent years trying to get a new stadium while watching Bay Area neighbors successfully move into state-of-the-art venues, and now time is running short on their efforts.
Pair of $100K jackpots hit at Las Vegas casinos
By Tony Garcia / RJ
They were among several recent jackpots across the Las Vegas valley.
Chill to stay in place through end of month, into February
By Marvin Clemons / RJ
The last weekend of January will be sunny and cool before a small chance of rain Monday, says the National Weather Service.
Memorial service for Desert Oasis teen draws more than 200 people
City hopes purchase will help alleviate Arts District parking problems
Las Vegas winds diminish enough for fireworks to ignite '23
'Last selfless act': Hundreds gather to honor teen who died, donated organs
Firefighters battle 3-alarm blaze at Kmart building in east Las Vegas
Savvy Senior: Simple home safety solutions for aging in place


Over the last two or three years the Mobile Wallet has come a long way but may have even further to go. As a payment system it has many benefits for enhancing customer convenience and the experience of hassle free buying and as mobile continuously increases in both use and penetration (80% of world population will have a smart phone by 2020) are there really a myriad of opportunities available to organisations who engage with their customers via their mobile?
In this simple but powerful concept there could be potentially one of the biggest chances to engage customers that has so far emerged in the digital age. It has of course to firstly dislodge the incumbent payment methods with which customers and suppliers are familiar and presumably quite happy and also rely on the fact in the future people will still leave the sanctuary of their sofas for some part of their shopping experience. Big hurdles.
So what can businesses do with the mobile wallet to make it interesting, exciting and engaging?
There is a great deal to achieve if organisations look through the system from the other direction. The mobile wallet can be transformed from an occasionally useful app for customers to make payments to become their window on your world. Their lockscreens can be made to light up their interest in so many ways that are beyond just making payments.
Some observation on what is happening out there right now.
1- Creating a range of useful services and pushing information that is relevant and valuable to customers via the mobile wallet can greatly influence their attitude to the brand, improve commercial loyalty (buying more stuff more frequently) and give them a more exciting experience. Services using physical materials like Loyalty Cards, Membership Cards, Visiting Cards, Leaflets, Booking / Collection Receipts, Event Invitations, Mailings and Tickets of almost every kind etc etc. can flow effortlessly into the mobile wallet to give greater convenience to customers and save the organisation the production/administration/mailing/replacement costs of such materials.
Ditch the paper and plastic and pitch the electronic fantastic!
2- Then there are directions, not only of how to get to an organisation but where to find what the customer is seeking in the store (or direct them to what the organisation would like them to see) thus creating the opportunity for the organisation to provide guidance or influence the opportunity to buy before the smart wallet is used for its primary purpose i.e. to pay, by which time it is usually too late to influence the purchase decision. Information about all kinds of things can pass through the lock screen window from changes to opening hours, special offers, privilege early advice on seasonal sales, upcoming events, loyalty points offers and loyalty points balances, new customers benefit features, joint promotions with other organisations etc. etc.
So what's in the wallet for them? Potentially a safe secure way of paying plus as much relevant and useful excitement as the organisation can deliver (However a word of caution - it is not a drain down which second rate marketing muck should be flushed – potentially far too valuable for that). It is worth remembering that the smartphone is not the only device with watches and wristbands also set to eat into plastic's share. Visa UK foresee half of their transactions being non-plastic in 5 years' time.
What's in it for you? Done right it can save costs on marketing, materials, and administration, direct and improve sales performance and enhance brand loyalty by creating an interesting and relevant customer experience.
Will the Smart Wallet make it? It definitely seems worth investigating how push technology could help every organisation to engage and assist its customers increase its share of the mobile wallet and make fast easy payments a factor in keeping customers happy and economies buoyant.
For more articles like this, head over to my Blog.


...comes a motion picture that will reignite a Movement and inspire a nation with Scouting's SPIRIT OF ADVENTURE.
America has never seen Scouting like this. A high definition, high adventure film, SPIRIT OF ADVENTURE transports audiences around the globe, introducing them to extraordinary young men and women - all former Scouts - who are living the values of Scouting as they serve others and undertake their own adventures with a greater purpose.
The film will share Scouting's story with those who need to hear it - Scouts, leaders, alumni, partners, and most importantly, the American public and those new families our Movement needs to reach.
View the trailer below and also meet our producers, MacGillivray Freeman Films, the world's finest adventure cinematographers and producers of the highest-grossing documentary of all time.
A downloadable PDF overview is available here: Spirit of Adventure film.pdf.
Please contact Alvin Townley for more information.
Together we can accomplish something extraordinary for Scouting. Join us.


Bryan is the creative-mastermind within the team. As a design-specialist he is responsible for the brand identity such as look and feel of all external-communication of IMAGEM – think of advertisements, videos, the website and many more.
Contrary to his playful designs, Bryan is a quiet person, but none of that is shown in his work. If necessary, he is able to create enticing and compelling work, which is captured well in the streak of nine online design competitions he has won. In addition to his graphical talent, he is interested in traveling, museums and arts & culture. His Steam (a game platform) account consists of well over 500 video games, which are a welcome distraction for when he has the time for it.


North Hudson Valley, NY Real Estate: New listed houses - Open houses - Foreclosures - Rentals - News. and New York State foreclosed bank-owned real estate nyforeclosures.com/. Procured by KELLER WILLIAMS REALTY HUDSON VALLEY UNITED. Access auction details and detailed item information.
Find all Dutchess County NY foreclosure homes for sale. To get a full listing, you can select to display all Dutchess County bulkheading features for purchase as a single listing, or on a map: Looking for a blockade house for sale in Dutchess County, New York?
Bench Foreclosures Sales provides great ways to buy houses that may require a little work, but sometimes provide a great rebate on the house's fair value. You' ll find REO Shelter Houses for Sell, Goverment Shelter Houses for Sell, and Shortsale Houses for Sell in Dutchess County NY.
Considering purchasing a foreclosed house in Dutchess County NY? Excluded immovable assets are also referred to as immovable assets (REO). One REO feature is already held by the grantor, as the prior holder does not pay the mortgages and the credit is in arrears. It is also known as a foreclosure ownership or a banking characteristic.
They also find homes for rent for sale in Dutchess County NY. Least-selling is a feature that is still obsessed by the home-owner, but the home-owner is usually behind in payments and owe more in mortgages than the home would currently be selling for. In many cases, a particular bankaccount allows underselling if it believes it will lead to less monetary losses than foreclosure.
Least-selling includes the home-owner and realtor trying to get consent from the bench to sell the house for less than what is obsessed. You can sometimes bargain a significantly reduced rate because the bench does not want to go through the tedious and costly foreclosure procedure.
The Dutchess County is a nice place to be, especially if you are looking for a little more land, with lower property values and property taxes than the New York City County. It' north of Westchester and Putnam County, about 1.5hrs from New York City.
Commute to New York City is easy with the Metro North Rails Lines. The Dutchess County has a lot to boast about. Beacon and Hudson Highlands area offers many walking possibilities. We have two railways and the Walkway Over the Hudson, for those who want to cross the Flu.
There are 16 greens in the province for those who love the game. You will find many farmhouses to explore while food and drink are on Route 9 in the count. When you are looking for cultural and artistic activities, there are six historic manors in the province, all with wonderful backyards and guided visits and activities.
The Dutchess Country is just over an hours drive from New York City and Albany, on the east side of the Hudson River. The main highways in the province are the East to West I 84, connected to New England, and the Taconic State Parkway, which runs north to south.
There are metro northern rail routes with regular services to the Grand Central Station for those who need to get to New York City, making Dutchess County a favourite commute area. Some of the information on the properties for rent or purchase on this website is provided by HGMLS.
Property advertisements owned by agents other than the property company are identified by the HGMLS label or an abstract logotype and contain detailled information about them, including the name of the agent. Information contained herein has not been reviewed by Hudson Gateway Multiple Cataloguing Service, Inc. nor by Hudson Gateway Association of Realtors, Inc. or any person or persons associated with such companies, who hereby jointly and individually decline any liability for the correctness of the information contained on this website.
Unauthorized use of the Hudson Gateway Multiple Listing Service, Inc.


text:
American Television Reinventions Content from the guide to life, the universe and everything
American Television Reinventions
Comedy | Drama | Family | Game Shows | Reality
When American television companies have wondered what new television programmes to make, a certain amount of risk is usually involved. Any programme made has to make money in return, usually by one or more of three methods:
High ratings, thus encouraging advertisers and sponsors to pay premium rates for their services and goods to be advertised during commercial breaks and/or be associated with the programme, either as sponsors or through product placement.
Merchandising sales, including the home video market.
Selling the broadcast rights to the programme to other television channels overseas.
When television companies are deciding what is likely to be popular, they have often turned to already existing television programmes from around the world1. If a television programme has a proven record of being popular elsewhere in the world, it is not unreasonable to suppose that an American adaptation might be popular also. If the original television programme has built a fanbase in America, there may already be an established audience viewership anticipating this version. If the remake should make it past the pilot stage, the reinvention may be able to reuse the original series' scripts, cutting down on the work required to make the new show.
This is especially true of programmes made in Britain where the scripts do not even need to be translated into English. They can be simply adapted to a format better suited for American consumption by, say, changing the city they're set in. Consequently, many television programmes from the UK have had American adaptations, some of which became popular over the Atlantic and others which fell into obscurity.
It is interesting to watch, compare and contrast the American version of a programme with its British original, noting the differences in theme.
Why Not Simply Broadcast the Original Series?
The question must be asked: Why do Americans create their own versions of British programmes instead of simply broadcasting the original versions? Many countries, especially Commonwealth countries such as Australia and Canada, broadcast the British versions without having to create their own. There are a number of different answers to this question.
British programmes can feature themes, events and references specific to British audiences that may otherwise be unfamiliar to a general American audience. While this is also true in reverse for most American programmes, British audiences usually have a greater understanding of American culture. Humour especially doesn't always translate easily, although that hasn't stopped many British comedy series becoming cult hits across the Atlantic. Interestingly, the cultural cut-off for what is acceptable to broadcast on television is different between the UK and the US2.
The accent is also a turnoff to some segments of the American population. Some accents may be unconsciously associated with snobbery. Some British accents are too strong for unfamiliar American viewers to follow. If the original series involves the use of British slang or regional accents, such as Geordie and Yorkshire accents, many American viewers may be put off. American television executives want their shows to appeal to the widest possible audience, so alienating potential viewers and customers is against everything they wish to achieve.
Another reason is that the US networks might be afraid of having too many British actors in a cast. Many series made in America have some British actors, but want the majority of the cast to be American. To be fair, of course, many UK programmes don't have American actors, especially if the script has no need. Yet American television tends not to cast as many actors who fall outside the pinnacle of physical perfection as British shows do, making the cast of many British programmes stand out on television.
Another point is 'product placement'. Although in the UK at the birth of commercial television, guidelines ensured that adverts and programmes were clearly separate, in the US not all advertisements are in the commercials. Many companies will pay a large fee to have their product or food package prominently displayed in a scene in a popular programme. If the script calls for someone to take a drink, drinks companies may well try to outbid each other to make sure the character has selected their brand. This is an important source of income for television companies.
During the 1960s many British television programmes were broadcast on American television, even becoming prime time hits. Spy-fi series were especially popular, including The Saint, The Avengers, The Champions and The Prisoner. Other successes included Supermarionation shows such as Thunderbirds. Many of these were made by Lord Lew Grade's company ITC, which at the end of the 1970s moved away from television production into film. Since then, British programmes have tended to be shown either on cable channel BBC America or PBS.
PBS, the Public Broadcasting Service, is an American network that does broadcast a high proportion of British television, so much so that it has been nicknamed 'Primarily British Series'. This is a non-profit public broadcaster consisting of many local television stations that retain a degree of independence, rather than an omnipotent centrally controlled channel. Many of PBS' most popular programmes originally came from Britain, although its traditional partnership with the BBC may well develop in a different direction since the launch of BBC America.
Many of Britain's most successful shows seen in America, including Red Dwarf, were first broadcast on PBS. Often British specials, such as concerts and documentaries, are shown during PBS' 'pledge week'. This is in the hope of raising money from people who do not regularly watch their shows.
Other Differences Between British and American Television
American television is formatted differently to its British counterpart in several ways. A typical British television series is usually 6-13 episodes. As there are 52 weeks in a year, 13 episodes equate to a quarter of a year, and so 13 episodes will last an actual season. A shorter series of 6 episodes allows a flexible half-season schedule, with leeway to allow for the odd week away from the normal scheduling to dedicate to sporting fixtures, overwhelming current events, and the Eurovision Song Contest.
A typical American series is more likely to be 22-26 episodes per season3. If the American networks were to show the original programmes, they would not necessarily have enough episodes to fill an entire 'season' of American broadcast, unless they broadcast two series back-to-back. As such, they like to create their own version, which can feature the optimum amount of episodes.
Another major difference is that British and American televisions use different scan rates - the number of lines in the picture. If the show was recorded on film, which was the policy of some British companies (such as ITC) intending to export their programmes, then this was not a problem. Recording on film, though, is more expensive than videotape, which remained the dominant medium used in Britain as late as the 1990s. Television programmes originally recorded on videotape in one country that will be broadcast in another has to be converted to the appropriate scan rate, either by adding blank lines or removing some. This results in a noticeable loss of quality. Often it is just more desirable to remake the show.
Other Reinventions
Of course it is not just British television programmes that are reinvented. In 2011 American television adapted the highly successful Danish television series The Killing (2007-12). Similarly, British television has adapted the hugely popular Swedish television series Wallander (2005-10) into a British remake (2008-10). Many American programmes have been adapted in the UK, including The Golden Girls, which was remade as the unsuccessful Brighton Belles, and Who's the Boss? becoming The Upper Hand. K-9 (2008-9) was an Australian spin-off of a popular Doctor Who character. Reality and game shows are becoming predominantly adapted, as television companies promote their successful formulas to outlets all around the world.
Beryl Vertue, Pioneer of the Format Deal
Television reinventions can trace their origins back to Beryl Vertue CBE, who worked for Associated London Scripts or ALS. This was a prestigious scriptwriting company founded by Spike Milligan, Eric Sykes, as well as Ray Galton and Alan Simpson, the creators of sitcom Steptoe and Son. Vertue had been a school friend of Simpson and though initially employed as a secretary she soon became the most powerful writers' agent in the country; in 1963 she put Terry Nation forward to write for a fledgling BBC children's drama called Doctor Who which resulted in the creation of the Daleks, and she ensured that her client kept the copyright. In 1965 she co-founded Dalek Productions with Terry Nation with the aim to sell a Dalek-based television series to American television companies, however soon realised that American companies were uninterested in a series written by a British writer.
Undeterred, she knew she now had the contacts and experience to sell versions of her other clients' shows to America, including Till Death Us Do Part and Steptoe and Son. When interviewed by Doctor Who Magazine, she explained,
I am known as the pioneer of the format deal. I didn't have any training to do this, because no such thing existed… I knew I wouldn't be able to sell an American network something like 'Till Death Us Do Part' because they wouldn't understand the language. But I also knew the idea was very good. So I figured if I could find the equivalent of Johnny Speight in America I'd do it that way. I found Norman Lear, and he wrote the American version of 'Till Death Us Do Part', which was called 'All In The Family'. Huge hit. Eight years it ran. And then I thought 'He's clever, I'll get him to look at 'Steptoe and Son'.' Norman did 'Sanford and Son' and that ran for six years.
By 1968 she was Managing Director of ALS, she produced films such as Tommy in the 1970s. In the 1980s founded her own company, Hartswood Films. This is best known for Men Behaving Badly (1992-8), Coupling (2000-2004), naturally selling the format of both to American television companies, and Sherlock (2010+), which has gained a worldwide following. In 2004 she was instrumental in ensuring that the Daleks would return to Doctor Who. Her daughter Sue is married to Steven Moffat, former showrunner of Doctor Who (2010-2017).
The Future of Television...?
Television is a constantly changing medium, adapting to new technologies and with new companies creating content and programmes. With the increasingly widespread availability of programmes over the Internet, through services such as the BBC iPlayer and commercial companies like Netflix, television companies are increasingly allowing viewers greater control over what they can watch at times of their choosing through their computers, tablets and other devices. This growth in home streaming technology has also resulted in a widely reported increase in popularity of British television series in America.
Additionally, television is becoming increasingly international, with large television companies owning subsidiaries in many different nations worldwide. For example, America's Fox Network and Britain's Sky are both part of News Corp, an international conglomerate that originated in Australia. International co-operation between different companies is also increasing. This means that television series' origins are often becoming increasingly blurred.
Television companies are also increasingly selling their formats worldwide rather than individual shows, so versions of reality and game show programmes like Antiques Roadshow (originally British), Big Brother (originally Dutch), Dragon's Den (originally Japanese), etc, can be seen all around the world.
Reactions in Britain
So how are American adaptations of beloved British television series perceived in Britain? Typically the more fondly one is remembered in the UK, the more upset British audiences are that it is being remade and the harder it will be to persuade British viewers to accept the new programme. Rumours that fondly remembered comedies like Fawlty Towers or Father Ted are being remade can be met with disappointment and even anger, although some remakes are accepted. Morbid curiosity also often plays a part, especially if the remade series is perceived as a failure.
Of course, an American adaptation of a British show is aimed at an American audience rather than British, but that does not mean that the British audience is irrelevant. The more countries around the world that a television series is successful in, the more money is made from broadcast rights, merchandising, product placement, etc. Britain is traditionally the biggest market outside the US for American television series and Hollywood films. If there is an already existing British fanbase for the original show, persuading that fanbase in Britain to accept the new adaptation can also lead to improved ratings in America through word-of-mouth, the Internet etc. American television companies are becoming increasingly aware that their audience can potentially be global, although that said their main focus is naturally on the home audience.
Although it is not possible to examine every programme, some of the shows that have been adapted for American consumption will be discussed in the other entries of this series. Many of these reinventions have even gone on to become successful in the UK as well, thereby coming full circle.
1A popular alternative is remaking successful television programmes from America's past, so a generation after Star Trek, making Star Trek: The Next Generation, remaking Battlestar Galactica etc.2A cultural cut-off is the point at which something is not acceptable in a given culture. Unlike censorship, which is usually a form of state control, this can be considered what a culture as a whole chooses to consider unacceptable.3As 26 episodes equates to half a year, an American season actually lasts two seasons. The new shows are usually broadcast in the autumn-winter months when audiences are generally higher as people stay home out of the cold. They are repeated in the spring-summer season.
Arts and Entertainment > Television > US Television Programming
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Red Dwarf - The TV Series
TV Puppets
Doctor Who - The Television Phenomenon
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Doctor Who Enemies: Daleks
'Father Ted' - the TV Series
The Dutch
'Antiques Roadshow' - the TV Series
'Big Brother' - the TV Programme (UK)
Spike Milligan - Comedian
'The Prisoner' - the TV show
'The Avengers' - the TV Show
'Fawlty Towers' - the TV Programme
Hollywood's Laws of Life, Physics and Everything
'All in the Family' - the TV Sitcom
The Champions - The TV Series
Battlestar Galactica - The 2003 Mini-Series
The 1960s - Television
'Star Trek: The Next Generation' - The Television Series
'Star Trek' - The Original Series
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Doctor Who Companions: K-9
American Television Reinventions: Family
American Television Reinventions: Reality
American Television Reinventions: Game Shows
American Television Reinventions: Comedy
American Television Reinventions: Drama
News report on increased British television popularity
US Television remakes rarely succeed
Worst American Remakes


Should You Work For Free? Not Just For Photographers!
Recently I had a week where I had three inquiries for my photography and training services – A restaurant, a soon-to-be launched online magazine and a club.
While I agree sometimes exposure may help, in most cases the exposure you get won't actually provide you with any real value. The online magazine in question has no actual official readership – I forgot to mention that they wanted me to work all day for free yet the journalist that would be with me was going to be paid. The restaurant serves customers who aren't my target market and the club just expected to get my services for free without considering what was in it for me.
So if this happens to you what do you do?
It can be very difficult for you as often you may want to help people out or you may want the experience. However you have to think about your time and how you'll you benefit from doing the job in question.
A couple of years ago I came across this great infographic by Jessica Hisch which I keep on my desktop, which answers the big question… Should You Work For Free?
Click image to view and download the full size image.


There is a increased probability of misdiagnosis of traumatic brain injury in severe accidents, especially if there has been other serious or obvious injuries. The first responders should monitor for TBI. Many times they are mostly or only concerned with the obvious physical injuries. Brain injury is not as obvious and may not be obvious at all. If the medical professionals do not monitor for TBI, the condition may increasingly become more catastrophic.
The more serious the other injuries the more likely that there will be a traumatic brain injury. There is a direct relationship between the existence of other serious injuries and the likelihood of traumatic brain injury. The amount of force it takes to break a bone, or injure the spinal cord, is enough to injure the brain. That also goes for the force that it takes to lacerate a face could also be enough to cause brain injury. But there tends to be an inverse relationship between the seriousness of other injuries and the diagnosis of traumatic brain injury. If a person is bleeding or has obvious trauma, the emergency personnel will often be distracted from the careful analysis needed to identify a brain injury. Thus, brain injury will go undiagnosed and treatment will be delayed.
The first priority of the ER is to save the life. That should be paramount. Dealing with life changing traumatic brain injury needs also to be taken more seriously. When it is clear from the seriousness of the other injuries, that this person was a risk for a brain injury. Therefore the person is not getting the treatment that they need. Not recognizing the fact that the person could have incurred a traumatic brain injury may cause more complications down the road.


Sherwin B. Nuland, (Shepsel Ber Nudelman), American surgeon and author (born Dec. 8, 1930, Bronx, N.Y.—died March 3, 2014, Hamden, Conn.), demystified death in his National Book Award-winning nonfiction work How We Die: Reflections on Life's Final Chapter (1994), which offered an unvarnished look at the end of life and questioned the medical profession's use of technology to keep a person alive at all costs, especially when it interfered with an individual's desire for death with dignity. Nuland earned a medical degree (1955) from Yale University and was a surgeon (1962–92) at the university's Yale–New Haven Hospital prior to launching his writing career. His other books include Doctors: The Biography of Medicine (1988), The Wisdom of the Body (1997; republished that same year as How We Live), The Uncertain Art (2008), and biographies of painter Leonardo da Vinci and Jewish philosopher and physician Moses Maimonides. Nuland's harrowing memoir, Lost in America (2003), recounted his difficult relationship with his explosive father and the resulting psychological trauma.


This post is a comment to the previous post: Tao of Tableau - Deciphering Tables #1 - Simple Features that got too long. (blogger only accepts HTML <= 4,096 characters). It started off continuing a thread that Joe Mako started with his insightful comment on that post and then it grew its own legs.
One of the things that I loved about Tableau right from the start is that it made analytical data access and visualization really easy and straightforward. And it got so many things so very right: drag-and-drop and double-click data organizing; using the right type of chart; highly effective color schemes; good data-ink ratio; and so on.
But Tableau, as good as it is, as much as a leap forward as it was, isn't perfect. There are some things that could, that should, be better. For example I've always thought that "Columns" and "Rows" aren't the best terms for the shelves, with "Across" better than "Columns", but there's no equally good simple alternative replacement for "Rows" ("Down" is close) as long as the shelf is itself horizontal, and re-orienting the shelf imposes its own UI space and usability problems. But I digress. A bit.
It almost feels like trivial and senseless grumpiness to point out what are in one sense minor blemishes on such a lovely complexion. But then again, they stand out because their surroundings are so clean and clear and good.
But Tableau was hatched pretty much wart-free. So those it does have look and feel, well, warty when one comes across them.
The examples: "Naked viz" – the worksheet framing lines vanishing when displayed in a dashboard; and "2H Cell Table" – when the Column Dividers are set to "None" in a single Dimensional organization; are like this. In isolation not too bad, maybe even an OK choice for the particular case, but as the exceptions to Tableau's otherwise clear complexion they stand out like as oddities, anomalies. Warts.
From a larger design point of view, the presence of the "Drop field here" flags and framing lines (hints) in an empty Worksheet are enormously helpful in alerting the User to actions they can take to achieve something. I very much like it.
The design breaks down in the larger context of the same worksheet's presentation in a dashboard. Worksheets and dashboards are different environments, and need different presentations. In one sense this discussion is about what the differences should be, and why they should be that way.
Tableau Software has been very clear in their desire to provide a single environment for creating and consuming Tableau analytics. There are very strong and good reasons for this philosophy.
However, in not displaying the worksheet hints in a dashboard presentation Tableau is violating their basic premise of not separating development/authoring and consuming into distinct operational modes. Unless of course one considers that worksheets and dashboards are different environments, each with its own separate mode, in which case we're discussing what the different presentations of the same viz in the different environments should be.
Dropping the "Drop field here" hints in dashboard worksheet presentations makes good sense because there's no dashboard mechanism to add content to worksheets. If the functionality isn't there it makes little sense to hint for it.
I don't like the dropping of the framing lines because, to me at least, it says "there's nothing here", which is a very different message than "this is a place for a viz to be but there's no data being presented". (I wanted to say vizzed but that's pushing it).
There is a great deal of value in providing a consistent presentation for the same thing, to the limit of it making sense, across a product. One of Tableau's great attractions when it came out was that this pretty much held true. It continues to be pretty much the case for Tableau Desktop—in this discussion we're contemplating what differences make sense for a couple of specific cases. On the other hand, Tableau Server has far too many different presentation idioms for similar things; this makes it much less approachable, much more difficult to become proficient with than it should be.
I believe that there is a legitimate need for separating authoring and consuming activities, e.g. the authoring features of a dashboard are intrusive and annoying for someone who's only consuming it. And that opens an entirely different can or worms of another color.
I'm in full agreement with Joe about Tableau's double-edged nature. When it works, and the great majority of the time it works beautifully, it's a marvel and a delight. It's pruning off the warts that gets a bit vexing.
It really would be useful to be able to configure the smart defaults. It would complicate things, but if it were done smartly the burden wouldn't be too great. I can do a lot of this stuff today with hacking the XML but that is risky and grows wearisome.
Why care about these things?
As much as I love Tableau, and I really do, making my living as a BI/Tableau consultant, I'm aware that it's biggest danger is in becoming one of the products it disrupted. Its singular grace—approachability, usability, low friction, etc., is fragile and easily neglected. If Tableau doesn't take care and continue to expunge its warts, or if you prefer the sand in the gears, it will inevitably lose ground to competitors who are what made Tableau successful: being a faster, easier, less expensive, more effective tools for accessing, organizing, and visualizing data.
Note: this post has expanded into territory better suited to the Tableau Friction post, so I'm moving it over there.
Published at DZone with permission of Chris Gerrard , DZone MVB. See the original article here.