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The Illusion of More
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Choice Words & The Right to Choose
Posted on March 11, 2013 by David Newhoff
Photo by David Crockett
Announcement of the Copyright Alert System just over a week ago brought some new readers to this blog, and among these was one who was offended by this post, which is coincidentally the most-read to date. My use of the word slavery in context to BitTorrent sites exploiting labor inspired the reader to call me a racist. You can decide for yourself whether the accusation is fair, but the subsequent exchange of comments did leave me thinking about the word slave, which made me think of Prince, who performed in 1993 on Late Show with David Letterman with that very word inscribed on his face. [Date and show name corrected from original post thanks to comment from a regular reader.]
Prince is an unqualified musical genius, and in the tradition of geniuses, he has been as provocative in managing his career as he is with the production of music itself. It occurs to me, though, that this particular artist also unwittingly personifies so many of the emotional and functional complexities in the business of making and selling music in the digital age.
Presently, the 1984 hit song "Let's Go Crazy" is at the heart of an ongoing case, Lenz v UMG, brought by the Electronic Frontier Foundation in 2010. The case involves a DMCA takedown of a home video from YouTube depicting a baby dancing in a kitchen while Prince's song plays on the radio in the background. The short story is that the video was taken down in error and then restored, which is pretty much how DMCA is meant to work, but of course the video and Mrs. Lenz's temporary inconvenience aren't really the point. See Terry Hart's analysis from August of 2010.
Interestingly, the CAS bump in readership here also brought a new reader/commenter with whom I had discussion about the altruism (or not) of organizations like EFF; and Lenz makes a pretty good example of what looks to me like a group of lawyers making much ado about nothing while hiding a rather large axe to grind. The general public gets the easily digestible image "Prince sues mother and baby," even though the suit was brought by Lenz and the EFF. But the aura of Prince provides good cover for the real motive in this case, which is that the EFF is seeking a ruling that UMG willfully issued takedowns to non-infringing material (because honest mistakes are not grounds for a suit) in order to establish a precedent that would place a higher burden on creators seeking to protect their works online. Writes attorney Luke Platzer in this guest post at Copyright Alliance:
"…the expansion of the 512(f) standard to challenge the reliability of copyright owners' takedown processes — thereby forcing copyright owners to use more precise, but potentially much slower processes — appears to have been at least in part EFF's goal in bringing the Lenz case."
If you read the recent article in the Wall Street Journal about NBCUniversal's counter-piracy efforts which can hardly keep up with its notice and takedown process, you might understand why many independent content owners have given up hope of protecting their work online; but by bringing the case in Lenz, the EFF would like to make that process even harder. In fact, cases like this aren't about the work, they aren't about the artist, they aren't about free speech, and they aren't even about fair use. They're about ivory-tower academics making a career out of fighting a problem that doesn't exist. To paraphrase Hart, DMCA was 12 years old when the case began, and this relatively benign and temporary video takedown was the best example they had to reflect a supposedly comprehensive threat to free speech and democracy. In fact, the recent misuse of DMCA by NASCAR to remove footage of a crash from YouTube makes a much better example than Lenz, but Lenz is already underway. Still, the fact that Prince is the face of this story is somewhat paradoxical, although not necessarily incongruous, if we understand the mind of the artist.
Where this stuff gets a little complicated for the casual observer is that Prince is in fact an ardent — some might even say obsessive — protector of his rights on the Internet. He has gone to great length and expense to control where and how his work is used but has never, to my knowledge, filed suit against an individual user or fan for infringement. For anyone who thinks copyright is just about money, consider the likelihood, that it costs Prince more to pursue these actions than it is probably worth on the balance sheet. So why does he do it? I don't know the man, but I'm going to guess that it's the same passion that drove him to the performance he gave in 1993 on Letterman. It is one of the few live TV acts I'll never forget because it was so strange — this virtuoso guitarist playing as though wrapped in a straight jacket, and scrawled on the side of his face in what looked like black marker, letters organized vaguely into a guitar shape akin to the glyph that would become his temporary moniker, the word — SLAVE.
I do find it fascinating that the same musician who has been unfairly tarred in the Lenz case is the one who can reasonably be described as our generation's poster child of the artist bucking against his corporate "gatekeepers," for those who would use that term. In fact, Prince's frustration with Warner Music back then had nothing to do with money per se, but with the label's reluctance to release his new album Gold over concerns of "saturating the market." Restraining an artist is a difficult thing, and I can only imagine doing so with Prince would be like trying to lasso a stallion with a length of yarn. Yet even in the years subsequent to these events, even with all the resources at his disposal, Prince has not thoroughly embraced the so-called "permissionless culture" promoted by legal scholars, who perhaps don't actually understand artists. Some will assume the motive here is greed, although I would argue that this assumption is likely a misunderstanding of Prince in particular and many artists in general. What those who don't create art fail to grasp is that controlling distribution is often a component of the work itself. This is why an artist as passionate, as obsessive, as prolific, and as influential as Prince will naturally rebel against both a Warner Music holding him back and a Google exploiting his work. And, yes, either form of restraint on his choices can make the artist feel like a slave.
© 2013, David Newhoff. All rights reserved.
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I believe the Prince performance on Letterman was from 1993. Other than that, spot on.
David Newhoff
Thanks, Monkey. You may be right. I found references to 1992, but it could have been '93. Sometimes hard to find corroborating data on the Web, you know. 🙂
I'm a rabid fan of both Prince and Letterman, so I clearly remember it was the Late Show, not Late Night, and Prince had done the symbol thing in the summer of 1993.
Of course. It was Late Show back then! I'll correct the post. Thanks!
John Warr
I take photos of insects and items of historical interest. I have a flickr account with some 7000 images, and a website with some 4000 pages documenting the images. All is released under a CC-NC license simply to control the commercialisation of the images. Bloggers, individuals, and those doing research are perfectly welcome to use as they see fit. Those that have a commercial interest just need to ask and in most cases will get an OK. It has nothing to do with money, the commercial sale of a photo wouldn't cover the travel expense to take it, let alone the time to take the image, to process it, to document it and make it available on the web. The concern is purely over which organisations get use the images commercially.
Sam Flintlock
Long time reader, first time commentator etc. In terms of
the "racism" allegations, you quite obviously weren't using the
term in a racist way. There are some arguments that disputing them
at all gives them a seriousness they don't deserve. I'd suggest
this is one of those. (The etymology geek in me would also point
out that the term "slave" dates back to the late 13th century and
has roots from before that all the way back to Medieval Latin. It's
a perfectly standard word). I would see both you and Prince as
using the word as a rhetorical device. There's nothing wrong with
that; you were writing a blog post, not an academic thesis. Whether
it's useful for moving the debate forward is more arguable, but not
everything has to follow formal debating rules. On the main
arguments in the post:, I'm from the UK, so I'm coming at this from
the perspective of an interesting outsider (obviously, we're having
a lot of the same discussions here as you are in the US), so some
thoughts. The general public gets the easily digestible
image "Prince sues mother and baby," Well, yes. What
precisely were UMG's PR department doing when this decision was
made? Surely they can't have all been on the golf course? That it
was going to be reported like that really should not have come as a
shock.. Even on purely strategic grounds, the original takedown
notice was unwise, to say the least. I'd also point out that Luke
Platzer is part of a law firm that prides itself on being a
"litigation powerhouse". While that doesn't necessarily invalidate
what he has to say, it should be recognised that Mr Platzer has a
direct commercial interest in this kind of legal action continuing
and in it needing lawyers to resolve. One issue I think that lies
at the core of your argument is how seriously we should take false
DMCA notices. Which, I'd suggest, depends on how seriously you want
to take copyright infringement. The analogy frequently used is that
of physical theft. If I falsely accused you of burgling my house,
wouldn't you consider that a pretty serious slur on your character?
I'm not suggesting you adopt our (utterly ghastly) libel laws, but
I do genuinely think there's a strong moral argument for
considering illegitimate DMCA takedown notices to be defamatory per
se. The alternative is to argue that copyright infringement is
essentially a trivial allegation. Overall though, I think the EFF
case is an opportunity. Let's use it to argue that, in exchange for
false DMCA notices being taken more seriously, that the whole
process needs an overhaul. I assume we'd agree that the process
needs to be less costly and time-consuming. I think it needs
streamlining, especially where it applies to self-released artists
and small indie labels. If we take action against false notices,
let's also look at making it so people don't have to send repeated
takedowns for the same song. Overall, let's deliberately tilt this
so the process is weighted towards those who only need to send a
small number of notices (which is pretty much all the small
labels), not those who are doing it on an industrial scale. Yes,
I'm openly suggesting we throw the major labels under the bus to
achieve a better deal for the little guys. I make no apology for
that. It's what they did (with the connivance of the Merlin labels)
to a lot of indie labels in negotiations with Spotify. Turnaround
is fair play. (Apologies for the length of this. It turned out a
lot more wordy then I meant!)
Thanks for being a regular reader and for taking the time to comment. I'll respond ASAP as I'm on a deadline today and traveling tomorrow.
Sam, thanks again for writing, but I think you're operating from a few false premises. In the case of the Lenz video itself, it's simply an error. Software identifies content that is part of a rights holder's database and then alerts the owner of a file on a YouTube or wherever. Large media companies maintain staffs of people at computers who do nothing all day but send out takedown notices, and these operations hardly keep up with the number of legitimate infringements. Small organizations, the kind you seem to want to champion, don't have the resources to do this at all, so they give up and hope that they have enough fans willing to support them. That's not embracing piracy; it's just accepting that they can't handle it on their own.
So, some takedown notices will occur in error, as appears to be the case in Lenz, but the EFF's claim is that UMG willfully took down content knowing it was fair use. To Terry Hart's point, this is a pretty poor example, if indeed UMG were committing this wrongful act on a large scale. In the case of NASCAR, that organization wrongfully used DMCA in order to commit what amounted to censorship. But magically, in both cases, the content was restored and Western civilization carried on. (There might even be millions of people who've never heard of either video and are none the worse for their ignorance.)
You're hardly alone in carrying some measure of animosity toward large media companies, and I have my own criticisms of them, generally vis a vis content. But I disagree that there is a disconnect between the needs of a Sony Pictures and the needs of IndieFilms, Inc. when it comes to copyright protection and solutions to mass infringement via the web. I know first-hand of lots of little guys getting squashed, and the only people who have the resources to affect this system on behalf of creators are the big media companies. The Web industry proponents keep talking about new models, but there really are very few actual examples of these "new models" working. To your suggestion that the little guys don't have to send out many notices, just one music label I've interviewed, and indie in DC called ESL, has its music "shared" in the millions; and they absolutely do not have the resources to deal with that through DMCA. And they don't equivocate that they could well be out of business if trends continue.
Finally, if there is a case in which a wrongful DMCA takedown can be considered libelous, Lenz doesn't seem to fit the bill. Not to be callous, but in order for us to get to libel, wouldn't it have to be over something people a) give a damn about; and b) actually consider sinister or scandalous? I hardly think the brief period Mrs. Lenz suffered with her video banned from YouTube resulted in snubs at the garden club or rude whispers of "copyright infringer" at the grocers or threats to her job security.
Anyway, please keep writing.
The thing about major versus indie labels relly galls me. To use the main example, Prince has said that his own break with the majors was in part inspired by ani difranco, who has never, ever been signed to a major label. (I believe that she did exactly one song for a soundtrack.) guess what? She's still pirated.
As an aside, the whole "touring and t shirts" model defies any economic sense (not to mention artistic: as I've pointed out many times, many of the great albums, movies and books required months or even years out of the public eye on the part of creators). Simply put, investing thousands of dollars and hours in something that will be a loss leader is a really dumb way to make money. As well, royalties often serve as a type of pension for artists who know they can't tour forever…
But never mind all that: how intellectually honest is the "touring and t shirts" model on behalf of the consumer? Looking at my own music collection I count hundreds of living artists, the majority of whom have never played anywhere near me. Add to that filmmakers and authors – should I support all these people through live performances? It's easier to just buy the stuff in the first place.
Thanks for the welcome! A few further points/replies.
You're almost certainly right that I'm misunderstanding some of the process involved- I'll admit freely that I'm not actually that great at the technological side of things.
To clarify one of those points, it was my assumption that it's easier to track and send DMCAs for a small number of artists? Is that not the case. (If so, I think that's another sign the DMCA system isn't working properly).
Filmmaking isn't my area at all, so I'm happy to accept your word that the solutions are the same across the board there. I don't think that's the case in all fields. If we look at musicians, views are incredibly fragmented. We have both David Lowery and Steve Albini and all the views in between those two camps. Without more research, I simply don't think we can talk about an "artist's perspective" where it comes to music. In terms of solutions, there are some options only available to the big guys. If we look at video gaming, Electronic Arts have enough market share to get away with unpopular DRM that would utterly destroy any bedroom developer.
We need to look at this holistically anyway I think. It's about models as a whole. Although copyright infringement is a big issue, we can't separate it entirely from the discussions surrounding Spotify or the stitch-up that's the current UK 'independent' chart.
There's also issues round DMCA notices being sent to negative reviews, which I have trouble believing is simply a mistake. That's part of a wider pattern though; one thing the crowd-sourcing advocates don't seem to recognise is how much of an issue that's caused in terms of astroturfing criticism. (It makes the old school method of giving music journalists free cocaine in the hope of making them feel well-disposed to you practically benign). Fair use is an important issue for me though and I'd like to not only see us adopt the principle over here, but strengthen it. And I don't think it's unfair to suggest that the big media companies have traditionally been very hostile to the concept.
To give two relatively recent cases which illustrate what I'm talking about. Firstly, The Men That Will Be Blamed For Nothing were made to change their debut album's name from "Now That's What I Call Steampunk…", although that was a trademark dispute. Realistically though, whatever the merits of the case, there was no way that a cult steampunk band were going to be able to take on the might of EMI's lawyers. The other example is a somewhat niche one. The tabletop RPG Paranoia XP had to drop the XP after 'words' from Microsoft's lawyers. These are examples of where I think the interests of media companies and artists are colliding and I want to see speech like this protected. A world without Kim Dotcom would be no worse off. A world without Negativland would be just a little bit more greyer.
On the question of the "find a new business model" argument. It's massively overstated and there's no one size fits all solution. But there are some examples I can give you of them working. I know that The Indelicates are strongly of the view that they've made more on pay what you like, combined with special orders, then they would on a label. The oft cited Zoë Keating is a success story and one that I suggest wouldn't have got anywhere under the old system. To return to my geek niche, tabletop RPG designers are generally doing better now they can release their work as PDFs and distribute it easier. (On the flipside, there's a massive issue with copyright infringement in the RPG industry currently. Despite the fact that there is one 'big company' in the shape of Wizards of the Coast and they really aren't that big). But there's a question of how new the new models are. Pay what you like is just a refinement of the old "pay no more than" stickers. PDFs are merely a new format. And I find "new media advocate" lectures on the need for artists to connect to their fans presumptuous; the DIY scene has operated like that for as long as I can remember.
Finally, I think the crux of this comes down to the best way to fight the commercial scale copyright infringement currently happening. I'd suggest that prioritising enforcement isn't going to work, this is largely about trying to achieve a shift in attitudes. There's some tactics that are effective- the current attempts to hit advertising are sensible, partly because I think the principle of "people shouldn't make money selling advertising on other's work without permission" is straightforward and carries moral weight. But, to return to an earlier point, when trying to shift attitudes one issue is that all copyright infringement is seen as morally equal, which works to the advantage of the file-sharing sites. In an ideal world, I'd like people to shift more to independent artists, but that's not attainable. So, I think we should state, clearly, that there is actually quite a lot of difference between taking work from Warner and taking work from Bloodshot. Both financially and morally.
Sam, I'm at SXSW in Austin, TX with intermittent access and little sleep, so I may not have it in me to respond to the many points you've raised. Although, to summarize my thinking regarding what both you and Patrick are saying about DIY models, etc., I'd go back to what I wrote about Amanda Palmer inasmuch as I don't think there is one way to do things, and there's no question the Internet offers creators in all media certain opportunities that are either unprecedented or expanded versions of things that have always been done. But the Internet also brings threats along with its opportunities (to use corporate assessment terms), and you're right that enterprise-scale piracy should be among the priority concerns; but I think you're wrong to assert that there is a difference between Warner and Bloodshot — both pragmatically and philosophically. In fact, I would argue that part of changing the attitude among users toward "file sharing" is dispelling them of the notion that it's okay to rip off anybody (philosophical), and that when you rip of Warner, you actually do threaten the artists and the middle-class workers who support those artists (practical).
As for DMCA, you could say it's easier to track a smaller number in theory, but that small number may still be way out of reach absent people whose full-time job it is to do the tracking. That's not in the budget for an indie label or certainly an independent filmmaker. And it's not that DMCA is never abused but that the organizations and individuals who make a lot of noise over these incidents are being disingenuous, as I believe is the case in Lenz. There's a larger agenda, and I think it's important to pay attention to what that agenda is, why it's being pursued, and by whom.
Big media companies have long histories and not everything they do is fair or reasonable. Sometimes they aggressively protect their rights in ways that are dumb and mean spirited. Other times, they behave appropriately and are unfairly vilified for it. And at other times, they're defending principles many of us hold dear. Any lawyer will tell you that failure to protect copyrights, patents, or trademarks sets a precedent that can be detrimental to an entity of any size. As such, some cases appear, and even are, absurd to our notion of common sense and fairness. Still, for all the drama, I think it's important to realize that the rights of the author are universal, and so there is going to be common ground between the fledgling artist and the media giant, whether the former wants to believe it or not.
All of which is to say that I generally agree with your big picture view, but I think part of looking at this holistically may well depend on not throwing Big Media over the cliff. Big companies were start-ups at one point in history, and I am especially leery of where many of these "new media" ideas originate — namely the corridors of companies many times larger than the likes of EMI, Sony, etc.
Sam Flintlock wrote:
" But there's a question of how new the new models are. Pay what you like is just a refinement of the old "pay no more than" stickers. PDFs are merely a new format. And I find "new media advocate" lectures on the need for artists to connect to their fans presumptuous; the DIY scene has operated like that for as long as I can remember."
Precisely. I feel like the punditry of new media specialists over these last ten years has been little more than a rehash of the '80s underground/college/alternative scene as viewed through the rose-colored glasses that, ironically, modern musicians are constantly accused of wearing. It's like these writers just found a copy of "Our Band Could Be Your Life" and it's 'changed everything' for them. You know, much like the kid who thinks he's the *first* person to discover Husker Du or the Replacements in his freshman year at college. It has become tiresome. Especially to those of us who have been listening to Television and Wire since junior high.
I'm suspicious that it's becoming/always was just a racket to take advantage of aspiring musicians too young to know better. Those bands weren't earning a living in the '80s either. And the same BS tactics that they used are supposedly going to 'save' the industry today: tour tour tour! Sell shirts. Sleep on couches. Rely on the kindness of fans.
The obviousness, coupled with the vagueness of much of this 'advice' is counter-productive. It's gibberish. "Connect with fans?" Methinks the author of that one doesn't really understand two of the more important words in that sentence.
Seriously, I read advice from some numbskull just the other day that said, literally quoting, "Be awesome!" Yeah, got it, brilliant insight; thanks…?
It's just like you say, Sam, I'm not sure when playing live, being friendly and social, and living bare-boned *wasn't* the standard operating procedure for young bands. I spent ages 18 to 26 or so doing just that, it ain't a living, let me tell you.
Besides, the idea that playing live is somehow a more honest business is ludicrously out of touch. Anyone who moans about how labels treat artists has been living a cushy life away from the road, where the *REAL* criminal element thrives. When compared to the thugs masquerading as club owners and promoters, I'd take David Geffen any day. Yeesh.
One question, Sam: what do you mean by a "stitch up" in the independent charts? I assume you're not in the US, which is the only country's charts I'm at all familiar with. I do always love to hear about shenanigans, though.
"So, I think we should state, clearly, that there is actually quite a lot of difference between taking work from Warner and taking work from Bloodshot. Both financially and morally."
Not for most file sharers, apparently. In the end, it doesn't matter, because you can't "stick it" to one without the other.
Similarly, there's the elephant in the room of retail. The demise of Sam Goody may not seem a major blow to the culture, but the demise of Tower Records arguably is.
I hope this places in the right place. The nesting comments is confusing me somewhat.
@David-
No probs with the time constraints. (I'd entirely forgotten it was SXSW which is embarrassingly parochial of me). I really should stop procrastinating and get on with my dissertation soon anyway! And I'm sure we'll have conversations on these kinds of topics in the future. I'll just highlight a few of your points to try and cut this down.
Completely agree with you on Amanda Palmer. I want my art to have a place for reclusive bedroom types as well as for the gregarious. I actually know people who've worked with Palmer and she's exceptional, both in her self-belief and her ability to push herself as a brand. To argue that most musicians can take the Palmer route is like saying that the KLF proved that anyone can have a number one single. That only worked if you were the KLF.
Realistically, the "copyright infringment is theft" argument hasn't had much effect. At present, I'd say the propaganda war is being lost. So, as an immediate goal, let's try and get across the idea that, actually, Kim Dotcom is not some kind of brave freedom fighter or even a loveable rogue. He's a digital snake oil huckster. That argument is much easier to make if you tap into the current vague anti-corporate sentiment found among many filesharers. You can't do that by telling them they're backing the wrong big business. (For the record, I don't illegally download major label artists. I make my personal protest by making a conscious effort to spend my personal entertainment budget on the little guys). And yeah, we combine that with hammering Google and Amazon for their seeming ideological commitment to paying as little tax as possible.
I'm aware I've probably been guilty of giving an overly rosy picture of the indie sector; I'm basically talking about the good guys. I know fully well that there have been some really shady indies about over the years. But to give two main differences between the good ones and the majors. If we're talking about gatekeeping, I'd argue that's the indies roles, who take on those artists they believe in artistically. The majors simply go for who they think have the best chance of selling records- it's "the wisdom of crowds" gone mad! Hence Pop Idol. Also, shareholders make a big difference. If you're on the stock market, profit has to be your only concern. It's illegal otherwise. The fact that big tech can't be trusted doesn't mean we should return to an old model that sucks just as much and has been for longer. It means we need to find a better way forward. (In particular, I'd like to see the advance system put in the dustbin of history. It's screwed over far too many artists, far more than it's helped).
@ Patrik-
I'm from the UK, so that's obviously a bit of a different perspective. I'm possibly slightly younger than you as well- I came into this via the early 90's UK scene.
There's been basically two worthwhile theories that have come from the new media people. The long tail is essentially correct, but only benefits aggregators, not individual artists. 1000 true fans is legit, but it takes a very specific type of band to achieve it. Apart from that, I've not seen much of use coming from those quarters.
I would mention that the guys I knew on major labels weren't making a living either mind you. Generally, they ended up worse off.
"Besides, the idea that playing live is somehow a more honest business is ludicrously out of touch. "
On top of that, playing live isn't an option for everyone. Do we say no more studio bands are going to come through, because that will decimate the electronica sector. And what about older artists? I listen to a lot of folk, which is a much older (on average) group of artists then rock and pop. You can't expect Leon Rosselson to couchsurf while he performs. The guy's 78 years old, for god's sake.
My general rule of thumb is that anyone who tells me that touring is the way forward for bands is showing they have no idea what they're talking about and can be safely ignored. Apart from a tiny number of artists, keeping costs down over here means that hopefully you'll break even. We no longer have a proper university circuit- when we did then this was just about possible. Maybe it's different in the US, but if anything, I suspect the sheer geographical distance bands need to cover for a national tour makes it worse.
Briefly, in the old days, to qualify for the indie charts, you needed independent distribution. That worked for a bit, but in the early 90's the majors started setting up fully owned subsidiaries with indie distribution channels which massively diluted the importance of the chart. For the relaunch in 2009, the distribution requirement was dropped, instead the label had to be at least 50% owned by a company that wasn't one of the big four. So, records are eligible for inclusion if they're on a label that's 50% owned by a major. That's really not a step forward, though it arguably couldn't have got any worse… As you'd probably guess, I'm a hardliner here. Any major label involvement should mean a release isn't eligible for inclusion.
@ Monkey
Absolutely and that's what I'm arguing we need to try and change. I want "indie" to mean "independent" again, not simply be about the way people play their guitars. And I want supporting indie artists to be something that people are actively proud to be doing. That's not possible without putting some clear blue water between the indies and the majors.
Yeah, we have independent record stores closing up and down the country. Vinyl collectors are keeping some going, but not all of them. There's some stuff that can be done- part of the issue is the Amazon taxes (again). At the moment, Amazon aren't competing on a level playing field. The supermarkets have been at least as damaging as the Internet here though. They only stock the top sellers and buy them in bulk at a discount. The small shops simply can't compete with that. And, yet again, the majors are directly responsible for allowing that to happen.
Realistically though, while there are measures we can take, the heyday of the record store is gone. It's sad, but that's not something that can be changed. Anymore than we can reverse the clock and start selling music in electronics shops again.
A few more interesting things about the Prince thing: 1.
The "slave" thing AND the name change were related in a deep way.
In African American culture, the idea of reclaiming your identity
by getting rid of your "slave name" has been a powerful idea since
the 60s. As well, he was hardly the first to make the connection
between slavery and exclusive contracts; Curt Flood said the same
thing about baseball twenty years ago. 2. Prince was one of the
first to adopt the Internet as a serious means of distributing
music. Again, like many critics of Web 2.0 he is hardly a Luddite.
3. Ironically, Prince should be embraced by the Web 2.0 crowd
because he says the same things about the music business that they
claim. The only difference is he then says "don't pirate me." 4.
Another source of Internet griping has come from Prince'sdecision
to remove clips of him playing "Creep" even though Radiohead was
okay with it. People don't seem to understand that performers have
rights separate from composers.
James_J
I don't make the assumption that the EFF acts in good faith to begin with. They seem to be vehemently anti-artist for some reason or another. From my point of view, they've been on a stomp on musicians romp from inception. I get a sour taste in my mouth just typing those three letters anymore.
I think you have a point in using this unfortunate legal pissing match as a stepping off point to steer the conversation (and perhaps legislation) towards more sensible utility. How and to what end are another matter though. There are very entrenched interests these days that make a LOT of money keeping things convoluted, and the EFF and their ilk use their platform to make US creators seem like the bad guy… In other words, we have a tough hill to climb.
Faza (TCM)
It might be a good idea to point out something that nobody
seems to mention vis a vis the two suits that
were actually brought by rights holders
against individual infringers: Tennenbaum and Thomas-Rassett. What
seems lost on most people commenting these cases is that the labels
are in a bind. They have tried – on numerous occasions – to settle
the two suits for much lower amounts than those awarded – only to
be firmly rejected by the defendants. At the same time, they cannot
let these cases go for fear of setting precedents that will later
apply to much less "benign" cases (I rather doubt that a ruling
could be held only to apply to students or single mothers). In
short, the labels are taking PR knocks for all of us here –
fighting for our right to defend our rights. Ironic, isn't
Tenenbaum in particular, Faza. In that case, his lawyer, Charles Nesson, is targeting copyright law itself with what looks like a self-serving desire to take something to SCOTUS, and settlements have been rejected throughout the process. There is no choice but to respond vigorously, and still the award thus far is a fraction of what the rights holder is entitled to seek by law.
Ol' Charlie messed that one up spectacularly, as I recall… the man has the potential to make Larry Lessig look like a competent litigator (I may be muddling things up now, but wasn't Lessig a student of Nesson's or some such?)
The point is – 'coz I don't want to look like I'm drifting off topic – is that these days copyright has become too much of a use it or lose it right; which means you might find yourself pursuing suits you'd much rather avoid.
In the broader context of what you wrote, rights holders could be a lot more sanguine about the "fairness" of potentially infringing uses if these were the occasional exception, rather than the rule. The fact that it still isn't exactly clear who bears the responsibility for industrial scale piracy: the end users who actually upload stuff or the businesses that facilitate and (tacitly) encourage it, doesn't help matters. I, for one, would like to see a lot more corporate responsibility being demanded. There are numerous businesses that are held accountable for who they conduct business with, because their services – used wrongly – can be of detriment to either the customer or third parties. I can't think of one could reason why a similar degree of accountability cannot be applied to online businesses.
Faza,
I know you know the problem is fundamentally tied to UGC, we've had this conversation before. It's a different world out there and the web and Internet in general has evolved ever more to a read-write medium (this blog is an example!); far cry from the publisher/broadcast medium where copyright flourished.
There is no way a company that has a business based on UGC (which is like every major Internet company really) can actively police their users and still stay in business. It doesn't scale.
And this is not even considering how fundamentally difficult it is to determine copyright infringement in a world where copyright is automatic and infringement itself can be subjective, even between different levels of the same circuit of judges.
M wrote: "There is no way a company that has a
business based on UGC (which is like every major Internet company
really) can actively police their users and still stay in business.
It doesn't scale." . . … Well gee wiz… i guess they
will have to "find a different business model" Funny how that
works, eh?
Great (?) minds think alike…
But the thing is a strong technology industry is far more
important to the security and stability of the nation then the
entertainment-focused movie and music industry, and you'll see that
politically we will always sacrifice Hollywood before Silicon
Valley. Even with Hollywood's historic clout in the
Actually, I would say that culture is far more important
than technology, but that's an argument we can't resolve. But it's
not really the point. If Silicon Valley can't compete, that's their
tough luck. The culture industry should not need to subsidize the
tech industry. What is apparent to me is that a healthy culture
industry seems to result in a broader distribution of wealth than
the tech industry, which tends to eliminate middle class
In this context, it seems relevant to keep in mind that these "tech" companies are not just supplying technology to make life easier, better, etc. They are media companies that derive the majority of their revenue from advertising (Google is 90%). When these technologies are invasive, ubiquitous, and driven by marketing, they're not inherently evil, but they're not inherently good for culture either. If anything, though, the reliance on ad dollars and the efforts of Google, etc. to lower the bar on copyright infringement proves that they can't actually function without the universe of creative producers, so it really isn't a matter of one succeeding while the other fails. The relationship is more symbiotic than that, even if the entities themselves (and dare I say copyright law) look different in 20 years.
http://www.theonion.com/video/google-shuts-down-gmail-for-two-hours-to-show-its,27610/
It's parody, but the premise is true. There are lots of business and even government entities that are strongly depend on Google's services to do their core business functions. Google has us by the balls. And that's just one tech company.
"There is no way a company thst has a business based on UGC
(which is like every major Internet company really) can activly
police theur users and still stay in business. It doesn't scale."
So why are copyright holders responsible for Internet companies
having bad business plans?
I suppose they will need to actually 'innovate'…
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text:
Development of a practical multicomponent density functional for electron-proton correlation to produce accurate proton densities
Yang Yang, Kurt R. Brorsen, Tanner Culpitt, Michael V. Pak, Sharon Hammes-Schiffer
Institute for Sustainability, Energy, and Environment
Center for Advanced Study
Multicomponent density functional theory (DFT) enables the consistent quantum mechanical treatment of both electrons and protons. A major challenge has been the design of electron-proton correlation (epc) functionals that produce even qualitatively accurate proton densities. Herein an electron-proton correlation functional, epc17, is derived analogously to the Colle-Salvetti formalism for electron correlation and is implemented within the nuclear-electronic orbital (NEO) framework. The NEO-DFT/epc17 method produces accurate proton densities efficiently and is promising for diverse applications.
Journal of Chemical Physics
Dive into the research topics of 'Development of a practical multicomponent density functional for electron-proton correlation to produce accurate proton densities'. Together they form a unique fingerprint.
Multicomponent Reaction Chemical Compounds 100%
protons Physics & Astronomy 74%
electrons Physics & Astronomy 48%
Electron Correlation Chemical Compounds 45%
density functional theory Physics & Astronomy 44%
orbitals Physics & Astronomy 40%
Orbital Chemical Compounds 31%
electronics Physics & Astronomy 29%
Yang, Y., Brorsen, K. R., Culpitt, T., Pak, M. V., & Hammes-Schiffer, S. (2017). Development of a practical multicomponent density functional for electron-proton correlation to produce accurate proton densities. Journal of Chemical Physics, 147(11), [114113]. https://doi.org/10.1063/1.4996038
Development of a practical multicomponent density functional for electron-proton correlation to produce accurate proton densities. / Yang, Yang; Brorsen, Kurt R.; Culpitt, Tanner; Pak, Michael V.; Hammes-Schiffer, Sharon.
In: Journal of Chemical Physics, Vol. 147, No. 11, 114113, 21.09.2017.
Yang, Y, Brorsen, KR, Culpitt, T, Pak, MV & Hammes-Schiffer, S 2017, 'Development of a practical multicomponent density functional for electron-proton correlation to produce accurate proton densities', Journal of Chemical Physics, vol. 147, no. 11, 114113. https://doi.org/10.1063/1.4996038
Yang Y, Brorsen KR, Culpitt T, Pak MV, Hammes-Schiffer S. Development of a practical multicomponent density functional for electron-proton correlation to produce accurate proton densities. Journal of Chemical Physics. 2017 Sep 21;147(11). 114113. https://doi.org/10.1063/1.4996038
Yang, Yang ; Brorsen, Kurt R. ; Culpitt, Tanner ; Pak, Michael V. ; Hammes-Schiffer, Sharon. / Development of a practical multicomponent density functional for electron-proton correlation to produce accurate proton densities. In: Journal of Chemical Physics. 2017 ; Vol. 147, No. 11.
@article{e4754bd7687f4566af7643cc4f16441c,
title = "Development of a practical multicomponent density functional for electron-proton correlation to produce accurate proton densities",
abstract = "Multicomponent density functional theory (DFT) enables the consistent quantum mechanical treatment of both electrons and protons. A major challenge has been the design of electron-proton correlation (epc) functionals that produce even qualitatively accurate proton densities. Herein an electron-proton correlation functional, epc17, is derived analogously to the Colle-Salvetti formalism for electron correlation and is implemented within the nuclear-electronic orbital (NEO) framework. The NEO-DFT/epc17 method produces accurate proton densities efficiently and is promising for diverse applications.",
author = "Yang Yang and Brorsen, {Kurt R.} and Tanner Culpitt and Pak, {Michael V.} and Sharon Hammes-Schiffer",
note = "Funding Information: This work was supported by the National Science Foundation Grant No. CHE-1361293. Publisher Copyright: {\textcopyright} 2017 Author(s).",
journal = "Journal of Chemical Physics",
publisher = "American Institute of Physics Publising LLC",
T1 - Development of a practical multicomponent density functional for electron-proton correlation to produce accurate proton densities
AU - Yang, Yang
AU - Brorsen, Kurt R.
AU - Culpitt, Tanner
AU - Pak, Michael V.
AU - Hammes-Schiffer, Sharon
N1 - Funding Information: This work was supported by the National Science Foundation Grant No. CHE-1361293. Publisher Copyright: © 2017 Author(s).
N2 - Multicomponent density functional theory (DFT) enables the consistent quantum mechanical treatment of both electrons and protons. A major challenge has been the design of electron-proton correlation (epc) functionals that produce even qualitatively accurate proton densities. Herein an electron-proton correlation functional, epc17, is derived analogously to the Colle-Salvetti formalism for electron correlation and is implemented within the nuclear-electronic orbital (NEO) framework. The NEO-DFT/epc17 method produces accurate proton densities efficiently and is promising for diverse applications.
AB - Multicomponent density functional theory (DFT) enables the consistent quantum mechanical treatment of both electrons and protons. A major challenge has been the design of electron-proton correlation (epc) functionals that produce even qualitatively accurate proton densities. Herein an electron-proton correlation functional, epc17, is derived analogously to the Colle-Salvetti formalism for electron correlation and is implemented within the nuclear-electronic orbital (NEO) framework. The NEO-DFT/epc17 method produces accurate proton densities efficiently and is promising for diverse applications.
JO - Journal of Chemical Physics
JF - Journal of Chemical Physics

redpajama_set_name: RedPajamaCommonCrawl


text:
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NIH Observational Study of Coronavirus Infection and Multisystem Inflammatory Syndrome in Children Begins
Colorized scanning electron micrograph of a cell (blue) heavily infected with SARS-CoV-2 virus particles (red), isolated from a patient sample. Image captured at the NIAID Integrated Research Facility in Fort Detrick, Maryland.
NIAID
Credit: NIAID
An observational study has launched to evaluate the short- and long-term health outcomes of SARS-CoV-2 infection in children, including multisystem inflammatory syndrome in children (MIS-C), and to characterize the immunologic pathways associated with different disease presentations and outcomes. SARS-CoV-2 is the virus that causes COVID-19. The study, called the Pediatric Research Immune Network on SARS-CoV-2 and MIS-C (PRISM), will enroll at least 250 children and young adults ages 20 years or younger from diverse racial and ethnic backgrounds at approximately 20 sites nationwide. The National Institute of Allergy and Infectious Diseases (NIAID), part of the National Institutes of Health, is sponsoring and funding the study. The PRISM study is part of a research effort led by NIH's National Heart, Lung, and Blood Institute and Eunice Kennedy Shriver National Institute of Child Health and Human Development to understand MIS-C.
Although SARS-CoV-2 infection usually causes either no illness or only mild illness in children, some children become seriously ill at the time of infection, while others who initially have no symptoms later develop MIS-C. MIS-C is a life-threatening condition marked by severe inflammation of one or more parts of the body, including the heart, lungs, kidneys, brain, skin, eyes and gastrointestinal organs. The syndrome typically begins several weeks after SARS-CoV-2 exposure and disproportionately affects Black and Hispanic children.
"It is critical that we learn how to prevent and treat this rare but very serious syndrome in children," said NIAID Director Anthony S. Fauci, M.D. "Information gathered through the PRISM study may ultimately help clinicians diagnose and treat MIS-C as well as predict which children are susceptible to the disease."
The PRISM study aims to fill gaps in understanding of the clinical spectrum of COVID-19 in children and young adults, the long-term outcomes of SARS-CoV-2 infection in these populations, and the underlying immunologic basis of MIS-C. It is led by clinical protocol chair Steven A. Webber, M.B.Ch.B., M.R.C.P., chair of the department of pediatrics in Monroe Carell Jr. Children's Hospital at Vanderbilt in Nashville, Tennessee.
The PRISM study team is enrolling children and young adult volunteers with detectable SARS-CoV-2 in respiratory samples, with symptoms of MIS-C, or both. Participants will be followed for at least one year.
The study has two main goals. The first is to determine the proportion of children who die, are re-hospitalized after an initial hospital admission, or have major health complications due to SARS-CoV-2 at six and 12 months after initial presentation with COVID-19, MIS-C, or both. The second is to determine the immunologic mechanisms and characteristics associated with different forms of MIS-C and COVID-19 in children. Results are expected in mid-2022.
More information about the PRISM study is available at ClinicalTrials.gov under study identifier NCT04588363.
To schedule interviews, contact:
Laura Leifman
NIAIDNews@niaid.nih.gov
NIH Begins Study of COVID-19 Vaccination During Pregnancy and Postpartum
NIH Clinical Trial of Investigational Vaccine for COVID-19 Begins
Experimental COVID-19 Vaccine Protects Upper and Lower Airways in Nonhuman Primates
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Content last reviewed on December 16, 2020


text:
Audimat.tn est le premier site web tunisien qui permet de visualiser l'audimat en temps réel des chaînes télévisées tunisiennes. Il a été officiellement lancé le  2012.

Développement
L'audimat voit le jour en Tunisie dans les années 1990. Avant 2011, elle se base sur des sondages par téléphone et des études sur le terrain. C'est pourquoi IRiS, une petite entreprise spécialisée en informatique et télécommunications, pense à créer un système qui puisse calculer automatiquement l'audience des chaînes tunisiennes en temps réel. Sous la direction de Skander Zoghlami, IRiS réussit à implémenter le système sur Internet, sous le nom de domaine audimat.tn, le  2012. Il est le premier site de sa catégorie à voir le jour en Tunisie.

Objectifs
Le site vise à déterminer si un programme est réussi, s'il peut être fusionné avec un autre programme, s'il présente une concurrence avec un programme d'une autre chaîne et s'il comporte des parties déficientes, aidant ainsi les directions des chaînes à prendre les décisions nécessaires dès que possible. En outre, il tente de dépasser les lacunes envisagées par les bureaux d'études lors de leurs enquêtes sur le terrain et par téléphone, tout comme le manque de pertinence de leurs résultats. De plus, ce système peut servir d'outil pour les entreprises, leur permettant d'identifier les meilleurs espaces publicitaires à acquérir pour un impact efficace des publicités.

Fonctionnement
Le système recueille automatiquement toutes les cinq minutes les informations à partir des récepteurs connectés aux réseaux satellitaires Nilesat, Arabsat et Hot Bird de  foyers tunisiens, par le biais des réseaux de télécommunication, comme les réseaux 3G et ADSL. Si un foyer consulte plus d'une chaîne pendant cinq minutes, toutes les chaînes regardées sont prises en considération, donnant parfois un pourcentage total supérieur à 100 %. Pour alléger le graphique du site, le système ne prend en considération que les cinq principales chaînes que sont la Télévision tunisienne 1, la Télévision tunisienne 2, Nessma, Hannibal TV et El Hiwar El Tounsi.

Réactions
Peu après sa création, le site devient une référence pour l'audience des chaînes tunisiennes puisqu'il est référencé par divers journaux et médias ainsi que par le grand public.

Néanmoins, il est aussi critiqué : la première déficience du site est qu'il ne donne pas la répartition des foyers de référence. C'est pourquoi, les résultats sont remis en cause car il se peut qu'ils soient biaisés si la répartition des foyers n'est pas fidèle à celle de la population du pays. En outre, le choix de réaliser l'analyse sur la base d'échantillons de foyers plutôt que sur des échantillons de téléspectateurs peut mettre en doute les résultats du système car un foyer constitué par une personne peut être équivalent à un foyer constitué par plus de quatre personnes.

Références

Lien externe

Site web tunisien
Télévision en Tunisie
Audience

redpajama_set_name: RedPajamaWikipedia


KAYLEIGH Miller-Leslie had a starring role among Ashford AC's athletes with two golds in the Kent Schools championships at the Julie Rose Stadium at the weekend.
The rising star set English Schools standards winning the junior girls 75m hurdles in 11.95 and long jump with 4.83m.
She was pressed in the hurdles by teammate Lauren Bamford who was second taking a second off her personal best with 12.14 and then in the long jump clubmate Sophie Hamlyn was fourth with 4.50 and Lauren 5th with 4.49m.
Nathan Fatola won the gold in the junior boys long jump with a personal best 5.87m and Ashford's Kirsten Hooton won the junior girls javelin gold for Shepway throwing 28.85m.
Oliver Williams secured gold in his first year in junior boys winning the triple jump with 11.98m and was fifth in the 200m final behind Temi Banwo.
The Ashford team claimed three other field golds with James Potter winning the junior boys high jump with 1.62m, Miller Piper taking the junior girls title with 1.56m and Deborah Martin winning the intermediate girls high jump with 1.51m.
Young Emem Umoh had a fine championships with two silvers in the Year 7 100m in 13.64 and long jump with 4.25m and Highworth's Amber Regardsoe also shone with silver in the intermediate girls shot with 9.14m and bronze in the discus with 27.59m.
Tom Snare just missed two medals after third in the intermediate boys shot with 11.02m but had to settle for fourth in the discus with 33.65m and teammate Blake Robinson fifth with 33.54m.
In the intermediate girls 300m hurdles Caroline Hatley secured silver with 45.81 with clubmate Laura Hanagan just off the pace in fourth with 47.47. However, Laura did take bronze in the 300m flat with a personal best 42.31.
Caitlin Dock rose to silver in the intermediate girls pole vault with 2.20m and Emily Hamlyn ran a personal best 29.30 for silver in the Yr7 200m.
There were bronzes for Mary Coleman in the Yr7 shot with 6.94m and Max Reeves despite a personal best 12.24 in the junior boys 80m hurdles but George McLennan just missed out with fourth in the 800m despite a massive personal best 2:12.72. Also just out of the frame was Shepway's Amelia Jones in the IG 1500m with 5:08.03; Hester Hill in the junior girls 200m with 27.83 and Callum Thomas in the intermediate boys javelin with 29.93m.
There was a terrific championship for former Ashford field athlete Matt Blandford who took two golds winning the junior boys javelin with 50.01m and the shot with 13.06m while Ashford School's Euan Nicholls took silver in the Yr7 1500m with 4:55.78.


California wants all heavy-duty trucks operating in California to be diesel efficient and is also proposing a requirement that trucks be equipped with products approved by the Environmental Protection Agency's Smartway program.
The proposed EPA Smartway requirement is slated for consideration before the California Air Resources Board in October. The plan is part of California's efforts to reduce greenhouse gas emission levels to 1990 levels by the year 2020.
The new standards would be enforced beginning in 2010. They would apply to new trucks and some existing trucks, and like most CARB regulations – they're complicated.
New reefers, dry vans and trailers would be required to have side skirt fairings, and either front-mounted trailer gap fairings or rear-mounted trailer tail fairings.
Trucks already in use, which are model years 2005 and newer, would be required to have low-rolling resistance duals or single wide tires mounted onto lightweight wheels. Trailers would need to have side skirt fairings, and either a front-mounted trailer gap fairing or rear-mounted trailer tail fairings.
All trucks in fleets of 19 trucks or larger would need to have installed half of the above EPA Smartway improvements and report them to CARB by December 2012.
Fleets with less than 19 trucks wouldn't have to report Smartway retrofits but would have to be fully compliant by December 2014.
Additionally, CARB wants all logistics carriers who contract work in California to be required to contract with truck operators that drive trucks with EPA Smartway technology.
Financing to purchase products approved and certified by EPA Smartway is available. For more information, visit www.smartwayfinancecenter.com.
According to CARB, 74 percent of transportation emissions come from passenger vehicles, while 20 percent come from heavy duty vehicles including trucks, buses and recreational vehicles.


Quimper, Breton Kemper, town, capital of Finistère département, Brittany région, western France. Quimper is a port at the estuarine confluence of the Odet and Steir rivers. Once the ancient capital of the countship Cornouaille, it is associated with the legendary (5th century) king Gradlon, who came from Cornwall in Britain. The countship was united with the duchy of Brittany in the 11th century, but the town suffered in local wars of succession and, in 1344, was sacked by Charles de Blois. After the defeat of Charles at Auray (1364), the duchy passed to the house of Montfort.
The city's Gothic cathedral (13th–16th centuries) was named for the first bishop, St. Corentin of the 5th century. There are two museums, one of fine art and the other conserving local Breton tradition. At the Great Festival of Cornouaille held each July, all the costumes of Brittany are displayed.
Quimper, a commercial town and tourist centre, is known for its pottery, a faience that has been produced there since the 17th century. Its main activity is food processing, and a research sector that focuses on food production technology has developed. Other industries include the manufacture of textiles, chemicals, and telecommunications equipment. Pop. (1999) 63,238; (2014 est.) 63,513.


A very common question I get from experienced programmers is "What does an FP language give me that I don't already have? Can't I just do FP in my language?" This is a great question and I hope I have an equally great answer.
So let me ask you this: can I do OOP in C? According to my statement above, the answer is "yes". In fact, I've built small object systems in C before. So why would I need an OO language if I can do it in C? I feel like my object system gave me all of the advantages I needed to do OOP. But here's the thing: could I have programmed OOP in C without already knowing OOP? I don't think so.
These paradigms are called paradigms because they are wholistic perspectives about how to approach problems. OOP breaks problems into objects that communicate with messages. FP breaks problems down into data that represents the state of the process being modeled. Procedural breaks a problem into a series of steps that can solve the problem. Each paradigm has a different approach to solving problems. By "doing FP in Java" without already mastering FP, you're implying that FP isn't a paradigm, it's just a set of features (immutable data, pure functions, function composition, etc).
The value of a language that strongly enforces a paradigm is that it immerses you in that approach to solving problems. The more it enforces the paradigm, the more you are forced to attempt solutions using that paradigm. The more functional your language, the more training you get in approaching problems in a functional way. The same goes for OOP and Procedural. In essence, you get more practice because you can't rely on the other paradigms you already know.
So let me say this, more controversial statement: outside of languages labeled functional (Clojure, Haskell, Elm, Scala, Erlang, etc.), I don't see much depth in the functional programming being done. Unless they're already familiar with functional programming by working for a long time in a functional language, programmers are borrowing only little bits of the FP paradigm and missing the best part, which is the change in perspective on approaching problems.
All of the paradigms are great because a "point of view is worth 80 IQ points". You can do any paradigm in any language. But it is very hard to learn a paradigm without immersing yourself. And it's hard to immerse yourself in a paradigm without using a language that strongly encourages the paradigm. Until you do that, you might be borrowing features of the paradigm, but you're not approaching the problem in a new way. In short, Functional Programming is not a set of features. If you want to learn it, jump in the deep end and be immersed.
If you're ready to take a dive, please check out PurelyFunctional.tv where I teach Clojure and functional programming.
Elm is a good one to get your feet wet too (and develop HTML5 UIs in the process). Because all your Elm code is purely functional, refactoring is quite safe... make your changes and then fix all the compiler errors, and it probably just works. This reduces the penalty for early mistakes.
Elm is awesome for learning functional programming!
Having many different ways to solve a problem comes with great amount of expertise needed to pick the best one.
I need to try Clojure once more :) Thank you for the reading!
I couldn't agree more! You're welcome!
Yes. You can do it in Go also as it supports closures.


Microsoft SharePoint 2010 makes it easier for people to work collaboratively. Using SharePoint 2010, your staff can set up Websites to share information with others, manage documents end to end, and publish reports to assist everyone in making better decisions.
BEP are experts in utilizing Microsoft SharePoint 2010 for use as a corporate electronic content management system as well as company Intranets and Extranets.
By sharing information outside of the organisation – be it with customers or suppliers you can add real value to your business in the form of improving communications and SLA's. Extranets can also help to reduce your costs where manual processes can often slow projects down and stop your business from delivering on time.
BEP are experts at delivering SharePoint Extranet solutions. By using SharePoint as the application delivery platform, and utilising its security features, we can deliver feature rich, user centric extranets that will deliver real results to your organization.
Intranets are a fantastic way of internal communications within your organization and for sharing of information. "Enterprise portals are on CIOs' list of top ten technology focus areas" Gartner.
Successful businesses are those that can provide key information to its employees through technology, enabling people to spend more time doing their day jobs.


text:
>Nutrition Policy
Let's Regulate Food Like We Do Alcohol
To help people avoid overeating, the kinds of policies effective in controlling alcohol consumption should be applied to food—standardizing portion sizes, limiting impulse marketing and reducing the convenience and salience of foods most closely associated with obesity and chronic diseases.
Explore Nutrition Policy
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Why Obesity Rates Continue to Climb—and What Can Be Done to Stop It
Too many Americans are being harmed by a food environment that lacks the necessary standards to make it easier for people to maintain a healthy weight. Policies aimed at portion control and cleaning up the food swamp could make a difference.
Evaluation of the Dissemination of SNaX, a Middle School-Based Obesity Prevention Intervention, Within a Large US School District
This evaluation found that that the Students for Nutrition and eXercise ("SNAX") was acceptable to schools, but only a handful had the capacity to maintain the program, and it did not affect eating behaviors in schools.
A Natural Experiment Opportunity in Two Low-Income Urban Food Desert Communities: Research Design, Community Engagement Methods, and Baseline Results
This article describes the design and methods of a study intended to measure the impact on the food environment of a new supermarket in a low-income, predominantly Black neighborhood.
Can the Introduction of a Full-Service Supermarket in a Food Desert Improve Residents' Economic Status and Health?
Locating a new supermarket in a low-income neighborhood may improve residents' economic well-being and health. Policymakers should consider broad impacts of neighborhood investment that could translate into improved health for residents of underserved neighborhoods.
How Calorie Labels on Menus Affect Consumers
In traditional restaurant settings, displaying the calorie content on menus did not affect consumer satisfaction and reduced the amount of food ordered by 38 calories. This is a decrease of 7 percent, a notable difference considering the average American consumes one-third of his or her food calories away from home.
Why Chile Should Continue Placing 'Stop Signs' on Unhealthy Foods
By instituting its innovative food warning label policies, Chile has become a beacon of light to countries around the world. The new government would do well to consider why it should maintain these policies, which in the long run will benefit business and the country as a whole.
What the World Can Learn from Chile's Obesity-Control Strategies
Nearly 30 years into the ongoing global epidemic of obesity and chronic diseases, Chile has taken the lead in identifying and implementing obesity-control strategies that could prove to be the beginning of the end of the epidemic. The country's success on this front can serve as a lesson plan other countries could follow.
U.S. Obesity Epidemic: A Look at the Data
Obesity in America has reached epidemic proportions. The forces driving this trend include marketing practices at grocery stores, friends' junk-food preferences, and nutritional messages that parents send their kids.
Why Nutrition Standards and Policies Should Continue
Rolling back nutrition standards means increasing risks for Americans and does not bode well for population health. Every effort should be made to maintain strong nutrition standards to protect the health of all Americans.
The Effect of State Competitive Food and Beverage Regulations on Childhood Overweight and Obesity
Students in states that regulate "competitive" foods and beverages—those offered or sold outside the school lunch program--were less likely to be overweight or obese than students in states with no such policies.
Risk Factors for Childhood Stunting in 137 Developing Countries: A Comparative Risk Assessment Analysis at Global, Regional, and Country Levels
Efforts to reduce stunting in developing countries need to include ways to improve a family's living environment and nutrition.
Where Do Food Desert Residents Buy Most of Their Junk Food? Supermarkets
Households in a food desert bought most of their food and beverages—healthy and unhealthy—at full-service supermarkets.
New Nutrition Labels Will Do Little to Bring Quality to American Diet
Although good intentions led to the new nutrition labels, it is unlikely that they will improve the quality of the American diet. The label changes have not been tested in a real-world setting with the various factors that influence what people buy.
Schooling and Wage Income Losses Due to Early-Childhood Growth Faltering in Developing Countries: National, Regional, and Global Estimates
Efforts to address stunted growth among children <5 y old worldwide could yield long term benefits of $3 for every $1 invested.
Improving Diet in Low-Income Neighborhoods: Leveraging the Food Environment for Change
This dissertation examines the role of the food environment on sugar-sweetened beverage consumption, describes public opinion toward different nutrition policies, and offers recommendations on how to improve diet and health.
Lack of Uniformity in Menu Labeling Could Confuse Consumers
A bill recently passed by the House would loosen nutritional labeling requirements, making it more complicated for consumers to make informed decisions about what to eat when dining out.
It's Hard to Eat Less When There Is Too Much on Your Plate
A recent review of 72 studies on portion sizes confirmed that when served more than they need, people eat more than they should. And there is clear evidence that portion sizes are dramatically larger than those served in the 1980s.
After Trans Fats, Target America's Overeating
In June, the FDA gave manufacturers three years to remove artificial trans fat from the food supply. This is an important step, but solving the problem of diet-related chronic diseases is much more complex than banning a single additive.
Regulators Should Insist Food Providers "First, Do No Harm"
Everyone needs food, water, and shelter, yet society offers protective standards and regulations for just two of these three essentials. Food regulations focus on preventing illnesses like botulism, but when it comes to chronic diseases like obesity and diabetes, regulations offer little protection to U.S. consumers.
No Evidence That Los Angeles Fast-Food Curbs Have Improved Diets or Cut Obesity
A Los Angeles ordinance designed to curb obesity in low-income areas by restricting the opening of new fast-food restaurants has failed to reduce fast-food consumption or obesity. Since the restrictions were passed in 2008, overweight and obesity rates in neighborhoods targeted by the law have increased faster than in other parts of the city or other parts of the county.
Sydne Newberry
Research Communications Analyst
Sydne Newberry is a communications analyst at the RAND Corporation. She also serves as the medical editor for the Southern CA Evidence-based Practice Center (SCEPC). As a nutritionist, she has also served as a project lead and literature reviewer for SCEPC evidence reviews in the areas of…
Tamara Dubowitz
Senior Policy Researcher
Tamara Dubowitz is a senior policy researcher at the RAND Corporation and faculty at the Pardee RAND Graduate School. Trained in social epidemiology with concentrations in maternal and child health and public health nutrition, Dubowitz's research interests include neighborhood effects,…
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Looks like a briefcase, acts like a stove! This handy guy boils your water in 3 minutes, allows you to cook more than one thing at a time because the burners operate independently, and – best of all – has side shields to keep the wind from blowing out your fire! There's a twist-click ignition so you don't need matches, and the fuel line and regulator are built in so you don't have to hunt them down when you're hungry and ready to cook. It comes in various sizes to fit your particular camp cooking needs, so check one out at http://www.amazon.com/Primus-Firehole-100-FireHole-Stove/dp/B008DMTDQE/ref=sr_1_1?s=sporting-goods&ie=UTF8&qid=1367849325&sr=1-1&keywords=primus+firehole.
Life is messy, and you'll need a place to clean up at your campsite. Enter, the Seattle Sports Camp Bucket. This little soft-side beauty holds more than 3 gallons of water, has a scuff-resistant bottom, and – best of all – folds into a tube twice the length of your toothpaste for storage. Seattle Sports also makes collapsible rectangular sinks and a a water bowl for Fido. You can find this bucket for $13 at http://www.amazon.com/Seattle-Sports-Camp-Bucket-Blue/dp/B001F1YI24/ref=sr_1_2?s=sporting-goods&ie=UTF8&qid=1367857631&sr=1-2.
Finally – have you seen the King Kong camp chair? It's the only folding carry-bag chair we've ever seen that's guaranteed to hold 800 lbs! If you're a body builder, or the grand kids all want to play Hop on Pop, or if you just had one too many pieces of pie last night, we're reasonably certain this chair can take it. So are the manufacturers, because they guarantee the product for life. It's powder-coated steel with 600-dernier fabric that's padded on the seat and back, and has two beverage holders and two hanging pockets. It weights 13 lbs, so it might not be the chair you want to take on a 10 mile hike, but otherwise, this is the flagship of lounging by the fire without falling into it. Read more about it at http://www.alpsmountaineering.com/alps/products/furniture/chairs/king-kong#.UYe8h8qXRB4.
We do love seeing what cool new things are available for camping lovers, but nothing compares to just getting after it! So whether you're one that packs a canteen and not much else, or one that can't leave without the kitchen sink, we wish you safe travels, and come camp with us soon at Millwood Landing RV Park.


If you're looking for a meal that the whole family will demolish, this Smoky Meatball Pasta Bake from Ciara at My Fussy Eater is just the thing! I'm reviewing her new cookbook today (spoiler alert, it's awesome) and sharing the full recipe below!
If there's one thing I can guarantee in life, it's that my kids will never turn down a plate of meatballs, pasta and cheese.
"Mushrooms?? eugh that's just fungus" nice.
"I don't like ham sandwiches, can I have hummus and crudites for lunch with those mini cucumbers I like and the rainbow coloured tomatoes?" sometimes I find those fussy comments the worst, because the swap they're asking for is actually healthier, but takes a lot more effort to make (and remember to shop for!).
"Mum has this got onions in? I don't like onions" pushing them to the side of his plate, despite the fact he's eaten thousands of meals with onions in, and this time I just didn't chop them quite as small.
It's so disheartening when you've cooked a lovely meal and the kids don't appreciate it. Which is why I think it's useful to have some advice in your back pocket about how to deal with these situations. Not only that, but also to understand why your little one might be having a fussy moment, and to have the tools to prevent it altogether – WITHOUT cooking separate meals for the kids, catering to their whims or tastes on that particular day.
My friend Ciara from My Fussy Eater is definitely an expert in the area of fussy eating. Having two little ones of her own, she's describes in her new book My Fussy Eater (<– affiliate link) lots of strategies for dealing with fussy eaters.
She starts off explaining some of the normal behaviour that any parent can expect to see regarding food (toddlers exerting their independence through making food choices, children's perfectly normal wariness around new foods – which is different from adults excitement and anticipation around trying something new).
She then continues with actionable steps, including taking things slowly, using positive language, getting the children involved in meal preparation and breaking routines. Also touching on the sometimes controversial subject of hidden veggies, and deeper seated food difficulties of children with sensory issues (Ciara's youngest is on the autism spectrum).
The book is packed with lots of delicious, family-friendly recipes covering meals, snacks, desserts and sauces. It really does have a positive vibe to it and a supportive message, with healthy swaps and nutritous meals, bursting with colours and flavour.
and of course we loved this Smoky Meatball Pasta Bake!!
All mixed together, rolled into balls (the kids love helping with that bit) and baked in the oven.
Once baked, they're topped with cooked pasta, an easy smoky sauce and a big pile of cheese, before being baked in the oven until bubbling and melty.
Plenty enough for a family of four (even five or six at a push, but we're a bit of a greedy family!!).
It went down a storm, and I've already been asked to make it again!
Note – I was not paid for this review, but I was gifted a copy of Ciara's book. All opinions are my own.
Oh boy ! Looks great !


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The answer to our unruly Question Period?
Preston Manning
Special to The Globe and Mail
This article was published more than 12 years ago. Some information may no longer be current.
Chris Bolin
The most frequently televised image of the U.S. Congress is the congressional hearing: senators sitting in judge-like dignity on a dais, interrogating some brilliant or villainous (but always interesting) witness.
The most frequently televised image of the Canadian Parliament is the daily Question Period: opposition members and cabinet ministers adversarially seated two sword lengths apart, hurling insults and retorts in the guise of questions and answers across the floor of the House of Commons.
Our American friends display one of the most attractive features of their elected chamber on TV; we display one of the least attractive features of ours. So what should be done?
When 52 Reform Party members were elected to the House of Commons in 1993, we sought, from the position of the third party, to make the Question Period more civil and productive. For the first four months, we tried to ask substantive and genuinely information-seeking questions on the issues of the day and to refrain from theatrical challenges to cabinet ministers merely for the sake of drawing attention to ourselves. We even gave ministers advance notice of our questions, assuring them that a substantive and civil reply would be followed by a substantive and civil supplementary question, not a gratuitous rejoinder.
But none of this was successful in altering the traditional pattern and decorum of Question Period one iota. Most ministers, the prime minister in particular, carried on in the usual adversarial manner. And the English media were especially harsh in charging us with naiveté, stupidity and ineffectiveness.
Whereas Bloc Québécois members (who formed the official opposition at the time) were generating all kinds of heat and provocative headlines for the French media by questioning ministers in the traditional manner, we were generating nothing of the kind for the English media. Soon, our own supporters, especially in Western Canada, were also accusing us of ineffectiveness, saying "we never see you on television."
While this particular bid to reform Question Period had to be reluctantly abandoned, another attempt is about to be launched by Michael Chong, the Conservative MP for Wellington-Halton Hills, hopefully with greater success.
Mr. Chong's Motion 517 calls for the standing committee on procedure and House affairs to recommend changes to the standing orders of the House of Commons that would reform Question Period.
The aim of such reforms, as specified in the motion, would be to strengthen the dignity and authority of the House by "elevating decorum and fortifying the use of discipline by the Speaker."
In particular, the motion calls for the committee to consider lengthening the amount of time given for each question and answer and to examine the convention that ministers need not answer the questions asked.
And taking a leaf from the procedures of the British House of Commons, where Question Period is generally considered more productive than ours, the motion calls for the committee to consider setting aside Wednesday - the day when all the party caucuses meet and when the largest numbers of members are present - exclusively for questions to the prime minister. Monday, Tuesday, Thursday and Friday would be dedicated to the questioning of ministers other than the prime minister in a way that would require them to be present two of the four days to answer questions concerning their particular portfolios.
Although Motion 517 has been moved by a government member, it is not partisan in nature and deserves support from all members who want to see Question Period made more credible. A brief e-mail, note or phone call to your MP urging him or her to support the motion would be helpful in ensuring that it passes and is acted upon.
Since all of the provincial legislatures also have Question Periods that suffer from the same defects and criticisms as that of the federal House, it would be useful if similar motions were moved and supported in each of them as well. Surely 11 simultaneous inquiries into how to make Question Period a credit and not a discredit to our political system would be able to generate innovative and substantive reform proposals of benefit to all.
Most House leaders and Question Period co-ordinators I know feel that no matter what reforms are made, they are likely to be met with skepticism, ridicule and opposition from the media. This is because from a news-generating standpoint, a Question Period characterized by negative, antagonistic, exaggerated and emotional exchanges is much more newsworthy than one characterized by positive, co-operative, moderate and rational exchanges.
Parliamentary and legislative committees addressing Question Period reform should therefore tackle this obstacle head-on by specifically soliciting input and suggestions from their respective press galleries. There must be some way of making Question Period more civil, productive and newsworthy, and the sooner we find it, the better it will be for Canadian democracy.
Preston Manning is a former leader of the opposition in the House of Commons and is now president and chief executive officer of the Manning Centre for Building Democracy.
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The 10 Most Valuable Athlete Brands in the world.
Cristiano Ronaldo is the only footballer to be named in a list of the 10 Most Valuable Athlete Brands in the world.
That means the Real Madrid forward beats his rival Lionel Messi, according to a st coudynducted by American business magazine Forbes.
Chelsea are preparing for Jose Mourinho's departure following Saturday's implosion at West Ham.
Just three weeks after Roman Abramovich publicly backed the Portuguese following a poor start to the season, Mourinho's job is back under review by the Blues board.
The Lille goalkeeper had earlier insisted he will not walk out on Nigeria, but will take a decision on his international future after a meeting with the leadership of the country's football.
Aston Villa has parted company with coach Tim Sherwood following their eighth defeat of the Premier League season at home to Swansea City.
Pep Guardiola's future is looking far from Munich. According to Catalan sports daily Mundo Deportivo, the Bayern Munich coach, whose contract is due to expire in June 2016, has a verbal agreement with Manchester City's Director of Football Txiki Beguiristain, to take over from Manuel Pellegrini as City manager for next season.
Kwadwo Asamoah will be out for three weeks, after suffering a muscular injury in Juventus 2-0 win over Atlanta on Sunday.
The Ghana international was a first-half substitute as he replaced Roberto Pereyra in the 37th minute of Juventus' 2-0 win over Atalanta in the Serie A match on Sunday.
Claudio Ranieri has admitted that Real Madrid or another of Europe's elite clubs could price Jamie Vardy away from Leicester City, but only for a big fee.
That means the Real Madrid forward beats his rival Lionel Messi, according to a study conducted by American business magazine Forbes.


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Two Former Viking Coaches Signing (Video)
By Ryan Rapoport November 18, 2015
Above is an iFolloSports.com original video of former Minnesota Vikings coaches Bud Grant and Jerry Burns signing autographs. This scene took place Saturday, at Fan HQ Apparel and Collectables, in the Twin Cities suburb of Eden Prairie, Minnesota.
Grant is the most legendary coach in Vikings history, guiding the team to four Super Bowls in the 1970's; behind the famous "Purple People Eaters" defense and Hall of Fame quarterback Fran Tarkenton. Even though the Vikings lost all of those Super Bowl appearances, winning four NFC titles still stands as an incredible accomplishment. Grant also won four championships as a CFL head coach in the 1960's. He is a member of both the Pro Football and Canadian Football Hall of Fames.
Burns was a longtime Minnesota assistant coach, prior to serving as the Vikings head man from 1986-1991.
Both Grant and Burns are 88-years-old.
Lucky Whitehead Signing At Cowboys Camp (Video)
Chad Greenway Appearing At Caribou Coffee (Photo)
Teddy Bridgewater's Rookie Hardware (Photo)
Chris Kluwe Book Signing In Santa Monica (Video)
Malcom Floyd Continues To Shine With Fans (Video)


text:
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UNDERSTANDING PSYCHOSOCIAL FACTORS IN RETURNING TO WORK AFTER INJURY
By robintekAugust 1, 2008No Comments
We all know that persistent pain from work-related injuries affects an employee's attitude about returning to work. Unfortunately, the psychological ramifications of chronic pain can also result in prolonged legal action, increasing legal fees, large settlements, and ultimately, failure of the employee to return to work. So, how can we prevent chronic pain from escalating workers' compensation costs?
In a study titled Integrating Psychosocial and Behavioral Interventions to Achieve Optimal Rehabilitation Outcomes that appeared in the December 2005 issue of the Journal of Occupational Rehabilitation, researchers studied the psychological factors that impede an injured worker in returning to work:
Obsession. The persistence of the pain becomes so overwhelming that it is the only thing the employee thinks about.
Fear. The employee fears the possibility of becoming re-injured, which increases their current pain. As a result, the possibility of another injury and resulting disability cripples the employee psychologically and causes them to put off returning to work.
Perception. When an injured worker has been on disability leave for an extended period, they may feel that co-workers believe they are faking their pain. This causes uneasiness about returning to work and facing co-workers.
Self-fulfillment. If an employee believes they are not physically capable of returning to work because of the severity of their pain, this can lead to a failed transition back to the workplace.
In addition to internal factors, researchers noted that there are external psychosocial issues that can impact the injured employee's desire to return to work.
Co-worker support. When injured employees feel there is a lack of social support to help them transition back, they delay returning to work.
Job stress. Employees who believe that the stress level at work will intensify their physical pain tend to remain on disability.
Workplace attitudes toward disability. Injured employees who feel that the general attitude about disability is that it is a way to "milk the system" sometimes delay returning.
The researchers concluded that understanding the significance of the internal and external psychosocial factors on the employee's successful transition back into the workplace is critical to the design of return to work programs. First-line supervisors should be trained to detect if an employee is experiencing any of the psychosocial risk factors, as well as how to eliminate or lessen the impact of those risk factors.
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Subject: inconsistency in backquote spec?
'`(,@d) => `(a . b) or `(a)?
which suggests the correct value is `(a).
(APPEND ... D), which isn't true if D can be a dotted list.
I tried Ibuki, Franz, Lucid, and Genera.
In all of them evaluating '`(,@'(a . b)) => `(a . b).
correct, and the examples on pg. 351 incorrect?
either deconfuse or support me?
Next by Date: inconsistency in backquote spec?
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text:
STUNT tumbles into winning record
By Joelle Fisher
STUNT began its season in full force with two perfect performances on back to back weekends. The team sits at a 7-1 record with only one loss to Davenport by a 12-18 margin.
"STUNT season is my favorite time of the year because I love the atmosphere and energy that game days bring," said Morgan Thompson ('18).
"It's an experience and feeling that I haven't been able to find anywhere else," said Thompson.
"It's fast-paced and pushes both the athletes and coaches to strategize, think, react and perform under pressure," said Michelle Sabourin, head cheer and STUNT coach.
During its 2016-2017 season, the girls lost to Davenport with a score of 14-17 at College STUNT National Championships in Dallas, Texas. The team's achievements put them at second place overall at the tournament.
"Being involved in STUNT makes me a better athlete because there is a major emphasis on teamwork," said Erica Kuiper ('18).
"Every individual plays a role in the game and we all have to work together to produce the best outcome," said Kuiper.
This season the girls are focusing on striving for perfect routines so that their only option is to win or tie. More STUNT teams have formed in the past few years which has lead to more competition and room for improvement within Alma's team.
"As coaches, we try to treat each team and each season as a new start, and progress the team to grow and improve," said Sabourin.
With the addition of nine new freshmen to the team, the girls are ready to chase their dreams and show off their hard work.
"I set a 5-year plan when I was hired, and my team met every goal in year two," said Sabourin.
"Since that time, we have just worked on being the best we can be every day, having purposeful practices, and making the most of every opportunity to get better," said Sabourin.
The team wrapped up their regional play on Sunday, Feb. 18. Alma College hosted the STUNT tournament at Art Smith Arena and invited University of Michigan, Michigan State University, Olivet College, Davenport University and Ferris State for competition. (See goalmascots.com for results)
"I want the girls to withhold the culture that we've worked so hard to build and ensure that it continues after they are gone by teaching and mentoring the new members," said Sabourin.
Feb 19, 2018, Joelle Fisher, Sports
Spring teams prepare for break travel
Scots track gets six firsts at Aquinas meet