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Mandatory vaccines in the workplace – a decision not to be taken lightly
Whilst government has made it clear that it does not intend on making Covid19 vaccination compulsory for citizens of our country, it remains to be seen how factors such as the availability of the vaccine and the possible mutation of the virus would impact this position in the years to come.
With government implementing its vaccine rollout campaign, employers may give some thought to implementing a mandatory vaccination policy in the workplace. However, many may be uncertain about the implementation of the policy, what factors to consider, what steps to take.
Currently, there is no law prohibiting an employer from implementing a policy that will place an obligation on its employees to be vaccinated. This may become a much-needed risk-mitigating tool, especially to health professionals or nursing homes, for example. Whilst some time may pass before the vaccine is available to the general public, employers should familiarise themselves with the applicable legal principles and, where necessary, consult and educate employees before implementing a mandatory-vaccine workplace policy.
Compelling an employee to undergo vaccination may limit certain constitutionally entrenched rights such as the right to dignity, bodily integrity and the right to freedom of religion, belief and opinion. However, the constitution also sets out certain circumstances under which certain rights may be limited, such as the nature of the right in question, the extent of the limitation, the importance of the purpose, the relation between the limitation and the purpose and less restrictive ways of achieving the same purpose. Courts consider whether the limitation is reasonable and justifiable. It remains to be seen how courts will measure the concept of what is considered reasonable in this regard.
Summary of the new Consolidated Directive dated 11 June 2021
The Department of Labour issued its consolidated directive on Occupational Health and Safety Measures in the workplace on 11 June 2021, which combines previous directives but also provides some guidance to decision-makers in determining the fairness of a mandatory vaccination policy.
The directive provides that an employer should, inter alia –
notify the employee of its right to refuse on medical or constitutional grounds,
transport the employee (or to provide such) to and from the vaccination site;
where an employee falls ill as a result of symptoms associated with taking the vaccine, give the employee paid time off to recover and where he no longer qualifies for sick leave, submit a claim under the COIDA act.
Where the employee refuses to be vaccinated on medical or constitutional grounds, the employer will be obliged to either notify the employee of his/her right to consult with a health and safety/union or counsel the employee.
The employer should, where the vaccine may impede the health of the employee, seek to reasonably accommodate the employee in a position that may not require him/her to be vaccinated.
Reasonable accommodation for employees who refuse or cannot comply due to health reasons will be dealt with in accordance with the Code of Good Practice of Employment of Persons with Disabilities in terms of the Employment Equity Act, to which the directive refers. Measures will include the option of working remotely, in isolation or the requirement to always wear a N95 mask.
Only time will tell how courts will deal with this issue and the concept of fairness when it comes to implementing compulsory vaccination policies.
Herewith a few factors to be considered by employers before drafting or implementing
The viability of alternatives such as masks social distancing. How effective have these measures been historically. Where ineffective, what are the reasons therefor? In many cases, some of these measures were ineffective, mostly because employees failed to adhere to these rules, for instance, not wearing masks. The employer may then remedy this situation by merely warning employees or implementing stricter health and safety protocols.
The nature of the workplace
Past trends of infection in the workplace
The possible risk to third parties if employees are not vaccinated
Exposure to high-risk environment/public
The possibility of working remotely
The financial implications – can the employer afford vaccinations to be administered
The application of POPI
The provisions of the Protection of Personal Information Act of 4 of 2013, applies with regards to the employees' vaccination history and medical information. All personnel records should be kept locked with limited access, and one responsible person, preferably the appointed information officer, should account for the safety and secure storage of such information in terms of strict protocols and policies.
The drafting and implementation of a policy that limits an employee's constitutional right to dignity, bodily integrity or any right should not be considered lightly by any employer and should not be embarked upon without first seeking specialised advice. Certain issues discussed above, may give rise to potential litigation in addition to staff morale being negatively affected. It is advisable to thoroughly consult and assess the working environment, explore alternatives and educate and encourage staff to accept and agree to a policy in a positive manner in the spirit of fighting this pandemic.
Article by: Janeske Greeff
Dispute Resolution Official – Cape Town
Carlien Nienaber2021-06-18T12:49:37+02:00June 18th, 2021|General|Comments Off on Mandatory vaccines in the workplace – a decision not to be taken lightly


"The Company" means AST Language Services Ltd. "Work" means any translation, interpreting, typesetting, artwork, printing or any other services supplied by the Company. "Client" means any person, firm or company to whom the company shall supply or contract to supply work.
All quotations which shall be in writing are given subject to confirmation by the Company upon receipt of the Client's order and no contract shall be concluded until such confirmation is given. Each order when accepted constitutes a separate contract. Any written quotation for Work will remain open for acceptance for 30 days after despatch and thereafter will lapse unless otherwise stated in writing.
4.1 Prices quoted are exclusive of VAT and delivery charge. An additional charge may be made for all expenses incurred by the Company at the request of or by agreement with the Client which are not included in the quotation or which the Company considers reasonably necessary.
4.2 Payment for Work shall be made within 30 days from the date of the invoice unless specifically agreed in writing by a Director of the Company.
4.3 The terms of payment of the price shown on the Company's invoice is of the essence of the contract. If the Client fails to make payment on the due date specified on the invoice the company will, without prejudice to any other rights or title, be entitled to add an interest charge at the rate of 1.5% per month until such time as full payment plus interest charges is effected by the Client.
5.1 Dates or periods for completion of Work are only best estimates and the Company is not liable for the consequences of any delay. The Client must specify a completion date (if material) when commissioning the Work but whilst the Company shall make every reasonable effort to meet the Client's requirements, late delivery shall not entitle the Client to withhold payment for Work done.
5.2 Should the completion of Work be required sooner than the normal time required for its proper production and in any event where commissioned Work is supplied by fax, every effort will be made to secure freedom from defects, but reasonable allowance must be made by the Client in such cases. Should such completion of Work necessitate overtime being worked or other additional costs being incurred, a charge will be made to cover the increased cost.
5.3 The Company accepts no liability for the consequences of any delay in completion of Work caused by the Client and in such events, any agreed deadlines or delivery schedules will automatically cease to be valid and new dates must be negotiated.
6.1 If the Client for any reason cancels work which he has commissioned, charges will be payable for all the completed Work up to the cancellation date and for all other costs and expenses which may accrue as a result of such cancellation.
6.2 If the Client suspends or postpones Work he has commissioned for a period of 7 days or more, charges will be payable for all commissioned Work up to the date of suspension or postponement and for all other costs and expenses which may accrue as a result of such suspension. In any other case such charges will be payable upon completion of Work.
7.1 A complaint by the Client in respect of any Work shall be notified to the Company in writing within 5 days of the receipt of the Work by the Client.
7.2 Subject to the terms of Clause 9, the Company will accept, liability for damage, death or personal injury caused by the negligence of the Company or its employees or sub-contractors (being negligence as defined in Section 1 of the Unfair Contract Terms Act 1977) provided always that the maximum liability of the Company in relation to damage shall in no case exceed the contract price for the Work. For the purpose of the clause 'damage' means loss or damage whatever (other than death or personal injury) directly or indirectly attributable to any negligent act or emission of the Company, its employees or sub-contractors. The potential losses that might be caused by the failure of the Company or its employees or sub-contractors to complete Work, the subject of a contract, or to take any particular precaution or care (whether as a result of breach of contract or negligence) or to avoid doing any act are so great in proportion to the sums which can reasonably be charged hereunder by the Company, that the Company and its employees and sub-contractors cannot and will not assume any liability whatever in respect of any loss or damage however caused outside or beyond the express provisions of these Conditions.
7.3 In the event that the client is dissatisfied with the completed Work a rebate may be granted off the total invoice value. Unless the client can demonstrate gross negligence in the supply and completion of the work, this rebate shall be up to a maximum of 30% of the invoice value.
7.4 The Client shall indemnify the Company against all claims, proceedings, costs and expenses for which the Company may become liable in respect of Work completed under a contract except to the extent of the liability admitted expressed in these Conditions.
8.1 Notwithstanding any other forms or any contract the Company shall not be required to translate, typeset, interpret or print any matter which in its opinion is or may be illegal or libelous nature. Where copyright subsists in texts to be translated or typeset or printed by the Company, it is presumed that the Client has obtained all consents necessary for such work to be carried out.
8.2 The Company shall be indemnified by the Client in respect of all claims, proceedings, costs and expenses arising out of any libelous matter printed for the Client, or any acknowledgement of copyright or patent or design or other third party right.
9.1 All documents, paper or other property supplied to the Company will be held or dealt with by the Company at the Client's risk and the Company will not be responsible for the consequential loss or damage thereto.
9.2 The Company reserves the right to destroy or otherwise dispose of any document, paper or other property of the Client which has been in its custody for more than 12 months following completion of the Work to which it relates.
10.1 If any Client or associate uses the services of a relevant person other than pursuant to a contract with the Company, the Client shall forthwith pay to the Company: (a) where the relevant person becomes an employee of such Client or associate a sum equal to 15% of the gross annual remuneration of such relevant person or a sum of £10,500 (exclusive of VAT), whichever shall be the higher, and (b) in any other cases, the sum of £8,500 (exclusive of VAT).
10.2 For the purposes of this Clause 'associate' means any partner of the Client and any company in which the Client or any firm in which he is a partner holds not less than one third of the issued equity share capital (as defined in Section 744 of the Companies Act 1985) and any subsidiary of such company which owns directly or indirectly not less than one third of the issued share capital of the Client. 'Relevant person' means any translator, interpreter, typist, typesetter, artist, proof-reader or other person who shall have been engaged with or as an employee or independent contractor by the Company and who shall have provided Work for such a Client directly or indirectly through the Company within six months preceding the use of their services by the Client or an associate as aforesaid.
In the event of Force Majeure (which shall be strike, fire, Power failure, industrial dispute, civil commotion, natural disaster, acts of war, and any other situation which can be shown to have materially affected the Company's ability to deal with the Work as agreed), the Company shall notify the Client immediately, indicating the circumstances. Force Majeure shall entitle both the Company and the Client to withdraw from the contract for the Work but in any event the Client undertakes to pay the Company for Work already completed. The Company will assist the Client to the best of its ability to place the Work elsewhere.
These conditions shall be interpreted in accordance with English Law and the Company and the Client irrevocably submit to the non- executive jurisdiction of the English Courts.
13.1 The provisions of this Clause shall also apply to the supply of Work as defined in Clause 1.1 and are supplementary to the foregoing..
13.2 Under the Copyright Act 1956, copyright subsists in the translation of any text and where the Company is the proprietor of any copyright in any other Work, the Company in agreeing to supply Work impliedly licenses insofar as it is able to do so the reproduction of publication of the Work. However, in the event that payment is not received in accordance with Clause 4.2 this said licence shall be automatically revoked and the Client shall not be at liberty to make use of any work in which the copyright of the Company subsists.
13.3 Whilst the Company undertakes to use its best endeavour to produce an accurate and idiomatic translation of the original text, the Client must accept that a translation may in some cases read differently from good original writing and so no liability is accepted by the Company for an alleged lack of advertising or sales impact. The Company shall be under an obligation to indicate or correct errors or omissions in original material supplied by the Client.
13.4 Where a Client has specified a particular use for translation Work and subsequently desires to use the translation for a purpose other than that for which it was originally supplied, the Client must obtain confirmation from the Company that the translation is suitable for the new purpose. The Company accepts no liability where a translation is used for a purpose other than that for which it was originally supplied and reserves its right to make a further charge for any amendments necessitated by the use of a translation for a new purpose.
13.5 Where the contract for work provides proofs or texts to be submitted to the Client for approval, the Company shall not be liable for any errors not corrected by the Client or any amendments or modification made by the Client in the proofs or texts so submitted.
14.1 This Clause shall apply exclusively to the provision of interpreting facilities by the Company and Clauses 1-12 above shall also apply save to the extent that they are inconsistent with any provisions of this Clause when the provisions of this Clause shall prevail.
14.2 Documentation and relevant reference materials should be supplied to the Company as early as possible and in any event to arrive not less than 48 hours before the start of the assignment so that the interpreters have time to familiarise themselves with the specific terminology needed. No complaints regarding the quality of interpreting will be entertained by the Company if these materials are not made available.
14.3 Where a Client provides accommodation and meals for an interpreter, no Per Diem charge will be made nor will travelling expenses of an interpreter be charged to the Client if the Client supplies the relevant air/train tickets to the Company in advance.
14.4 If for any reason the Client cancels the assignment 100% of the relevant working day, non-working day and/or preparation day fees will be payable if the Company is informed in writing of the cancellation more than 7 days prior to the start of the assignment. 75% of such fees will be payable if the company is informed in writing 10 days prior to the start of the assignment and 50% of such fees 14 days prior to the start of the assignment. After 14 days the Client will be subject to no penalty charge whatsoever.
14.5 In the event of sickness or injury of an interpreter prior to or during an assignment, the Company will use its best endeavour to find a replacement interpreter but no liability is accepted by the Company for failing to do so.


Elizabeth Gooding's complaint alleges the YMCA violated Rhode Island's Civil Rights Act and is guilty of gender discrimination.
Elizabeth Gooding alleges she was twice asked to not breastfeed near the Ocean Community YMCA's child-care area because "young boys" would see her, according to a complaint filed in Washington County Superior Court.
The American Civil Liberties Union of Rhode Island is taking legal action against a local YMCA for allegedly violating a former employee's right to breastfeed her daughter inside the facility.
In February 2015, Elizabeth Gooding—a former yoga teacher at the Ocean Community YMCA, Westerly, Rhode Island—said she was twice asked to not breastfeed near the center's child-care area because "young boys" would see her, according to a complaint filed in Washington County Superior Court.
After the episode, Gooding met with the local Y's president, Maureen Fitzgerald, who told her to be more "discreet" with her breastfeeding, the complaint said. By the end of 2015, Gooding was told she was no longer permitted to bring her baby to the mother-and-baby yoga class she taught, after which she stopped working at the Y.
"If a mother cannot feed her baby in the day care of a family establishment, where can she nurse?" Gooding said, according to an article by the Washington Post. "The YMCA should be supporting breastfeeding moms and their babies, not deterring them."
Gooding has also called on women to gather at their local YMCAs for a "nurse-in" on June 11.
This is not the first conflict surrounding public breast-feeding in recent years. In March 2015, The Earlywine Park YMCA in Moore, Oklahoma, drew criticism after an employee asked two breastfeeding moms to do so in the family locker room rather than in the women's locker room. LA Fitness faced a similar controversy over an April 2014 incident involving a breastfeeding mother.
YMCA spokesman Brad McDermott said incidents such as Gooding's could be the fault of young or part-time employees who are unaware of state policies and "simply not exposed to breast-feeding on a regular basis," according to the Post report. McDermott said at least 20,000 of the YMCA's 250,000 nationwide employees work on a part-time basis.
"Breast-feeding is something we actively encourage of mothers and families who are members of the YMCA, and something we support in accordance with the recommendation of the American Academy of Pediatrics," McDermott told the Post.
Gooding's complaint also claims the Y violated Rhode Island's Civil Rights Act and is guilty of gender discrimination.
"The statute is quite clear and, on the face of it, the YMCA does not follow state law," H. Jefferson Melish, the ACLU attorney representing Gooding, told the Post.


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Integrated Producers as Project Managers
Integrated production in creative land started out as merging the production of digital, broadcast, print and almost all other production into production department in the agency. This happened because many agencies shifted their creative philosophies, talent and structure to better orient themselves to create ideas unencumbered by specific media; agencies shifted their core principles to being media agnostic.
As agencies began to tear down silos, the transition to having one hub for managing production and project management made sense. Creative firms rarely find themselves working on one type of project anymore, and having one producer manage the content helped to coordinate the larger creative campaigns.
Addressing an ever widening landscape of creative work
As we have moved to having multi-disciplined projects, the producer model allows a central project manager like person who has an understanding of everything that goes on. In the integrated producer model, you are more than likely going to have a team of producers who have the critical thinking experience needed to work across different disciplines, but may be an expert with a deep understanding of one or more unique disciplines. Having a team of producers allows you a group of key people who can handle not only a large diversity of work, but they can also collaborate and work off of each other's specialities to get the best work produced as possible.
The mentality of the producer is one that searches to solve problems, building teams in-house as well as outside the agency to do the impossible, to help wrangle complex scheduling and budgeting and negotiating and orchestrating a complex set of inter-related projects.
The producer model can also be found in a production services company as well as on the digital agency side. Integrated production shifts the emphasis to looking at the big picture, with the thinking that producers will look to the best way of accomplishing a project. This was similar to how broadcast production companies used producers, as well as digital agencies who found themselves working directly with agencies.
The emphasis on who makes up the best integrated producer in agency has also changed. Many single silo'ed producers had a hard time making the switch to handle multiple platforms. However, integrated production is less interactive central now, as the diversity of platforms and creative, technology and content needs has changed.
Protecting Creativity
It's okay not to have all the answers, but having a producer mentality focuses the energy into finding the answer. Now, the expectation is not that the producer knows every answer themselves, but can call on their peers, their team or help to bring in outside partners or artists that they can call on at any time to see the project through.
Improved Budgeting / Profitability
In this model, budgeting comes into line with the producer. The concept is basically to allow the team to focus on strategy and creative, with the producers sitting alongside. Together, with other agencies specialists (like a creative technologist) they will build out the budget and advise on what platform or ways that a client is going to get the most out of their budget.
When Integrated Production Makes Sense — Content, Content, Content
We no longer create on one platform anymore. How people consume content is changing, we are drifting away from the broadcast commercial model to content living simultaneously on second screens and smart devices. High quality creative content is still in demand, even as the way we are watching it has changed to on-demand culture.
How we are reaching audiences has changed, as well as the media mix. We may still communicate using traditional media, but we are now dealing with communicating with smaller audiences, in more unique ways, building content that is social and sharable friendly.
The "user journey" in the digital world has merged. The journey of the consumer can include, traditional media, digital, email, direct marketing, the retail space, social, experiential, event, loyalty & CRM programs. The integrated producer model helps to support an agency process that starts with a larger discovery period before getting to the conceptual stage.
Agencies have implemented the integrated model in a few different ways. However, more than likely, integrated agencies are going to be creating content that is story-driven and perhaps heavier on the immersive side.
Integrated advertising has changed in meaning through the years. But the intent is the same, to weave similar experiences through multiple channels, platforms, technology and touchpoints.
Integrated production and project management workflow is also driven by agency culture. Technology doesn't drive decisions, creative decisions drive the technology.
Integrated driven agencies are also shifting where they look to build content. In both large and small agencies alike, you are seeing more agencies build internal production capabilities; from development, motion graphics, to shooting video, photography, editing and animation. Agencies are looking to respond to their client's audience faster, and with more original content then ever before.
Depending on the agency, the team structure of integrated production can vary;
Integrated Producer (from SOW, content to end-to-end producing and project management)
Integrated Producer (SOW & Content Development) & Project Manager (managing day-to-day work and resource allocation)
Integrated Producer (SOW & Content Development) & Project Manger (managing day-to-day work and resource allocation) & Technical Lead or Scrum Master (overseeing development)
One of the reasons why integrated production came into being was because agencies and marketers are challenged with costs and efficiency. How do you create, commercials, print, digital, and social media content in a cost effective, but engaging way?
However, the old model of "create once and reuse often" is being seen as somewhat limited. Content in today's communications world, can get stale very quickly. So even in the integrated producer model you are seeing new practices being applied.
Central to the integrated model is working within in teams, that cover a number of different channels. These team members are brought into the mix as the larger umbrella thinking progresses from strategy into discover and creative phases. Many agencies embrace the team structure in a semi-agile like manner, where teams work on the clients business and can react quickly to take advantage of cultural, technical or media opportunities.
Agencies are also building internal teams that will work with the larger team model that have autonomy to quickly work on a client's business to take advantage of timeliness.
Integrated production models can follow through on either type of advertising model, taking advantage of near-time as well as working in "big idea" environments.
What makes for a great integrated producer?
Being an integrated producer is very similar to being a creative project manager. In many agencies, the integrated producer is the project manager.
You have to have a deep set of skills in one or more area, digital, broadcast, product, etc.
You have to be a good critical thinker who can realign teams on a heart beat.
You have to live and breath, creativity, design and innovation.
As a big agency hub, you have to fit into the culture seamlessly across all levels.
Client-facing skills
Find the best way to produce any given idea.
Integrated producers mean different things at different agencies and when they hire, they might be looking for different types of integrated producers to round out or fill in. Integrated Producers can live within an agency that has other internal processes as well, where interactive work is run with project management or with product / scrum methodologies.
Integrated Project Management Breakdown - Large Agency
Integrated Producer Head of Technology Project Manager
Client Kick-Off Client Kick-Off Client Kick-Off
Production Kick-Off Production Kick-Off Production Kick-Off
SOW Creation SOW & Estimate Review Estimate Creation
Production Methodologies Technical Audit Resource Allocation
Source Production Partners Manage Development Manage Schedule
Manage Partners Manage Tech Partners Project Execution
Production Review QA Production Review QA Production Review QA
Integrated Project Management Breakdown - Digital Agency
Integrated Producer Tech & Creative Leads Scrum Master
Client Kick-Off Client Kick-Off
SOW / Estimate Creation Story Points / SOW Story Points / SOW
Production Methodologies Technical Audit Backlog
Source Production Partners Manage Development Manage Scrums
Integrated Project Management Breakdown - Team Based
Integrated Producer Team
Production Kick-Off Production Kick-Off
SOW / Estimate Creation Story Points / SOW
Production Execution Audits
Manage Partners Execution
Production Review & QA Production Review & QA
Integrated Managers are tuned to managing cross-functional teams
Integrated producers act as project leaders of small groups of individuals that can cross both formal and informal functional departmental boundaries and levels of hierarchy. The teams are created by the integrated producer (who acts inconjunction with other producers to handle staffing resources) to commit to a common goal — typically formed for a project, program or by client for a finite amount of time; the team acts and works as one unit. They communicate frequently, cooperating and providing mutual support, coordinating activities, drawing upon and exploiting the skills and capabilities of each other, while considering the needs of individual members to meet the larger project goals.
Small cross-functional teams can have an advantage over other structures in an organization to accomplish a project than individuals acting alone or in a large, permanently structured hierarchy setting. The belief is that cross-functional teams, improve the quality of the outcome (by diversity of discipline) and become committed to see the project through to the end.
Cross-functional teams can be formed by producers in a number of ways.
They can stretch across all project phases and include, strategy, business analysis, project management, designers, creatives, developers or technologists to name a few.
They can work together as a unit full-time, meet once, or meet on a regular basis.
Cross-functional teams can network together in smaller groups.
Individuals in the team can bring in additional experts or network with the other specialists to bring back new learnings.
They can be directed by a project (or team) manager, be self-organized or have facilitated delegation of tasks.
When teams work in groups that are multi-disciplined, they can bring together a wide range of knowledge, experience and problem solving skills to the table that enable projects to be tackled with multiple perspectives and thinking. The value of cross-functional teams is that there is a greater depth and understanding of a wider range of perspectives to look at a problem.
To build cross-functional teams, firms need to support them not only on the organization level, but support them through the stages of team formation so
To build cross-functional teams, firms need to support them not only on the organization level, but support them through the stages of team formation so that they can become effective groups.
We build Cross-functional teams so,
They share a common vision, and are committed to achieving a common purpose.
They share leadership roles as well as responsibility for processes, project progress and outcomes.
They are both individually and mutually accountable to each other and to their collective performance.
They agree on a common way of working, establishing rules of engagement with each other in how they will contribute to the team's efforts.
Every member displays respect, trust and openness to each other, and encourage open communication, exploring each others ideas and have an active problem-solving approach that is transparent between all team members.
They are dedicated to doing the best job they can at all levels.
They can assess their own collective progress and work and will help each other to complete the final outcome.
The firm supports them with systems, structures and frameworks that allow them to work in this fashion.
The idea of establishing cross-functional teams is simple, it is to create a flat-structured way of working that ignores hierarchical structures and constraints.
As the firm grows, you look to build additional dedicated and ad-hoc teams to scale your organization, without having the baggage of creating lots of unnecessary levels of hierarchy.
Working in cross-functional teams creates a peer environment, where members can share their knowledge to improve the overall level of decision-making. Teams are meant to increase efficiency, as they can come together quickly, work and complete projects, they are not limited to a particular set of skills or roles and can be redeployed as projects come to completion.
Because the team has shared goals, the team shares in working towards achieving those goals.
Integrated project managers play an important role in cross-functional team structures as well. They can help establish goals and help the team set priorities, a backlog of tasks and manage project constraints. They act as the main provider of information and can help the team seek out unanswered questions, or unclear information. They can help the team through the formation process, and analyze, measure and report on individual abilities, training or skill issues. They can also participate in creative team problem solving or conflict resolution and contribute their own technical or functional experience with the team.
Newer PostTrust & Authentic Feedback
Older PostThe Power of Teams

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Alpha And Omega Full Movie Watch Online Download Free 720p Download
Posted by Online Free Movie on March 12, 2015	Posted in: Hollywood Movie, Top 100 Hollywood English Movies Of All Time Watch Online, Watch Movies Online.
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Alpha And Omega Full Movie Watch Online Download Free .Alpha and Omega is a 2010 3D American computer-animated comedy-drama film produced by Crest Animation Productions. The film is directed by Anthony Bell and Ben Gluck, starring the voices of Justin Long, Hayden Panettiere, Dennis Hopper, Danny Glover and Christina Ricci. It is based on a story by Steve Moore and Ben Gluck.The film was released in 2-D and 3-D on September 17, 2010 to 2,625 theaters nationwide by Lionsgate. Despite the mostly negative reception, the film was a box office success, making it the highest-grossing animated film from Lionsgate Films.
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Fits right in with the band.
Nice job by Rob. Any work on what happened to Mat Jardine and why he is apparently absent from this part of the tour?
I'm not sure what's gone on with Matt, but my guess is that he's just missing this last leg.
I've never been super familiar with Bonfiglio, beyond noticing that he has of course worked with Carnie/The Wilsons/Wilson Phillips and that orb (as has Matt Jardine). I wouldn't have assumed he would be a "falsetto guy." I've listened to a few YouTube clips from the beginning of the BW tour and he seems to sound just fine. I mean, I think Matt is by far the best guy they've had in that role so I hope he's coming back. But this seems like a fine fill-in (I would understand if they didn't try to phone up Eichenburger to fill in considering his seemingly abrupt jump to Mike's band a few years ago).
Obviously he's "worked" with Carnie, being her husband and all.
According to Al, Matt's taking time off to spend the holidays with his family.
I'm aware he's Carnie's husband. Folks may be aware of only one or the other of the factoids that he's married to Carnie, and also regularly plays with Carnie in many if not most of the touring incarnations she goes out with.
And even being aware of both for decades now, I wasn't specifically aware that he would be a "falsetto" guy. He seems to be doing a solid (if not meeting Matt's admittedly high bar) job.
Like HeyJude & many BBs fans, I recognize the name, iirc he went along with California Saga band as guitarist yrs back. This is new to me that he sings as well, let alone falsetto.
Eichenberg is so good. I think he's been the best "Brian" theyve ever had. I wonder if he moved to Mike and Bruce to make room for Matt Jardine joining his dad and Brian on the road.
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Q: How does Ornstein-Uhlenbeck arise in quantum mechanics? The Ornstein-Uhlenbeck operator, defined here is a self-adjoint operator on $L^2(\mathbb R^d)$ (with respect to Gaussian measure).
I've heard it comes up in QM, and I'm wondering how? Does it represent some observable and does it have a conjugate variable?

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Posted by Julianna_C on Monday, 05 October 2015 in Animals
World Animal Day Signals Renewed Campaign to End Abusive Elephant Shows
Leading conservation charity World Animal Protection has renewed its plea for the tourism industry to put an end to abusive elephant rides and shows, calling on leading travel brands to join the growing list of companies who are opposed to the practice.
Making the call on World Animal Day, the charity says 63 travel companies have now signed up to its elephant-friendly tourism pledge, signifying a major shift in attitude in the industry.
According to World Animal Protection, elephants used for rides and performances have to endure a high degree of suffering in order to be trained. Baby elephants are separated from their mothers at a young age, isolated, starved and beaten in order to break their spirits in a training method known as "the crush". It is estimated that 3,000 elephants are suffering in captivity today in entertainment venues across Asia and southern Africa.
Many elephant parks offer rides to tourists, while some force the elephants to perform tricks in shows or pose for photos or selfies. Elephant safaris are a common feature of holidays in countries like Thailand, but the charity want to make clear: "there are no cruelty-free elephant rides".
Kate Nustedt, international director of wildlife at World Animal Protection, said that in the last month alone dozens more companies have signed up, which is a "a strong signal from the travel industry that it wants change".
"It's definitely the start of a shift," says Nustedt. "We're changing the attitudes of the industry in terms of animal entertainment. Once people see what happens behind the scenes at these venues, they don't want to be involved with it any more."
Among the major brands that have signed the pledge so far are TUI Travel in Belgium and the Netherlands, and The Travel Corporation. Individual companies include Intrepid Travel and World Expeditions.
Brett Tollman, chief executive officer of The Travel Corporation and co-founder of the TreadRight Foundation, said: "We are proud to collaborate with World Animal Protection in the interests of ensuring the industry embraces animal-friendly tourism and strengthens wildlife protection."
World Animal Protection also hopes that the Thomas Cook group - one of the biggest names in travel – will make a wide-reaching commitment to the cause. This week Thomas Cook agreed to stop selling elephant rides and shows in its northern Europe markets and the charity is calling on the company to now sign the pledge and extend this across its global markets.
"Thomas Cook is the oldest and best known name in travel," says Nustedt, who describes the company's current position as "contradictory". "Over 22 million customers choose to travel with them each year, with sales of over £8.5bn, demonstrating the importance it could play in stopping the promotion of elephant rides."
Signing the pledge means the company acknowledges the cruelty involved in using elephants for entertainment and that they commit not to sell, offer or promote venues involved with this kind of attraction.
Tagged in: Africa Elephants elephant elephant conservation elephant PETA elephant poaching elephant population smuggle elephants
Godzilla Niño and the Blob
Grow Trees Grow Hope
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100,000 elephants killed in Africa, study finds - Wildlife Conservation August 26


A quick TBT to some fire drone footage from Hawaii last year. Drop some love in the comments if you'd like to see more videos like this!
Big blue on the left. Rad clouds. Highway 1 and a 500 year old growth redwood towering through the forest. Big Sur is magnificent.
On the wings of freedom flying through the most distant horizons! Live the day of freedom.
#dji #djimavicpro2zoom #djimavicpro2 #djimavic #djimavicpro #djiglobal #aerialphotography #southflorida #sunrisefl #photography #dronephotography #landscapephotography #drone #aerialrealestate #realestatephotography #Aerialvideo #DronePanorama #DroneGear #quadcopter #aerialart #sunset #DronePointOfView #DroneOfTheDay #dronedaily @thedroneu #dronepilots #aerialview #droneaddicts #droneofficial #quadcopters #kwcphotography Aerial photography taken with the DJI Mavic Pro 2 Zoom in sunrise, Florida.


Finished the 2011 Buller Gorge Half Marathon Run in 01:41:35 in F4554 class!
She came 1st in class and 126th overall!
No photos of Julie Tweedie in 2011 , we may still be uploading/processing, check back later.


This accurate replica of Martes pennanti shows the pronounced canines typical of members of the weasel family. Fishers are opportunistic feeders, with their preferred food being rabbits. They are also one of the few animals able to prey successfully on porcupines. Despite their common name, fishers rarely eat fish. 4" long. Attractive, protective display case "D" is also available - please see Related Products below..


McG, who previously directed 'Charlie's Angels' and 'We Are Marshall,' is at the helm of this new film about two CIA agents who realize they are dating the same woman (Reese Witherspoon). This action comedy looks like a bromantic version of 'Mr. and Mrs. Smith.' In fact, one of the film's writers is 'Smith' screenwriter Simon Kinberg. However, in this film, Chris Pine and Tom Hardy will be the ones battling it out instead of Brad Pitt and Angelina Jolie. I enjoyed 'Smith,' so I think 'War,' which seems to follow a similar format, has potential.
The trailer strikes a tired note when it shows the two agents flipping their computers around to reveal they are dating the same woman. The whole love triangle angle feels a bit tired, especially for Witherspoon, who was caught in a love triangle in her recent pic 'How Do You Know.' Also, Chelsea Handler's presence in the film makes me want to steer clear.
Despite Handler and the love triangle, I'm still looking forward to this new comedy. I'm a big fan of both Witherspoon and Pine, so I think they could add renewed energy to this story. If this film is as fun as 'Smith,' it will definitely be worth a look.


Home → Uncategorized → Guarantee Success!
Do you measure your sales conversion rate? If so, is it as high as you would like it to be? The chances are that there is room for improvement for most businesses. If you are spending money on advertising and marketing to effectively buy prospective customers and not converting those prospects into buying customers, then you are wasting money.
One of the reasons that people don't buy from you is that they perceive that they are taking risks in purchasing your product or service. These risks include not being satisfied with the product or service, it not being what they really need, not getting value for money or not getting what they paid for. So how can you help customers to overcome their fear of these perceived risks and make buying from you a safer option?
Well, a great way of doing this is to offer a compelling guarantee that will make their purchase risk-free, or at least lower the risk so that it is no longer a perceived barrier to their buying decision. By offering a great guarantee, you will differentiate your business from your competitors and make it much easier for customers to buy from you.
Many businesses however are nervous of offering a cast-iron guarantee because they believe that a large percentage of their customers will take them up on it and therefore it will cost them a lot of time and money. But if you don't believe yourself that you have a great product or service and show your confidence in your product by offering a guarantee, how can you expect customers to believe in it?
In fact, studies have shown that only a small percentage of customers ever take businesses up on their guarantees – only about 1 or 2%. If you have a strong product or service, excellent customer service and are selling to people who want or need your product or service (i.e. you are not not mis-selling), then you should have few complaints.
Generally, people don't like confrontation, and if they are satisfied then you won't get any complaints. If your customers are generally happy now about your products or services, by offering a risk-free guarantee you will just highlight the quality of the service you give already.
So what makes a great guarantee? Well actually, if you think about it, you probably already have a guarantee, you just don't publicise it. If a customer phoned you to complain that your product or service was unsatisfactory, what would you do? Would you just say, "Sorry, there's nothing we can do about it?" Or would you replace the item or re-perform the service to the customer's satisfaction? My guess is the latter: I believe that all good businesses would do whatever it took to make the customer happy.
So there you have your guarantee – you are just not making the most of it yet. Obviously you need to think about how to describe and refine your guarantee and it is worth spending some time to find the right guarantee that will benefit your business the most.
Look at what your competitors and even businesses in other industries are doing to get some ideas. Are the guarantees specific, or a general "Satisfaction Guaranteed" type? Are they time limited, or a lifetime guarantee?
Play to your strengths – if you have great customer service, the biggest range of products or a great after-care team, consider focusing on these aspects for your guarantee.
Consider what the customer wants or particular problems customers face when buying from your industry and seek to address those issues within your guarantee, as long as you can deliver on your promise! Keep the guarantee simple and focus on the customer's needs.
What form will the guarantee take? A stress-free, money back guarantee is a good place to start. But if you really want to differentiate yourself from the competition, it may be necessary to be a bit more creative. Try and exceed your customers' expectations and make an impact – that way, they will be more likely to buy from you again and to recommend you to others.
Test the effectiveness of your guarantee by assessing the impact on your sales and change the guarantee if you need to, to find one which works best for you. Why not ask your customers what they think too?
Once you have identified a compelling guarantee, then you need to make sure that your prospective customers know about it. Make your full guarantee, in writing, part of all your advertising and marketing material. You can add it to business cards, your website, your brochures etc. Don't forget too to make sure that your sales staff tell customers about it, whether they be selling face to face or on the phone.
How you communicate your guarantee is important, so you may want to get some help or feedback before committing it to print. Use strong, positive words and phrases and be specific so there is no doubt in the customer's mind what you are guaranteeing and that you have 100% confidence in your product or service.
Your guarantee can be a strong marketing tool, so if you don't have one, now is the time to take action, differentiate yourself from your competitors and guarantee better sales!


1. "RS" on the remote control display indicates that the "I FEEL" feature is activated.
The feature can be switched off by pressing the "I FEEL" button on the remote control.
When "I FEEL" is activated, the heat pump will measure the ambient temperature inside the remote control and regulate the room temperature according to the temperature measured around the remote control. If the remote control does not have line-of-sight to the inside of the appliance, i.e. if there are any obstacles between the remote control and the inside, it will instead regulate the temperature using the sensor inside the appliance.


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Guilderland teacher puts 3D printing skills to work for Face Shield Project
Corbett is a technology teacher at Farnsworth Middle School
By Adam Shinder | April 29, 2020
PHOTOGRAPHER: Marc Schultz
Max Corbett checks on the 3D printing process for the Northeast Face Shield Project at his home in Altamont.
GUILDERLAND — Max Corbett took his first steps into the world of 3D printing as a technology teacher at Farnsworth Middle School in the Guilderland Central School District.
Over a couple of years, it evolved into an at-home hobby, and it was through another hobby of his — skiing — that Corbett was able to find a way to put his 3D printing chops to work during the COVID-19 crisis.
Matthew Bramble of Niskayuna, the administrator of the Skiology Facebook group, was looking to turn his network of followers into a group that could find a way to provide reusable face shields for hospitals in desperate need of Personal Protective Equipment for front-line health care workers.
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Corbett, who lives nearby in Altamont, offered to help work on the prototypes of the headpieces for the Northeast Face Shield Project.
In the first couple weeks of the initiative, Corbett printed about 250 headpieces on his own, and the group — which is spread across the Northeast — recently delivered a shipment of 500 face shields to Good Samaritan Hospital in Ossining, with plenty more on the way across the region.
Corbett recently spoke to The Gazette to discuss his work with the Northeast Face Shield Project.
Q: First off, how did you get into 3D printing?
A: I'm a middle school teacher for Guilderland. I teach technology and we do a unit on CAD, which is computer-aided drawing. A couple years ago, we were able to acquire a 3D printer, so when the kids draw things, if there's time we 3D print some of them and we talk about how that works. I ended up picking up a really inexpensive 3D printer about a year ago and just played with it at home, made a few little things here and there, fixed some stuff around the house with it.
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Q: How did that translate into joining the Northeast Face Shield Project?
A: I enjoy skiing and I belong to this Skiology [Facebook] group that does weather and conditions at different slopes in the Northeast.
Since they closed all the ski slopes, the guy that runs that — Matthew Bramble — he switched gears and said "I've got a following here of 10,000 people, let's see if we can 3D print some of these face shields" that he was looking at in the news. When he made the announcement that he was possibly doing that, I said "Hey, I'm in the Albany area, I'll prototype some of these for you." He found a few files online and sent them to me, and I 3D printed some and told him how they worked or if they didn't work, how easy it was and how long they took. That's kind of how I got involved, as sort of one of the pioneer 3D printers in the Albany area. From there, the group just grew and grew. We settled on a design that was standardized and he expanded it from New Jersey to Maine, I believe.
Q: What's the process like for you on the production end?
A: I talked to the school and they let me take two of the printers home, so I have three running on my workbench right now. About every two hours I get seven [done]. It should be eight, but I always seem to have a problem where I forget to go out and get them, or one of them runs out of filament or needs a little tweaking.
The original design was done by a guy, I believe, in Sweden. He put three versions online — a Swedish version, a European and a North American. I downloaded that and started printing with it. It takes a spool of plastic, and it's kind of like hot glue where it just heats it up and then squirts out a layer of it. Then the print head moves up a little bit, squirts out another layer and it builds it, layer by layer. It takes a while to 3D print. It can make one in about 45 minutes. Some people can do it a little faster, some do it a little bit slower. I think we have about 100 printers running [across the entire project]. It's just constant monitoring, watching to make sure we have enough plastic. Sometimes they'll pop off the print bed when they're printing, so you've got to keep an eye on that. Basically, you run out there every couple hours, you start another one and away they go.
Q: As a teacher who can't be in the classroom right now, how satisfying is it to be able to find an outlet to pitch in during this crisis?
A: I'm doing half a day's worth of paperwork every day, because I still have to grade stuff and make assignments for the kids, so as long as I'm sitting around, it's like "You know what? I can help out by making these face shields." The health care workers, they're on the front lines. [I'll do anything I can] to help keep them safe, so in case I get sick or a family member gets sick, those people are healthy to take care of the people who need health care. Since we're so short on supplies, why not 3D print some of those supplies if we can? Through the Northeast Face Shield Project, it just solidified everything and got it working.
Q: So it would seem like the more challenging part of this actually comes on the distribution end?
A: Anyone can 3D print a face shield. The hard part is, how do you get it to a hospital? You can't just go and knock on the door and say, "Hey, here are these things I made." They'll kind of go, "Well, how do they work?" By having an organization where there's printed directions and they're prepackaged, they come presterilized, that is fantastic.
Q: With hospitals in desperate need of PPE, how important is it to provide something like this that's reusable and easily cleaned?
A: They can be washed and sterilized a number of ways. Each [headpiece] comes prepackaged with three face shields, so they can wash the face shield a few times and then if they start getting scratched and kind of foggy, you can throw that one out and put a new one on the headpiece. The headpiece can be reused, and if they run out of face shields, they can be bought at a local office supply store. The headpiece is the 3D printed part that goes on like a headband, and the shield is clear plastic that's got holes made by a standard three-hole punch.
Q: 3D printing is obviously something that's become much more accessible to everyday people in recent years. Is it satisfying to see this as a way regular consumers can use something like this to play a part during this pandemic?
A: 3D printing's been around since the '80s, but it's definitely reached a price point now where the average person can afford to buy one of these to play with it. Most people just download things off the internet and print things like desk organizers, or little toys for their kids, nameplates and things. Now, it's like, "Holy cow, I can print something that can hopefully keep somebody safe."
Q: What's the next step going forward?
A: So far, all the plastic I've bought with my own money just to donate to the cause. There's a GoFundMe page going, and I think we're at $13,000 or $14,000 that we've raised [as of April 13] to help pay for these PVC shields, to offset some of the cost of the plastic and the gas needed to deliver them. There's a lot of volunteer hours and volunteer donations going into it.
We're raising money through our GoFundMe page, and if anybody has a 3D printer we're looking for more people to print. Those are the two big things right now.
Images: Friday demolition of the former R.J.'s Ritz Terrace in Schenectady (4 photos)
Images: Schenectady Soup Stroll prep for Saturday (8 photos)
Patroons: Riccitello's Restaurant owners awarded Schenectady's highest honor
Weekend plans: Capital District Mayor's Cup, Food and Wine Festival among top picks
Categories: News, Rising to the Challenge, Special Sections
Downtown Schenectady Bombers Burrito Bar closing, employees told
EDITORIAL: Warning: Variable ice poses a danger


Located on nearly a half-acre this home sits on a private cul-de-sac lot. This 5,232 sq. ft. home is perfect for entertaining or family gatherings. The main level includes a large great room with a stone gas fireplace that combines the living, dining and kitchen areas. Also, on the main level is an expansive deck with built-in BBQ and an outdoor fireplace. The cathedral tongue and groove ceilings with oversized windows provide plenty of natural light for a warm and inviting gathering place. The lower level includes a large family room with a fireplace, wet bar, refrigerator, and a covered patio. The master suite with a sitting area includes a fireplace, walk-in closet, and a private bath. An office/den area is located just off the master suite. A second master suite with a private deck is also located upstairs. There is plenty of room for your cars and ATV/UTV in the expanded 2-car garage. Other amenities include a wine room, mesquite hardwood flooring, screened-in porch, a dog run, and a bonus room.


Short end of the yield curve inverts. The spread between 3- and 5-year, as well as 2- and 5-year Treasury yields turned negative yesterday for the first time since July 2007, though neither are reliable indicators of a pending recession. Instead, investors are effectively putting the Federal Reserve (Fed) on notice that its projected path of rate hikes between now and the end of next year is too aggressive. Fed fund futures currently suggest we'll likely see two hikes next year at most, which aligns with our outlook, as global investors (and the Fed) start to appreciate the effects of the Fed's balance sheet reduction, the impact of dollar strength, and the lack of threatening wage pressures.
Manufacturing activity remains robust. The Institute for Supply Management's manufacturing index for November (59.3) came in ahead of consensus expectations for a 57.5 reading, up 1.6% m/m. New orders were up 4.7%, while the prices component was down 10.9% (showing increasing prices), with aluminum the most cited commodity up in price. Respondents flagged shortages, longer lead times, and tariffs as headwinds, though a healthy business environment and steady orders were positives. Final US Markit PMI Manufacturing for November (55.3) came in slightly below the 55.4 estimate, though new orders increased at fastest rate since May. Overall, manufacturing activity remains firmly in expansionary territory.
Rate hike expectations drop. Market expectations for rate hikes dropped significantly last month as strengthening economic headwinds weighed on investors. In an LPL Research blog due out later today, we'll highlight Fed fund futures' implied probabilities for rate increases next year, and provide our thoughts on the Federal Reserve's recent rhetoric around policy.
NEW LPL Market Signals Podcast. In our latest episode, listen to LPL Financial Chief Investment Strategist John Lynch and Senior Market Strategist Ryan Detrick discuss the Fed, trade issues with China, and the price of crude oil on the economic climate and what it holds for the near future. Subscribe to the free Market Signals podcast series on iTunes, Google Play, Spotify, or wherever you get your podcasts!


text:
/**
 * Local dependencies
 */
const Algorithm = require('./Algorithm')

/**
 * EcdsaParams
 */
class EcdsaParams extends Algorithm {

  /**
   * Constructor
   */
  constructor () {}
}

/**
 * Export
 */
module.exports = EcdsaParams

redpajama_set_name: RedPajamaGithub


Game Day: Day 3 began 3 years, 9 months ago on July 8, 2015, 3:26 a.m.
3 years, 9 months ago Tremendous Taste was executed on day 3!
3 years, 9 months ago Mithross was executed on day 2!
3 years, 9 months ago EXAKT Science was executed on day 1!
3 years, 9 months ago A new game was created by imgay!


Just moved to Los Angeles? Welcome to our city, we are here to help you get settled in. We have 3 great "Weclome to Los Angeles Specials, that will include frame, futon/or innerpsring and cover all at one super price. We are the oldest futon store in Los Angeles...We hand make all our futons right here at the Futon Factory L.A...we believe in small buisness and the community.
All of Futon Factory L.A. foam products are now made with soy bean foam. For more information about soy bean foam, click the link below: .
New online specials available today. Exclusive online prices!
New pet beds are here! Custom pet beds made from Microfiber fabric with removable covers! Call the store for more details.
Futon Factory L.A. would like to thank you for coming to their website by giving you a 10% off coupon. Just print out the coupon and present it to the sales person at the store. *Coupon can not be used in conjuction with any other sale or discount.


Nicole Brown is a Ph.D. candidate in classical art and archaeology, with a concentration on Roman art, architecture, and topography in the republic and early principate. Her particular interests include literary and artistic representations of farming, gardens, and rural life or settings, ranging from the agronomic writings of Cato, Varro, and Columella to the genre of "sacro-idyllic" landscapes and the rustic calendar mosaics from the provinces. Nicole is currently at work on her dissertation, " 'Rus sub urbe': Building the Ideology of a Rural Past in Republican and Early Imperial Rome," which explores how Romans conceived of their capital city and its evolving architectural forms as being superimposed on top of a pre-existing rural topography, thus ensuring a vital sense of continuity with their rural past, beyond mere nostalgia or conceit. In 2014, her research was supported by an Affiliated Fellowship from the American Academy in Rome.
Nicole has a B.A. in classics from Mount Holyoke College and an M.A.T. degree in Latin and classical humanities from the University of Massachusetts, Amherst. Prior to coming to Princeton, she taught Latin in public and private schools and served as the special projects coordinator/associate director of the not-for-profit Charles River Conservancy in Cambridge, MA.


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Offshore wind energy in China
China will choose the sea off eastern Jiangsu province to build the country's first wind farm of offshore wind power projects.
The four wind power projects include two wind farms near shore plants, each with installed capacity of 300 megawatts (MW), and two built on tidal flats with a capacity of 200 MW each, said Shi Lishan, deputy director of the new energy department under the National Energy Administration (NEA). Public bidding for the four wind energy projects will start at the beginning of next month, he said.
"Construction of offshore wind power projects will be one focus of China's wind energy industry in the future. As the country boasts rich offshore wind energy resources, China has great potential in this field," said Shi.
Shi added that the construction of offshore wind power projects costs much more and requires more complex technology compared with wind power projects built on land.
China has finished construction of a pilot offshore wind power project near Shanghai. Investment of the project is 2.5 times of an on land project with the same capacity, said Shi. China's wind power industry has seen over 100 percent year-on-year growth in the past four years. The country's installed wind power capacity has reached 25 gigawatts (GW), the second-largest in the world.
The country plans to build seven wind power bases with a minimum capacity of 10 GW each by 2020, in a move to further increase the use of the clean energy.
The seven bases are: Jiuquan in Gansu province, Hami in Xinjiang Uygur autonomous region, Hebei province, western Jilin province, eastern Inner Mongolia, western Inner Mongolia, and Jiangsu province.
Once completed in 2020, the seven bases will have combined capacity of around 120 GW, when the country's total power capacity is projected to be 1,500 GW, Shi told China Daily earlier. Construction of these bases would require an investment of around 1 trillion yuan, he said.
However, with the rapid development of the wind power industry, some problems in the sector also emerged. For instance, it is hard for many finished wind power plants to connect to the grid. Commenting on the issue, Shi said the government needs to improve its planning for the development of wind power and grid capacity.
By Wan Zhihong, China Daily, www.chinadaily.com.cn
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Home » Actress » Robyn Lively Wiki, Husband, Divorce, Boyfriend and Net Worth
Robyn Lively Wiki, Husband, Divorce, Boyfriend and Net Worth
Date: 13 Nov, 2016 Report This
Movies, TV Shows
5 feet 8 inches(173 cm)
139 lbs(63 kg)
Baylen Johnson(son), Kate Johnson(daughter), Wyatt Johnson(son)
35-26-36 inches
Robyn Lively is one of those American actresses who still maintained her career and her personal life and carries on the family legacy.
She has been popularized through some of her performances in movies such as Teen Witch and TV shows such as Doogie Howser, Saving Grace, and M.D. She was born on 7th February 1972 making her 44 years in age.
She was born in Powder Springs, Georgia to a family of actors. Her mom her step father and all her four siblings are or have worked in the entertainment industry.
She began her career as an actress at a very early age as a child actress. At the age of six, she made her screen appearance in the television movies Summer of My German Soldier (1978).
After that appearance, she was seen in many TV shows throughout the 1980s.
Her mother Elaine Lively is a talent manager, and her four siblings Lori and Jason and her half-sibling Blake and Eric are also some how linked with the industry through various professions.
She got married at the age of 27. Her husband is also an actor. She has three children first pregnant to her first baby named Baylen then to her second child and named Kate and to her third child Wyatt Blake; they reside together in the Hollywood Hills.
She stands tall with the height of 5 feet and 8 inches i.e. 1.73 in meters.
She also has starred in many movies and was also nominated for awards such as Young Artist Award for her movies such as Boone, Knight Rider, Wildcats and Teen Witch and got nominated for the Daytime Emmy Awards for ABC Afterschool Specials.
Her estimated net worth is around $500 thousands till date.
She also has many followers in twitter and is very popular among the fans in social sites and wiki sites such as Instagram, Facebook, and Wikipedia.
Thanksgiving game: And your bro in law depicts you as a 90 year old meth addict (Pretty sure my teeth aren't THAT yellow dude)
Thanksgiving game: And your bro in law depicts you as a 90 year old meth addict ????(Pretty sure my teeth aren't THAT yellow dude) pic.twitter.com/81UDtFGNLc
— Robyn Lively (@RobynLively) November 26, 2016
Somewheerre overrr the rainbowww blue birds flyyyy...
???? Somewheerre overrr the rainbowww blue birds flyyyy... ????
A photo posted by Robyn Lively (@robynlively) on Nov 27, 2016 at 12:31pm PST
She has a very excellent body figure and has maintained her body measurements consistently. She can be seen with her hot, sexy and elegant personality put into a blending utility.
She can also be seen in many photo shot in and off the set with her legs exposed through a beautiful dress.
There weren't any reports or rumors of her being indulged in any affairs or dating before her marriage, nor has there been any hoax of her having a divorce with her husband.
As for her prior marriage affair, there must have been countless numbers of men who wanted to be her boyfriend and husband.
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Purpose: Deliberate self‐harm (DSH) is a serious public health problem and, although in the past research has focused mainly on the DSH patient, it is now recognised that parental involvement in the therapeutic process is beneficial. This study aimed to understand parents' concerns, expectations and experiences following an episode of deliberate self‐harm in young people in order to identify their support needs.
Design/methodology/approach: This was a qualitative study using a phenomenological approach. Data were generated primarily from face‐to‐face, in‐depth interviews with parents of young people who had self‐harmed and with health professionals directly concerned in the management of DSH patients.
Findings: The study suggests that an incident of DSH by their son or daughter is an extremely traumatic experience for parents. Parents reported being deeply distressed with feelings of helplessness, they had concerns regarding coping with their child on discharge from hospital and were worried about the possibility of future incidents. These anxieties were exacerbated by a perceived lack of information and support from some health professionals. These results suggest that parents need more support and if given this they might be enabled to better contribute to improving the long term prognosis for their child.
Originality/value: The information reported here may help health professionals to engage more fully with parents as they have a key part to play in the success of the therapeutic process. The findings could be used to increase awareness and understanding amongst health professionals and so facilitate the development of mutual trust and understanding between all parties involved in the therapeutic process.


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Maintaining Atmosphere while Game Porting
Game porting is a time-intensive task. While it's often said it might not be a very complicated one, it certainly has its own challenges. These challenges are often worth it, however, in delivering your game to new audiences and platforms!
Porting can sometimes be a one-to-one exchange but in many cases, it presents a multitude of changes and requirements that must be fulfilled. If the engine has been updated to a newer version since launch, it can mean a lot of work adapting and upgrading.
Lighting and shaders are often the first thing on the list which were two of the key issues our team encountered with the porting of Warhammer 40,000: Deathwatch. When it comes to any game, atmosphere is absolutely key in preserving player immersion. For a game set in a universe like Warhammer 40,000, atmosphere is almost as important as the core gameplay.
Why to Consider Atmosphere when Game Porting
Aside from the technical specifications and accurately porting a game to look and act like its original, atmosphere in gaming is something that must always be considered.
And each project has its own focus, each world has its own type of atmosphere. When it comes to porting something like a Warhammer 40,000 game, our team understood the importance of atmosphere in that setting. It's vital a game porting team understand the intent of the game they are porting. While Deathwatch is a turn-based, tactical and strategic squad game, it emphasises the last line of defence for humanity in that world.
Warhammer 40,000 is a franchise spanning more than 30 years with a rich and developed universe. It is a grim and dark setting where humanity is not just and virtuous and there are enemies on all sides. Even in the lightest moments of hope, there is the constant shadow that this is just one victory in an entire galaxy. Aliens, mutants, heretics, and more attack humanity and one another in a constant ballet of death. There is only war and only a few stand against the endless tide of enemies within and without.
Naturally, this translates to quite a striking visual style. And that is before we approach the unique visuals of the ancient gothic architecture mixing with strange futuristic and alien (or xenos) technologies. So, when our team approached porting this game – this was on their minds. This was the atmosphere the developers had created and one that we didn't want to compromise.
Atmosphere and Technical Requirement in Game Porting
For this project in particular, the team were porting the game onto PS4. And because Unreal Engine 4 had been upgraded post-release, much had changed. As the team upgraded the game to the modern version of UE4, they found the whole look and lighting had changed. The shaders had multiple visual issues and weren't acting as intended.
Upgrading the engine on console meant a lot of individual checks on each element of the source code. This process of game porting requires time and a good eye for detail. For lighting, it's a matter of recreating the settings before. This might sound simple but it is a process of back and forth, looking for the exact specifications and trying to emulate them in a newer version.
As for shaders, it depends on the complexity of the shader itself. You can try similar existing shaders to match the older version. Or you can attempt to modify the existing specifications on a shader to match. This is, naturally, much harder to execute on a complex shader so it is up to a game porting team to make that decision. For this project, we found the closest approximate shader and modified it from there.
Other Technical Requirements to Consider in Game Porting
Stepping briefly outside of the atmosphere, the game porting team at Starloop Studios also mentioned the importance of SDK matching for console porting. SDKs go by different names on each platform – it means Software Development Kit. On PlayStation, it's an SDK and on Xbox, it's a GDK or Game Development Kit.
These are tools that match the unique version of the console's code. Simply put, engines like Unreal and Unity, release updates to match the updated SDKs and GDKs. And in this case, the original Deathwatch game ran on an outdated Unreal Engine 4 version. Which meant the SDK didn't match the updated PlayStation system. This is why our team had to update the Unreal Engine 4 version rather than just adapting it for a new platform.
The version of the engine and its correlation with the existing APIs, SDKs, and GDKs must always be considered when preparing for game porting. Just a little tip from our team to yours!
If you'd like to have your game expertly ported to another platform, get in touch with Starloop Studios. With twelve years' experience in the art of game porting, we'll always deliver high-quality results that you can be happy with!
Are you looking to plan your next Gaming Project?
Look no further than Starloop Studios.
Get in Touch with Starloop Studios
By Karl Quigley|2022-10-19T15:24:35+01:00October 13, 2022|Featured, Game Development, Game Porting|0 Comments
Defining Animation and VFX in Video Games
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January 5, 2023 | 0 Comments


text:
Global Issue
Breaking the 'girl code' and internalized racism
Vi Nguyen
Photo source: Yilmaz Akin, Unsplash
"What you did was messed up!"
Those words encompass how I felt about myself when I reflect back to one time I participated in "show and tell" during first grade. One of my classmates, Teresa, showed how she spoke to her older sister in Vietnamese.
As she did so, my hands flew to my ears like I had heard an intolerable screech. My "fight or flight" mechanism kicked in and I ran out of the classroom. At that time, I could not fully comprehend why.
My teacher ran after me and told me to apologize to Teresa.
Looking back, I'm glad she spoke out because who knows whether Teresa would've been teased by my classmates or felt ashamed about herself simply because of me. I thought I was the only one with a story like this. Except, I was not.
There were more stories from fellow Asian American women like Sandra Oh, who talked about disliking their own appearances or distancing ourselves from anything Asian because it wasn't 'cool' in the eyes of their non-Asian peers.
I didn't know there was a word to describe this experience until I listened to a lecture in a humanities class during my sophomore year of college. Academics labelled it internalized racism, which involves "maintaining or participating in the set of attitudes, behaviors, etc. ingrained in society."
Things started to make sense. Many Asian American women like myself have learned a deep lesson from American society: our "Asianness" is problematic. And even though it's not our fault, internalized racism is still a troubling and, unfortunately, common problem. When we exhibit it, we disempower ourselves and others.
How it affects us in real life
Internalized racism influences how we think about ourselves. TV Host Julie Chen, who recently faced backlash for siding with her husband and CBS Chairman Les Moonves in light of his past, documented how she was told by her White American boss to get her "Asian eyes done" in order to advance her career.
"More than half of Asian people are without a double eyelid and many of us are born with too much fat on the top of our eyes," Chen stated, before concluding her story with how her career 'sky-rocketed' after her surgery.
This incident highlights how societal pressures convinced her to change her physical appearance. She internalized racism by believing the generalized racist statements about her appearance, rather than rejecting what American society had told her. As a result, she made the tough decision to physical modify her body with surgery as a response to the racism she encountered.
However, others have responded to internalized racism differently. Maka T., a 24-year-old acquaintance of mine, talked about how she "teased fellow Asians" in order to "gain acceptance from her White peers." She elaborated further:
"When I was in high school, I said that the reason Asian men were so good at dancing was because they were 'small down there' and, therefore, flexible. I couldn't articulate the correlation between my internalized racism and my self-hatred, and it wasn't until my last relationship with a White man that I realized I needed to change. That relationship opened my eyes to the fact that no matter who I dated, well-meaning or not, they would never fully 'get it,' 'it' being defined as 'understanding the racial struggles I face daily.'"
Unfortunately, our internalized racism can also lead us to disempower other minorities with our actions. Recently, a video recording surfaced of an Asian American woman sitting at a table with a group of African Americans. Despite being told that the table was private, she told the African American woman and her group to "shut the f*** up," and didn't leave despite being asked to do so. In the end, the African American group attending the event was asked to leave while she was allowed to stay.
Afterwards, the video went viral, and she was called out by multiple news outlets as well as by several members of the African American and Asian American communities. Her internalized racism was reflected in her word choice and actions, singling out the African American group over groups of White Americans, and treating them more poorly. In this way she was asserting her assumed superiority over her African American counterparts by implying she was more deserving of the table.
Bringing about change
In order to address internalized racism, we have to take on the uncomfortable task of bringing the topic to light. This alone can be such a difficult task that even academic scholars, such as Dr. Karen Pyke, were discouraged from bringing it up by fellow Asian American scholars. Our goal should not be to generalize the experience of Asian American women, but rather to see the pattern in our actions and look for its broader implications.
We also have to educate ourselves on the topic, both the academic research and the lived experiences. After all, everyone who has internalized racism has a real impact on other minorities, and even fellow Asians. These instances can lead to greater injustices.
Finally, we should call out the behavior when someone exhibits internalized racism. Two weeks earlier, I had met Teresa again and all she asked me was, "Why?"
That simple word was enough to make me freeze. On my knees and feeling low, I understood the impact that my actions had had on her and after our long crying session, we told each other how exactly we had felt about that whole situation way back in first grade.
Even though I was initially hurt, because I thought she was calling me out as a person, I realized later that her words were not about me personally, but about my actions and their social implications. She forgave me in the end and helped me realize that while it is important to check ourselves, it's also ok to be human.
Asian Americans Love Yourself USA
Vi Nguyen is a recent college graduate majored in Asian American studies. Her passions are beauty, politics and social media with the hopes of empowering other minorities in the US. She enjoys traveling, doing her skin care routine, and writing about various topics from beauty to social issues.
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← The dangerous times are upon us
The Premier's credibility gap on climate →
The coronavirus learning experience
Posted on 27 July 2021 by Peter Boyer
Openness and honesty are leaders' most important lessons from Covid-19
At the dawn of 2021 Australia basked in the world's acclaim. We were the object lesson in keeping the dreaded virus at bay. Six months later we have been dramatically marked down, the global object lesson in what not to do.
That reputation is not entirely deserved. Australia can still claim that timely financial support kept its economy afloat, and that its growing skills in managing people and tracing contacts have kept thousands alive who would have died under other pandemic regimes.
But those skills weren't enough to suppress Delta, the coronavirus variant now sweeping the world. We were caught out by lockdown politics, specifically the belief that NSW could avoid lockdowns by using other measures. That was a mistake.
The other big question is vaccination. In the vaccine development phase Australia banked heavily on the UK-created AstraZeneca (AZ), which we could make in Australia. The government counted on AZ to see us through, ordering limited stocks of messenger-RNA (MRNA) vaccines. Another mistake.
With the lives and livelihoods of every individual in every business and community on the line, actually or potentially, this has to be the wickedest public policy challenge imaginable. While heeding scientific evidence, all leaders and officials – in government or not, elected or not – must also manage public perceptions.
Australia's vaccine plans were thrown into disarray in April by European reports that AZ shots could lead to a dangerous blood-clotting disorder that disproportionately affected younger people. The Australian Technical Advisory Group on Immunisation (ATAGI) advised that only people aged over 50 should get AZ, then in mid-June limited it to over-60.
As an AZ recipient I followed these events with a keen interest. I have now had both shots, with no discomfort and no side-effects, but I appreciate that some people, especially those with other health issues, would have been nervous at hearing ATAGI's advice.
The central issue here is the risk from the clotting disorder. ATAGI says the risk of a person under 50 getting the disorder after receiving a first dose of AZ is 3.1 per 100,000 doses, or 0.0031 per cent.
The risk of dying from an AZ-induced blood clotting disorder is much lower. In June Melbourne epidemiologist Hassan Vally calculated that it's about the same as being killed by a lightning strike and less than a 50th of the risk of dying in a car accident. Melbourne's Alfred Hospital reports that new treatments are reducing that risk still further.
Which puts the ATAGI advice into context. If the risk of death from receiving the vaccine is so tiny, should the nation regard that advice as the last word, or rather as a caution, to be assessed in light of the overarching need to limit the damage caused by Covid-19 itself?
ATAGI is thinking about this, and a fortnight ago advised that in an outbreak, younger people unable to get a Pfizer dose should "reassess the benefits" of AstraZeneca as opposed to "the rare risk of a serious side effect". Last weekend it went a step further, saying Sydney people should "strongly consider" an AZ dose if the preferred alternative, Pfizer, was not available.
The PM seems to have had a hand in this changed stance. He told a media conference last week that he was "constantly" appealing to ATAGI to review its AZ advice as "the balance of risk" changed. That was a potentially dangerous misstep: the independence of this crucial government agency is essential to its public credibility.
But Morrison was right in his analysis of the situation. The spread of the virus's Delta variant, with our biggest city as its epicenter, is clearly a greater risk than death from the clotting disorder. We should be rolling out AZ as fast as we can manufacture it.
The Sydney outbreak has done what Melbourne's multiple waves could not – change the prime minister's mind about lockdowns. Once a fierce opponent of restricting the movement of people, the PM said on Sunday that it was the key to getting cases down.
We don't want miracles from our leaders, but in this public health emergency we rightly expect them to be open and honest. From the outset the government sought to cover up its critical vaccine supply failure. Of all its mistakes, that was the worst.
The only sure way to end lockdowns is mass vaccination. Scott Morrison can only hope that ATAGI's new advice on AZ and a vastly better advertising campaign will bring forward the day when we can breath, move and mingle as we used to, all those long months ago.


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Phosphorylation of APC regulates activity. A) The activity of NLS2APC contributes to nuclear import of APC. While phosphorylation of the serine upstream of NLS2 results in a more active NLS, phosphorylation of the serine just adjacent and downstream of NLS2 inhibits NLS activity. Potential CK2 and PKA recognition sequences are shown in italics. B) p38 MAPK activates CK2 and inhibits PKA. Inhibition of p38MAPK results in reduced levels of nuclear APC. C) LEF/TCF and APC compete for β-catenin binding. β-catenin binds LEF/TCF with a higher affinity than unphosphorylated APC. In contrast, β-catenin binds CK1-phosphorylated APC with a higher affinity than LEF/TCF. CK2-phosphorylated LEF-1 shows stronger binding to β-catenin, but APC can inhibit CK2 activity.
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The living away from home allowances must only be paid in respect of travel for work, and not for training.
In a decision with important implications for the potential costs of training for employers, the Federal Magistrates Court has held that a trainee employee was not entitled to be reimbursed for travel, accommodation and meal costs when he attended work-related training courses.
Federal Magistrate Cameron held in CEPU v Excelior Pty Ltd  FMCA 621 that attending training is not "work" for the purposes of the Telecommunications Services Award 2010. The Award provisions that were considered by the Federal Magistrate are similar to working away from home allowance provisions that are contained in a number of Modern Awards.
Sean Butterworth entered into a traineeship for a Certificate II in Telecommunications with a company called Excelior. It was a formal New South Wales Apprenticeship/Traineeship Training Plan. Excelior is a labour hire company that provides a number of traineeships in partnership with Telstra Corporation Limited. Mr Butterworth was employed by Excelior and so was covered by training provisions in the Award.
Mr Butterworth lived in Albury, but was required to commence his training in Newcastle for a three-week period in May 2010. He then underwent further training at the Telstra Learning Academy in Sydney for four days at the end of May 2010.
The trip to Newcastle was about 760 kilometres each way. At Newcastle he shared accommodation with two other trainees (each paying about $50 a night), spending about $200 for groceries and, from time to time, lunches and other meals. While in Sydney he was paid a travelling allowance of $175 per night from Telstra.
Mr Butterworth was directed to attend further training in Newcastle from 11-29 October 2010. As before, he stayed in a flat with two other trainees, paying approximately $50 per night. He also paid for his own meals.
For each of the May and October training periods in Newcastle, Mr Butterworth was paid $600 gross by Excelior for "classroom recognition", but was not otherwise reimbursed for his expenses or paid any travel allowances by Excelior. He received some assistance payments from the NSW Government under its Vocational Training Assistance Scheme.
The CEPU applied to the Federal Magistrates Court for Mr Butterworth under the Fair Work Act 2009. It claimed that Excelior had breached the terms of the Award by failing to pay travel and living away from home expenses and allowances.
The CEPU asked the Federal Magistrates Court to rule on the meaning of "work" as defined in clause 17 of the Award (the "away from home" compensation clause) on the basis that "work" included "training" for the purposes of the "away from home" allowances.
Excelior disputed the CEPU's construction of the Award, denying that it was required to pay Mr Butterworth for his travelling time or for expenses incurred when staying away from home for the purposes of his training.
The CEPU submitted that the national training wage provisions in Schedule E of the Award relating to travelling and working away from home allowances applied to trainees.
"Time spent by a trainee… attending any training… in, or associated with, the training contract is to be regarded as time worked for the employer for the purposes of… determining the trainee's wages and employment conditions" [emphasis added].
That is, did the words in E.6.3 mean that training was work? If so, did clause 17 of the Award (which provided for travel entitlements and expenses incurred in the course of work) also apply to time spent in training?
Federal Magistrate Cameron held that Schedule E did not change the definition of "work" in the Award. He noted that there was a historical distinction between training and work in previous decisions. While clause 17 would compensate trainees who had to travel for work, it did not provide allowances for travelling for training purposes.
The Federal Magistrate was also asked to decided if the words "associated with… in attending " in relation to the provision "time spent by a trainee… in attending any training… in, or associated with… the training contract" meant that expenses associated with training, but not directly travel or the training, were compensable expenses, if training was included in the definition of work.
For this question, Federal Magistrate Cameron held that the words "associated with and in attending" do not expand the operation of cl. E.6.3 to activities or expenses beyond actual attendance at the training – activities such as the associated travel, accommodation and meals while at the training.
Further, clause 17 of the Award provided that payments for travelling time are to be based only on the travelling time that exceeds the time which the employee would normally take to travel from home to work. This provision itself makes it clear that the Award does not provide an independent source of travel allowances or compensation for travel expenses.
Check the Award provisions that govern your industry. What are your true obligations in respect of pay and conditions?
The distinction between training and work remains. The living away from home allowances must only be paid in respect of travel for work, and not for training.
It might still make good business sense to pay living away from home-style allowances for training to offer more competitive working conditions than rival employers and thus attract higher calibre employees. However, this may be a commercial decision rather than a legal necessity.