John ASHCROFT, U.S. Attorney General, Immigration and Naturalization Service, Respondent.
Charles H. Kuck, Schwartz, Kuck & Assoc., LLP, Atlanta, GA, Linda Jean French, Littler Mendelson, Atlanta, GA, for Petitioner.
Christine A. Bither, U.S. Dept. of Justice, Washington, DC, Anh-Thu P. Mai, Washington, DC, for Respondent.
Before BLACK and HULL, Circuit Judges, and HAND*, District Judge.
Abdul Itani petitions for review of a decision of the Board of Immigration Appeals ("BIA") dismissing an appeal from his order of deportation. Itani argues that his criminal conviction for misprision of a felony, 18 U.S.C. § 4, does not constitute a crime of moral turpitude for which he can be deported, and that he is entitled to a discretionary waiver of inadmissibility. After review and oral argument, we affirm the BIA's decision and deny Itani's petition for review.
Itani is a native and citizen of Lebanon. He last entered the United States in 1984 on a non-immigrant student visa. On January 20, 1987, the FBI arrested Itani in South Carolina for participating in a scheme to rent automobiles, report them stolen to local police and export them from Texas to Kuwait. On February 6, 1987, a federal grand jury in Houston indicted Itani on charges related to the interstate transportation of stolen automobiles, 18 U.S.C. §§ 2, 371, 2312. On January 5, 1988, Itani pleaded guilty to one count of misprision of a felony, 18 U.S.C. § 4. On January 7, 1988, the district court in Houston sentenced Itani to three years in prison and ordered him to pay a $25,000 fine, but suspended these sanctions in favor of three years of probation.
On August 29, 1991, Respondent Immigration and Naturalization Service ("INS") issued an Order to Show Cause charging Itani with being deportable (1) because he had been convicted of a crime of moral turpitude within five years after his date of entry and sentenced to confinement for a year or more, 8 U.S.C. § 1251(a)(2)(A)(i) (1991), and (2) because he was an alien who had remained in the United States for longer than the time permitted, 8 U.S.C. § 1251(a)(1)(B) (1991).
An act of baseness, vileness, or depravity in the private and social duties which a man owes to his fellow men, or to society in general, contrary to the accepted and customary rule of right and duty between man and man. Generally, a crime involving dishonesty or false statement is considered to be one involving moral turpitude.
United States v. Gloria, 494 F.2d 477, 481 (5th Cir.1974) (quoting United States v. Smith, 420 F.2d 428, 431 (5th Cir.1970) and Black's Law Dictionary 1160 (4th ed.1957)). Whether a crime involves the depravity or fraud necessary to be one of moral turpitude depends upon the inherent nature of the offense, as defined in the relevant statute, rather than the circumstances surrounding a defendant's particular conduct. See, for example, Rodriguez-Herrera v. INS, 52 F.3d 238, 239-40 (9th Cir.1995).
18 U.S.C. § 4. Such activity has been a federal crime since the First Congress, for "the common law recognized a duty to raise the `hue and cry' and report felonies to the authorities.... It is apparent from this statute, as well as from our history and that of England, that concealment of crime and agreements to do so are not looked upon with favor. Such conduct deserves no encomium." Branzburg v. Hayes, 408 U.S. 665, 696-97, 92 S.Ct. 2646, 33 L.Ed.2d 626 (1972) (citation omitted).
Misprision of a felony "require[s] both knowledge of a crime and some affirmative act of concealment or participation." Id. at 696 n. 36, 92 S.Ct. 2646. See, for example, United States v. Gravitt, 590 F.2d 123, 125-26 (5th Cir.1979) (requiring "affirmative action to conceal the crime" for conviction of misprision of a felony). Thus, mere failure to report a known felony would not violate 18 U.S.C. § 4. United States v. Johnson, 546 F.2d 1225, 1227 (5th Cir.1977).
Concealment of crime has been condemned throughout our history.... Although the term "misprision of felony" now has an archaic ring, gross indifference to the duty to report known criminal behavior remains a badge of irresponsible citizenship. This deeply rooted social obligation is not diminished when the witness to crime is involved in illicit activities himself. Unless his silence is protected by the privilege against self-incrimination ... the criminal defendant no less than any other citizen is obliged to assist the authorities.
Roberts v. United States, 445 U.S. 552, 557-58, 100 S.Ct. 1358, 63 L.Ed.2d 622 (1980).3 See also Dirks v. SEC, 463 U.S. 646, 678, 103 S.Ct. 3255, 77 L.Ed.2d 911 (1983) ("Misprison [sic] of a felony long has been against public policy.") (Blackmun, J., dissenting).
Therefore, for the reasons stated herein, we AFFIRM the decision of the BIA and DENY Itani's petition for review.
IIRIRA's transitional rules provide that "there shall be no appeal permitted in the case of an alien who is inadmissible or deportable by reason of having committed a criminal offense" described in specific enumerated sections [including crimes of moral turpitude, 8 U.S.C. § 1182(a)(2)]. IIRIRA § 309(c)(4)(G), reprinted in 8 U.S.C. § 1101 note. Notwithstanding this restriction, this Court retains jurisdiction to determine whether an alien is deportable under the immigration statute. See Lettman v. Reno, 168 F.3d 463, 465 (11th Cir.1999). Because judicial review is limited by statutory conditions, courts retain jurisdiction to determine whether those conditions exist. See id. As explained in Lettman, this determination involves considering whether the petitioner is (1) an alien (2) deportable (3) by reason of a criminal offense listed in the statute. See id. We thus have jurisdiction over [an alien's] petition for direct review to determine whether the BIA correctly concluded that [an alien] is deportable.
Farquharson v. U.S. Att'y Gen'l, 246 F.3d 1317, 1320 (11th Cir.2001). We review the BIA's statutory interpretation de novo, but defer to its reasonable interpretations. Moore v. Ashcroft, 251 F.3d 919, 921 (11th Cir.2001).
TheRoberts Court went on to state that for a Fifth Amendment privilege to be relevant, "[a]t least where the Government had no substantial reason to believe that the requested disclosures [were] likely to be incriminating, the privilege may not be relied upon unless it is invoked in a timely fashion." 445 U.S. at 559, 100 S.Ct. 1358. Thus, because the defendant in Roberts did not raise any self-incrimination issues before the sentencing court, the Supreme Court deemed them waived and described his assertion of them on appeal to be "an afterthought." Id. at 560, 100 S.Ct. 1358 (quoting Vajtauer v. Commissioner of Immigration, 273 U.S. 103, 113, 47 S.Ct. 302, 71 L.Ed. 560 (1927)). Itani has not raised any Fifth Amendment issues in this case.
We need not discuss an alternative ground for Itani's deportation — overstaying his visa — because Itani does not raise any issue related to it on appeal. In addition, we note that our conclusion,supra, that Itani was convicted of a crime of moral turpitude forecloses his adjustment of status. An alien in the United States applying for adjustment of status must be able to show he would qualify for admission to the United States, but conviction of a crime of moral turpitude renders an alien inadmissible. See 8 U.S.C. § 1255(a) (1994) (requiring alien to be admissible in order to be eligible for adjustment of status to permanent resident); 8 U.S.C. § 1182(a)(2) (1994) (declaring inadmissible "any alien convicted of ... a crime involving moral turpitude").


text:
Q: How do I know if a class has a method in java and how do I invoke it I need to know if a java class has the method
public double getValue()

if there is a method. I need  call the method.
Sorry, I forgot to say that this need to do at runtime

A: You could use Class.getMethod() to get the Method object, and then Method.call() to invoke the method.
getMethod() will throw NoSuchMethodException if the class doesn't have a method with the requested name and signature.

A: You need to get the class, and then the methods from the class.  Assume angst is your object.
Object angst = new Object();
Method[] methods= angst.getClass().getMethods();
for(i=0; i<methods.length; i++) {
    if(methods[i].getName().equals("getValue") {
        //some boolean stuff
    }
}

A: You must use java Reflection

redpajama_set_name: RedPajamaStackExchange


With a solitary win over regular wooden-spoon rivals Scotland, Nick Mallett did not disappoint in his maiden Six Nations as Italy coach, but he did not surpass expectations either.
Results-wise, the campaign is a step back from last season, when the Azzurri secured their best showing of two wins under his predecessor Pierre Berbizier.
From the start, however, the South African said that his first Six Nations would be tough, as he set about getting to know his players and instilling the style of play he wanted in them.
Competitive performances were what he most wanted to see and, apart from the 47-8 drubbing in Wales in the third game, he has grounds to be satisfied even though his men finished at the bottom of the table.
The Azzurri lost by five points to Ireland in Dublin in their opener, the 23-19 defeat to England in the second game was their best result against the former world champions, and they pushed France hard in Paris last week before going down 25-13.
"Every year the Six Nations is difficult for Italy. We don't have many players of a good level to choose from," Mallett told reporters after the 23-20 win over Scotland.
Filling the problem position of flyhalf and giving more variety to Italy's game were two of the main goals the former Springboks boss set himself.
He tackled the first issue by dropping the inconsistent Ramiro Pez and switching Andrea Masi from centre to stand-off.
The results have not been convincing.
The 26-year-old's distribution, which was fair for most of tournament, was dreadful against the Scots and he has also had some problems kicking for field position in the unfamiliar role.
However, Mallett seems intent on continuing with the experiment, in part because of the solidity Masi gives in defence.
He rejected the option of using fullback Andrea Marcato at flyhalf, the position he plays for his club Treviso, because he is too slender.
He admits, however, that it will hard for Masi to perfect his playmaking skills, given that his club Biarritz are unlikely to use him at standoff.
"Over the five games, Masi has alternated good things with less good things," Mallett said.
"In this last game, he didn't satisfy me but it isn't easy to turn yourself into a flyhalf.
"The problem with Marcato is that he only weighs 82 kilos. It is important to give Masi games [in this position].
Italy still have work to do in terms of developing a style that is less reliant on forward power but Mallett believes progress is being made.
"We have produced some very, very good backline moves. We beat France on the outside three times and that does happen for many teams and it hasn't ever happened for Italy," he said.
"I'm not saying we've got the best backline in the Six Nations, we haven't, but we've certainly got a backline that's improving.


You already know that eating right can be very important to your health. Additionally, getting the right amount of exercise every day will help you stay in great shape. If you are looking for some health advice you don't know, check out the tips on vitamins and minerals found below.
Any supplement with fat needs to be taken on a full stomach. Several vitamins, including E, K, and A are best absorbed by your body when taken with a meal. They work their best when you've eaten fatty foods.
A lot of people notice body aches without knowing why they are occurring. A good supplement might be the answer. Strained and overworked muscles can benefit greatly from fish oil supplements and vitamin E.
Iron is a key component for building red blood cells. These cells are most important; they carry oxygen to each cell in your body. Women require more iron than men. This is why a woman should choose a multivitamin for women. You might be low in iron if you have breathing problems or are just generally tired.
Should you be seeking a change in lifestyle to increase your health and avoid high medical costs, get more vitamins and minerals into your diet. Vitamins will definitely improve your health and diet, plus increase your mood and improve your visits with your doctor.
We often do our best to eat healthy but our budgets simply do not allow for it. Minerals and vitamins are a great way to ensure your body is getting what it needs. They are also budget friendly for the most part.
Many fruits and vegetables are rich with Vitamin C, but citrus fruits are abundant with it. Adding vitamin C supplementation is helpful for everyone, but especially for people who do not eat enough fresh fruits and veggies. Vitamin C is a great way to ward off colds. It also helps with things like acne, ulcers and even gum disease. Recent studies have suggested that vitamin C has a positive effect on individuals that have ADHA, Alzheimer's disease and dementia.
If you choose to use children's gummies, take more than one. Adults typically require a higher dosage than kids. Be careful, though, because too many vitamins can be bad.
Go to your doctor to see if you're deficient in any nutrients. If so, that is the best place to begin your supplement program.
In today's fast paced world, many people rely on fast food restaurants. This results in vitamin deficiencies. If you want to make sure that you get the nutrition you need to stay healthy, pick up a couple of bottles of vitamins.
Use only reputable sources when it comes to vitamins and minerals. Advertisers want to sell you a product that may not always be what your body needs. Always question the motives behind information that you receive. Discuss your concerns with your doctor.
Take more manganese. It strengthens bones and boosts wound healing. It helps you to metabolize cholesterol, protein and carbs, too. Manganese is not difficult to find as it is often found in the teas we drink as well as the grain foods we consume daily. You can also buy manganese supplements at the drugstore or on the Internet.
Use caution when you take supplements. If you take too much of certain nutrients, you could literally overdose. This can be extremely dangerous. The effects of these supplements depend on which ones they are, but the results will usually be bad and may be life-threatening.
Calcium carbonate for dental and bone health needs to be taken along with food. You can take calcium citrate when your stomach is empty, but calcium carbonate has to be consumed with food. When you take it alone, you will waste it as it won't absorb properly.
Steaming your veggies or consuming them raw is the best way to get the most of their nutritional value. Vitamins can be depleted in foods during the cooking process. Steaming is a way of cooking your food and keeping the vitamins intact. Vegetables that are flash frozen are high in nutrients, and you also should not overcook them.
Deficiencies in vitamins and minerals such as vitamin D, omega-3 fatty acids, and magnesium, can contribute to depression. You have probably heard about omega 3. It is popular these days for good reason. It allows your brain health to be better while helping other functions in your body. Magnesium will help to reduce the stress that you feel each day.
Ask your doctor to recommend a good supplement for you. Also, check out some credible websites to find out more information about vitamins and minerals. Vitamin and mineral pills are not regulated by the government, so it is up to you to find out all you can about the different options.
If you're currently nursing or pregnant, don't take vitamins without talking to your doctor first. It is easy to think of vitamins as an always healthy alternative, but sometimes they are not. Don't let your child get hurt by your ignorance.
Getting nutrients from supplements is just as beneficial as getting them through food. Your body may not absorb quite as much, but it will help. Buy a multivitamin and see for yourself.
Did you know that approximately 80 percent of Americans have a magnesium deficiency? This can lead to lack of sleep and lethargy. Age, diabetes, alcoholism and other issues all factor into the equation. Eating whole foods and taking a magnesium supplement will help resolve this.
Zinc supplements can help effectively fight off the common cold and the flu. You boost your immune system with this trace element, and it helps you ward off many infections. On top of that, it boosts eye health. You can either get a cream or take a tablet.
You can now take the first step toward incorporating these nutrients into your diet and lifestyle. Regardless, don't stop collecting information on the subject so that you can keep bettering your health. The harder you work, the more success you will find.


Hold the Line is an animation about four soldiers marching through the remains of a ruined world. Discipline keeps them together. When they are ambushed by an invisible foe, the men come up with the ultimate tactic to take him out.
Sem Assink, who wrote, directed and designed the film.
Niels de Groen, who assisted Sem during the nine month-project. Together they modeled, rigged and animated the characters; and afterwards they composited the characters in the 2D backgrounds.
Steven Geldof produced Hold the Line.
Dusan Petkovic edited the film, first at storyboard level, but as the animations progressed, Dusan refined his edit.
Ruth Bader handled the decoupage during storyboard creation.
Jeroen Damen recorded and created all the effects and sound creation together with Donovan Kemper.
Juus Piek, a talented voice-actor (and sound-technician), lent his voice to all four actors.
Bart Redingius coached the students during the production.
Alan van Ramshorst and Lennart Kleinen created an inspiring alternative soundtrack.
Jeroen Hooghoudt and Marijn Eken assisted with the visual effects.


The Burbank City Council on Tuesday directed city officials to draft stricter restrictions for businesses with designated outdoor smoking areas next to multifamily complexes following secondhand smoke complaints by neighboring residents. The new regulations would require new businesses that are located adjacent to residential buildings to install ventilation systems and patio covers over their outdoor smoking areas to divert smoke from entering residential units. At a town hall meeting last year, a woman complained about smoke entering her apartment in the Silver Winds senior complex in the Media Village, located at Magnolia Boulevard and Third Street.
When the American Lung Assn. of California issued its annual report card Tuesday, ranking 88 Los Angeles County cities on their efforts to combat secondhand smoke, it looked like a breakthrough for Glendale and a disappointment for Burbank. Glendale, fresh off its newly implemented smoking ordinance, emerged as the only city to score an A in 2008, while Burbank, one of three cities to get the top rank last year, fell to a B. But in a way, the 2008 report card was a victory for Burbank as much as it was for Glendale.
I'm troubled - troubled by the inequity found in double standards and discrimination evident in Burbank demonstrated by its smoking ordinance. Within a specific parameter downtown, no one may legally smoke but for some apparent exemptions predicated on dubious justifications whose true cause can only be guessed. Two of the flagrant violations to equitable treatment are found at Café O and Gitana, two hookah lounges. They belch prodigious clouds of tobacco smoke into the very Burbank air the ordinance was created to render cleaner and healthier for all. The courtyard at Video Symphony between these hookah lounges - which sports not one but three signs indicating no smoking in Burbank - has, instead, become a smoker's Mecca that is entirely ignored by law enforcement.
A friend and I went to see a movie at the AMC 16 recently, and I found myself standing behind a couple in line who spoke between themselves of the massive construction going on across from the theater. They wondered, in their words, "Who gave that thing the go-ahead?" I commented to my friend how many of the hundreds of people all over San Fernando Boulevard had no idea that decision and every other one that really affects this city is made only a couple of blocks away, right there in City Hall?
CITY HALL — The City Council on Tuesday moved to join the ranks of cities like Santa Monica and Calabasas by putting limits on smoking in certain outdoor areas in Burbank. The ordinance, which the council adopted in a 3-2 vote, will ban smoking in several targeted areas in the downtown, the Chandler Bikeway and restaurant's outdoor dining areas. Slated to go into effect in May, the law will return to the council for a second vote before being finalized. Mayor Todd Campbell lauded the ordinance's passage as among the current council's greatest legislative accomplishments.
Thank you, Burbank, for focusing attention on an issue that deserves to be in the spotlight ("Smoking ban approved," March 31). It is an important social action when a City Council can tackle a challenging issue such as second-hand smoke. Perhaps to some it is all too obvious that if more than 80% of our population does not smoke, we find a way to protect them from the known toxicity of second-hand smoke. Any avoidable exposure to a preventable health hazard should logically be avoided and, if necessary, mandated.
CITY HALL — A time-tested and unavoidable adage accompanied the City Council's second reading Tuesday of an ordinance banning outdoor smoking in parts of Burbank: The devil is in the details. The ordinance on the table, which was set to be finalized Tuesday, would prohibit smoking in several areas in Burbank, including parts of downtown, public outdoor restaurant dining areas and the Chandler Bikeway. The council had not yet voted as of press time, but city staffers were on deck to lay out the ramifications of putting the ordinance into effect, which would, in some cases, present a complicated set of variables.
Warrant issued for 'Transformers' star An arrest warrant was issued Tuesday for Shia LeBeouf, the 22-year-old actor who starred in last year's "Transformers," police said Tuesday. LeBeouf failed to appear in Burbank Superior Court Tuesday morning after police cited him in February for smoking in Downtown Burbank, a misdemeanor offense, under the city's smoking ordinance passed last year, a court representative said. "He received a smoking citation at 314 N. San Fernando [Blvd.
It is with profound disappointment that seven months after the passage of a smoking ordinance ("Smoking ban is approved," March 31, 2007) I see evidence of frequent and flagrant trespass, by some oblivious to and others deliberate and defiant of a law the city of Burbank took ostensible pride in enacting. It was with rightful credit that Burbank perceived itself to be among the vanguard of a trend evident not just on a national but worldwide scale; proud to be a true leader of progress in a field that is replete with pressing need of exemplary, assertive and courageous guidance.


This is a public contract.
This is a pledge iff it has one member.
Any person can join this contract by announcement.
The Werewolves of Agora Nomic is in play.
Parties to this contract must not be Werewolves.


text:
(£) GBP
PE anti-human CD138 (Syndecan-1) Antibody
MI15 (See other available formats)
HCDM listed
B-B4
Human myeloma cell line U266 was stained with CD138 (clone MI15) PE (filled histogram) or mouse IgG1, κ PE isotype control (open histogram).
Compare all formats See PE spectral data
356503 25 tests £65.00
356504 100 tests £161.00
CD138, a member of the syndecan protein family, is a type I integral membrane heparin sulfate proteoglycan also known as Syndecan-1. Syndecan-1 participates in cell proliferation, cell migration, and cell-matrix adhesion via interaction with collagen, fibronectin, and other soluble molecules (such as FGF-basic). It is expressed on normal and malignant human plasma cells, pre-B cells, epithelial cells, and endothelial cells, but not on mature circulating B-lymphocytes. It is also expressed on some non-hematopoietic cells, including embryonic mesenchymal cells, vascular smooth muscle cells, endothelial cells, and neural cells.
A mixture of U266 and XG-1 human myeloma cell lines.
The antibody was purified by affinity chromatography and conjugated with PE under optimal conditions.
Green Laser (532 nm)/Yellow-Green Laser (561 nm)
The epitope recognized by MI15 is found within the ectodomain of the CD138 core protein. It has been reported that MI15 blocks the binding of clone B-B4 but not clone DL-101 by flow cytometric analysis. Clones DL-101 and MI15 exhibit differential staining patterns on in vitro generated plasma cells and some CD138+ cell lines.4
Additional reported applications for the relevant formats include: immunofluorescent staining1, Western blotting2, and immunohistochemical staining of formalin-fixed paraffin-embedded frozen tissue sections3.
Costes V, et al. 1999. Hum. Pathol. 30:1405. (IF)
Gattei V, et al. 1999. Br. J. Haematol. 104:152. (WB)
Bologna-Molina R, et al. 2008. Oral Oncol. 44:805. (IHC)
Itoua MR, et al. 2014. Biomed. Res. Int. 2014:536482.
Nerreter T, et al. 2019. Nat Commun. 10:3137. PubMed
Szabo PA, et al. 2021. Immunity. 54(4):797-814.e6. PubMed
100-200 kD type I integral transmembrane glycoprotein
Plasma cells, pre-B cells, epithelial cells, endothelial cells
Adhesion, controls cell morphology, regulates cell growth
FGFb, collagen, fibronectin
B cells, Endothelial cells, Epithelial cells, Plasma cells
Cell Adhesion, Cell Biology, Cell Motility/Cytoskeleton/Structure, Immunology, Neuroscience, Synaptic Biology
1. Sanderson RD, et al. 1992. Cell. Regul. 1:27.
2. Zola H, et al. 2007. Leukocyte and Stromal Cell Molecules: The CD Markers. Wiley-Liss A John Wiley & Sons Inc, Publication.
What type of PE do you use in your conjugates?
We use R-PE in our conjugates.
Clone: HI30
PE anti-human CD3
Clone: UCHT1

redpajama_set_name: RedPajamaCommonCrawl


Kinematics of plate tectonics. Geometry, determination, and description of plate motions. Paleomagnetism, marine magnetism, and hot spots. History of ocean basins and mountain-building processes. Prerequisites: EARTH 202 and PHYSICS 135-2; or consent of instructor.
Introduction to Seismology, Earthquakes, and Earth Structure by S. Stein and M. Wysession (Blackwell Publishing, 2003).


fellowship around….snacks! During the school year, the program is called Semper Fi. In the summer we meet on a more casual basis on Wednesdays. That program is called Inner Circle. It ends in August with a trip for participants to Cedar Point in Sandusky, OH.


text:
Affirmative Action Compliance Programs
Why Choose HR Unlimited?
AAP/EEO Compliance
Compensation Plans/FLSA Compliance
HR Support Services
Webinars and Training Workshops
D&CS™ Certification
AA/EEO Resources
Compensation Resources
Affirmative Action Hiring
What is an Affirmative Action Plan?
An Affirmative Action Plan uses statistical analyses to ensure that an employer has created or is creating a workforce that is an authentic reflection of the demographics of their relevant, qualified labor pool by providing specific protected classes; including minorities, veterans, women and people with disabilities; with equitable access to employment opportunities. Although an Affirmative Action Program is intended to eradicate the effects of past discrimination in employment, it is meant to be inclusive without regard to race, gender, disabilities, or veteran status.
Who needs an Affirmative Action Plan?
While all employers should be mindful of EEOC (Equal Employment Opportunity Commission) laws, the only companies that are required to have a written, up-to-date AAP in place are federal contractors or subcontractors who have fifty or more employees AND:
A contract of $50,000 or more.
Have government bills of lading which, in any 12-month period, total $50,000 or more.
Serve as a depository of government funds in any amount.
Is a financial institution which is an issuing and paying agent for US savings bonds and savings notes in any amount.
How can I achieve and maintain AAP compliance?
Employers who meet the aforementioned criteria for a mandated AAP must not only have a written, up-to-date plan, but must adhere to an OFCCP-prescribed method of documenting recruiting and hiring, and tracking & analyzing employment data and compensation.
Who is required to have and maintain an Affirmative Action Program?
A Federal construction contract or subcontract of over $10,000
A federally assisted construction contract or subcontract of over $10,000
A construction contract or subcontract of over $10,000 with a Federal non-construction contractor or subcontractor
Multiple Federal construction contracts or subcontracts of less than $10,000 that, when added together total more than $10,000 within any 12 month period or can reasonably be expected to total more than $10,000 during that time
I – An employer who meets any of the above thresholds must comply with the requirements of the Executive Order 11246 and specifically with Title 41 of the Code of Federal regulations 60-4. The Standard Federal Equal Employment Opportunity Construction Contract Specifications, also known as the "Specifications," describe the affirmative action obligations and detail the specific affirmative action steps construction contractors must implement to make a good faith effort to achieve the goals for minority and female participation that are listed in the bid solicitation. The Specifications are listed below:
Ensuring and maintaining a work environment free of harassment, intimidation and coercion in all work facilities, as well as assigning two or more women to each construction project, when possible. Also, Contractors will ensure that all on-site supervisory personnel are aware of and carry out the company's obligation to maintain such an environment, with specific attention given to minority or female individuals.
Establishing and maintaining a current list of minority and female recruitment sources, providing written notification to minority and female recruitment sources and to community organizations when the Contractors or its unions have employment opportunities available and maintaining a record of all responses.
Maintaining a current file of names, addresses and telephone numbers of each minority and female off-the-street applicant or referral from a union, a recruitment source or community organization, as well as a record of what action was taken in regard to each individual. If such an individual was sent to the union hiring hall for referral and was not referred back to the Contractor or, if referred, was not hired, this shall be documented in the file, as well as the reason and whatever additional actions may have been taken.
Providing immediate written notification to the Union Director(s) when the union(s) with which the Contractor has a collective bargaining agreement has not referred a minority person or woman sent by the Contractor, or when it has come to the attention of the Contractor that the union referral process has in any way impeded the Contractor's efforts to meet its obligations.
Developing on-the-job training opportunities and/or participating in training programs for the areas which expressly include minorities and women, including upgrading programs, apprenticeships and trainee programs relevant to the Contractor's needs, especially those programs funded or approved by the Dept. of Labor.
Disseminating their EEO policy by providing it to unions and training programs, as well as requesting their cooperation in assisting the Contractor in meeting its EEO obligations. Contractors must also include their EEO policy in any policy manual or collective bargaining agreement; publicize it in the company newspaper, annual reports, etc.; conduct policy reviews with all management personnel, minority employees and female employees at least once a year; and post their EEO policy on bulletin boards accessible to all employees at each work location.
Reviewing, at least annually, the company's EEO policy and Affirmative Action obligation with all employees having any responsibility for hiring, assignment, layoff, termination or other employment decisions, as well as with onsite supervisory personnel prior to the onset of work at any job site. A written record of the meeting shall be maintained identifying the time, place, persons attending, subject matter discussed and disposition of subject matter.
Disseminating their EEO policy externally by including it in any news media advertising, especially minority and female news media, and providing written EEO policy notification to and engaging in EEO policy discussion with other Contractors and Subcontractors with whom the Contractor does or anticipates doing business.
Directing recruitment efforts, both oral and written, to minority, female and community organizations; to school with minority and female students; and to minority and female recruitment and training organizations serving the Contractor's recruitment area and employment needs. Not later than one month prior to the date for the acceptance of applications for training by any recruitment source, the Contractor shall send written notification to the above organizations describing the openings, screening procedures and tests to be used in the selection process.
Encouraging present minority and female employees to recruit other minority persons and women and, where reasonable, provide after-school, summer and vacation employment to minority and female youth both on site and in other areas of the Contractor's work force.
Validate all tests and other selection requirements where there is an obligation to do so under 41 CFR part 60-3.
Conducting, at least annually, an inventory and evaluation at least of all minority and female personnel for promotional opportunities and encourage these employees to seek or to prepare for, through appropriate training, etc., such opportunities.
Ensuring that seniority practices, job classifications, work assignments and other personnel practices do not have a discriminatory effect by continually monitoring all personnel and employment-related activities to ensure that both the EEO policy and the Contractor's obligations are being carried out.
Ensuring that all facilities and company activities are non-segregated, excepting separate or single-user toilet and necessary changing facilities which shall be provided to assure privacy between the sexes.
Documenting and maintaining a record of all solicitations of offers for subcontracts from minority and female construction contractors and suppliers, including circulation of solicitations to minority and female contractor associations and other business associations.
Conduct a review, at least annually, of all supervisors' adherence to and performance under the Contractor's EEO policies and Affirmative Action obligations.
*Source: Standard Federal Equal Employment Opportunity Construction Contract Specifications (Executive Order 11246) Regulations have been abbreviated.
II – Additionally, any construction contractor or sub-contractor that has 50 or more employees must develop and maintain an Affirmative Action Plan for Individuals with Disabilities and Protected Veterans. 41 CFR 60-300 and 60-741.
What are the penalties for noncompliance?
Federally contracted or subcontracted employers who are required to develop and maintain Affirmative Action Programs, are subject to random selection for audits conducted by the OFCCP (Office of Federal Contract Compliance Programs).
If, during an audit, a company is found to have violations, the OFCCP will generally try to bring about resolution in the form of compliance evaluation closure letters or conciliation agreements meant to apprise the employer of the violation and give them a set amount of time to correct it.
If a company fails to comply even after being given ample time to do so, they can lose their government contract, be banned from future contracting with any government agency or be ordered to pay compensation to victims of discrimination. Additionally, and even more importantly, the cost of non-compliance going through an audit relying on attorneys and/or consultants for a safe pass with the OFCCP can be prohibitively expensive. These penalties and large fees will seriously affect the bottom-line of a business.
As you can see, the scope of work involved is vast, not to mention the time and effort needed to keep records on, track and analyze each and every action.
The OFCCP estimates that it takes an average of 193.6 labor hours for companies to develop, maintain and perform annual updates on their AAPs, but that number can grow to over 396 hours for companies with over 501 employees, and that's not including hours spent on scheduling letters and third-party disclosures.
The annualized cost burden of an AAP for both management and administrative-support hours combined is around $7830.00, with that amount climbing to $15,150 for companies with 501 employees or more, which in both cases extends to an equal amount in lost labor toward core company duties.
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In a word, yes. Since 2001, HR Unlimited Inc. has been a leader in providing a comprehensive range of outstanding AAP/EEO compliance services to businesses of all sizes, nationwide. We offer over 95 years of combined AAP regulations and auditing experience and, between them, our four-person management team holds three bachelor's degrees, three master's degrees and one Ph.D in the areas of business administration, business and economics, politics and law, international relations, finance, human resources management and statistics.
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The Lord our God is one and He is the same yesterday, today, and forever. Worship Him in Spirit and in truth. Sin separates us from God, for God is holy. Let us worship and praise Him with all reverence. Praise the Lord!


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> Home > Who we are > Advisory Group > Loukas Tsoukalis
Loukas Tsoukalis
President of the Hellenic Foundation for European and Foreign Policy (ELIAMEP); Professor of European Integration at the University of Athens
Loukas Tsoukalis is the President of the Hellenic Foundation for European and Foreign Policy (ELIAMEP) and a Professor of European Integration at the University of Athens. He is also a Visiting Professor at King's College in London and the College of Europe in Bruges.
Loukas Tsoukalis was born in Athens. He studied economics and international relations at the University of Manchester, the College of Europe in Bruges, and the University of Oxford where he obtained his doctoral degree. He taught for many years at Oxford University (University Lecturer in International Relations and Fellow of St. Catherine's College and St. Antony's College). He later became Professor at the European Institute of the London School of Economics and Political Science. He also taught at the European University Institute in Florence and at Sciences Po in Paris. He is a former Special Adviser to the President of the European Commission.
He is the author of several books: "The New European Economy" and "What Kind of Europe?" published by Oxford University Press (OUP) and translated into several languages. He is the joint editor and author of the concluding chapter of "The Delphic Oracle on Europe: Is there a Future for the European Union?" (OUP, 2011). He is a regular contributor to the Sunday edition of the newspaper Kathimerini.


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Yosemite officials identify San Jose couple killed in rockslide near park entrance
Erin Allday
Dec. 30, 2022 Updated: Dec. 30, 2022 5:44 p.m.
A car moves along near remnants of a rockslide along Hwy 140, approximately a half mile inside Yosemite National Park from the Arch Rock entrance.
Tracy Barbutes, Freelance / Special to The Chronicle
Two people who were killed in a rockfall in Yosemite National Park this week have been identified as a married couple from San Jose whose car was pushed off the road and into an embankment above the Merced River by the force of the slide, park officials said Friday.
The rockslide occurred around 9 a.m. Tuesday, about a half mile east of the Arch Rock entrance to the park and about 10 miles from Yosemite Valley. Georgios Theocharous, 51, and Ming Yan, 35, were in a Dodge Ram rental truck that was hit by about 185 tons of falling rock, said Scott Gediman, a Yosemite spokesperson, in a statement.
The slide sent rocks tumbling 1,000 feet onto the highway, blocking about 500 feet of road and forcing park officials to shut down the Highway 140 entrance to the park for a day. The route was reopened on Wednesday.
Highway 140, also known as El Portal Road, is one of three west-side entrances to Yosemite. Highway 120, the main route from the Bay Area, also was closed for a few days earlier this month due to a rockslide. No injuries were reported in that incident.
Erin Allday is a San Francisco Chronicle staff writer. Email: eallday@sfchronicle.com Twitter: @erinallday
Could Yosemite and Kings Canyon parks be linked? Bill calls for creation of new national monument
Want to see Yosemite's famous Firefall? You'll need a reservation
Reach Erin on
Erin Allday is a health reporter who writes about infectious diseases, stem cells, neuroscience and consumer health topics like fitness and nutrition. She's been on the health beat since 2006 (minus a nine-month stint covering Mayor Gavin Newsom). Before joining The Chronicle, Erin worked at newspapers all over the Bay Area and covered a little of everything, including business and technology, city government, and education. She was part of a reporting team that won a Polk Award for regional reporting in 2005, for a series of stories on outsourcing jobs from Santa Rosa to Penang, Malaysia. Erin started her journalism career at the Daily Californian student newspaper and many years later still calls Berkeley her home.


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How Lady Gaga Became the First Digi-Glam Superstar
Read this remixed excerpt from Simon Reynolds's book 'Shock and Awe: Glam Rock and Its Legacy.'
by Simon Reynolds
Oct 1 2016, 1:00pm
Lady Gaga performs onstage during The 58th GRAMMY Awards. Photo by Kevin Winter/WireImage
In "Aftershocks," the coda to Shock and Awe: Glam Rock and Its Legacy (Dey Street), Simon Reynolds tracks glam's echoes as they reverberate through 21st century pop. A slideshow of snapshot moments from her career as art-pop provocateur, this remixed excerpt assesses Lady Gaga's claim to be David Bowie's inheritor.
The flyer for New York Street Revival and Trash Dance promises "burlesque pop. rock n roll. glam. metal." A series of Thursday parties at the Slipper Room, they're conceived and hosted by performance artist Lady Starlight and an aspiring star who's only just started calling herself Lady Gaga. The party's name pays homage to October 1974's Hollywood Street Revival and Trash Dance Festival—a legendary night of performances by Iggy Pop, New York Dolls, and assorted LA glitterati at the Hollywood Palladium. But where that event was an ironically winking wake for the Death of Glitter, a phenomenon whose star was fading fast by late '74, Gaga and Starlight's New York Street Revival really is a revival—the self-conscious announcement of glam's rebirth on the Lower East Side.
The credits for Lady Gaga's 2008 debut, The Fame, make a point of thanking Andy Warhol and David Bowie. In interviews, she speaks of studying the work of Klaus Nomi, Grace Jones, and Leigh Bowery. Gaga gives as good quote as she gives good face. But as you'd expect with an artist whose whole career feels like postmodernism's death rattle, her patter often feels déjà vu. "I am not real. I am theater," Gaga declaims. She feels like she's "on a stage all the time... when I'm dancing, singing, making breakfast." Arriving at an airport, getting out of a limo outside a club—everything is performed, made into an Event. "I adore show business and don't ever want my fans to see me in any other way." Echoing Oscar Wilde and Alice Cooper, Gaga speaks of "lying profusely" and how "music is a lie... art is a lie." She flippantly flips the rockist attack lines—about style eclipsing substance—by wittily arguing that her music distracts and detracts from "the performance art" of the videos, the stage shows, and the public theater of her fame.
Truthfully, the music—"soulless electronic pop," Gaga calls it, with a wink to the Warhol disciples and the anti-humanists out there—is just an efficient base for the visual provocations. Arriving with perfect timing to harness YouTube's access to global audiences, Gaga rides a revival of the pop-video form. It had gone into decline from its late-90s, big-budget peak because MTV had phased out music programming in favor of non-stop reality TV. Now pop is audio-visual like it's never been before, and Gaga's right there at the forefront. A YouTube native, she's the first real digital-glam superstar, her promos dizzy with digi-FX and a frenzied turnover of costume/hair/make-up changes—the latter masterminded by an entourage of creative consigliere known as the Haus of Gaga.
Lady Gaga accepts the Best Pop Vocal Album award for 'The Fame Monster' onstage during The 53rd Annual GRAMMY Awards. Photo by Kevin Winter/Getty Images
The Fame Monster is the deluxe expanded version of The Fame, issued to capitalize on Gaga's success, with eight new tracks—including her best and bestest-selling song "Bad Romance"—tacked on. According to Gaga, "the runway" directly inspired these songs: "I wrote while watching muted fashion shows and I am compelled to say my music was scored for them." Gaga videos do often resemble runway shows, except that the background scenery changes as frenziedly as the clothes. The end result is like Cindy Sherman meets Alexander McQueen, scored by a soundtrack of eastern European club music.
There's an odd fatalism about Gaga's tryst with that femme fatale Fame: not only does she know, from the abundant literature on the subject, that celebrity is soul-eroding, she's made that the major theme of her work. Trailing the VMAs performance of "Paparazzi," Gaga proclaims her intent "to say something very grave about fame and the price of it." She starts the performance with an entreaty: "amidst all of these flashing lights I pray the fame won't take my life." And she ends it by enacting her own death, with fake blood gushing from her breast and a feigned hanging hoisting her into the air.
Gaga even puts out a fragrance called Fame, a black perfume designed "to smell slutty," like an "expensive hooker." Notes of belladonna evoke the toxic effects of stardom. "Vanity can create a very cruel space for you if you don't know how to manage it," Gaga warns. There's also "Fame Kills," a tour with Kanye West that gets cancelled after the rapper withdraws from the public eye after his VMAs intervention on behalf of Beyoncé. Gaga is wont to talk—melodramatically, but perhaps with genuine paranoia—of her fears that she might go the way of John Lennon or Princess Diana (the latter with whom she particularly identifies), either assassinated by a stalker or hounded to death by paparazzi.
Yet despite all its costs, all its damage, Fame seems to be all there is to believe in. No ideology or faith—nor even a real-world love—can rival its promise of self-completion. Fame, as Gaga conceives it, isn't really bestowed from outside; it's a sourceless inner conviction, what she calls "feeling the fame." It's just a matter of externalizing this internal ego-image, getting the world to ratify and recognize its innate existence. "I've always been famous, it's just no one knew it yet." The star's duty becomes to inculcate the fans with self-love—which for Gaga equates not just with mere self-esteem, but with the certainty of one's own extraordinariness. Her Monster Ball tours are "a pop cultural church," but rather than idolizing Gaga, "I'm teaching people to worship themselves."
This fierce 'n fabulous flame of self-belief is a magical defense against those who'd crush your ego—and perhaps your body. Gaga speaks for the misfits, the gender-confused, the bullied. In one interview, she recalls being thrown in a street-corner trashcan at the age of 14 by three boys, with girls looking on and laughing. She felt "worthless. Embarrassed. Mortified." Her only crime, she says, was being talkative and theatrical—too full of herself. In 2011, Gaga starts the Born This Way Foundation, an organization to combat bullying.
Placing a definite article in front of "Fame" in the album's title is jarring, an alienation effect. "The Fame" sounds like a disease. The further conjunction of monstrosity—the Fame Monster—is even more unsettling. Is Fame here a monster that's rampaging and ravaging across the world landscape? Or is Gaga herself a monster spawned by the mutagenic effects on the human psyche of celebrity culture? Little Monsters is what Gaga calls her fans; she is Mother Monster. "I used to pray every night that God would make me crazy," Gaga confesses. "That he would instill in me a creativity and a strangeness," of the kind that drove the artists she admired. But Gaga goes beyond the clichés of genius-as-madness. Fame-lust itself is a maddening virulence, a deranged will to omnipresence and overexposure that precedes any specific gift or talent, and can exist in their absence. "I want women—and men—to feel empowered by a deeper and more psychotic part of themselves. The part they're always trying desperately to hide," Gaga declares. "I operate from a place of delusion—that's what The Fame is all about. I used to walk down the street like I was a fucking star. I want people to walk around delusional about how great they can be and then to fight so hard for it every day that the lie becomes the truth."
"Alejandro," the third single off The Fame Monster, is perfunctory nothingness vaguely redolent of Madonna's "La Isla Bonita." But Steven Klein's promo is a tour de force of militaristic kitsch with a specialist-porn undertone. "It's all about where I'm from and love of theater.... love of the lie in art," gushes Gaga. The "where I'm from" probably refers to the Italian-American Catholic upbringing she shares with Madonna, figuring in the promo as compulsive blasphemy: Gaga as a nun in a red latex habit swallowing blood-red rosary beads. But Cabaret is in the mix too, and maybe Evita. The video oozes junta chic mingled with mood-tones from Tom of Finland. In yet another Madonna nod, Gaga wears a bra with machine-gun barrels jutting out as death nipples. Wrestlers from some between-the-wars military academy grapple homoerotically, clad in black shiny shorts and calf-length black boots. The whole "Alejandro" promo is a visual tone-poem translation of the famous last sentences of Susan Sontag's "Fascinating Fascism": "The color is black, the material is leather, the seduction is beauty, the justification is honesty, the aim is ecstasy, the fantasy is death."
Like her forefather Bowie, Gaga's acute self-consciousness and relentless self-curation don't discourage analysis by others, they incite it. Think pieces, blog essays, books (from bios to queer theory works like J. Jack Halberstam's Gaga Feminism) erupt around her videography and discography, interpreting and situating the densely encrusted references and allusions. Gaga practically pleads to be analyzed using prisms like Jean Baudrillard's hyper-reality, cyber-feminism, and queer performativity. Academia always used to lag behind pop culture (punk studies only went into overdrive during the eighties), but barely 18 months into her stardom, the Lady Gaga and the Sociology of the Fame course is up and running at the University of South Carolina from spring 2011. Its creator, Professor Mathieu Deflem, becomes famous in his own right, leading him to write an academic paper on his experience of celebrity-by-association, "Professor Goes Gaga." In an interview, Deflem talks about the spiraling disorientation he felt: "You kind of undergo it. You experience it. You do not really have any control."
All this being-taken-so-seriously seems to affect Gaga: on Born This Way, the follow-up to The Fame Monster, she comes over like a pop stateswoman, addressing important issues, and in interviews talks about wanting to "be at rallies with the fans, being a part of their voice, helping to mobilize and enforce change." Conflating same-sex marriage rights and the plight of illegal immigrants to the US over a mariachi–HiNRG hybrid, "Americano" blends the didactic and the tacky. Elsewhere on Born This Way there's a new bulk to the sound matching the weightier themes: stadium rock and eighties schlock add ballast and bombast to the clubby sound, flavors of Springsteen, Pat Benatar, Jim Steinman. "The Edge of Glory" features E Street Band sax man Clarence Clemons; Brian May guests on "Yoü and I." The pomp-rock elements allow Gaga to flex her conventional musical prowess as pianist and singer. Advising "don't be a drag, just be a queen" and asserting "we are all born superstars," the album's lead single "Born This Way" is an all-purpose pride anthem for the LGBT community and anybody who feels weird, marginalized, or "culturally queer." Brassy and blaring, the song "not only plagiarizes Madonna, it super-sizes her," writes critic Pat Blashill, referring to the common perception that the song owes a lot to "Express Yourself."
At the 2011 Video Music Awards, Gaga does a full-blown drag-king turn as her male alter ego Jo Calderone. The persona is seemingly modeled on bad boy Johnny in The Outsiders—greased-back hair, cigarette tucked behind the ear, lip-curled sneer—although another possibility is Annie Lennox's turn as a side-burned 50s hood at the 1984 Grammys. Although her songs are mostly about hetero love-lust, Gaga plays the gender-confusion game as well as anybody since, well, Bowie. She propagates, or encourages, the rumor that she's a hermaphrodite, causing fans to scrutinize photos for suspicious bulges and rewind repeatedly the YouTube clip that seems to catch a penis slipping out when she mounts a motorcycle in a skimpy skirt.
Lady Gaga performs on stage during the 'artRave: The Artpop Ball' Tour at Perth Arena on August 20, 2014 in Perth, Australia. Photo by Paul Kane/WireImage
After Born This Way's bombast, Gaga takes the fatal step further into hubris with ARTPOP. The fanfare for the album (plus related transmedia activity) proclaims that Gaga will "bring art culture into pop in a reverse Warholian expedition"—only 40 years after Bowie and Roxy Music accomplished that mission. "I live for the applause applause applause," Gaga proclaims on the lead single "Applause"—only to be met with resounding silence from the global pop audience.
And then the strategic retreat: Gaga makes the classic hip-to-be-square switch. She partners with crooner Tony Bennett for the best-selling Cheek to Cheek album and tour. A deliberate echo of Bowie's "Peace on Earth/Little Drummer Boy" duet with Bing Crosby for that 1977 TV special? Or just a shrewd career move?
Gaga burnishes further her showbiz credentials with a medley of songs from The Sound of Music, performed at the Academy Awards in celebration of the movie musical's 50th anniversary. Julie Andrews is gracious, gliding across the stage to hug Gaga warmly. But among the critics is the venerable Stephen Sondheim, who acidly informs the theater buff periodical Playbill that Gaga's rendition was "a travesty... She had no relationship to what she was singing."
Gaga wins a Golden Globe for her role in American Horror Story . Dressed in a black-velvet, bare-shouldered, cleavage-plunging Atelier Versace gown—"the pinnacle of retro glamor," the style blogs gush—she gives an overcome-by-emotion acceptance speech that is perfect down to the last lip-tremor. Gaga informs the audience of her new peers that "I wanted to be an actress before I wanted to be a singer, but music worked out first." The fame monster completes her metamorphosis into an all-American entertainer.
But later that same night, the news that David Bowie has died explodes across the internet—instantly knocking Gaga, and all the other Golden Globes winners, off the world's front pages. Talk about being upstaged...
Summer-Fall, 2016
Show business seems to have an inherently self-reflexive bent: its history teems with movies about the movie industry, with plays and musicals about the theater. Often these hark back nostalgically to an earlier phase of entertainment: the 1952 musical Singin' in the Rain , for instance, is set 20 years earlier during the transition between silent movies and talkies. This self-mythologizing trait also results in songs like "There's No Business like Show Business" (from Annie Get Your Gun) and "Life is A Cabaret" (from Cabaret). Whenever pop strays into the shlock zone, it too gets meta: Abba's "Thank You For the Music" and "Super Trouper" (named after a type of spotlight), Billy Joel's "I Write the Songs" and Robbie Williams's "Let Me Entertain You"....
There could be no more perfect sign of Gaga's total merger with American showbiz than the news that she's going to play the lead in A Star Is Born —the third remake of this Hollywood-about-Hollywood movie since the 1937 original. Gaga will be following in the footsteps of Janet Gaynor, Judy Garland, and Barbara Streisand.
Meanwhile, her pop career continues with her most perfunctory release yet, "Perfect Illusion." Talking about the song's message, Gaga frets about the delusion and deceit she once celebrated: "I believe many of us are wondering why there are so many fake things around us. How do we navigate through social media? How do we look through these images that we know are filtered and altered, and decipher what is reality and what is a perfect illusion? There are also a lot of things on the internet that are not reality. And I think people are pressured to keep that personal illusion going on in their real lives. So this song is about raging against it and letting it go. It's about wanting people to re-establish that human connection."
In this spirit, Gaga shuns AutoTune on her vocal, while the overall look of the video dials down the blatant motion-retouching and digital sheen that characterized her earlier celebrated promos. Instead of the 20 costume-changes-per-minute, Gaga opts for a relatively stable and dressed-down look: a grey crop T-shirt ideal for working out, cut-off jean shorts. The video's backdrops alternate between the singer rolling about in the desert dust and scenes of crowd frenzy midway between a rave and a mosh-pit, in the midst of which Gaga flails her body alongside a guitarist whose instrument is barely audible on the record. Is the hyper-real queen of digi-glam trying to start a... grunge revival? But how would that square with starring in A Star Is Born ? Does Gaga, like Courtney Love circa Celebrity Skin and The People Vs Larry Flynt , believe she can go Hollywood and keep it real at the same time?
Shock and Awe: Glam Rock and Its Legacy
lady gaga's career


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Maternal Health and Wellbeing
Gender and Health
While there are continuing attempts to breech the divides there remains a significant schism between the sciences, including medicine, and the humanities; history, politics, philosophy and literature. Students of gender, however, are most often called upon to work across the disciplines because life is like that. The human condition is complex and even the best, holistic view on any particular subject, will grapple with this multiplicity.
The history of medicine is a fascinating subject in itself, and a body of literature that takes a gender perspective is pertinent. In 2014 the Australian Women's Health Network hosted a forum, and launched a guide: Making it better: gender transformative health promotion. The presenters Nancy Poole and Lorraine Greaves, from the British Colombia Centre of Excellence for Women's Health, drew attention to an emphasis in the Ottowa Charter from the World Health Organisation on the social determinants of health. These are the economic and social conditions, such as access to housing, education and employment, rather than individual risk factors for positive health outcomes. These social and economic factors can be broken down by gender, race/ethnicity and class, and after extensive analysis of health promotion strategies Poole and Greaves found most programs to be gender blind. They have put together a framework for constructing a gender transformative approach to health promotion which is accessible through the above mentioned guide. You can see the forum online.* Furthermore, they launched an online course – Gender equality through health promotion.+
* at https://www.youtube.com/watch?v=LLfMoF1Crhk
+ see: http://promotinghealthinwomen.ca/online-course/
Posted by Joan Garvan at 02:43 No comments:
MAMAPALOOZA FESTIVAL
Over recent years Sydney has been treated to a Festival of the Arts in the week leading up to Mother's Day. Events included an art exhibition, a theatre production, music and variety nights. All feature and reflect on women's experience of 'being a mother' and the associated work of care through the Arts.
The notion of a festival featuring works by and for mamas originated in New York in 2002. The theme has been taken up by Vee Malnar and this year by Joy Roberts among others. Mamapalooza has been supported by Lesley Dimmock's Tap Gallary in Darlinghurst since its inception in 2006.
A diverse range of women in Rachel Power's book Divided Heart often grappled with a schism between their lives before having children that included a form of artistic expression and difficulties they faced afterwards. Joy and Vee recognise these tensions but like many featured in Power's book their work bears testament to a determination to push on through. What it means to be a mother today is different to times past. Women generally have their first child in their early thirties. They bring with them extensive work and life experience, often with a career, having travelled, and at times advanced artistic skills and talents.
Joy Roberts is the producer of MOTHERS a play that showcases women's stories. The nine characters span the breadth of the maternal demographic: a woman whose dream is to be a mother, a teen who hadn't planned to be one, a new mum in her 40s, a motherless mother, a soon-to-be grandmother, a different kind of mother, a mourning mum, a struggling immigrant mum and a role-juggling working-mum.
The vast majority of couples aspire to a form of gender equal or egalitarian family today and yet there are significant trends towards traditional roles after the birth of an infant. Our institutional framework isn't keeping pace with cultural change. Women who maintain a connection with their former lives do so at a cost to their health and to their well-being. There are legendary issues related to identity for women today when they have a child. The Arts play a significant role in this regard. The Arts provide for representation and critique so that we might see and understand better where we are as individuals but also how we might do care better.
Roberts diverse cultural background and relatively recent arrival in Australia sharpens her perspective. She has completed a Master of Arts in Applied Theatre and over the last four years has directed over a dozen short plays and readings on stage. Malnar has turned her hand to various forms of the Arts. She completed a Bachelor of Creative Arts in the 1990s but she has also played in a band and she staged a show called Rock Chikz in Sydney 2005. A collection of her poetry was published in First Breath and in March this year she won Best Production for her play in the Sydney Short & Sweet Festival. She brings with her an enduring interest in mother/female-centric imagery.
The Mamapalooza Festival provides a wonderful opportunity for artists to add new perspective to our continuing discussions about mothers, father and families in the hope that we as a society might appreciate and support them in all their diversity.
Events included: 'Stolen Moments' an art exhibition depicting and exploring the themes of identity and motherhood; launch of 'Nurture Mama' an education, support & yoga service; a Mama Music night featuring Rebecca Moore and Lisa Schouw (Girl Overboard); a Mama Comedy Night Hosted by Lou Pollard; PLUS! 'MOTHERS' – a play about mothers
Malnar says that "after finding that there were thousands of women in New York who relished the opportunity to reflect on the theme of motherhood, what it meant to be a mother and an artist, I was interested in creating that same excitement here. I've met some amazing women who find this festival a great way to celebrate motherhood and express their artistic, political and philosophical ideas on mothering. So apart from having the need to create an artistic niche that unifies and embodies the ideas of motherhood in art, I find myself drawn to helping others who want to do the same."
Labels: arts, comedy, maternal, mothers, mothers day, music, theatre
Joan Garvan
My research is in Sociology & Gender. I was awarded a doctorate from the Australian National University in 2010, my thesis was titled: Maternal Ambivalence in contemporary Australia: navigating equity & care. I launched an internet site at: www.maternalhealthandwellbeing.com hosted an online Professional Dev course, & presented a series of webinars with Nurses for Nurses. I have given papers at a dozen conferences, including the Australian Institute for Family Studies, the Australian Sociology Association, & the Association for Research on Mothering- Australia (now Maternal Scholars Australia), & MIRCI in Toronto, New York & Florence. I completed a Master of Arts in the early 1990s & worked with both Asia Partnership for Human Dev & Aust Council for Overseas Aid. I was an Online Moderator for a course in Gender & Development at the ANU & completed a semester with ACU as a Lecturer on Intro to Sociology. I was both a mature aged student & a mature aged mum & my two off-spring have now blossomed into wonderful adults.


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Q: Troubles with signs using d'Alembert's principle I am trying to find the equation of motion for the system below using d'Alembert's and virtual work principles, however I must be making a mistake since my equation doesn't match the solution that I have found online.

Assumptions: No friction, $m_1 = m_2 = m$, $l$ is the length of the rigid bar which connects Block 1 with Block 2, $\vec{g}$ goes down.
In order to apply d'Alembert's and virtual work principles, I can define the virtual displacements differentiating the following equations:
\begin{align*}
x &= l \cos \theta \\
y &= l \sin\theta
\end{align*}
Thus, the virtual displacements are:
\begin{align*}
\delta x &= - l \sin \theta \delta \theta \\
\delta y &= l \cos \theta \delta \theta
\end{align*}
Assuming that Block 1 goes down and Block 2 goes right, the equation for the virtual work can be written as:
$$
\delta W = m\vec{g} \cdot \delta\vec{y} - m\vec{\ddot{y}} \cdot \delta\vec{y} - m\vec{\ddot{x}} \cdot \delta\vec{x} = mg \delta y - m\ddot{y}\delta y - m\ddot{x}\delta x= 0
$$
The last equation becomes:
$$
m g l \cos \theta \delta \theta -m(- l \sin\theta \dot{\theta}^2 + l \cos\theta \ddot{\theta}) l \cos \theta \delta \theta - m(-l\cos\theta\dot{\theta}^2-l\sin\theta\ddot{\theta})(-l\sin\theta\delta\theta) = 0
$$
Simplifying, the equation of motion that I get is:
$$
-g \cos \theta + l \ddot{\theta} = 0
$$
while the solution that I should get is:
$$
g \cos\theta + l\ddot{\theta} = 0
$$
I can't understand why my signs in the equation for the virtual work (I guess) are wrong, I must have made a stupid mistake but I'm having an hard time trying to figure it out.

A: If the y-axis grows upwards, as would be natural from the picture, all the equations are the same, except for the sign of the force, that is now $-mg$.
If y grows downwards, and $y=0$ where the axis crosses, then $y = -lsin(\theta)$. If $y=0$ is the initial position of the mass, then $y = h - lsin(\theta)$ where $h = lsin(\theta_0)$


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