This begins a series called Challenges in Media. We'll also touch on ways to manage those challenges. Today's topic is Trust Projection. We'll parse what that means next.
It is not necessary to believe in God to be a good person. In a way, the traditional notion of God is outdated. One can be spiritual but not religious. It is not necessary to go to church and give money – for many, nature can be a church. Some of the best people in history did not believe in God, while some of the worst deeds were done in his name.
Somehow, the faith we have in our friends is projected onto the random item they shared. Let's call this phenomenon "Trust Projection".
The above image caused one of my friends from high-school (a devout Catholic) to comment and share the photo with, "Hey, I think I like this new pope!" I pointed out that the quote is fairly atheist in intention, and that Francis would never say that. The Pope Francis atheist meme is an example of someone trying to trip us in our logic. At first the intentions seem nice. When you find out he would never say this, you begin to question your own belief system. It's a clever tactic, and yet this photo went viral a few months after the new pope was chosen. It was shared widely amongst Catholics and other Christian sects on Facebook as a positive thing, even though the statements made were entirely counter to the religious beliefs they affirm every Sunday.
My intention is not to undercut any particular faith, but to show that as humans we need to have a more critical eye when we view anything that comes across our Facebook feed. Just because your friend shared something doesn't mean your friend took any time to actually verify it.
Image crafters spend hours or even days crafting semi-credible artwork meant to evoke just enough of one emotion or another to cause whoever sees it to repost, share, like or comment. The image makes you feel joy, makes you laugh or makes you angry. The image goes viral. Make no mistakes. The entire goal of this type of image craft is to make the image go viral. It doesn't matter whether the content is true, valuable or meaningful in any way. All that matters is that the content is transferred virally through the magic of human Projected Trust.
To be sure there are other types of viral memes that include cat photos, cute kid memes or daily affirmation videos. These come across as more legitimate in their presentation as entertainment, as seen in the image directly below.
Often, I'm happy to share something meant as entertainment because the reason for sharing is transparent. But sometimes the reasons for sharing are pretty gray. In the below Facebook post, the comment photo is so beyond the pale of stupidity, I have to categorize it as a fake viral meme. Nobody with the ability to text or comment on Facebook could be that stupid. Yet here we are sharing and commenting on a Facebook page that literally advertises its intent, to make us cringe. It has to be fake.
I classify the next type of post as chain-reposts. Their only goal is to continually propagate any particular meme as long as possible. Perfect examples include the share-a-hug style post below. The friends who share these are often honest however unfortunately clueless in their intentions, but the crafters who create the meme purely intend for the meme to continually be shared.
Chain reposts are passive-aggressive. First, you're told to do something: share the post for a reward (in this case a "Hug"). I'm being trained to respond like Pavlov's dog. Second, there is a weird reverse projection of trust. You are meant to infer that it actually is your friend who shared this meme who will know whether you will hug her or not. You might feel more compelled to share and like your friend's share because your friend will like you more if you do share. For me, this comes across as a twisted reason for sharing or liking any Facebook post. I generally don't share anything of this ilk. I don't like being controlled by some image or word crafter via some Facebook meme page dedicated solely to meme flow. It's highly unlikely my friend actually knows the person who created the chain repost. I am not some random image crafter's puppet. I'm less likely to respond in any way to this type of shared post.
Make no mistakes. I think no less of my friends for sharing these types of posts. They are as much victims of foul image crafters as the rest of us are. I simply refuse to endorse the original creator's intent — continual meme repost for its own sake.
The worst are political posts that have absolutely no basis in reality. Case in point, this example post below from someone who is obviously image-crafting stuff that makes people angry. There is no basis in fact for the claims made in the cartoon, but since it's in writing, thousands of people have shared this item. It uses the currently popular "whataboutism" method of deflection to make people angry. It ends up illogically inferring first that it should have been okay for Nixon to wire-tap and second, condemns Obama for wire-tapping when he never did. The image crafter didn't start with "Are you beating your wife?". He started with, "When did you stop beating your wife?", which causes the reader to automatically assume that (let's say Nixon) beat his wife. Ostensibly, now he has to defend himself against that. Except it never happened.
These are probably the most heinous of items to share on Facebook. They contain not a shred of truth and are intended only to spread angry emotion. But don't take my word for it. Below are just a few of the example angry replies found in the comments section of this particular Nixon cartoon.
They all assume Obama _did_ something because that's what is written in the image. One commenter denigrates Obama by calling him "Obumer". Another goes even further and blames everything on "Liberals". The point is not whether or not the opinions are well-founded. The point is that these reactions are based in anger, and that these unfortunate souls are allowing some image crafter to manipulate their emotions to such a degree that they feel it necessary to make such ugly statements. They are in essence merely puppets being controlled by one image crafter with a Facebook page that has taken the view that anyone who dislikes a particular politician cannot be trusted — except that the original page crafter may not even live in our country or even espouse the values suggested by the page. In other words, the page itself might be fake.
I have no idea whether the above cartoon was posted by a Russian. I have no idea whether the Citizens for Trump page was created by an American. It looks like it came from an American, but it's hard to tell these days. Sure, you could put a restriction telling which country the page was created in based on IP, but today, anyone can use a VPN account to log in as coming from nearly any country in the world, including the US. Adding insult to injury, quite a number of these US-oriented political Facebook hate pages are apparently run by people who live in Russia. Content is measured and crafted by Russians who understand the emotions behind US politics better than many US citizens do. If you doubt this, here's an article from the New York Times with example ads confirmed as posted by Russian image crafters and from Russian owned pages. I remember some of them in my own facebook feed. These images hit the emotional jackpot with wide and varied segments of US society, targeting not merely one extreme. It's a bit chilling to see how our citizens have been manipulated. When we talk about fake Facebook ads, it's not an ad for Oops, All Berries Cereal or Doritoes Blaze. They look and sound like any other satirical cartoon or video put out by American political campaigners, except they're not American ads.
Below is a classic example that looks like it could have been crafted by someone in the US, except it wasn't. It was crafted by a Russian. Regardless of my sentiments on the below image post, the most critical phenomenon to recognize is that we're being manipulated by people outside our real friends and family on Facebook through the projected trust of our actual friends and family who share these posts with us.
Still not convinced? Here's another list of Russian ads from a reputable news outlet, CNN in their "Money" section. Need more? Here's a breakdown of how the ads work as compiled from nearly 3000 examples released by our lawmakers for public review. Facebook allows you to target specific audiences, and it doesn't care if you're American or Russian when you do it.
At this point, I give up. Rather than attempt to determine whether something is true of false, I'm skeptical of any political image or word crafting on Facebook. When I see an angry post about a particular politician, I either ignore it or research whether the claims are true. If I know the person well enough who shared it and I know the post is in error, I might point out that the shared post is false. Otherwise, I ignore the post. I recognize the likelihood that these ads are created solely to divide Americans along various social strata from politics to race to gender issues, and dismiss them all as un-American in tone and design, regardless of origin.
When I do share, like or comment, I acknowledge deliberately to myself that this is my projection of trust to friends and family on whatever it is I'm sharing. I own it if I'm sharing garbage. I stand behind what I share as worth their time to look at. I will not waste my friends time with ridiculous stuff that will absorb their time uselessly. If what I post is untrue and someone calls me on it, I'll certainly acknowledge the error and apologize. I'll probably take the image down. If something seems like sketchy news, but might possibly be worth sharing, I'll research its validity before sharing. If I find it's not true, I don't share.
Finally, I don't generally unfriend people in Facebook just for sharing things that I disagree with, so long as they post on their own timeline. It's important to me that I understand the world they're living in, because as often as not, the things they're seeing on Facebook are entirely different from what I see. Any glimpse I can get into what's shaping their opinion will help me better understand my friends. I don't block pages or unfollow friends because I want to be sure I'm not cocooning myself in my own little influence bubble.
For this reason, I get a lot of shared posts from opposite US political, racial and gender issue extremes, and frankly, they're almost always poorly informed, regardless of party affiliation or social strata when the object is to make the viewer angry. In instances where they are well-informed, it's still pretty obvious that the page it comes from is propagandist in nature and not news as much as it is opinion meant to change my perspective. I will be the one in charge of deciding whether my perspective changes, and I'm willing to change my opinions based on facts and reality, not lies and myths.
And Mr. Zuckerberg, you say you want to make Facebook better in 2018? Give me a method for determining which ads were paid for, where these ads are actually posting from and the specific human who has actually paid for them in real time at the top of each ad. When one of my friends shares something that's obviously false propaganda, give me a way to mark an ad as false propaganda until Facebook can determine whether something is actually false. Facebook could review the number of views vs. marks for a specific ad and research it. If someone abuses the marking system, remove their marking privileges. If the ad is hateful or includes lies, take it down. If they're not American, and influencing an American political campaign, remove the page that created the ad. Don't make me wait until you've determined the source after the damage has been done. Even better, shut down your post boost system. The boosted-post model discourages real grassroots activism and encourages anyone, domestic or foreign who has money, to game the political system. You're no better than the corporate-bought bureaucrats running Congress if you punish real and worthwhile political activism with this crummy "boost" system. Fix this.
Have you been influenced by Russians? Here's a link to a Facebook page that will tell you whether or not any of the pages or friends you currently follow have been identified as Russian influencers.
If you have been influenced by Russian ads on Facebook, why not post comments below with the link to the Facebook page or group in question here!
Projected trust. Your friends and the things they share are separate. Don't let strangers on facebook pull your strings through the trust of your friends. Question authority and research validity.
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Earn $0.97 in Podium Club credit (97 points)What's This?
Clean Streak™ Degreaser from White Lightning is a quick and effective aerosol degreaser best suited for bike parts. With just Clean Streak™ in hand (and no water source, as rinsing isn't necessary), this degreaser works fast to break down and wash away stubborn grease, road grime, and dirt and then dries in just minutes with no residue. Clean Streak should be used outdoors or in a well-ventilated area, and over an old rag or newspapers to catch grease and grime as it flushes off parts.
Does a good job spraying grease from chain and derailleurs. Only problem is how fast you can use up the can if you clean the bike every week or so.
I use this before the PArk fluid as a preclean, to get in between the chain links. It helps, but is really a luxury.


The lifestyle and mystique of old Hollywood will be center stage with the introduction of CASTELLE's latest collaboration with celebrity designer and author, Barclay Butera. A Black and White themed reception will be held in the Castelle showroom #1576 during the Casual Market Chicago 2018. From 3p to 5p on Wednesday, September 26th,visitors to the Castelle showroom will experience the modern vibe found in Hollywood's playground in the launch of the Barclay Butera Outdoor for Castelle Palm Springs Collection. Flavored martinis and hors d'oeuvres will be served to the tunes of the famed Rat Pack.
The Meet and Greet, which will follow a black and white theme, will be held in the Castelle Chicago Merchandise Mart showroom, #1576, from 3p until 5p on Wednesday, September 26thduring the 2018 Casual Market Chicago.
For more information about CASTELLE and their distinguished lines of casual furniture visit www.castelleluxury.com.
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Dellar is a surname. Notable people with the surname include:

David Dellar (1915–1994), Australian politician
Fred Dellar (1931–2021), British music journalist
Kevin Dellar (born 1937), Australian rules footballer
Stan Dellar (1936–2015), Australian politician, son of David

redpajama_set_name: RedPajamaWikipedia


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An Old Boys' Club No More: Pluralism in Participation and Performance at the Olympic Games
Peterson Institute for International Economics Working Paper No. 15-9
See all articles by Marcus Noland
Marcus Noland
Peter G. Peterson Institute for International Economics; East-West Center
Kevin Stahler
Peter G. Peterson Institute for International Economics
This paper examines the growing diversity of participation and achievement in the Olympics. A wide set of socioeconomic variables is correlated with medaling, particularly with respect to the Summer Games and women's events. Host advantage is particularly acute in judged contests such as gymnastics. However, there is evidence that the influence of correlates such as country size, per capita income, and membership in the communist bloc is declining over time as competition becomes increasingly diverse. These effects are less evident in the Winter Games, events that require significant capital investments, and judged contests.
Keywords: women, globalization, sports, Olympics, doping
JEL Classification: J16, L83, F69, Z13
Noland, Marcus and Stahler, Kevin, An Old Boys' Club No More: Pluralism in Participation and Performance at the Olympic Games (May 2015). Peterson Institute for International Economics Working Paper No. 15-9, Available at SSRN: https://ssrn.com/abstract=2607581 or http://dx.doi.org/10.2139/ssrn.2607581
Marcus Noland (Contact Author)
Peter G. Peterson Institute for International Economics ( email )
East-West Center ( email )
1601 East-West Road
Honolulu, HI 96848-1601

redpajama_set_name: RedPajamaCommonCrawl


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Q: Best / Easiest recommended approach for news feed vertical column menu in Orchard i'm new to Orchard but very impressed with it. I've been trying to find an easy way to have a vertical column based menu in Orchard. Because there is a lot of features and options i'm reluctant to take the wrong approach. I'd like to go in the right direction on this one by asking the experts
I just want an image (to the left) and short paragraph to the right. This repeating downwards just like many popular newspaper websites
Exactly like what http://www.dailymail.co.uk/home/index.html has at the right of the page...
Many thanks for the advice, Kind REgards, J

A: I tend to solve this by adding these fields to blog post:

*

*media picker field (I tend to call this field "Teaser image") used to select picture that will be shown in the news feed

*text field (I tend to call this field "Lead") with Html flavor used to add short text paragraph, or lead, that will be shown in the feed

Afterwards, you can, either

*

*add Recent blog posts widget to the zone where you wish your news feed to display or

*create a Query that will return posts you want to be shown in the feed and then add Projection widget to the zone where you want to display your feed

You can see the similar design I created for the Croatian NATO portal with some extra fields in the design. It's in Croatian language, but it'll serve the purpose of showing what you can do with Orchard for your news-portal style web site.

redpajama_set_name: RedPajamaStackExchange


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Noise at Work - how loud is too loud
Noise at Work: How Loud is Too Loud?
Excessive noise at work can be irritating, distracting and potentially harmful to workers' physical and mental health. The problem is, many employers struggle to determine exactly what is an acceptable level of noise at work, perhaps not surprisingly given the subjectivity of terms like 'excessive' and 'acceptable'. For example, while one person might not be particularly bothered about incessant chatting in the office, another might find it impossible to concentrate, to the detriment of their concentration, productivity and, potentially, their mental well-being.
To confound matters further, the risks associated with noise at work vary greatly from one employee to the next. Contributing factors include the intensity, duration and nature of the noise, the worker's proximity to its source and the amount of time they spend in its vicinity and even their age – to name but a small handful.
So what is an acceptable level of noise at work?
What are considered to be acceptable noise levels at work depends whether the risks to health are physical, psychological or both. Indicators of excessive noise at work include:
Physical – tinnitus and hearing loss; also impaired communication, which could result in failure to hear alarms and warning signals in the event of an emergency.
Psychological – difficulty concentrating, reduced productivity, work-related stress and insomnia.
In addition, there is also a legal element which requires employers in the UK and around the world to take action at certain noise levels and ensure that the legal limits on noise exposure are not exceeded to safeguard workers' hearing. Noise-induced hearing loss claims have been increasing since 2001 although there are reports that they may have peaked and are on a decline now. Most of these are made by staff against their employers and relate to deafness and hearing problems that have come about as a result of uncontrolled noise issues in the workplace.
If you think noise in the workplace could be affecting the physical health and safety of staff, you should adopt a strict risk assessment regime. The Control of Noise at Work Regulations (2005) in the UK outlines six key steps for employers to follow:
Assess the noise risk using a sound level meter
Take action to reduce the noise exposure that presents the risk
Provide staff with hearing protection if required
Ensure that noise does not exceed legal limits*
Provide staff with sufficient information and training
Carry out regular hearing surveillance
*An action level is basically a noise exposure level at which employers are required to take certain steps to reduce the harmful effects of noise on hearing. Please note under current legislation there is also an exposure limit value of 87dB(A), above which no worker can be exposed (taking hearing protection into account). Find out more here about action levels and exposure limit values.
If your business generates high noise levels, regular monitoring should be an integral part of your health and safety strategy in order to maintain your staff's well-being and productivity. It is also your legal duty as an employer. Try and talk with each individual member of staff to find out whether they generally find noise levels at work acceptable or whether it is affecting them in any way. If noise is considered a problem, organise toolbox talks and put up signs to raise awareness about the issue. Move affected staff to quieter areas, replace old or noisy machinery, and put up a noise activated warning sign, which will illuminate when a preset noise level is exceeded.
So how loud is too loud in your workplace?
Well, if you would like to know more about what is an acceptable level of noise at work, contact us. Pulsar Instruments manufactures and supplies quality noise monitoring equipment designed for health and safety professionals and can help you find the perfect solution for your business. You can also call us on 01723 518011 for advice or to enquire further about the products and services available.


If you need a bucket for your 27 or 35 jd mini x then look no further. This 12 inch bucket is in excellent condition and comes with rock teeth. Be on top to win.The item "12 Inch John Deere Mini Excavator (X) bucket with Rock Teeth No RESERVE" is in sale since Thursday, April 02, 2015. This item is in the category "Business & Industrial\Heavy Equipment Attachments\Buckets & Accessories". The seller is "onefatman" and is located in Oklahoma City, Oklahoma. This item can be shipped to United States.
Posted in inch and tagged bucket, deere, excavator, inch, john, mini, reserve, rock, teeth by admin. Bookmark the permalink.


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Macy's Fragrances Advertiser Profile
Fragrance Retailer
7 West Seventh Street, Cincinnati, OH US 45202
www1.macys.com/
Macy's Fragrances is part of:
Top TV Advertisers
Top Prime Time Advertisers
Top Retail & Wholesale Advertisers
Macy's Fragrances is part of Macy's, Inc.. They spent over $100 million on advertising in digital, print, and national TV in the last year. They invest in premium ad units and advertised on over 100 different Media Properties in the last year across multiple Media formats. Macy's Fragrances last advertised a new product in December, 2021.
We have 29 people on file in marketing roles at Macy's Fragrances, and 4 at their agencies.
We have identified 33 decision makers for you to contact at Macy's Fragrances, including Executives, Strategists, Media Buyers and Agency contacts.
Richard L.
Chief Customer Officer
Jay T.
Manager, Content - Macy's
MediaRadar captures creative run on the top websites, magazines and national television stations for over 3 million brands. Here are 3 recent advertisements placed by Macy's Fragrances.
Last ran on YouTube - Entertainment & Movies Channels on 12/31/2022.
Last ran on VH-1 on 12/26/2022.
Last ran on Philadelphia Style in the 02/2022 issue.
Macy's Fragrances Advertising Spend:
Macy's Fragrances recently bought a Video digital ad. See which other premium units they bought.
Macy's Fragrances recently placed a direct ad on www.dezeen.com/. See where else they recently placed direct ads.
Macy's Fragrances recently placed a programmatic ad on www.youtube.com/. In the last 12 months, they have partnered with Youtube and 8 other providers. Which providers do they use most?
Use MediaRadar to stay current on new product launches for Macy's Fragrances.


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Home Types of Plants Types of Flowers
Flowers Start with P
Phalaenopsis is a genus of approximately 45 species[1] of primarily epiphytic orchids native to Southeast Asia, southern China, and India.
Commonly known as moth orchids, these are popular houseplants that, with proper care, will repeatedly bloom once a year (sometimes more) and will last for 4 months or more.
Mostly, they are epiphytes (they grow on the branches and trunks of trees without taking in or feeding on water), but sometimes are lithophytes (they grow on rocks that feed on the atmosphere). Phalaenopsis have a monopodial growing habit and have no pseudobulbs.
The conspicuous, flattened blooms (each 3 to 6 inches wide) appear in long sprays on arched stems in various colors, including pinkish-purple, yellow, cream, pale yellow, and white. Plants of some cultivars grow up to 3 feet tall during flowering.
Suggested Reading: Various Flowers
BioExplorer.net. (2022, January 22). Phalaenopsis. Bio Explorer. https://www.bioexplorer.net/plants/flowers/phalaenopsis/.
BioExplorer.net. "Phalaenopsis" Bio Explorer, 22 January 2022, https://www.bioexplorer.net/plants/flowers/phalaenopsis/.
BioExplorer.net. "Phalaenopsis" Bio Explorer, January 22 2022. https://www.bioexplorer.net/plants/flowers/phalaenopsis/.
[1] – "Phalaenopsis (group) – Plant Finder". Accessed December 02, 2021. Link.
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Arthur Gollwitzer III
Michael Best & Friedrich LLP
Client Alert
Innovation Act Update
On February 5, 2015, Congressman Robert Goodlatte re-introduced his patent reform bill known as the Innovation Act in the United States House of Representatives. (H.R. 9.) The February 5 bill is identical to the Innovation Act passed by the House of Representatives on December 5, 2013, by a vote of 325-91. (113th Congress, H.R. 3309.) That bill stalled in the Senate, eventually being removed from the Senate Judiciary Committee's agenda in May 2014. In the last Congress, more than a dozen other patent reform bills also were introduced in the House and the Senate. None of those bills, however, received a vote on the floor of either chamber of Congress.
Congressman Goodlatte's Innovation Act stands a good chance of being approved by both the House and the Senate in the new Congress. Moreover, President Obama previously expressed a willingness to sign such patent reform legislation. In light of the likelihood that the Innovation Act or some version of it becomes law, this paper provides a detailed description of its contents. While proponents of patent reform are applauding the re-introduction of the Innovation Act, a number of its provisions fall into the category of "be careful what you wish for."
II. The Innovation Act – H.R. 9
The Innovation Act contains at least eleven main elements:
Demand letter specificity
Heightened pleading requirements
Fee shifting
Disclosure of interested parties
Phased discovery
Customer stays
AIA Amendments
Extension of the patent litigation pilot program
Codification of the double patenting doctrine
Extension of bankruptcy protections for patents and trademarks
Small business and miscellaneous patent improvement provisions
A. Demand Letters
The Innovation Act follows the trend of numerous other prior federal bills, state laws, and state law proposals by regulating demand or "cease-and-desist" letters. The Act states that demand letters "should" include "basic information about the patent in question, what is being infringed, and how it is being infringed." Demand letters lacking those basic elements will be considered "evasive," "a fraudulent or deceptive practice," and an "exceptional circumstance" to be considered when a court evaluates whether the litigation was abusive. Moreover, a plaintiff seeking to establish willful infringement may not rely on evidence of pre-suit notification unless such notification identifies with particularity the asserted patent, the accused product or process, and the ultimate owner of the asserted patent, and further explains with particularity to the extent possible following a reasonable investigation how the accused product or process infringes the asserted patent.
The Act's demand letter provisions are not as detailed as many of the recently enacted state laws and do not contain the fines or other penalties common to those state laws. In addition, the Act does not expressly preempt those state laws, so federal preemption of such laws will remain an open question.
B. Heightened Pleading Requirements
The Innovation Act expressly eliminates Form 18 which provided a pre-approved bare-bones complaint for patent infringement and which the Federal Circuit Court of Appeals relied on to refuse to extend the holdings of Ashcroft v. Iqbal, 556 U.S. 662 (2009) and Bell Atlantic Corp. v. Twombly, 550 U.S. 544 (2007) to direct infringement claims. See McZeal v. Sprint Nextel Corp., 501 F.3d 1354 (Fed. Cir. 2007). Going further, the Act requires a patent holder to plead each asserted patent claim, specifically identify each allegedly infringing product or process by name or model number, and explain how each accused product or process infringes each claim on an element-by-element basis. Essentially, the bill would require that the patent holder include a claim chart along with its complaint which, in turn, likely will lead to a dramatic increase in early motion to dismiss practice under Federal Rule of Civil Procedure 12. These provisions also will invite litigation over whether the required information was "reasonably available" to the plaintiff at the time of filing. Other new pleading requirements include a description of the plaintiff's ownership rights, a list of all prior complaints asserting the patents-in-suit, and any licensing commitments (e.g. through standard setting bodies).
C. Fee Shifting
The Innovation Act makes "loser-pays" fee shifting the default rule. The court shall award reasonable attorneys' fees and costs to the prevailing party unless the position and conduct of the non-prevailing party was reasonably justified in law and fact or special circumstances would make fee shifting unjust. The Court also can make the fee award recoverable against other "interested parties," such as when the plaintiff is just a shell entity created to assert the patents-in-suit. The fee shifting provision would apply to cases pending for less than six months prior to the date of enactment. In the 113th Congress, this was the most controversial provision of the Innovation Act, and that remains the case today especially in light of the Supreme Court's recent decision in Octane Fitness, LLC v. Icon Health & Fitness, Inc., 134 S. Ct. 1749 (2014), lowering the threshold for awarding attorneys' fees under the current law. The actual effect of the Octane decision in the district courts remains to be seen.
D. Disclosure of Interested Parties
The Innovation Act requires patent holders to disclose to the court, the Patent Office, and adverse parties all real parties-in-interest, such as assignees, entities with license or enforcement rights, parties with a direct financial interest in the plaintiff or the patents-in-suit, and ultimate parents of the plaintiff. "Financial interest" is defined as ownership or control of more than 5% of the plaintiff or the right to receive proceeds from assertion of the patent. Financial interest does not include attorneys representing the plaintiff on a contingent fee basis or stock-holders who do not have any control over the litigation.
The bill also imposes an ongoing duty to supplement this information. If a party does not abide by its ongoing disclosure obligations to the Patent Office, then it may not recover damages or attorneys' fees during the period of non-compliance, and the court may award sanctions to adverse parties. Finally, the courts may join such interested parties upon a showing by a defendant that the plaintiff's interest is primarily asserting the patent-in-suit in litigation.
E. Phased Discovery
The Innovation Act limits discovery prior to claim construction to information necessary to construe the claims or resolve motions. (These limits do not apply to actions brought by patent holders against competitors seeking a preliminary injunction.) The courts have discretion to expand discovery to prevent injustice.
The Act also directs the Judicial Conference of the United States (the body that drafts and amends the Federal Rules of Civil Procedure) to draft new discovery rules to address the "asymmetries in discovery burden and costs" in patent cases. To that end, the Conference should enact rules creating several categories of discovery: core discovery, discovery of electronic communications, and additional discovery. Under these rules, discovery of electronic communications would be strictly limited and "additional discovery" would typically be paid for by the requesting party, including the producing party's reasonable attorneys' fees. This bifurcation of discovery and cost-shifting represents a dramatic shift from the open discovery common to federal litigation today. Moreover, while the limits on discovery of electronic communication will save the parties costs and fees, they seem ill-suited to a world in which most communication occurs electronically.
Finally, the Act directs Judicial Conference to study these rules governing and amend them as needed. (The Act also directs the Commission to develop case management procedures that encourage the district courts to identify potential dispositive issues focus on early summary judgment motions.)
F. Customer Stays
The Innovation Act requires courts to stay suits against customers where the manufacturer of the accused product or process also has been accused of infringing the same asserted patent. To obtain such a stay, the manufacturer and the customer must agree to the stay and the customer must file a motion to stay its case within the later of 120 days of the suit or entry of the first scheduling order. The customer also must agree to be bound by any issues finally decided as to the manufacturer. If a manufacturer, however, agrees to a consent judgment or does not appeal a final judgment, then the court may determine that the decision is not binding on the stayed customer defendant. The court also may lift the stay if it determines that the manufacturer suit will not resolve a major issue in the customer suit or is otherwise unjust to a party seeking to lift the stay.
Note that the Act's definitions of "covered manufacturer" and "covered customer" do not seem well-suited for distribution chains involving multiple layers of suppliers. Put another way, when the distribution chain consists of more than A selling to B, the intermediate parties seem to fit the definitions of both covered manufacturers and covered customers.
G. AIA Amendments
The Innovation Act contains several amendments to the 2011 America Invents Act.
First, the Act requires the Patent Office to use the standard used by district courts when construing claims in litigation rather than the currently used "broadest reasonable construction" standard borrowed from the patent prosecution process. Interestingly, this provision would make it harder rather than easier to invalidate patent claims under the AIA, contrary to the spirit of almost every other provision of the Innovation Act.
Second, the Act eliminates the estoppel provision in the Post-Grant Reviews that currently bars a petitioner from asserting in a subsequent civil action any ground that the petitioner "reasonably could have raised" during the post-grant review. This estoppel language, however, remains in effect for Inter-Partes Reviews.
Third, the Act expands the scope of prior art available to petitioners in filing covered business method review petitions.
Fourth, the Act allows the Patent Office to waive the filing fees in certain CBM reviews.
H. Extension of Patent Pilot Program
The patent litigation pilot program existing in certain district courts shall be extended for an additional ten years.
I. Double Patenting
The Innovation Act codifies the doctrine of double patenting for first-inventor-to-file patents.
J. Bankruptcy Protection
The Innovation Act bars bankruptcy trustees from terminating certain patent licenses by giving licensees the right s described in section 365(n). The Act adds trademarks to the definition of "intellectual property" in the bankruptcy code. Finally, the Act holds the bankruptcy trustee to any contractual obligations to monitor and control the quality of a licensee's product or service.
K. Small Business Provisions and Patent Improvement Provisions
The Innovation Act requires the Patent Office to develop educational resources for small businesses, including programs to increase awareness of abusive litigation practices. The Patent Office may give special consideration to the unique needs of small firms owned by disabled veterans, women, and minority entrepreneurs. To that end, the Act also requires the Patent Office to create a web-site to notify the public of all new patent cases.
The Act directs the Patent Office to study the prevalence of bad faith demand letters.
The Act directs the Patent Office to study the impact of the Act on the ability of individuals and small businesses owned by women, veterans, and minorities to assert, secure, and vindicate the constitutionally guaranteed exclusive right to inventions and discoveries by such individuals and small businesses.
The Act directs the Patent Office to study the volume and nature of business method patent lawsuits.
The Act requires the Patent Office to study the secondary market for patents in the United States and to examine licensing and other oversight requirements that may be placed on the patent secondary market.
The Act directs the Patent Office to study its own examination procedures, patent quality, and the technologies available to improve patent examination quality.
Finally, the Act requires the federal courts to study the idea of developing a patent small claims procedure.
III. Prospects for Passage
Most Congressional observers believe that the change in control of the United States Senate presages approval of the Innovation Act, or some form thereof, in the 114th Congress. Moreover, the White House previously has signaled its intention to support and sign patent reform legislation. It remains to be seen, however, whether the White House will be as enthusiastic about a reform bill that includes mandatory attorneys' fee-shifting and other dramatic changes to the default rules of civil procedure. In conclusion, we expect to see some form of the Innovation Act enacted into law in the year 2015.
©2022 MICHAEL BEST & FRIEDRICH LLPNational Law Review, Volume V, Number 69
Once Again, the ITC Finishes the Year with a Flurry of New Complaints
Adam R. Hess
USPTO Announces Deferred Subject Matter Eligibility Response Pilot Program
Courtenay C. Brinckerhoff
Petitioner Succeeds in Wiping Out Challenged Claims at PTAB
Emma N. Ng
What's New in the Public Domain and What it Means for You
David H. Siegel
Arthur Gollwitzer is a partner in the Litigation Practice Group. Mr. Gollwitzer combines trial and appellate experience gained as a federal prosecutor in the Southern District of New York with twenty years of experience, including jury trials and appeals, handling patent, copyright, trademark, and trade secret litigation. Mr. Gollwitzer also has experience in a wide range of litigation outside of intellectual property and criminal law, including employment, partnership and breach of fiduciary duty, and breach of contract litigation.
Prior Work...
agollwitzer@michaelbest.com
www.michaelbest.com


text:
Q: Are surface plasmons real eigenstates of the metal Hamiltonian? I am studying surface plasmons on a nanosphere using classical electrodynamics but I was wondering if surface plasmons were or not eigenstates of the nanoparticle Hamiltonian. I think they are not because you really have to add some boundary conditions on the external field to compute them. Is this true? Can you provide me a detailed explanation?
Thank you in advance
EDIT
What I meant is that the Hamiltonian:
\begin{equation}
H=\sum_{i}\frac{p^{2}_{i}}{m_{i}}+\frac{1}{2}\sum_{i,j}\frac{1}{\left|r_{ij}\right|}-\sum_{\gamma,i}\frac{1}{R_{\gamma i}}
\end{equation}
where $\gamma$ runs over the nuclei and $i,j$ over the electrons won't be enough because:
There is no reference to the surface and the surface plasmon frequency depends on the external zone;
There is no reference to the fields produced by the moving charges (retardation effects);
Plus I'm not really sure how one would ensure the boundary conditions on the surface in the solution of quantum mechanical equations


Queensland United is a yarn you'll reach for year round. Made from a unique blend of cotton and wool, we love this yarn for garments, shawls, lightweight afghans, and just about anything else.
Made from certified organic fibers, the yarn has a soft heathered appearance in gorgeous colorways.
And since it's machine washable, it's perfect for items for both babies and grown-ups alike!


Below are a few interesting things from this thread [WayBack] Any idea why Delphi (At least since Seattle) does this to Dproj filesand… – Tommi Prami – Google+.
It's likely that the WordPress system deleted parts between angle brackets because it thinks it's invalid HTML and WordPress is PHP.
Anyhow: maybe by now I've found time for creating an XSD for .dproj files in addition to the one I mentioned yesterday for the .groupproj files: Validating a nested XML element with an empty namespace using XSD – Stack Overflow.
Oh and in the mean time for various Delphi versions, there is a (binary, because it uses some commercially licensed parts) [WayBack] Dproj changed or not changed? Normalize it! | The Art of Delphi Programming.
fixed: RAD Studio – RSP-11308: Inconsistent sort order in dproj files causes havoc with version control systems.
Still exists in Berlin Update 2.
For more than a decade, the IDE rewriting dproj files in different order/indentation/spacing, properties appearing/disappearing in DFM files and writing DFM files despite no changes have driven me even more nuts than I was.
+Jeroen Wiert Pluimers Yes. Given that .dproj is XML I've been almost annoyed enough to look at making some kind of pre-checkin script to force sort things to try and avoid the issue. Almost… Edit: Ah, just checked that RSP, which references this: https://github.com/joshkel/RadCli Seems someone has already done it.
Did you try tidy_proj +Walter Prins? For me it fails with a "Unicode Encode Error" when I try to write an output file. In my case this is caused by German umlauts in the excluded bpl section descriptions. Changing the umlauts to something low-ascii allows tidy_proj to finish.
Note: This will likely not display correctly if you allow the output to go to the console but will ensure it is correct if redirected back to file.
+Walter Prins interesting tool! Do you know of a tool that can downgrade .dproj files so you can use them with older Delphi versions? (the opposite of what the IDE does)?
+Walter Prins no I didn't. Where should I start reading on that minimalist template approach?
+Jeroen Wiert Pluimers Sorry I see I missed out the word installer in my comment: It's the Jedi JCL/JVCL installers that uses xml templates etc.
But the point stands: I guess it should be (perhaps) possible to reuse its infrastructure for ones own projects, though as I say I keep meaning to look into this but haven't really done so.
Anyway, not sure if or where there's particular documentation about this (kind of doubt it), but if you have the JCL/JVCL installed somewhere, then first of all have a look at the "xml" folders e.g. "<jclroot>\jcl\packages\xmls" and "<jvclroot>\jvcl\packages\xml".
These files appear to define projects and packages in a seemingly abstract/somewhat minimal way using XML. This seemingly is then used to automatically produce .dproj and .dpk files which are placed in e.g. "<jclroot>\jcl\packages\dXX" and "<jvclroot>\jvcl\packages\dXX" where dXX corresponds to a folder for each of the supported Delphi versions and compiled/used during installation.
In a quest for making Delphi Group Project XML files (with extension .groupproj) validate with XSD, I had to find out about [WayBack] Validating a nested XML element with an empty namespace using XSD – Stack Overflow.
I needed the XSD so I could import it in Delphi in order to write a good .groupproj file generator.
Schema Central, by [WayBack] Datypic, Inc. (Priscilla Walmsley) is to golden that I quote the whole index page below.
The index refers to XML vocabularies. Each vocabulary page links the corresponding XSD pages. Each XSD page lists documentation, elements, etc. Each element page then documents the element, shows where it is referenced from.
Welcome to Schema Central, an interactive tool to traverse and search XML schemas. Please choose your XML vocabulary of interest to get started. Don't see the XML vocabulary you use? Ask us to add it.
Datypic provides consulting services and training, specializing in XML, content management and SOA/Web Services architecture and development. We are experts in XML-related technologies such as XML Schema, XSLT and XQuery, and have extensive experience with software development and implementation.
We participate in consulting projects ranging from one day to many months, anywhere in the world. We can arrange to work remotely or at your site, whichever you prefer.
I recently updated my book XQuery to match the final XQuery 3.1 recommendation. You can read more about it or order it from O'Reilly or Amazon.
I recently taught a course at the XML Summer School on Refactoring XSLT. Slides are available as a PDF.
exception class EConvertError with message ''9999-12-31 23:59:59,1000' is not a valid date and time'.
This is from a .NET based test case passing in timeStamp = DateTime.MaxValuewhich is handled perfectly fine by other SOAP web services tested.
I know about different resolutions of time stamps, but would never expect the 999.9999 milliseconds to be rounded up to 1000 as it is always safer to truncated away from an upper limit.
A combination of lack of test cases and understanding XML specifications failed to reveal this bug.
The above is not limiting the amount of digits, not talking about milliseconds either.
All ·minimally conforming· processors ·must· support year values with a minimum of 4 digits (i.e., YYYY) and a minimum fractional second precision of milliseconds or three decimal digits (i.e. s.sss). However, ·minimally conforming· processors ·may· set an application-defined limit on the maximum number of digits they are prepared to support in these two cases, in which case that application-defined maximum number ·must· be clearly documented.
s -- represents a digit used in the time element "second". The two digits in a ss format can have values from 0 to 60. In the formats described in this specification the whole number of seconds ·may· be followed by decimal seconds to an arbitrary level of precision. This is represented in the picture by "ss.sss". A value of 60 or more is allowed only in the case of leap seconds.
Given buggy the fractional second handling through milliseconds, the leap second handling is ripe for a test case as well.
Strictly speaking, a value of 60 or more is not sensible unless the month and day could represent March 31, June 30, September 30, or December 31 in UTC. Because the leap second is added or subtracted as the last second of the day in UTC time, the long (or short) minute could occur at other times in local time. In cases where the leap second is used with an inappropriate month and day it, and any fractional seconds, should considered as added or subtracted from the following minute.


The State Liberals have released a comprehensive public transport plan designed to make Adelaide's public transport the equal of similar sized cities anywhere in the world.
A Marshall Liberal Government will create the South Australian Public Transport Authority (SAPTA) which will be required to review the cost of fares and improvements to services on public transport," said Shadow Minister for Transport David Pisoni.
"Making public transport affordable, safe and reliable is the key to attracting more passengers onto Adelaide's buses, trams and trains.
"I'm also fully aware of the importance of making travelling on public transport more convenient.
"A Marshall Liberal Government will look to deliver improvements in ticketing, install mobile phone charging stations at train stations, opening toilets at trains stations with CCTV surveillance and installing more bicycle hubs at bus interchanges and train stations.
"Investigating the use of high capacity electric buses and delivering a simpler more efficient bus interchange network are ways of further improving commuter satisfaction with our public transport network.
"A Marshall Liberal Government will have Infrastructure South Australia assess four alternative routes for expanding tram services within the CBD and North Adelaide.
"Our vision is to link Adelaide's main public institutions with our cultural precincts through an extension of the tram network to drive tourism and jobs growth throughout the City of Adelaide.
"The first component of this plan will see a Marshall Liberal Government correcting the Weatherill Government's cynical decision to cut a right-hand turn from King William St into North Terrace.
"A Marshall Liberal Government will not expand the tram network into inner suburban Adelaide as proposed by the Weatherill Labor Government.
"Running trams down the Parade, Unley Road, Prospect Road and Henley Beach Road will destroy the amenity and beauty of the urban villages those roads service and deliver very little in return for such a massive investment.
An excellent idea, to have a responsible body to solely manage public transport, rather than it being bundled into an unwealdy "everything transport" department, as centralised by the Labor Government in the early 2000's.


text:
Q: Can I add additional file to my Firebase hosted static website, or must I deploy the entire site every time? We plan to host a fairly large set of static files with Firebase Hosting. Is it possible to deploy only new files to Firebase Hosting, without having the entire site available?
We essentially want to do an "update" deploy, not a "full" deploy. We want to add files.
The context: on every Travis build, we generate new docs, and want to add those docs to our site. We don't have the entire site available at that point, only the newly generated files.
Thanks!

A: At the moment running firebase deploy will redeploy the entire site. There is no way to deploy only a specific part of the site or only the items that were changed/added.

Update: since mid 2018 the Firebase CLI will only deploy files that don't yet exist on the Firebase Hosting servers. This means that if you only update (or add) a single file, that's (likely) the only file that will be sent to the server when you run firebase deploy.
This so-called "delta deploy" is made possible by a new REST API for Firebase Hosting. With this it is for example possible to deploy a single file, even if you don't have a full copy of the site on your dev machine. For an example of this, see Firebase Hosting Deploy Single File.


text:
Prince's Career on Camera: Insiders Recall Late Genius' Difficult Relationship with Music Videos
4/22/2016 by Rob Tannenbaum
Redferns/Getty Images
Prince photographed on stage in 1984.
MTV and Prince matured at the same time. The network didn't exist when he released his first album in 1978, and for a few years, his videos seemed like tossed-off afterthoughts, made during off hours while, say, his Paisley Park recording studio was being vacuumed. For its part, MTV was losing money and close to being shut down, until the magic year of 1984.
"1984 was our tipping point," MTV co-founder John Sykes said when Billboard editor Craig Marks and I interviewed him for I Want My MTV: The Uncensored Story of the Music Video Revolution, our oral history of the network's creation and first decade. "It was an incredible year for music." Top-selling albums that year included Van Halen's 1984, the Cars' Heartbeat City, Bruce Springsteen's Born in the USA, the Police's Synchronicity, ZZ Top's Eliminator, and Purple Rain, by Prince and the Revolution, each a blockbuster album by an artist who'd been around for years.
Prince Dies at 57: Iconic Musical Genius Found Dead in Paisley Park
With Purple Rain, Prince leapfrogged MTV by making and starring in a Hollywood feature that grossed more than $80 million; the film won an Oscar, and Prince became a household name. In the following years, he maintained an uneasy relationship with music videos, eschewing familiar tropes and avoiding big-name directors, often directing them himself.
That elusiveness and independence helps explain why so many people we interviewed told us hilarious stories about Prince – he was the video artist with little use for the video industry. Some loved him; others had quite the opposite reaction. Collectively, these anecdotes paint the picture of a guy with a wicked sense of humor and a soft voice, loved mineral oil and woolen underpants, but apparently hated video directors.
Chart Royalty: Prince's Hot 100 & Billboard 200 Highlights
Lenny Kravitz: The first time I saw MTV, I was on vacation with my parents in the Bahamas. The hotel had MTV. It was beautiful outside, 80 degrees and sunny, and I spent the whole week in the room, watching MTV, 24/7. My parents were like, "My god, what is wrong with you?" I wanted to watch videos all day. Duran Duran, Prince, Hall & Oates, Bowie's "Ashes to Ashes," Talking Heads, Bow Wow Wow, Haircut 100, Adam & the Ants. That's when MTV was MTV. God bless MTV, but it ain't MTV no more.
Paul Flattery, producer: Warner Bros. Records had me make some early Prince videos, because he was difficult and they felt I could handle him. [Director] Bruce Gowers and I shot "Controversy" and "Sexuality" in one day. Prince wouldn't talk to you directly. He'd be standing right in front of you, and he'd whisper something to his assistant, and the assistant would say, "Prince says..." And so I would say, "Well, tell Prince…"
Sharon Oreck, producer: Prince's "1999" and "Little Red Corvette" videos were just smoke, then Prince's face, then smoke, then Prince's butt, and then smoke. I liked the songs, but the videos were profoundly bad. They were, like, porn bad. His videos were so filled with smoke that everyone on the set got diarrhea, because mineral oil was so thick in the air.
Beth Broday, producer: I got a call from Warner Bros. when I was producing music videos out of my apartment in West Hollywood: "Prince is gonna go down to Lakeland, Florida, where he'll be rehearsing for his live show. We'd like you to shoot a song called 'Little Red Corvette.'" I brought Brian Greenberg, a young director, with me. Prince's manager, Steve Fargnoli, sat me down and told me I was not allowed to talk to Prince unless he talked to me. I'm like, "Uhhh, excuse me? How's that gonna work?"
So we get down to Florida, and the stage show is all set up. I meet Prince for the first time. He looked at me and Brian and he said, "Just shoot me doing what I do. That's all you need to do. Follow me across the stage. I'm like, "Okay, you got it." When the meeting ended, I walked over to him and said, "I was told not to talk to you, but I can't work like that. I need to communicate with you or this is not gonna work, okay?" And he said, "Okay." That's all he said, but at least it was something.
When he hit that stage and began to sing and move, he was right, of course — you didn't need a concept. You didn't need anything but him. When everything was signed off and we were in the edit room, he walked across the room, looked up at me — I'm 5'8" — and simply said, "Thank you very much."
Fab Five Freddy, host, Yo! MTV Raps: In those days, you'd see the occasional Michael Jackson or Prince video on MTV, but for the most part, it was TV apartheid.
Lisa Coleman, keyboardist, Prince and the Revolution: MTV wasn't playing black artists. That became a challenge, because you knew that if you weren't on MTV, you weren't going to make it. So management and Prince decided to focus on him as a performer, rather than make concept videos.
In early '83, the "1999" video got a tiny bit of MTV play. "Little Red Corvette" was the next single. We were on the road when it started doing well on radio, so we squeezed in a video shoot in Jacksonville, during a few days off between gigs. A director flew down, we set up our gear at the venue, Prince threw together some choreography, and we shot it. When "Little Red Corvette" started getting played on MTV, we really felt vindicated. Before we came along, music was considered either rock & roll or it was R&B. It was either black or it was white. We'd always felt that it was part of our cause to push the envelope.
Jeana Tomasina Keough, Playboy playmate: After I did ZZ Top's "Gimme All Your Lovin'" video, I had a chance to audition for a guy named Prince in Minneapolis, for "Purple Rain," I wouldn't go. I said, "There's no Prince in Minneapolis, they must think I'm stupid."
Simon Fields, producer: I produced most of Prince's video between 1980 and 1990. He hardly talked to me for the first year; he was very shy. Then he grew to trust me. Which sometimes meant having to fire directors before they'd even started. We'd fly in a director and Prince would whisper in my ear, "Get rid of him." So I would, and Prince would direct the video himself.
I hired Larry Williams to direct "When Doves Cry." Before the first shot, Prince said to me, "He doesn't have to be here." So I gave Larry a few magazines, and he sat outside and did some reading.
Sharon Oreck, producer: Prince was cuckoo paranoid. When I produced "When Doves Cry," I didn't know what the concept was until the day of the shoot. The director, Larry Williams, had worked with Prince on some still photographs. I'm like, "Well, what do you want me to do as the producer?" He said, "Just get a stage, a crew, a bunch of cameras, a bunch of smoke and some doves." A crapload of smoke, and a crapload of doves. The day before we're going to shoot, I was told, "Paint a room purple and get a bathtub and some candles." And the bathtub wrangler had to get three bathtubs, so Prince could choose. We were finally told that Prince would be in the bathtub naked, then crawl around on the floor. The day of shooting, he got there six hours late. He'd tell Steve Fargnoli to put this here and that there, then Steve would tell Simon Fields, then Simon would tell me, then I would tell someone else.
At one point Prince told Steve, "Tell Simon to get me a pair of woolen underpants." So we got him this teeny-weeny size of long underwear. He had the wardrobe person snip them down into a tiny little banana hammock for him, and then dye it purple. And that's what he wore when he was in the bathtub.
Jeff Ayeroff, Warner Bros. Records creative director: Prince was more interested in Prince than he was in video. He didn't want to give up control. He would never have hired, say, David Fincher, because when you hired Fincher, Fincher was in charge. Prince wouldn't allow that. Not to say that Prince was right or wrong. I mean, he's Prince.
Sharon Oreck: For [Prince protégé] Sheila E.'s "The Glamorous Life," I was drafted to go to a meeting with Prince on the Warners' lot in West Hollywood, to discuss important things about the video. [Director] Mary Lambert was introduced, and told everyone what she had in mind: "We'll shoot performance footage, and she'll be bathed in colors and light, and she'll look stunning, and we'll also do a little narrative and Sheila will explore her sexuality and life and love…" It was mostly horseshit — that's what you did, you said this kind of stuff. When she was done, everyone was like, It sounds great. And then, quietly, almost in a whisper, Prince said something that sounded like, "Sheila should have drumsticks on her." But no one could hear him. The table went silent. Steve Fargnoli, Prince's manager, who's this super-handsome Italian guy, huddled with Prince and said, "Prince says Sheila should have drumsticks on her pants." And they got up and left. Prince was there for ten minutes.
After he left, I was like, "Do they mean real drumsticks taped on her pants?" We figured out that he meant fabric drumsticks sewn into the pants. And of course, Jeff Ayeroff from Warner Bros. said, "Mary, she better not be wearing fucking drumsticks on those pants." We're like, you tell him! That's how things worked around Prince. No one ever said no to him. And she ended up with drumsticks on her pants. They were the silliest pants I've ever seen.
Lisa Coleman: He basically directed his own videos. He would get help from people on the technical side, but he didn't let anyone else have creative control. It was part of his total megalomania.
Mary Lambert: I met Prince when I was hired to do Sheila E.'s "The Glamorous Life." He had two stylists named Louis and Vaughn. When I was introduced to them, it looked like they'd made their entire wardrobe out of chenille bathroom rugs and toilet-seat coverings. They were the most bizarre clothes I'd ever seen. The weirdest thing, though, was that they designed a wardrobe for Sheila E. that could barely fit a Barbie doll. They were itty-bitty-teeny-weeny. She's small and thin, but these clothes weren't going to fit anybody. On the day of the shoot, she tried them on and couldn't even get her legs in them. They had to put extenders in the pants. We never did zip them up.
Sharon Oreck: When we cast "Glamorous Life," we hired a really handsome black guy to play Sheila E's love interest. A short while later, we heard back from Simon Fields that Prince's camp didn't like him, and we couldn't hire him. Mary Lambert said, "Why don't they like him? Is he too tall? Too short?" And finally Simon said, "They don't want a black guy." We were like, "What are you talking about? She's black!" We were told they wanted the record to cross over, so there needed to be a white boyfriend. Mary and I were appalled.
Randy Skinner: I was editing a Prince video with Albert Magnoli, who directed Purple Rain. All of a sudden, Albert says, "Prince is coming." The rule was, Don't look at Prince. Don't talk to Prince. So I huddled in a corner, thinking, "Oh God, what do I do?" He came in, walked right up to me, said "Hello," and put out his hand. I was thinking, "Oh shit! Do I look at him, do I shake the hand, do I not shake the hand?" So I shook the hand. And he was lovely, actually.
Lisa Coleman: When we started making Purple Rain, Prince was talking about it being a cult film, like Rocky Horror. A midnight movie. Then Al Magnoli came on to direct, and said to Prince, "Don't sell yourself short. You've got some great songs here. Let's make this a hit movie." Management started seeing stars in their eyes. And cha-ching, it actually worked.
Daniel Kleinman, video director: The most difficult person I've ever worked with, beyond a doubt — far worse than anyone else — was Prince. He's a nasty little guy. I filmed a live concert with him. He communicated with me via notes. He didn't like talking to anyone, so he'd send someone down with a little note, like, "Make sure you get a close-up of the keyboard player in this song." It was fucking mad. I think he's slightly sociopathic, actually.
Howard Woffinden, producer: I was dispatched to Minneapolis, where Prince was rehearsing for a tour, to meet with him about a video concept. I sat in the arena watching rehearsals for three days before somebody came and told me, "You should go home now."
Simon Fields: For "Raspberry Beret," we filmed a whole video, then Prince got a Japanese animator to do a completely different video and we mashed the two up. He would mess with directors. He would give them the impression that they'd be in charge of the video, then halfway through he'd go, "Thank you," take what he liked, and edit it himself.
Lisa Coleman: Here's a good piece of trivia: Pat Smear from Nirvana and Foo Fighters was an extra in "Raspberry Beret." I met him years later and he said, "I'm such a huge fan, I was in the video." Look closely and you can spot him, in the front.
Dave Grohl, Nirvana and Foo Fighters: That's when Pat had dreadlocks all the way down to his butt. He loves Prince, so he put together a white ensemble and goes down to the auditions, at a rehearsal space in Los Angeles. He gets there, and everyone has to do a synchronized dance. Pat can't dance. So he got cut. They sent him home. He starts walking down the hallway and hears, "Hey you!" He turns around and there's a big bodyguard standing next to Prince. And Prince whispers in the bodyguard's ear. The bodyguard says, "You can stay. He likes your hair." They wanted his hair in the video!
Howard Woffinden: A few of us traipsed to Prince's house in LA about 11 a.m. to meet with him about a video. Someone lets us in and we're sitting in the living room for ages, waiting. Eventually Prince comes in, dressed in silk pajamas, with a blue stiletto on his right foot and a yellow stiletto on his left foot. He sits down, looks at the ceiling a little bit, and we launch into our spiel. He listens politely for a minute or two and says, "Uh, hang on a minute." He disappears for another 35 minutes or so. Eventually, he wanders back in, and now he's got the blue stiletto on his left foot and the yellow stiletto on his right foot. He sits down and says, "Now, what were you saying?"
Sharon Oreck: There was a story told at [video company] Limelight about an early Prince video. Supposedly, there was a shot where he wanted doves released into the air, but the production manager decided not to work with an animal trainer because it was too expensive, so he bought some doves from a local pet store. When it came time to throw the doves into the air, he literally threw them from the stage, and they were immediately sucked into a giant fan, chopped up, and then sprayed around the room and all over the band. That was one of the first rock video legends.
Corey Glover, singer, Living Colour: I come from a family of short people. I overcompensate constantly, because I am well aware of just how short I am. When I met Prince, I was so happy – he's 5' 2", 5' 5" with heels on. I walked up behind him and I could feel the smile radiating from my face. When I met Mel Gibson at Saturday Night Live, I was like, Really? I'm taller than Mel Gibson?
Joe Davola, MTV producer: Under the Cherry Moon was the movie Prince made after Purple Rain, and MTV did a contest with Warner Bros. – the 10,000th person to call in would get a premiere party in their hometown. The phone lines were jammed up in the bigger cities, so a girl in Sheridan, Wyoming got through first. MTV took Prince to Wyoming and did the premiere of Under The Cherry Moon in some bullshit town. Prince was great, a really nice guy, though not effusive. He played live in a Holiday Inn ballroom and his head almost hit the fucking ceiling when he jumped up and down. I wanted to shoot him outside, against the mountains, because it's beautiful out there, but the studio was trying to limit costs. I think they knew from the previews, this was not gonna be a hit movie.
Lisa Coleman: We had to take a little crop duster plane to get to Sheridan. We were scared for our lives. There weren't even seats; it was like sitting on the floor of an army helicopter. We stayed at their fanciest Holiday Inn and played a gig there after the premiere. It was so silly, because they put the band on risers, but the ceiling was only eight feet high. Our heads were right up against it.
Roberta Cruger, MTV director of talent relations: We did a contest for Under the Cherry Moon where the winner got to host the premiere in their hometown and be Prince's date. The young woman who won was from Sheridan, Wyoming, so that's where the premiere was. She was interviewed by a magazine and she told them her favorite band was Motley Crue. When the Warner Bros. film people heard that, they wanted to cancel the contest. But Prince was a real gentleman about the whole thing. He picked her up, opened the car door, and gave her a gift: a cross. The girl told me afterwards, "I think he's shy, like me." It was very sweet.
Lisa Coleman: Wendy [Melvoin, from Prince's band] got in trouble that weekend. Joni Mitchell came to the premiere. We were so excited to spend time with her. After the gig in the Holiday Inn, we went to the bar with Joni and Wendy ordered a beer. Somehow, it got into the local paper, just offhandedly, like, "Wendy Melvoin sips a beer as she talks to Joni Mitchell." Prince read that, and got really pissed off. He thought it was sinful for Wendy to be drinking a beer. He was worried, like, "What if kids read this and think it's cool to drink beer?"
At this point Prince was very caught up in becoming the kind of mainstream star that even grandmas loved, and he felt that this didn't fit that image. And so he fined Wendy. He docked her pay. It was at least $500. It may have been $1,500.
Rebecca Blake, director: When Prince's manager called and asked me to direct "Kiss," the first thing out of my mouth was, "I'd like to speak to Prince first, and I'm not doing it unless I can bring in my own hair, makeup, models and choreographer." A few minutes later, Prince called me. He was charming. The conversation was brief and there was a lot of giggling on his end.
I was on a heavy vampire kick — I was into Anne Rice very early — so that's where the black veil on the dancer's head comes from. Prince was brilliant in terms of dance and choreography. You could show him something and three seconds later he could do it perfectly. He came to the set with buttons all over his pants. I said, "What's with the buttons?" He said, "Should have told me you don't like buttons." He's funnier than people know. I'd put him next to a six-foot-tall model and he would give me an expression like, "Are you kidding? Where's my apple box?" He was the one who decided at the last minute to use Wendy Melvoin in the video. They had great chemistry, and they were funny together. Her facial expressions in that video were perfect.
Lisa Coleman: Wendy and I were living together at the time, and Prince called her and said, "I'm shooting the 'Kiss' video today. Why don't you come down and play guitar?" As it turns out, the stuff with Wendy playing guitar on a stool stole the show. She ended up being more of the focus than the hot female dancer with the see-through scarves. When Prince dances up to Wendy and sings "You got to not talk dirty, baby / If you wanna impress me," and Wendy smiles and shrugs? You can see that image in your head perfectly, nearly thirty years later.
Rebecca Blake: Prince would never do anything with anyone unless I was there. He would not talk to anyone but me. No one. I was working with a producer on the "Cream" video, and he said, "I'm gonna tell Prince this and that." And I said, "No you're not." He said, "Yes, I am. I'm gonna talk to Prince." A few days later he said to me, "You're right. I'm never talking to him 'cause he won't let me."
Arsenio Hall, comedian: I was standing in the wings at the [1991] VMA Awards when I saw a girl, and I said, "Who is that?" I I distinctly remember Damon Wayans saying, "Her name is Elizabeth Berkley." And I said, "Wow!" At that same moment, as I said, "Wow!" I saw Prince pass me with no ass in his pants. I remember thinking, And he has hair on his ass. I forget what joke I made about it, but when a man from Minneapolis has no ass in his pants, the jokes kind of write themselves. A week later? A black and white suit with no ass in the pants was delivered to my office, from Prince and his tailor. And I still have it.
Tim Clawson, head of production, Propaganda Films: I routinely flew to Chanhassen, Minnesota, for meetings with Prince at Paisley Park Studios. We'd get a call from Steve Fargnoli — "Prince has an idea for a video, get Tim to fly there" — and I'd take the red-eye and meet Prince the next day. Prince would tell me half of an idea, then he'd say, "Okay, that's what I've got for now." Then he'd come back three hours later and tell me more about it. In between, I'd start to work on what he had pitched me, because Prince was the kind of guy who wanted to tell you an idea today and shoot it tomorrow.
My favorite pitch of his was for a video that never ended up happening. It was for a track from Lovesexy, I can't remember which. But he was describing a scene with him in bed with a girl, and along the side of the bed would be a neon sign that said "Lovesexy." He said, "We can do that at my house." I said, "Great. We'll build the sign on the set and have it transported over. Won't be a problem." And he goes, "We can do it at my house." And I remember thinking to myself, Ohhh, I get it: You have a neon sign in your bedroom that says "Lovesexy." Right.
Janet Jackson, singer: My brother made great videos. So did Prince. I was a huge Prince fan. He was different, his music was different, it was a whole movement: he had this feeling, this group, this family, and everyone had a character within his family. It reminded me a great deal of when I was really young, watching Sly and the Family Stone. That was one of my favorite bands as a little kid. So it brought me back to that feeling, which is very celebratory.


text:
Organisation: Dublin City University's School of Nursing
Higgins pays tribute to 'remarkable' nurses' response to Covid-19 crisis
The President of Ireland, Michael D Higgins, today paid tribute to the contributions that nurses have made to the national Covid-19 response, working in hospitals and other facilities across Ireland.
'Businesses have no chance of surviving in the face of this', judge says as he jails serial shoplifter


1) Reading skills include comprehension of grammatically complex readings and readings on personal to academic topics; summary, paraphrasing and quoting exercises; discussion of cultural and historical references, assumptions and allusions; vocabulary development through contextual and structural clues as well as reading strategies to develop speed and accuracy.
2) Sentence skills include using subordination, adjective and adverb clauses, correct comma usage and sentence variety.
3) Writing skills include incorporating well organized paragraphs with topic sentences, supporting details and transitions into short essays with thesis statements. Development of the writing process will continue with a focus on revision. Topics move from personal to academic with integration from outside sources. More emphasis is placed on audience.
4) Grammar skills include a review of the simple, progressive and perfect forms of verbs, more present and past forms of modals, more gerunds and infinitives, conditional sentences, and common punctuation.
1) Produce complex sentences that show accurate structure (punctuation and clause connectors).
2) Accurately use the past, present, and future tenses in writing.
3) Compose original paragraphs and multi-paragraph compositions which are well organized and developed.
GRADING: Students will be graded on a point scale.
Attendance: Being in class is very important because some assignments will not come from your book. Students who attend class regularly, answer questions, work in groups, and come prepared (always bring your book, paper, and pen or pencil) may receive bonus points towards their grade. If you are absent for more than 4 days you will be dropped!!!
Homework: You are expected to give or show your homework to the teacher on the date due. Late work is not accepted! You must find out about homework and turn it in on time even if you are not in class. To help you do this, call another student when you are absent. Homework assignments are worth 2 points each. Remember, you will have a minimum of 6 hours of homework a week!!
Tests: There are no make-up tests! If there is a problem, you must notify the teacher 1 week before the test is given. Tests may consist of multiple choice, fill in the blank, matching, true/false questions, complete sentences and short paragraphs.
You will be expected to complete 10 full page journals. Five will be collected by the mid-term, and the last five will be collected on the final day of class. Journals may be based on idioms or readings we do in class. Journals are worth 2 points each.
We will be working on our academic writing skills in creating fully formed paragraphs with topic sentences, transitions, main points and clear examples. Then we will be incorporating these paragraphs into four and five paragraph essays with solid introductions [that include a hook, transitions statements and a clear thesis] as well as a thorough conclusion [that restates the thesis, uses multiple ending strategies and concludes on a solid sentence].
A zero tolerance policy for cheating or plagiarism!
Students with disabilities who may need academic accommodations should discuss options with their instructors during the first two weeks of class. It is also recommended that you contact Disabled Students' Programs & Services (DSP&S) in A-114. You may also call DSP&S at 660-4576 to schedule an appointment.
This course adheres to the policies outlined in the Cuyamaca Catalog. For further information, see Academic Policies stated in the catalog.


Conchacea And Cardiacea (Heart) Shells. Genuine antique print for sale.
This antique engraving of seashells is from the genera of seashells by George Brettingham Sowerby Jnr, published in London in 1842. It is an antique, not a reproduction. It was made by engraving and has lovely original hand painted colors and is in excellent condition.


text:
Walter John Savitch é comumente conhecido por descobrir a classe de complexidade NL (espaço logarítmico não-determinístico), e pelo Teorema de Savitch que define uma relação entre as classes de complexidade NSPACE e DSPACE. O seu trabalho em estabelecer classes de complexidade ajudou a desenvolver o entendimento do não-determinismo e conhecimento probabilístico.  Ele também é conhecido pelo criação do livro SavitchIn, um livro-texto para utilização em cursos de Java.

Além do seu trabalho em teoria da computação, Savitch escreveu diversos livros textos para cursos de programação em C/C++, Java, Ada, Pascal e outras.

Ele tem realizado um trabalho extensivo no campo do processamento de linguagem natural e matemática linguística. Outra área de interesse onde ele tem trabalhado nos últimos 10 anos é a computação aplicada a genética em biologia.

Savitch recebeu seu PhD em matemática pela UC Berkeley em 1969. Depois se tornou professor pela UCSD onde ele é até o presente momento professor emérito no departamento de ciências da computação.

Ligações externas
The UCSD home page of Walter Savitch
Richard J. Lipton, Savitch's Theorem. Gives a historical account on how Savitch's Theorem was discovered.

Cientistas da computação dos Estados Unidos
Alunos da Universidade da Califórnia em Berkeley
Professores da Universidade da Califórnia em San Diego


text:
Q: Change the master branch and push there local commits Let me explain what is going on... We are working with small team of 3 people on one project. But for last week 2 new people was helping us. Because the real team is only 3 person, we didn't create a branches or something like this. So every time when someone need to make a push follows this scenario:

*

*Add files to index.

*Commit

*Pull

*Fix conflicts and mark as marged

*Commit again if needed and push

And right now we have a problem. For one of these new people Git behaves very strangely. Sometimes pull doesn't create any problems and sometimes like yesterday, it thinks that he modified a lot of files, which is not true... The modifications, which it see are the old version of files, which pull should update to new version... He didn't add them to index and didn't commit them, but somehow in Git repository are old files...
Someone decided to fix this problem by adding an empty line to files, having the correct version of files, because nothing else didn't want to work. But it's not entirely correct and right now is huge mess on repository. So he created a recover branch, but everyone were working on master.
How to make this new branch the current master? Also we need include local commits of other people in this new branch. Or maybe you could recommend something else?
And why is this happening and only to one person??

A:
How to make this new branch the current master?

This solution requires that everyone on your team delete their old local master branch.
You (and only you):

*

*Backup old master branch (optional)
git checkout master
git checkout -b master-bk

*Delete your local master branch
git branch -D master

*Make your new branch the master branch (locally)
git checkout newmasterbranch
git checkout -b master

*Force push the new master to your repository
git push origin master -f

All your team members after you do the previous steps:

*

*Create a master backup locally (for the old master branch)
git checkout -b master-bk-teammembername

*Delete local master branch
git branch -D master

*Fetch new master branch from remote
git fetch --all

*Checkout to new master
git checkout master

Also we need include local commits of other people in this new branch.

Checkout this answer on cherry-pick.
Edit 1:
Basically you can look at the master backup, then list the commits:
git checkout master # make sure you are on the new master branch
git log master-bk
git log master-bk --stat # to show stats on files changed
git log master-bk -p # to show actual changes

Then use the hash of the commits you want and apply them to your master branch using cherry-pick
git cherry-pick <COMMIT-HASH>

If you want to apply the changes but without a commit, add the -n flag.
git cherry-pick -n <COMMIT-HASH>

*Make sure to check the results with your team.
Other advanced solutions are available such as rebasing the branch iteratively to pick the commits you want, but be aware that modifying the history of a remote branch can turn into a mess if someone just pull the rebased branch without deleting the old one.
There is plenty of tutorials of that online, I particularily like this one
There are other tooks you can use to visualize your commit history like gitk, sourcetree, gitkraken


text:
13 Goals But No Space For Star At Pirates
His signing was met with much fanfare; however, coach Josef Zinnbauer has revealed the reason why Orlando Pirates' latest signing Monnapula Saleng
His signing was met with much fanfare; however, coach Josef Zinnbauer has revealed the reason why Orlando Pirates' latest signing Monnapula Saleng will spend the season with Swallows FC.
To say that Pirates have been short of firepower up front last season would be an understatement.
In total, the Buccaneers' front line of Tshegofatso Mabasa, Zakhele Lepasa and Gabadinho Mhango managed a combined 16 goals, with Vincent Pule finishing as the club's top scorer with nine strikes.
Therefore, when Pirates signed the 23-year-old, who was fresh from netting 13 times for Free State Stars, where he finished as the league's top scorer last season, Bucs fans were understandably led to believe that the end of their goalscoring woes was in sight.
However, it wasn't to be.
Saleng along with Austin Muwowo will be spending the 2021/22 season with the Birds and in a recent press conference, coach Zinnbauer disclosed the reason behind this decision, stating that there was no space for Saleng in Pirates' star-studded team.
"It's a good question, but the question is always 'what is the best for the player' at the moment he said he needs minutes and if you look at the squad it's really not easy for him to play in his position," Zinnbauer told journalists.
"He's a good player, but I compare him to Messi (Tebogo Tlolane) who came back from loan, he's improved, he had game time and he has more self-confidence and he understands more what he can do in the game for 90 minutes."
Saleng's first game for coach Brandon Truter's side could be against his parent club this Saturday when the two clubs square off in the MTN8 quarter-final at the Orlando Stadium.
Ukrabet - South African Football News: 13 Goals But No Space For Star At Pirates
https://www.ukrabet.co.za/2021/08/13-goals-but-no-space-for-star-at.html


text:
Displaying 321-330 of 347
PyeongChang 2018 Olympic Torch Relay - Day 7
With the 'Relay for Everyone' programme, the torch visited a home for the intellectual disabilities during the PyeongChang 2018 Winter Olympic Games Torch Relay on November 7, 2017 in Uiryeong, South Korea.
Tuesday, November 7, 2017 3:00 PM | Photo
A torch bearer in a wheelchair with the PyeongChang 2018 Winter Olympics torch during a torch relay on November 2, 2017 in Jeju-do, South Korea.
Thursday, November 2, 2017 3:02 PM | Photo
A torch bearer riding a horse with the PyeongChang 2018 Winter Olympics torch during a torch relay on November 2, 2017 in Jeju-do, South Korea.
XAACO036
Sydney 2000-The delegation of Central African Republic(CAF)
Thursday, September 14, 2000 10:00 PM | Photo
Lisa Fernandez Celebrates
SEPTEMBER 26 - BLACKTOWN: Pitcher Lisa Fernandez #16 of the US Olympic Softball Team celebrates after defeating the Japanese, by a score of 2-1, for the 2000 Sydney Olympic gold medal, at the Blacktown Olympic Center, in Blacktown, New South Wales, Australia, on September 26, 2000. (Photo by Andy Lyons/Getty Images)
Monday, September 25, 2000 10:00 PM | Photo
Freestyle gold for Agnel
London 2012 - Yannick Agnel of France takes gold in the men's 200m freestyle, with China's Sun Yang and Taehwan Park of South Korea sharing silver.
Monday, July 30, 2012 3:00 PM | Photo
Li heads towards the final
London 2012 - Li Xiaoxia of China returns the ball during her Women's Singles Table Tennis fourth round victory over Miyoung Park of South Korea at the ExCeL.
Winner by a nose
London 2012 - Singapore's Feng Tianwei has a close encounter with the ball in her quarter-final battle with Kim Kyungah of South Korea in the women's Table Tennis contest at the ExCeL.
Head to head to advance in judo
London 2012 - South Korean Choi Gwang-Hyeon in blue goes head to head with Felipe Kitadai of Brazil in a repechage round in the 60kg division of men's judo.
Saturday, July 28, 2012 11:30 AM | Photo


text:
Logan Thomas activated off Injured Reserve amid multiple roster moves before Monday night kickoff
Logan Thomas makes a catch during the Washington Football Team's practice on Nov. 24, 2021. (Karlee Sell/Washington Football Team)
The Washington Football Team has activated tight end Logan Thomas off of Injured Reserve, ensuring that he will be ready for the team's Monday Night Football game against the Seattle Seahawks.
Washington also announced Monday afternoon that offensive tackle Sam Cosmi would be placed on Injured Reserve. Washington has also elevated center Jon Toth from the practice squad.
Thomas, who signed an extension prior to the start of the season, has missed the past six games with a hamstring injury. He only played in five snaps during Washington's Week 4 game against the Atlanta Falcons before being taken out for the rest of the game, and he has not caught a pass in a game since Week 3 against the Buffalo Bills.
Prior to his injury, Thomas was off to a strong start in his second season with Washington and proved he was deserving of his extension. He caught 12 of his 14 targets and averaged nearly 10 yards per reception.
TE Logan Thomas has been moving well all week at practice and would be an added and welcomed target for Taylor Heinicke in the #WashingtonFootball offense. Could that happen in time for Mondays game against Seattle? It sure looks like it is heading in that direction. pic.twitter.com/BX6IzR1hC5
— Lake Lewis Jr (@LakeLewis) November 26, 2021
Washington's offense has been forced to find other options to exploit the middle of the field in Thomas absence. Now that the tight end has returned, Washington has regained a weapon it has sorely lacked.
"They've got a great feel for Logan just because of his size," said offensive coordinator Scott Turner. "I mean, it's an easy target to throw to. You can really turn it loose. So, it'd be a huge, huge bonus in every aspect of the game to get Logan back."
3 keys for Washington to get a win on Monday Night Football
Humphries adds another security blanket for Washington's receiving corps
Washington's O-Line depth helping it perform among the NFL's best
Curtis Samuel and Logan Thomas pic.twitter.com/zBMplJAyiw
— Nicki Jhabvala (@NickiJhabvala) November 26, 2021
As with all of Washington's players coming back from injury, the priority for head coach Ron Rivera has been seeing how Thomas' body responded to the increased workload each day. Thomas has continued to look strong throughout the week as he ran routes with the receivers. He's also moved well during individual periods with the rest of Washington's tight ends.
Washington's tight end position has dealt with other injuries as well. Ricky Seals-Jones, who filled in as Washington's No. 1 option and performed well in the expanded role, is currently dealing with a hip injury. That has left John Bates as the team's starting tight end with Sammis Reyes and Temarrick Hemingway as backups.
Thomas' return helps shore up the position at a time where Washington is trying to turn a two-game win streak into a playoff push. And with seven games left, five of which are against division opponents, Washington will need to be as close to full strength as possible to make that a reality.


text:
J. Robert Brown, Jr., Board Member
Thank you Mr. Chairman. I support today's vote on the adoption of requirements for Auditing Accounting Estimates, Including Fair Value Measurements, as well as amendments to its standards to strengthen requirements for an Auditor's Use of the Work of Specialists. These are important changes that reflect this board's efforts to promote improvements in audit quality.
It has been said that determining estimates is both an art and a science.[1] Over the past two to three decades, there has been a steep increase in the number of subjective accounting estimates that appear in a company's financial statements.[2] Estimates exist in many accounting standards such as fair value, impairment, inventory obsolescence, collectability, contingent liabilities, accrued expenses, and other accounting areas. In fact, some have described financial statements as "estimates upon estimates."[3]
Estimates often involve subjective assumptions and judgments and are areas that call for appropriate levels of professional skepticism. At the same time, like all of our standards, auditing estimates must take place in the context of a risk-based approach to the audit.
The new requirements take both of these into account. The standards for estimates and specialists will (1) establish a more uniform, risk-based approach including emphasizing the application of professional skepticism; and (2) strengthen the requirements for evaluating the work for a company's specialists, while also applying a risk-based supervisory approach to both auditor-employed and auditor-engaged specialists. The final requirements will clarify auditors' responsibilities and better integrate them more closely to the Board's foundational risk assessment standards.
In developing the standard for estimates, the staff, for the first time, considered behavioral economics in rulemaking, which "incorporates a more realistic analysis of how people think and behave when making economic decisions."[4] The staff has done an excellent job of studying and considering the potential for cognitive biases that could exist in the context of estimates and factored this into the recommendations we are considering today.
In closing, I would like to thank the staff in the various offices and divisions who worked so diligently over the years on these projects and who provided valuable contributions. These projects required tremendous collaboration, and I would like to commend them for that.
Specifically, I would like to thank the individuals in the Office of the Chief Auditor Barbara Vanich, Keith Wilson, Dominika Taraszkiewicz, Lisa Calandriello, Nike Adesoye, Mamed Salmanov, David Hardison, and Karen Wiedemann, from our Office of Economic and Risk Analysis, Andres Vinelli, Joon-Suk Lee, and Rahsan Inget, and in our Office of General Counsel, John Cook and Jennifer Williams.
I also would like to express my appreciation to the staff at the SEC for their significant contributions to these projects and my fellow Board members for their invaluable thoughts and insights on these standards.
Thank you Mr. Chairman.
[1] See Gartenstein, Devra. How to Estimate for the Future in a Financial Statement. https://smallbusiness.chron.com/estimate-future-financial-statement-41497.html. Accessed December 2018.
[2] See Lev, Baruch, and Gu, Feng. The End of Accounting and the Path Forward for Investors and Managers. Wiley and Sons, Inc., 2016. Hoboken, NJ.
[4] See https://www.nobelprize.org/uploads/2018/06/popular-economicsciences2017.pdf.


text:
Пер Бенгтссон (; 21 июля 1922, Хальмстад — 23 октября 2007, Хальмстад) — шведский футболист, нападающий.

Карьера
Пер Бенгтссон начал карьеру в 1942 году в клубе «Хальмстад». Он выступал за клуб 4 сезона, проведя 66 матчей и забив 18 голов. После того, как клуб вылетел во второй дивизион, он перешёл в «Эльфсборг». Там Пер создал ударную пару нападения вместе с Оке Яльмарссоном. Эти два игрока в 1949 году перешли в итальянский клуб «Торино», который восстанавливался после потери состава команды в авиакатастрофе, произошедшей в том же году. За год до этого Бенгтссон попал в состав сборной Швеции, поехавшей на Олимпиаду, на которой его команды выиграла золотую медаль. Сам футболист на поле не выходил. 2 октября он дебютировал в составе команды в матче с «Луккезе», в котором его команда выиграла 3:1. 23 октября он забил свой первый мяч за клуб, поразив ворота «Милана». Проведя 29 матчей и забив 10 голов, Бенгтссон покинул команду. Он уехал во Францию, в клуб «Ницца». В этом клубе шведский форвард выиграл два чемпионата Франции и один Кубок страны. Затем Пер играл за «Тулузу», выступавшей во втором дивизионе. Последним клубом Бенгтссон стал «Ренн», игравший в Дивизионе 2. В первом сезоне швед стал вторым снайпером команды, забив 23 гола. В следующем сезоне в клуб перешёл Жан Грюмеллон, который выстеснил Пера из состава. Из-за этого нападающий покинул клуб и Францию, завершив игровую карьеру.

Статистика выступлений

Достижения
 Чемпион Франции (2): 1950/51, 1951/52
 Обладатель Кубка Франции: 1951/52

Примечания

Ссылки
 Профиль на footballdatabase.eu
 Профиль на pari-et-gagne.com

Футболисты Швеции
Игроки ФК «Хальмстад»
Игроки ФК «Эльфсборг»
Игроки ФК «Торино»
Игроки ФК «Ницца»
Игроки ФК «Тулуза»
Игроки ФК «Ренн»
Олимпийские чемпионы от Швеции
Олимпийские чемпионы по футболу
Чемпионы летних Олимпийских игр 1948 года
Футболисты на летних Олимпийских играх 1948 года


text:
Louis Fourmond né le  à Saint-Denis-d'Anjou en Mayenne et mort le  à Château-Gontier en Mayenne, est un agriculteur et homme politique français.

Biographie
Il appartient d'abord au groupe Républicains populaires et centre démocratique, qui devient ensuite Centre démocratique. Il appartient, de 1967 à 1968, au groupe Progrès et démocratie moderne.

Il est par la suite membre de la Chambre d'agriculture de la Mayenne.

Notes et références

Liens externes

Naissance en octobre 1912
Décès en juin 2000
Naissance dans la Mayenne
Député de la Mayenne
Député de la Ire législature de la Ve République
Député de la IIIe législature de la Ve République
Député de la IIe législature de la Ve République
Décès à 87 ans
Décès à Château-Gontier


Installing an iron gate to the main entrance to your home has various advantages. It provides extra security and protection against intruders and potential burgers. It also gives you the option and flexibility of keeping your main door open, while leaving the gate to provide security. This arrangement could allow greater ventilation and natural light into your home.
There are various different designs and patterns for your entrance gate. Wrought iron, together with aluminium and mild steel are popular options today with varying designs and budgets. Wrought iron gates provide more intricate designs and decorations than the other materials, with the iron bent to create different motifs and shapes to give added ornaments to your entrance.
The typical dimension of door gates in Singapore range from 3 x 7 ft to 4 x 7 ft. All door gates that we provide will come with built-in handle with lock mechanism which negates the need for a separate padlock.
Entrance gates are a necessity for most landed houses as they provide security as well as demarcating the boundaries of private property. A well-designed entrance gate gives a house great aesthetic appeal to the public, reflecting the style and theme of the house.
For terrace houses and semi-detached houses, swing or sliding entrance gates are commonly installed. The main advantage of a swing gate is the ease of maintenance and lower cost than a sliding gate. Besides aluminium and mild steel, wrought iron is a popular choice of material as it can be bent to allow ornament and patterns into the design.
Apart from installation of entrance gates, we can also help with the installation fo a matching fence and garden gates if required to give a consistent aesthetic appeal.
Our entrance gates have all undergone hot galvanisation in order to be corrosion resistant against the elements and weathering.