text:
'use strict';

Object.defineProperty(exports, "__esModule", {
  value: true
});

var _extends = Object.assign || function (target) { for (var i = 1; i < arguments.length; i++) { var source = arguments[i]; for (var key in source) { if (Object.prototype.hasOwnProperty.call(source, key)) { target[key] = source[key]; } } } return target; };

var _createClass = function () { function defineProperties(target, props) { for (var i = 0; i < props.length; i++) { var descriptor = props[i]; descriptor.enumerable = descriptor.enumerable || false; descriptor.configurable = true; if ("value" in descriptor) descriptor.writable = true; Object.defineProperty(target, descriptor.key, descriptor); } } return function (Constructor, protoProps, staticProps) { if (protoProps) defineProperties(Constructor.prototype, protoProps); if (staticProps) defineProperties(Constructor, staticProps); return Constructor; }; }();

var _react = require('react');

var _react2 = _interopRequireDefault(_react);

var _reactDom = require('react-dom');

var _reactClass = require('react-class');

var _reactClass2 = _interopRequireDefault(_reactClass);

var _lodash = require('lodash.throttle');

var _lodash2 = _interopRequireDefault(_lodash);

var _objectAssign = require('object-assign');

var _objectAssign2 = _interopRequireDefault(_objectAssign);

var _TimeInput = require('../TimeInput');

var _toMoment2 = require('../toMoment');

var _toMoment3 = _interopRequireDefault(_toMoment2);

var _parseFormat2 = require('./parseFormat');

var _parseFormat3 = _interopRequireDefault(_parseFormat2);

var _forwardTime = require('../utils/forwardTime');

var _forwardTime2 = _interopRequireDefault(_forwardTime);

function _interopRequireDefault(obj) { return obj && obj.__esModule ? obj : { default: obj }; }

function _classCallCheck(instance, Constructor) { if (!(instance instanceof Constructor)) { throw new TypeError("Cannot call a class as a function"); } }

function _possibleConstructorReturn(self, call) { if (!self) { throw new ReferenceError("this hasn't been initialised - super() hasn't been called"); } return call && (typeof call === "object" || typeof call === "function") ? call : self; }

function _inherits(subClass, superClass) { if (typeof superClass !== "function" && superClass !== null) { throw new TypeError("Super expression must either be null or a function, not " + typeof superClass); } subClass.prototype = Object.create(superClass && superClass.prototype, { constructor: { value: subClass, enumerable: false, writable: true, configurable: true } }); if (superClass) Object.setPrototypeOf ? Object.setPrototypeOf(subClass, superClass) : subClass.__proto__ = superClass; }

var emptyFn = function emptyFn() {};

var BACKWARDS = {
  Backspace: 1,
  ArrowUp: 1,
  ArrowDown: 1,
  PageUp: 1,
  PageDown: 1
};

var DateFormatInput = function (_Component) {
  _inherits(DateFormatInput, _Component);

  function DateFormatInput(props) {
    _classCallCheck(this, DateFormatInput);

    var _this = _possibleConstructorReturn(this, (DateFormatInput.__proto__ || Object.getPrototypeOf(DateFormatInput)).call(this, props));

    var _parseFormat = (0, _parseFormat3.default)(props.dateFormat),
        positions = _parseFormat.positions,
        matches = _parseFormat.matches;

    var defaultValue = props.defaultValue || Date.now();

    var delay = props.changeDelay;
    _this.throttleSetValue = delay == -1 ? _this.setValue : (0, _lodash2.default)(_this.setValue, delay);

    var _this$getMinMax = _this.getMinMax(props),
        minDate = _this$getMinMax.minDate,
        maxDate = _this$getMinMax.maxDate;

    _this.state = {
      positions: positions,
      matches: matches,
      propsValue: props.value !== undefined,
      value: defaultValue,
      minDate: minDate,
      maxDate: maxDate
    };
    return _this;
  }

  _createClass(DateFormatInput, [{
    key: 'getMinMax',
    value: function getMinMax(props) {
      props = props || this.props;

      var minDate = null;

      if (props.minDate) {
        minDate = this.toMoment(props.minDate, props);
      }

      var maxDate = null;

      if (props.maxDate) {
        maxDate = this.toMoment(props.maxDate, props);
      }

      return {
        minDate: minDate, maxDate: maxDate
      };
    }
  }, {
    key: 'componentWillReceiveProps',
    value: function componentWillReceiveProps(nextProps) {
      var _getMinMax = this.getMinMax(nextProps),
          minDate = _getMinMax.minDate,
          maxDate = _getMinMax.maxDate;

      this.setState({
        minDate: minDate, maxDate: maxDate
      });
    }
  }, {
    key: 'componentDidUpdate',
    value: function componentDidUpdate() {
      if (this.props.value !== undefined && this.caretPos && this.isFocused()) {
        this.setCaretPosition(this.caretPos);
      }
    }
  }, {
    key: 'toMoment',
    value: function toMoment(value, props) {
      props = props || this.props;

      return (0, _toMoment3.default)(value, {
        locale: props.locale,
        dateFormat: props.dateFormat || this.props.dateFormat
      });
    }
  }, {
    key: 'render',
    value: function render() {
      var props = this.props;

      var value = this.state.propsValue ? props.value : this.state.value;

      var displayValue = this.displayValue = this.toMoment(value).format(props.dateFormat);

      var inputProps = (0, _objectAssign2.default)({}, props);

      delete inputProps.changeDelay;
      delete inputProps.date;
      delete inputProps.dateFormat;
      delete inputProps.isDateInput;
      delete inputProps.maxDate;
      delete inputProps.minDate;
      delete inputProps.stopPropagation;
      delete inputProps.updateOnWheel;

      if (typeof props.cleanup == 'function') {
        props.cleanup(inputProps);
      }

      return _react2.default.createElement('input', _extends({}, inputProps, {
        defaultValue: undefined,
        onFocus: this.onFocus,
        onBlur: this.onBlur,
        value: displayValue,
        onKeyDown: this.onKeyDown,
        onWheel: this.onWheel,
        onChange: this.onChange
      }));
    }
  }, {
    key: 'focus',
    value: function focus() {
      (0, _reactDom.findDOMNode)(this).focus();
    }
  }, {
    key: 'onFocus',
    value: function onFocus(event) {
      if (this.props.onFocus) {
        this.props.onFocus(event);
      }

      this.setState({
        focused: true
      });
    }
  }, {
    key: 'onBlur',
    value: function onBlur(event) {
      if (this.props.onBlur) {
        this.props.onBlur(event);
      }

      this.setState({
        focused: false
      });
    }
  }, {
    key: 'isFocused',
    value: function isFocused() {
      return this.state.focused;
    }
  }, {
    key: 'onChange',
    value: function onChange(event) {
      event.stopPropagation();
    }
  }, {
    key: 'onDirection',
    value: function onDirection(dir) {
      var event = arguments.length > 1 && arguments[1] !== undefined ? arguments[1] : {};

      this.onKeyDown({
        key: dir > 0 ? 'ArrowUp' : 'ArrowDown',
        type: event.type || 'unknown',
        stopPropagation: typeof event.stopPropagation == 'function' ? function () {
          return event.stopPropagation();
        } : emptyFn,
        preventDefault: typeof event.preventDefault == 'function' ? function () {
          return event.preventDefault();
        } : emptyFn
      });
    }
  }, {
    key: 'onWheel',
    value: function onWheel(event) {
      if (this.props.updateOnWheel && this.isFocused()) {
        this.onDirection(-event.deltaY, event);
        // this.onKeyDown({
        //   key: event.deltaY < 0 ? 'ArrowUp' : 'ArrowDown',
        //   type: event.type,
        //   stopPropagation: () => event.stopPropagation(),
        //   preventDefault: () => event.preventDefault()
        // })
      }

      if (this.props.onWheel) {
        this.props.onWheel(event);
      }
    }
  }, {
    key: 'onKeyDown',
    value: function onKeyDown(event) {
      var _this2 = this;

      var props = this.props;
      var key = event.key,
          type = event.type,
          which = event.which;

      if (key !== 'Unidentified' && which && which >= 65 && which <= 90) {
        key = ' ';
      }

      if (key != ' ' && key * 1 == key) {
        key = 'Unidentified';
      }

      if (props.stopPropagation) {
        event.stopPropagation();
      }

      var range = this.getSelectedRange();
      var selectedValue = this.getSelectedValue(range);
      var value = this.displayValue;

      var _state = this.state,
          positions = _state.positions,
          matches = _state.matches;

      var valueStr = '' + value;

      var currentPosition = positions[range.start];

      if (typeof currentPosition == 'string') {
        currentPosition = positions[range.start + (key in BACKWARDS ? -1 : 1)];
      }

      if (!currentPosition) {
        currentPosition = positions[range.start - 1];
      }

      if (props.onKeyDown && type == 'keydown') {
        if (props.onKeyDown(event, currentPosition) === false) {
          this.caretPos = range;
          return;
        }
      }

      var keyName = key;

      if (key == 'ArrowUp' || key == 'ArrowDown') {
        keyName = 'Arrow';
      }

      var handlerName = 'handle' + keyName;

      var preventDefault = void 0;
      var newValue = void 0;
      var newCaretPos = void 0;

      if (currentPosition && currentPosition[handlerName]) {
        var returnValue = currentPosition[handlerName](currentPosition, {
          range: range,
          selectedValue: selectedValue,
          value: value,
          positions: positions,
          currentValue: valueStr.substring(currentPosition.start, currentPosition.end + 1),
          matches: matches,
          event: event,
          key: key,
          input: this.getInput(),
          setCaretPosition: function setCaretPosition() {
            return _this2.setCaretPosition.apply(_this2, arguments);
          }
        });

        this.caretPos = range;

        if (returnValue && returnValue.value !== undefined) {
          newValue = valueStr.substring(0, currentPosition.start) + returnValue.value + valueStr.substring(currentPosition.end + 1);

          newCaretPos = returnValue.caretPos || range;
          if (newCaretPos === true) {
            newCaretPos = { start: currentPosition.start, end: currentPosition.end + 1 };
          }
          preventDefault = returnValue.preventDefault !== false;
        }
      }

      if (preventDefault || key == 'Backspace' || key == 'Delete' || key == ' ') {
        if (!preventDefault) {
          this.setCaretPosition(this.caretPos = {
            start: range.start + (key == 'Backspace' ? -1 : 1)
          });
        }
        preventDefault = true;
      }

      var config = {
        currentPosition: currentPosition,
        preventDefault: preventDefault,
        event: event,
        value: newValue,
        stop: false
      };

      if (this.props.afterKeyDown && type == 'keydown') {
        this.props.afterKeyDown(config);
      }

      if (!config.stop && newCaretPos !== undefined) {
        var updateCaretPos = function updateCaretPos() {
          return _this2.setCaretPosition(newCaretPos);
        };
        this.caretPos = newCaretPos;
        this.setStateValue(newValue, updateCaretPos, { key: key, oldValue: valueStr, currentPosition: currentPosition });
      }

      if (config.preventDefault) {
        event.preventDefault();
      }
    }
  }, {
    key: 'getInput',
    value: function getInput() {
      return (0, _reactDom.findDOMNode)(this);
    }
  }, {
    key: 'setCaretPosition',
    value: function setCaretPosition(pos) {
      var dom = this.getInput();
      if (dom) {
        (0, _TimeInput.setCaretPosition)(dom, pos);
      }
    }
  }, {
    key: 'format',
    value: function format(mom, _format) {
      return mom.format(_format || this.props.dateFormat);
    }
  }, {
    key: 'setStateValue',
    value: function setStateValue(value, callback, _ref) {
      var key = _ref.key,
          oldValue = _ref.oldValue,
          currentPosition = _ref.currentPosition;

      var dateMoment = this.toMoment(value);

      if (!dateMoment.isValid()) {
        var dir = key == 'ArrowUp' || key == 'PageUp' ? 1 : -1;

        if (currentPosition.format == 'MM') {
          // updating the month
          dateMoment = this.toMoment(oldValue).add(dir, 'month');
        } else {
          // updating the day
          dateMoment = dir > 0 ?
          // we've gone with +1 beyond max, so reset to 1
          this.toMoment(oldValue).date(1) :

          // we've gone with -1 beyond max, so reset to max of month
          this.toMoment(oldValue).endOf('month');
        }

        if (!dateMoment.isValid()) {
          return;
        }

        value = this.format(dateMoment);
      }

      var _state2 = this.state,
          minDate = _state2.minDate,
          maxDate = _state2.maxDate;

      if (minDate && dateMoment.isBefore(minDate)) {
        var clone = this.toMoment(dateMoment);

        // try with time
        dateMoment = (0, _forwardTime2.default)(clone, this.toMoment(minDate));

        if (dateMoment.isBefore(minDate)) {
          // try without time
          dateMoment = this.toMoment(minDate);
        }

        value = this.format(dateMoment);
      }

      if (maxDate && dateMoment.isAfter(maxDate)) {
        var _clone = this.toMoment(dateMoment);
        dateMoment = (0, _forwardTime2.default)(_clone, this.toMoment(maxDate));

        if (dateMoment.isAfter(maxDate)) {
          dateMoment = this.toMoment(maxDate);
        }

        value = this.format(dateMoment);
      }

      this.setState({
        value: value,
        propsValue: false
      }, typeof callback == 'function' && callback);

      // if (this.props.value !== undefined) {
      if (this.props.onChange) {
        this.throttleSetValue(value, dateMoment);
      }
    }
  }, {
    key: 'setValue',
    value: function setValue(value, dateMoment) {
      if (this.props.value === undefined) {
        this.setState({
          value: value,
          propsValue: false
        });
      } else {
        this.setState({
          propsValue: true,
          value: undefined
        });
      }

      if (this.props.onChange) {
        this.props.onChange(value, { dateMoment: dateMoment || this.toMoment(value) });
      }
    }
  }, {
    key: 'getSelectedRange',
    value: function getSelectedRange() {
      var dom = this.getInput();

      return {
        start: (0, _TimeInput.getSelectionStart)(dom),
        end: (0, _TimeInput.getSelectionEnd)(dom)
      };
    }
  }, {
    key: 'getSelectedValue',
    value: function getSelectedValue(range) {
      range = range || this.getSelectedRange();
      var value = this.displayValue;

      return value.substring(range.start, range.end);
    }
  }]);

  return DateFormatInput;
}(_reactClass2.default);

exports.default = DateFormatInput;

DateFormatInput.defaultProps = {
  isDateInput: true,
  stopPropagation: true,
  updateOnWheel: true,
  changeDelay: 100
};

DateFormatInput.propTypes = {
  dateFormat: _react.PropTypes.string.isRequired,
  value: function value(props, propName) {
    if (props[propName] !== undefined) {
      // console.warn('Due to performance considerations, TimeInput will only be uncontrolled.')
    }
  }
};


text:
Q: Android | AlertBuilder Getting String text from values + method I want to display a text in Alert Dialog from Strings/string.xml and depending on the results within the app, an additional text.
string.xml
dialog_title = "Hello world"
dialog_message = "I am the text from string.xml"

my alert dialog
alertBuilder
              .setTitle(R.string.dialog_title)
              .setMessage(R.string.dialog_message + myClass.getText())
              .setCancelable(false)

my getText() method
public class myClass {
    public String getText() {
    return "I am the text from the method" + "\n" + "I am a text from there, too"
    }
}

Output:
Hello world
21283932323
I am the text from the method
I am a text from there, too
__
Whats wrong here? Why am I getting a number instead of the text from string.xml?

A: you are referencing to id of string.dialog in that way
try:
myClass.getText().concat(R.string.dialog);

OR
getString(R.string.dialog).concat(myClass.getText());

I hope it help you:
https://developer.android.com/guide/topics/resources/string-resource?hl=es-419#java

redpajama_set_name: RedPajamaStackExchange


text:
Viola Davis Net Worth 2023
May 23, 2019 - Updated on December 28, 2022
Viola Davis is an American actress and producer. The recipient of an Academy Award, a Primetime Emmy Award, and two Tony Awards, she is the youngest actor and the first African-American to achieve the "Triple Crown of Acting". In 2017, she received a star on the Hollywood Walk of Fame. Davis's film breakthrough came in 2008, when her role as a troubled mother in the film Doubt earned her a nomination for the Academy Award for Best Supporting Actress.
Greater success came to Davis in the 2010s. She won the 2010 Tony Award for Best Actress in a Play for playing Rose Maxson in the Broadway revival of August Wilson's play Fences. For starring as a 1960s housemaid in the comedy-drama The Help (2011), Davis received a nomination for the Academy Award for Best Actress and won a Screen Actors Guild Award. In 2015, she became the first Black woman to win the Primetime Emmy Award for Outstanding Lead Actress in a Drama Series.
In 2016, Davis reprised the role of Maxson in the film adaptation of Fences, winning the Academy Award for Best Supporting Actress. She went on to receive a BAFTA nomination for her performance in Steve McQueen's heist film Widows (2018). In 2020, Davis garnered universal acclaim for her performance in the titular role of the film adaptation of Ma Rainey's Black Bottom, for which she received an NAACP Image Award, a Screen Actors Guild Award, and a nomination for the Academy Award for Best Actress.
With that nomination, Davis became the most nominated Black actress in the history of the Academy Awards, with four acting nominations, and the first Black actress to have been nominated for Best Actress more than once. Davis and her husband, Julius Tennon, are founders of a production company, JuVee Productions. Davis is also widely recognized for her advocacy and support of human rights and equal rights for women and women of color.
Viola Davis has an estimated net worth of $25 million.
Best quotes from Viola Davis
How to obtain HELB compliance certificate

redpajama_set_name: RedPajamaCommonCrawl


NEW YORK, March 20, 2019 /PRNewswire/ -- The Empire State Building (ESB) today announced that it will utilize two EarthCam video cameras to give fans around the world 24/7 access to footage of ESB and of the views from ESB via a livestream on www.empirestatebuilding.com [https://c212.net/c/link/?t=0&l=en&o=2409252-1&h=265348659&u=http%3A%2F%2Fwww.empirestatebuilding.com%2F&a=www.empirestatebuilding.com].
About the Empire State Building Soaring 1,454 feet above Midtown Manhattan (from base to antenna top), the Empire State Building, owned by Empire State Realty Trust, Inc., is the "World's Most Famous Building." With new investments in energy efficiency, infrastructure, public areas and amenities, the Empire State Building has attracted first-rate tenants in a diverse array of industries from around the world. The Empire State Building was named the world's most popular travel destination in a study conducted by Uber and was named America's favorite building in a poll conducted by the American Institute of Architects. For more information on the Empire State Building, please visit www.empirestatebuilding.com [https://c212.net/c/link/?t=0&l=en&o=2409252-1&h=265348659&u=http%3A%2F%2Fwww.empirestatebuilding.com%2F&a=www.empirestatebuilding.com], www.facebook.com/empirestatebuilding [https://c212.net/c/link/?t=0&l=en&o=2409252-1&h=780868029&u=http%3A%2F%2Fwww.facebook.com%2Fempirestatebuilding&a=www.facebook.com%2Fempirestatebuilding], @EmpireStateBldg, www.instagram.com/empirestatebldg [https://c212.net/c/link/?t=0&l=en&o=2409252-1&h=4175260179&u=http%3A%2F%2Fwww.instagram.com%2Fempirestatebldg&a=www.instagram.com%2Fempirestatebldg], http://weibo.com/empirestatebuilding [https://c212.net/c/link/?t=0&l=en&o=2409252-1&h=2407605465&u=http%3A%2F%2Fweibo.com%2Fempirestatebuilding&a=http%3A%2F%2Fweibo.com%2Fempirestatebuilding], www.youtube.com/esbnyc [https://c212.net/c/link/?t=0&l=en&o=2409252-1&h=4092294926&u=http%3A%2F%2Fwww.youtube.com%2Fesbnyc&a=www.youtube.com%2Fesbnyc] or www.pinterest.com/empirestatebldg/ [https://c212.net/c/link/?t=0&l=en&o=2409252-1&h=150760972&u=http%3A%2F%2Fwww.pinterest.com%2Fempirestatebldg%2F&a=www.pinterest.com%2Fempirestatebldg%2F].
About Empire State Realty Trust Empire State Realty Trust, Inc. , a leading real estate investment trust (REIT), owns, manages, operates, acquires and repositions office and retail properties in Manhattan and the greater New York metropolitan area, including the Empire State Building, the "World's Most Famous Building." Headquartered in New York, New York, the Company's office and retail portfolio covers 10.1 million rentable square feet, as of December 31, 2018, consisting of 9.4 million rentable square feet in 14 office properties, including nine in Manhattan, three in Fairfield County, Connecticut, and two in Westchester County, New York; and approximately 700,000 rentable square feet in the retail portfolio.


text:
Maxime Jacques Marcel Verhagen (nacido en Maastricht, Países Bajos, el 14 de septiembre de 1956) es un político holandés del Llamada Democristiana (CDA).

Diputado al Parlamento Europeo de 1989 a 1994, se convirtió en 2002 en la presidencia de la CDA en la Segunda Cámara de los Estados Generales. En 2007, tras la formación de una gran coalición bajo Jan Peter Balkenende, fue elegido para convertirse en ministro de Relaciones Exteriores. A continuación, el compromiso de promover los derechos humanos a nivel internacional y organizado despliegue del ejército holandés en Afganistán y sus consecuencias.

En 2010, fue nombrado Ministro interino de Cooperación posiciones y el secretario de Estado de Asuntos Europeos, debido a la retirada de la coalición del Trabajo. Después de las elecciones parlamentarias del 9 de junio, se convierte en presidente de la CDA líder, actuación y política del partido y fue nombrado Vice-Ministro-Presidente y Ministro de Economía y Agricultura en el gobierno de Mark Rutte. Tras el fracaso de la CDA parlamentaria de 2012, dejó el gobierno.

Políticos de los Países Bajos del siglo XX
Políticos de los Países Bajos del siglo XXI
Eurodiputados de los Países Bajos
Ministros de Relaciones Exteriores de los Países Bajos
Orden del Águila Azteca
Oficiales de la Orden de Orange-Nassau
Grandes cruces de la Orden lituana del Gran Duque Gediminas
Miembros de la Segunda Cámara de los Estados Generales
Nacidos en Maastricht

redpajama_set_name: RedPajamaWikipedia


It's all about the fit, and MKids have got the right size for you. The MKids Pro Junior Hybrid Wood Leftt Hand Green 9-11 Years. As part of the highest spec junior clubs on the market, this Hybrid features a Lamkin Tour-Quality Grip and MKids' own Launch Control Graphite Shaft.


An 8-year-old's effort to keep boredom at bay evolves into a business selling "cuter" shoes. Now she's a vendor at the Tampa Kids Market.
CARROLLWOOD — Ailani Forde didn't intend to start her own business at the tender age of 8.
But that's exactly what happened last Christmas break when visiting her grandparents.
Hoping to stave off boredom, Ailani asked her mother to take her to an arts and crafts store to pick up materials for a project.
After choosing some fabric and other materials, Ailani was walking around looking at the other customers' flip-flops when she had an "aha" moment.
None of the shoes were cute, Ailani said.
"I'm like 'Mom, these shoes could be cuter'," she said.
After returning to her grandparents' home, Ailani set out to make a more fashionable flip-flop, adorning a plain pair with patterned strips of cloth or rhinestones.
The shoes were a hit with her family. But it wasn't until her mother, Joselynne Forde, posted a picture on Facebook that Ailani saw how her creative outlet actually could be a bona fide business.
Friends not only liked the shoes — they started putting in orders, to the tune of 100 in just 10 days, her mother said.
Thus was the beginning of Fancy Flops.
"It just popped in my brain," Ailani said.
That was in December. Fast-forward six months, and Ailani's business boasts a line of more than 50 styles of flip-flops, T-shirts and bracelets. She has sold dozens of pairs of shoes and has grossed nearly $2,500 in revenue.
By all accounts, Ailani is an average kid: she loves math and science, counts hot dogs and s'mores among her favorite foods, and takes gymnastics classes. But the second-grader at Corbett Preparatory School is aware that someone her age running a business is a bit unusual.
"I feel unique," she said. "I like that I'm the only one in my class that's a business owner."
But Ailani's decision to start a business isn't a surprise to her family. After all, her name means "leader" in Hawaiian, said her mother.
"She came out talking and she wiggled all the time, so we knew she'd be a handful," Joselynne said. "She's always been a go-getter."
Ailani is responsible for the conception and operation of Fancy Flops, but the venture is very much a family affair. Joselynne provides some assistance in managing the business and her brother, Colin, 5, serves as Fancy Flops' chief marketing officer, giving his input on which designs are likely to sell.
As the owner of a private equity firm, her father — also named Colin — regularly provides business advice and inspiration.
But Ailani alone handles the designing and making of the shoes.
She makes about 10 pair a week, carving out time after school between extracurricular activities like swimming and dance class and a strict 8 p.m. bedtime.
While Fancy Flops' orders have grown tremendously in the past few months, Joselynne said she purposely has kept Ailani on a schedule that allows time for her daughter to just be a kid.
"We have to balance it," she said. "We don't want her to overwork herself."
To ensure Ailani has time for work and play, Joselynne helps Ailani find creative ways to market and sell Fancy Flops. In addition to word-of-mouth and Facebook, Fancy Flops has a website (fancyflopsbyailani.com).
And last month, Fancy Flops became a vendor at Hyde Park Village's monthly open-air market at the Tampa Kids Market, a program started by Andrea Bowe and Regina Hord that encourages children ages 8 to 17 to explore entrepreneurship.
Working in conjunction with Tampa Bay Markets (which operates open-air fresh markets throughout the bay area, including Seminole Heights and North Tampa), Tampa Kids Market provides free space at the markets.
"It's amazing what these 8-year-olds are doing," Bowe said. "We encourage the parents to be hands-off and leave the kids to the selling."
As much as Ailani likes designing and selling shoes, she says it's a career in politics, not business, that's in her future.
And she has already started: last year, Ailani participated in a program through Girls in Politics, an initiative of the Political Institute for Women that introduces girls ages 8 to 15 to politics. She has also picked out a law school: Harvard.
In the meantime, Ailani says she's content to work on building Fancy Flops, continuing her volunteering and practicing philanthropy. She has performed more than 50 hours of community service this year and has donated money to a few nonprofit organizations and individuals.
Her message to kids who want to follow her example and open their own business?
"I would say keep on following your dreams," she said.


text:
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It's no surprise that many of the UK's best exemplars of exceptional customer service are drawn from the retail sector, as research data from The Institute of Customer Service consistently shows. The same goes for luxury high-end hospitality.
It's no surprise that many of the UK's best exemplars of exceptional customer service are drawn from the retail sector, as research data from The Institute of Customer Service consistently shows. The same goes for luxury high-end hospitality. For consumer-facing firms in the mass market the lesson is existentially obvious. A failure to serve, understand, anticipate, respond, deliver and please means just that: failure.
Dig down into how some organisations get it so right – and others so wrong – and it's clear that the fulcrum of success is about establishing, building and nurturing the trust relationship with the customer. It's no different for the property management sector and there are lessons we must learn as an industry if we are to make great service the rule and not the exception. They are not insurmountable; far from it.
Let's start with the terminology. 'Customers'. It's not a term widely used but our residents are exactly that: customers who ultimately pay us in return for our services. Ours is also a business where the first contact with the customer is often a complaint. People aren't that bothered when things go smoothly. A wrinkle-free residential experience is how it's supposed to be. Still, the pleasant surprise remains rarer than it should be. But when something has broken, an incident needs sorting out or invoices are raised that the customer doesn't understand or was not expecting, then the property manager is on the back foot immediately. Ultimately that is our fault.
Then there's process. Yes, what we deliver as an industry is complex and multi-layered – whether it's the small print of how property management services are geared financially or managing health and safety risk. But that's not an excuse for hiding behind the complexity of contracts, deeds or liabilities and losing sight – sometimes literally – of customers in a way that creates cold, transactional relationships. All the back office processes in the world will not replace the simple human factors of get it right, get me right – and wow me if you can.
This Briefing Paper digs into the evolving face of customer service and seeks to translate the implications for the way property management can shift the service experience and define a new trust relationship with its customers.


The Audi A7 Sportback represents the next generation in German four-door "coupe" design. With so much to offer, we added Audi's press release to this post.
Ingolstadt, October 19, 2017 – The A7 Sportback represents the new Audi design language to a great extent and delivers on the design promise made by the prologue studies. The fourdoor coupe sets standards in the luxury class when it comes to progressiveness. It embodies a new style of Gran Turismo, with dynamic lines, systematic digitalization, a sporty driving experience and a versatile space concept.
The exterior design of the A7 Sportback is an expression of the new design language that Audi introduced with the prologue study and made its production debut in the new Audi A8. With large surfaces, sharp edges and taut, athletic lines, the A7 signals dynamics and progressiveness from every perspective.
Up front, the Singleframe grille – wider and lower than that of the Audi A8 – the narrow headlights, the boldly contoured air inlets and the flat front end convey at a glance the sportiness of the Gran Turismo. The headlights are available in three versions. With the middle and top equipment lines, the light signature takes up the subject of digitalization: 12 adjacent lighting segments separated by narrow intervening spaces evoke associations with the binary digits 0 and 1. The top version is the HD Matrix LED headlights with Audi laser light.
The Audi A7 Sportback is an athletic sculpture with a long engine hood, long wheelbase and short overhangs. Pronounced contours emphasize the wheels, which measure up to 21 inches in diameter, and reference Audi's quattro genes. These genes determine the proportions of the vehicle's body. The silhouette is defined by the dynamic roofline, which drops sharply toward the rear. Four figures delineate the sporty character of the large coupe: It is 4,969 millimeters (16.3 ft) long, has a wheelbase of 2,926 millimeters (9.6 ft) and is 1,908 millimeters (6.3 ft) wide, but stands only 1,422 millimeters (4.7 ft) high.
As with the previous model, the rear end is tapered like that of a yacht. The long luggage compartment lid terminates in a pronounced, curved lip from which an integrated spoiler extends automatically at 120 km/h (74.6 mph). A flat light strip – a design feature common to all of Audi's top models – joins the rear lights, whose tail lights are made up of 13 vertical segments. When the doors are unlocked and again when they are locked, fast-moving light animations play in the rear lights and in the headlights, highlighting the big coupe's dynamics while standing still. The progressive exterior design of the new Audi A7 Sportback is largely devoid of chrome. The paint range offers a choice of 15 colors, eight of which are new. The optional S line exterior package further hones the look, with modifications to the radiator grille and the front air inlets, the sills and the front and rear diffusers. They are trimmed in gloss black and more strongly sculpted.
The interior fuses design and technology in a unique way. The interior of the new Audi A7 Sportback dazzles with its futuristic lounge atmosphere. Its reduced, clean design language is based in a one-of-a-kind balance of tension and coolness. The horizontal lines and sleek instrument panel provide for a feeling of airy spaciousness. The center console is oriented toward the driver, underscoring the Gran Turismo's sporty character. Four key values characterize the interior concept: progressiveness, sportiness, intuitiveness and sophistication. All colors, upholstery materials and inlays underscore the new aesthetic, from the base version to the design selection, the S line sport package and the particularly sophisticated Valcona leather. The optional contour ambient lighting package traces the contours and subtly highlights the space.
The 10.1-inch upper display (in combination with MMI navigation plus) is tilted toward the driver. With its black panel optics and framed in a graphite gray aluminum clasp, it almost disappears into the dashboard when switched off. The body supporting the clasp is itself a geometric sculpture. The display's user interface appears as soon as the car is opened. In keeping with the interior design, the look is reduced and succinct. All screen content can be quickly registered.
The new Audi A7 systematically continues the digitalization strategy of the A8. The interior architecture melds seamlessly with Audi's new MMI touch response operating concept. It replaces the rotary pushbutton and the conventional buttons and controls of the previous model with two large, high-resolution touch displays.
The driver controls the infotainment system from the upper display. Mounted on the asymmetric console of the center tunnel, the 8.6-inch lower display provides access to the climate control system, comfort functions and text input. Drivers can rest their wrist on the automatic transmission's wide selector lever knob.
Audi offers an optional head-up display that projects important information onto the windshield. MMI navigation plus also includes the Audi virtual cockpit with a 12.3-inch display.
The MMI touch response operating concept features haptic and acoustic feedback and is as intuitive to use as a smartphone. Users hear and feel a click as confirmation when their finger triggers a function. With its logical and flat menu structure, the system allows fast access to the various vehicle functions, and it can also be personalized thanks to configurable and movable favorites buttons.
The optional voice control in the new A7 Sportback makes operation even more convenient. With MMI navigation plus, the natural speech dialogue system processes questions and commands in two ways – with information stored onboard and at the same time with detailed knowledge from the cloud.
With its comprehensive connectivity, the Audi A7 is perfectly equipped for long-distance touring. It offers customers more convenience, safety and customization options. The Gran Turismo features the same infotainment and connectivity range as the Audi A8. Up to seven drivers can store their preferred settings in individual user profiles. As many as 400 parameters can be personalized. The online services from Audi connect have been expanded. Additions include the traffic sign and hazard information Car-to-X services, which utilize the swarm intelligence of the Audi fleet.
The new A7 Sportback comes standard with the MMI radio; MMI navigation and MMI navigation plus are available as options. There is a choice of four sound systems. The top version, the Bang & Olufsen Advanced Sound System, also delivers fascinating 3D sound to the rear seats.
With the AI button, the driver activates the Audi AI remote parking pilot and the Audi AI remote garage pilot, which will be made available at some point in 2018. They autonomously maneuver the A7 Sportback into and out of a parking space or garage. The driver can get out of the car before launching the function via the myAudi app on their smartphone. To monitor the maneuver, the driver presses and holds the Audi AI button the entire time. The central driver assistance controller (zFAS) merges the data from a sophisticated set of sensors to continually compute an image of the surroundings. Depending on the equipment level, there can be as many as five radar sensors, five cameras, 12 ultrasonic sensors and a laser scanner.
Besides the Audi AI systems, the new A7 Sportback features a total of 39 driver assistance systems to make things easier for the driver. They are split up into three packages: the Audi AI parking package (gradual introduction beginning 2018), the City assist package with the new crossing assist, and the Tour assist package. The latter includes such things as the efficiency assistant, which facilitates a driving style conducive to reducing consumption, and the adaptive driving assistant (ADA), which supplements the adaptive cruise control (ACC) with helpful steering interventions to maintain the lane. All driver assistance systems feature improved control mechanisms.
The new A7 further extends its synthesis of sportiness and comfort. The optional dynamic-allwheel steering, the new electronic chassis program (ECP) – the central controller for the chassis – and the updated air suspension make it even more agile, nimble and comfortable. The A7 is thus the perfect Gran Turismo: dynamic and agile on twisty country roads, yet comfortable on long highway stretches.
Many aspects of the front and rear axles have been developed from scratch. The standard progressive steering, whose generally sporty ratio becomes even more direct the further the steering wheel is turned, features a new concept for intensive road feedback. Mounted behind large wheels – up to 21 inches and 255/35 – with improved rolling comfort are aluminum fixedcaliper brakes with discs up to 400 millimeters (15.7 in) in diameter. Customers can choose between four suspension setups: a conventional steel spring suspension, the sport suspension that lowers ride height by 10 millimeters (0.4 in), electronically controlled damping and the self-leveling adaptive air suspension.
The top chassis-related innovation is dynamic-all-wheel steering. It combines direct, sporty steering response with unshakable stability, resolving the conflict of aims between agility and comfort. The steering ratio varies as a function of speed between 9.5:1 and 16.5:1 by means of active steering interventions at the front and rear axle. At the front axle, strain wave gearing is used to superimpose these in response to the driver's steering input. At the rear axle, a spindle drive turns the wheels by as much as 5 degrees. At low speed, they steer counter to the front wheels to further increase the agility of the big coupe when parking or driving in urban traffic, for example. This reduces the turning circle at full lock by 1.1 meters (3.6 ft). At 60 km/h (37.3 mph) and above, the rear axle steers in the same direction to increase straight-line stability and facilitate lane changes.
The optional sport differential improves handing even further. It actively distributes drive torque between the rear wheels, complementing quattro all-wheel drive. Like dynamic-all-wheel steering, controlled damping and the adaptive air suspension, the sport differential is integrated into the control function of the electronic chassis platform (ECP). These systems are closely networked for maximum precision. The driver can use the Audi drive select system to activate different ride profiles featuring a more pronounced difference between comfort and sportiness than in the previous model.
All engines used in the A7 Sportback come standard with a new mild hybrid system (MHEV) for greater comfort and efficiency. With the two V6 engines, this uses a 48-volt primary electrical system. A belt alternator starter (BAS) works together with a lithium-ion battery and achieves a recuperation performance of up to 12 kW when braking. At speeds between 55 and 160 km/h (34.2 – 99.4 mph), the four-door coupe can coast in freewheeling mode with the engine deactivated and then restarted comfortably via the BAS.
The start-stop function has been significantly expanded and now activates at 22 km/h (13.7 mph). In combination with the standard front camera, the engine is restarted predictively while at a standstill as soon as vehicle ahead begins to move. In real-world driving, the MHEV technology reduces fuel consumption by up to 0.7 liters per 100 kilometers.
The new Audi A7 Sportback will initially launch with the 3.0 V6 TFSI. The sonorously understated V6 turbo produces 250 kW (340 hp) and 500 Nm (368.8 lb-ft). The four-door coupe sprints from 0 to 100 km/h in 5.3 seconds and has a top speed of 250 km/h (155.3 mph). In the NEDC, the base version of the Audi A7 55 TFSI consumes 6.8 liters of fuel (34.6 US mpg), corresponding to CO2 emissions of 154 grams (247.8 g/mi). The 3.0 TFSI is paired with a sevenspeed S tronic. Its quattro drivetrain uses the efficient ultra technology that activates rear-wheel drive as needed. Additional six- and four-cylinder engines, both gasoline and diesel, will follow shortly after the start of production.
The A7 Sportback combines the best of all worlds and is a dynamic all-around talent for business and recreation. It offers the design of a Coupé, the spaciousness of a Sedan and the variability of an Avant. The interior concept of the A7 Sportback impresses with more space and more comfortable seating – and that despite having a dynamic roofline. Compared with the previous model, interior length has increased 21 millimeters (0.8 in), resulting in more rear knee room. Rear passengers also enjoy more head room. The loading width has also increased compared with the previous model and now measures 1,050 millimeters (3.4 ft).
Topping the range of all-new seats are the multi-adjustable, customized contour front seats with ventilation and massage. The configuration with individual rear seats (alternative: 2+1 bench) offers a plenty of space and comfort. New high-tech options make life with the Audi A7 Sportback even more comfortable and convenient. The air quality package improves interior air quality by means of fragrancing with subtle scents, an ionizer and an effective combination filter.
The improved panoramic glass sunroof with particularly large glass elements lets more light into the cabin. The heated windshield and wipers with integrated nozzles are additional options for more convenience.
Despite the markedly dynamic lines, the luggage compartment has a base capacity of 535 liters (18.9 cu ft) . This increases to 1,390 liters (49.1 cu ft) with the rear seats folded down. The luggage compartment has been optimized so that two golf bags now fit horizontally – in addition to the optional spare tire. The optional sensor-controlled rear hatch opens and closes automatically in response to a foot motion.
The new Audi A7 Sportback rolls off the assembly line at the Neckarsulm site and will launch on the German market in late February 2018. The base price for the 55 TFSI quattro S tronic is 67,800 euros.
The 2017 Volkswagen Saveiro Mini Pickup Truck comes with a 101 horsepower, 1.6-liter engine that makes about 104 lb-ft of torque. The only transmission is a five speed manual. It comes only as a front-wheel drive (FWD) mini truck with either a extended cab, or a full extra cab that can hold a total of five riders.
While there are no plans to sell the Volkswagen Saveiro in the United States, the market for smaller pickup trucks has grown rapidly. As a small urban pickup truck, the Volkswagen Saveiro would have no direct competition. The only FWD pickup truck available in the United States is the much-larger Honda Ridgeline pickup truck.
The 2017 Volkswagen Saveiro Mini Pickup Truck is available in South American markets between (roughly) $7,000 to $10,000. The Volkswagen Saveiro Mini Pickup Truck pictured above is the new "Pepper" model which is a higher trim level that incorporates exterior and interior trim upgrades.
Interested in getting the Volkswagen Saveiro Mini Pickup Truck in your country?
Prepare to send a lot of emails to the Volkswagen big boss: Herbert Diess – Chairman of the Board of Management of the Volkswagen Passenger Cars brand – in Wolfsburg, Germany. While you're at it, please ask Mr. Diess to bring the Polo GTI and Volkswagen Scirocco to the United States too!
with compact dimensions, a low weight, a powerful engine, sports running gear and the typical insignia of a GTI (including red stripes in the radiator grille, seat covers in "clark" tartan pattern). This sporty small car will certainly bring a new dimension of driving fun to the compact A typical GTI feature is the sophisticated sports running gear. It gives the car the agility akin to that of a go-kart, yet it also offers a high level of comfort. The production version of the up! GTI will be launched into the market in early 2018.
With the up! GTI, Volkswagen is building a bridge that spans four decades: when the first GTI was launched in the 1970s it democratised access to fast roads around the world – especially the overtaking lane of German motorways. Where large saloons and expensive sports cars had previously set the pace, the new compact Volkswagen suddenly stirred up the field. The red stripe in the radiator grille, the black double stripes across the side sills and behind, the black stripe on the tailgate immediately identified this Volkswagen as a GTI. Its 110 PS powered a kerb weight of just 810 kg and accelerated it to 100 km/h in 9.0 seconds. Top speed: 182 km/h. The colours for the market launch: "mars red" and "diamond silver". Later, white and black also became established as GTI colours.
The new up! GTI continues the creed of the lightweight and no-frills sports car with a compact format – from outside and inside similar in size to the original GTI. It is driven by a turbocharged engine (TSI) with powerful 230 Nm torque. The key data do indeed read like a Golf GTI MkI catapulted into the present day. Weight: 997 kg (significantly high-strength steels and more airbags). Vmax: 197 km/h. 0-100 km/h: 8.8 seconds. Colours: classic once again and typical of the GTI – the plain colours "tornado red" and "pure white" and the metallic colours "dark silver", "black pearl" and – as a new GTI colour – "costa azul" (blue).


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The Idea of South by fLiNG
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The Regional Arts Fund (RAF) is an Australian Government initiative that supports sustainable cultural development in regional and remote Australia.
The Regional Arts Fund is managed in NSW by Regional Arts NSW.
Last November, after 10 months of rigorous development, fLiNG Physical Theatre staged a bold and sensory movement performance which was inspired by the early, pioneering expeditions to the Arctic and examined the multifaceted concept of "south". The Idea of South was the culmination of an intense period of training for the 18 young movement artists who performed a realisation of Creative Director, Lee Pemberton's, ambitions for her company. Recently shortlisted for an Australian Dance Award for Outstanding Achievement for Youth or Community Dance 2013, which recognises the experimental limits the performance takes the dancers and the audience to; suspended on the frozen edge of the earth.
Before moving to the Bega Valley and founding fLing Physical Theatre (a contemporary dance company and school for young people) 11 years ago, Lee danced with Legs on the Wall. It was through her contact with the established Australian aerial dance and physical theatre company that she had forged relationships with Alexandra Harrison and Rowan Marchingo, a duo who both began performing with Legs on the Wall in 1999, and who continue to work on projects with the company. The Idea of South was an ambitious project, under the direction and choreography of this pair, and the aerial direction of Tully Ward (also ex-Legs on the Wall), which pushed fLing to a new level of performance work.
A Vision of South
Harrison describes the theme in her notes as, 'inspired by exploratory expeditions of the late 19th Century and the lived experience of the present day inhabitants of the remote south east of NSW, The Idea of South is a journey of playful inversions, exploration and exposure, of glacial creep and sudden storms, extended pressure and violent cracks. The myths and truisms that have accumulated to form the identity of the region will be drawn upon, reconstructed and resisted to create mesmerizing patterns, flights of fancy, imaginative wanderings and wild encounters.'
'The idea was birthed by Alexandra Harrison, she has a passion for the Antarctic,' says Lee. 'However, the extensive workshopping and development that went into the show meant that the performers were key to fleshing out the idea.'
Most of the young people that were involved with the show had been involved with fLing for 3 years and some of them had toured with the company. Aged between 14 and 19, their training demanded up to 5 hours a week for classes, with weekend workshops, rehearsals and fulltime workshops during school holidays. 'They were quite skilled and seasoned dancers, already engaged as company members. Because, I considered the directors who were coming in of a very high calibre,' says Lee, 'it was the kind of thing where a high level of competence, commitment and ability from our dancers was necessary.' For the show she had always wanted to make, it was essential that the participants were 'as close to a professional standard as we are able to be.'
Three Points on the Compass
The directors encouraged fLiNG performers to create movement with their bodies invoking imagery of early explorers trials, severe weather trauma and pioneer experiences. During the workshopping phase, the dancers were split into 3 groups which each looked at a different angle of the concept.
The themes, explains Lee, were:
Discovery: 'coming onto the ice, discovery and the task of navigation'
Endurance: 'enduring the cold, enduring the distances, the time, the weather…'
Aurora: 'the beauty of the area, the elation of discovering and achieving something'
'The performers were involved in the creation of the show,' she says. 'We were also exploring what the idea of south means to people. We did a walk here in the bush [Bournda National Park] where we travelled south. During the walk we stopped and did some explorations of perception. The performers were blindfolded and led along with a partner, as you would be in a blizzard, to help them imagine that experience.
'I asked the kids to explore their response to that area. I took their mobile phones off them, had them carrying backpacks, to explore the movement potential of their ideas.'
Other workshops tested the limits of the dancers' discipline. Alexandra Harrison asked them to hold a pose for 15 minutes without rest and to come out of that pose very slowly. 'She gave them physical tasks to create the enormous pressures on the limits of their strength and discipline,' explains Lee.
In order to achieve the bold acrobatics the show demanded, extensive training and safety work was done during the workshopping stages to prepare the artists. This tested the physical limits of the company. 'I think some of the dancers were quite surprised to realise they weren't able to do the aerial stuff.'
'When I set up fLing, I was influenced by the kind of work Legs on the Wall makes,' says Lee. 'We had done aerial work before (it had always been my interest) but this show was very well supported and we had a professional show-rigger on-board [Tully Ward], which made the difference in what could be done.' The company worked intensely with Ward and even though only 4 of the group were selected as fittest for the aerial work, the other dancers were incorporated into the hauling teams to visually enhance the drama of the show.
'It takes a lot of organisation, quite a bit of training, and as you can imagine, an enormous safety procedure and teaching process. While a dancer might look like she's floating, the forces on the body are actually so much greater,' Lee explains. 'There are particular ways that things are rigged, luckily we had a show-rigger who understands aerial performance and has worked creatively with this before.'
Using the same harness and pulley technology applied in abseiling and window cleaning, but paired with the creative process and collaborative aspect, the group achieved incredible results in the performance. In one sequence, a storm was recreated, bringing in incredible sound effects created for the piece by evocative score composer Bob Scott; and a dancer performing movements to appear as though she was being blown by the wind.
The Emotional Journey
'He [Scott] incorporated the sounds of people walking on ice…and he used the sound of seals,' says Lee. 'During a Saturday afternoon workshop the kids were using sleeping bags and they were making really amazing shapes which Alex [Harrison] loved. They transformed themselves into seals.' The seals found their way into the show, as did a workshopped piece where the 'Discovery' group were pointing in all different directions, ' looking quite lost,' she laughs. 'It was quite an intense show, so these were moments of light relief.'
Over 5 shows, the performance was staged as a sensory spectacular. Audiences were treated to sustained movement practice, bold acrobatics, sensitive and edgy versions of performativity, sculptural installations, movement flows, spoken word and aerial performance. A volunteer production crew helped to build a simple set and the atmospheric environment was enhanced by lighting designer, Gerry Corcoran's, aurora of flickering illumination. The show incorporated installations in the foyer, consisting of a short film made from the bush-walk, readings and writings, mapping and recordings of audience reactions, to steep the audience in an experience that spanned space, time and places; from the Arctic, to the Bega Valley, to the vast and trecherous scope of their own imaginations.
The ripple-effect of such a radical production is already evident, just 6 months on.Two of the senior performers in The Idea of South, Matthew Hyde and Kyall Shanks, have gone on this year to study dance at the Victorian College of the Arts. This triumph was followed by the announcement last month that The Idea of South has been nominated for an Australian Dance Awards. The awards are a non-commercial event produced by Ausdance to celebrate outstanding contributions to Australian dance. An Awards Ceremony will take place at The Playhouse of the Canberra Theatre Centre on August 5. 'I'm just really, really happy,' Lee told the Bega District News when the news broke that the piece was up for an award in the category of Outstanding Achievement for Youth or Community Dance. 'It means that fLing is acknowledged on a national level, and that is incredible for a regional youth dance company.'
Image credit: Matthew Hyde (2013) Photo courtesy of Bega District News
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Lloyd A. Williams, 79, born in Elma, Wash., passed away peacefully, at Swedish Hospital on Thursday afternoon, April 5, 2018.
There will be a celebration of life and 80th birthday party in Lloyd's honor at 1 p.m. on Saturday, June 9 at Wallin Funeral Home, Oak Harbor. Full obituary will follow.


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Human Trafficking and the Media in the United States
Rachel Austin and Amy Farrell
Oxford Research Encyclopedia of Criminology
Although the exploitation of people for profit is not a new phenomenon, in the late 1990s and early 2000s international leaders, advocates, and the public became increasingly concerned about the risks of exploitation inherent in labor migration and commercial sex work. In 2000, the U.S. government passed the Victims of Trafficking and Violence Protection Act (TVPA), which defined a new crime of human trafficking and directed law enforcement agencies to begin identifying and responding to this form of victimization. Following passage of the TVPA, U.S. media interest in human trafficking as a crime increased steadily, though the framing of the problem, its causes, and its solutions has changed over time. Media coverage of human trafficking spiked around 2005 and has risen steadily since that time. Human trafficking has become a "hot topic"—the subject of investigative journalism and a sexy plot line for films and television shows. Yet, the media often misrepresent human trafficking or focus exclusively on certain aspects of the problem. Research on human trafficking frames in print media revealed that portrayals of human trafficking were for the most part oversimplified and inaccurate in terms of human trafficking being portrayed as innocent white female victims needing to be rescued from nefarious traffickers. Depictions of human trafficking in movies, documentaries, and television episodes in the United States have followed a rescue narrative, where innocent victims are saved from harmful predators. Additionally, traffickers are commonly portrayed in the media as part of larger organized crime rings, despite empirical evidence to the contrary. Incorrect framing of human trafficking in the popular media may lead policymakers and legislators to adopt less helpful antitrafficking responses, particularly responses focused on criminal justice system solutions.
Human Trafficking: Overview
Fariyal Ross-Sheriff and Julie Orme
Human trafficking (HT), also known as modern-day slavery, has received significant emphasis during the last decade. Globalization and transnational migration trends continue to amplify economic disparities and increase the vulnerability of oppressed populations to HT. The three major types of HT are labor trafficking, sex trafficking, and war slavery. Victims of HT are exploited for their labor or services and are typically forced to work in inhumane conditions. The majority of these victims are from marginalized populations throughout the world. Although both men and women are victims of HT, women and children are heavily targeted. Interdisciplinary and multi-level approaches are necessary to effectively combat HT. Combating HT is particularly relevant to the profession of social work with its mission of social justice. To address the needs of the most vulnerable of society, implications for social workers are discussed.
Human Trafficking: Sex Trade
Kathleen Bergquist
The definition of human trafficking generally includes the commercial exploitation of persons for labor or sex. Although the International Labour Organization estimated in 2012 that exploitation through forced labor trafficking is up to three times more prevalent than forced sexual exploitation, sex trafficking seems to receive greater media and public attention. This article provides a historical context for sex trafficking, some discussion about the political evolution of sex trafficking legislation, current knowledge, and practice.
The Global Economic and Political Causes of Human Trafficking
Robert G. Blanton and Shannon Lindsey Blanton
Oxford Research Encyclopedia of International Studies
While various forms of slavery and forced labor have existed throughout human history, trafficking in humans is a relatively new area of global concern, as specific laws date back only to 2000. As a legal concept, human trafficking is defined according to its requisite acts (recruitment, transport, harboring of victims), means (use of force, fraud, or coercion), and purpose (exploitation). As a basis for scholarly analysis and public policy, trafficking can be viewed in terms of multiple dimensions, as it constitutes a criminal activity, an egregious abuse of human rights, and a pervasive illicit market. Each of these frames suggests different scholarly approaches to examining trafficking, as well as different policy responses to combat it. For example, a criminal activity frame connotes a prosecutorial response toward traffickers by state agencies, while a human rights-based approach suggests increased attention and services to trafficking victims. There is a significant, though underdeveloped, body of scholarship on the causes of human trafficking. Broadly put, extant work focuses on economic, political, and demographic variables, each of which are part of the wider array of factors that can make trafficking more or less likely. Economic factors can be assessed at both micro and macro levels, ranging from the cost–benefit analyses of traffickers to macroeconomic factors such as poverty and globalization. Political correlates of trafficking include armed conflict, the presence of peacekeepers, and the strength and capacity of domestic political institutions. For their part, nongovernmental organizations (NGOs) can also play a significant role in shaping state responses to trafficking. As trafficking commonly involves the movement of people across borders, some of the same demographic factors that drive migration are also associated with trafficking flows. Taken as a whole, there are still many underexplored avenues for future research. While well over a thousand articles and books have been published on human trafficking since 2000, a majority of extant research is non-empirical in nature, including general overviews of trafficking or analyses of relevant laws. A key factor contributing to this relative dearth of empirical literature is the lack of comprehensive data that reflects the complex and nuanced nature of trafficking. Given the policy-relevant nature of human trafficking, as well as its implications for human rights, there remains a great need for additional evidence-based research in this area.
Selling Sex in a Global Context
Aimee Wodda and Meghna Bhat
Commercial sex continues to be an object of debate in the realm of criminological and criminal justice. The regulation of commercial sex in a global context varies due to local law, culture, and custom. Global criminolegal responses to selling sex include criminalization, decriminalization, abolition, neo-abolition, and legalization. In recent decades, global public policymakers have become increasingly concerned with the public health aspects associated with negative outcomes related to the criminalization of the purchase, facilitation, and/or sale of sex. These concerns include violence against those who sell sex, stigma when attempting to access healthcare and social services, increased risk of sexually transmitted infections or diseases (STIs or STDs) including HIV/AIDS, and economic vulnerability that leaves many who sell sex unable to negotiate the use of condoms and at risk of police arrest for carrying condoms. Those most at risk of harm tend to be young people, LGBTQ populations, and people who are racial or ethnic minorities within their communities—these are often intersecting identities. Organizations such as Amnesty International, the Global Commission on HIV and the Law, Human Rights Watch, UN AIDS, and the World Health Organization recommend decriminalization of commercial sex in order to reduce stigma and increase positive health outcomes. Scholars have also examined the challenges faced by migrant sex workers and the problematic effects of being labeled a victim of trafficking. Contemporary strategies geared toward reducing harm for those who sell sex tend to focus on rights issues and how they affect the well-being of those who sell sex.
Human Trafficking and Religious Movements
Yvonne C. Zimmerman
The prominence of religious groups, religious motifs, and religious and theological claims in the anti-trafficking movement is useful for exploring how social movements are shaped by religious actors and claims and, in turn, use religion in the process of creating social change. The anti-trafficking movement can be situated in relation to three key previous social movements: the 18th–19th-century abolition movement that sought to abolish chattel slavery, the 19th–20th-century anti-white slavery campaigns of the social purity movement that sought to eliminate prostitution, and the late 20th-century movement that sought to address Christian persecution through promoting religious freedom. By highlighting the way that the anti-trafficking movement draws on and extends the moral claim-making of each of these social movements, these earlier movements are revealed as shaping the social movement ecology out of which the contemporary anti-trafficking movement emerges and in which it functions. Further, exploring the movement to end human trafficking in relation to these social movements suggests at least three significant ways religion matters in social movements: as a source of moral legitimacy, as a source of moral clarity, and as a cultural resource. As a source of moral authority, religion provides a source of grounding that lends credibility to movements' moral claims by situating them in something larger than immediate interests and experiences. As a source of moral clarity, religion is a source of the moral values that animates social movements and sustains them through challenges. As a cultural resource, religious sensibilities influence how social movements perceive issues and formulate responses to them.
Women in Lesotho
Scott Rosenberg
Oxford Research Encyclopedia of African History
During the pre-colonial period, women were valued for their productive and reproductive abilities. When women married, their parents received bohali (bridewealth) from the man's family. During the colonial period women became increasingly responsible for running the household while men were away. Although this gave women more power on a daily basis it also led to increasing domestic violence. In order to support themselves and their families, women have sought out domestic economic opportunities as well as participating in migrant labor. Historically, beer brewing and sex trafficking were two of the economic opportunities available to women in Lesotho and South Africa. Today, women make up the overwhelming majority of labor in the textile factories. Although Lesotho is a patriarchal society, women have made gains in terms of being elected to parliament and serving as regents, yet they are still not allowed to serve as a chief in their own right. The HIV/AIDS pandemic has hit women in Lesotho especially hard.
Crime: The Illicit Global Political Economy
John T. Picarelli
Transnational crimes are crimes that have actual or potential effect across national borders and crimes that are intrastate but offend fundamental values of the international community. The word "transnational" describes crimes that are not only international, but crimes that by their nature involve cross-border transference as an essential part of the criminal activity. Transnational crimes also include crimes that take place in one country, but their consequences significantly affect another country and transit countries may also be involved. Examples of transnational crimes include: human trafficking, people smuggling, smuggling/trafficking of goods, sex slavery, terrorism offences, torture and apartheid. Contemporary transnational crimes take advantage of globalization, trade liberalization and new technologies to perpetrate diverse crimes and to move money, goods, services, and people instantaneously for purposes of perpetrating violence for political ends. While these global costs of criminal activity are huge, the role of this criminal market in the broader international economic system, and its effects on domestic state institutions and economies, has not received widespread attention from an international political economy (IPE) or political science perspective. Given the limits on the exercise of extraterritorial enforcement jurisdiction, states have developed mechanisms to cooperate in transnational criminal matters. The primary mechanisms used in this regard are extradition, lawful removal, and mutual legal assistance.


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Latest News / Headline
FIA Thursday press conference - Canada
Sergio Perez Canada Lewis Hamilton Felipe Massa Pastor Maldonado Daniil Kvyat Max Verstappen
Drivers - Sergio Perez (Force India), Pastor Maldonado (Lotus), Daniil Kvyat (Red Bull Racing), Max Verstappen (Toro Rosso), Lewis Hamilton (Mercedes), Felipe Massa (Williams)
Q: If we could start with a general question to all of you: obviously the story in Monaco, of the race, was triggered by the safety car and here in Montreal 11 of the last 17 races have featured at least one and as many as four safety cars. Can you speak about what your first thought is, as a driver, what kind of communication you have with the team at that time and what are the most important things to take care of from a driver's point of view? Felipe, maybe you could start.
Felipe Massa: Well, I think, first of all, it depends on the track. You have some tracks that you have more possibility of accident, or are more difficult, more easy to have a contact or crashes or low grip from the asphalt, which is like Monaco. Maybe here a bit more, a bit better, but with all these chicanes, with the wall nearby, so it's very easy to have an accident or to crash - I know very well from my past, especially from last year. But I think you always need to be very close to your team, understanding everything happening in the race, the safety car and the strategy. The communication counts always and you can gain position or maybe get a good strategy if you are doing things in the proper way.
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Lewis Hamilton (GBR) Mercedes AMG F1 at the Press Confernece at Formula One World Championship, Rd7, Canadian Grand Prix, Preparations, Montreal, Canada, Thursday 4 June 2015. © Sutton Motorsport Images
Max Verstappen (NDL) Scuderia Toro Rosso at the Press Confernece at Formula One World Championship, Rd7, Canadian Grand Prix, Preparations, Montreal, Canada, Thursday 4 June 2015. © Sutton Motorsport Images
Felipe Massa (BRA) Williams at the Press Confernece at Formula One World Championship, Rd7, Canadian Grand Prix, Preparations, Montreal, Canada, Thursday 4 June 2015. © Sutton Motorsport Images
Pastor Maldonado (VEN) Lotus at the Press Confernece at Formula One World Championship, Rd7, Canadian Grand Prix, Preparations, Montreal, Canada, Thursday 4 June 2015. © Sutton Motorsport Images
Sergio Perez (MEX) Force India at the Press Confernece at Formula One World Championship, Rd7, Canadian Grand Prix, Preparations, Montreal, Canada, Thursday 4 June 2015. © Sutton Motorsport Images
Daniil Kyvat (RUS) Red Bull Racing at the Press Confernece at Formula One World Championship, Rd7, Canadian Grand Prix, Preparations, Montreal, Canada, Thursday 4 June 2015. © Sutton Motorsport Images
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Q: Sergio, what do you like to make sure you take care of at a time like that?
Sergio Perez: I think it's important to make your team make the decisions. Don't speak too much at certain points of the race, for example if there is a critical situation with the safety car out. This track, for example, it's quite easy to have a crash, every single lap there is a risk. There are certain corners where you can simply not do any mistake, and if you do a mistake you will definitely end up in the wall. This track is one you should definitely take care of for the whole race.
Q: Max, as a rookie, what's the first thing that goes through your mind when you hear that the safety car has deployed?
Max Verstappen: It also depends on where you are on track, where you qualified. For sure, here for me will be an interesting race. I will have to hope for a safety car. Depends also how hard the track is for the tyres. All those things you take [into account] before you make a decision and you also talk to your team quite a lot because they have a lot of data and they see where you are on the track compared to other competitors.
Q: Lewis, your thoughts on it? What do you like to take care of when you hear that the safety car has been deployed?
Lewis Hamilton: I think you just have to stay cool and follow the procedures that you know and also the feedback that the team gives you.
Q: Pastor?
Pastor Maldonado: Yeah, maybe it's a very crucial moment for the race - not only for the driver, but also for the [pit] wall, for the team. The strategy can change immediately, so you must be very alert for whatever is the team call and, yeah, respect the procedures and trying to gain places.
Q: Daniil, final word?
Daniil Kvyat: Well, as you hear the safety car is out, I think you just speak with the team, what's happening around you and rely [on them] because they know all the gaps with the other cars and so on. And then you make a decision, together with the team, and then once you stay out or anything else, it's a calm period, you just look after the temperature of the tyres and nothing else.
Q: OK, thank you for that. Coming back to you Max, a big crash in Monaco and you're carrying a five-place grid penalty this weekend in Montreal as a result. What did you learn from that whole episode, that experience, and how do you evaluate your performance overall during that Monaco weekend?
MV: I learned the cars are pretty strong. I was happy about that, that I didn't have any injuries. I'm happy… I didn't have any problems after that, I went go-karting on Wednesday, so I was fit again. Yeah, I will have some work to do on this track, but I think it will not change me as a racing driver. I will keep fighting and especially when you want to fight for points, I will still go for it.
Q: Lewis, coming to you, obviously it's been a happy hunting ground for you over the years: three poles, your first ever victory, from pole, in Formula One, back in 2007, three wins in total. Is this the ideal place, then, for you to bounce back from what must have been an extremely painful experience two weeks ago in Monaco?
LH: It's a good track. As you said, I had my first grand prix win here, so generally always been relatively quick here. More so, just to have a better weekend than we had last year here. So that's the target.
Q: Daniil, coming to you, a career-best fourth last time out. How much of a confidence boost was that result for you in Monaco? One interesting stat for you is that you've yet to finish the finish the first lap of a race this season in the same position you started, so maybe you'd like to say a little bit about that?
DK: Yeah, I mean, the Monaco race was a very good race. We had a clean weekend all day long. I think we saw as a team how important it is to have a clean weekend and, yeah, we grabbed quite a lot of points as a team as well. I hope it is a very good confidence boost for all of us in the team, that's what we needed, and now we hope to keep growing from there onwards. I hope it's going to bring us something else in the future.
Q: Pastor, your run of bad luck seems to have continued - now five retirements from six races. What's the team saying to you and what is your mindset going into this weekend?
PM: Yeah we have been very unlucky, especially because we have been having a few different problems during the races, but on the other hand we have a competitive car, which gives us the opportunity to try again and do our best. Let's re-try again this weekend. This should be a good track, a good opportunity for us. I've been always fighting for the points before the problems we had, so there is not any point to don't do it from now to the rest of the season.
Q: Felipe, coming to you: on a positive note, you've got over double the points at this stage, after six races, that you had in 2104 at the same stage. But looking at your record here, why is it that Canada has never been a particularly happy hunting ground for you?
FM: I don't know, so many things happened on this track with me, to be honest. I always drove pretty well here. I was always having competitive races. So I hope this will be the good one.
Q: OK, and Sergio, finally with you, obviously you matched Force India's best result of the season so far in Monaco, with seventh. You were running second here in the closing stages last year before the accident Felipe mentioned and you were on the podium, back in 2012, so what are you feelings on this track?
SP: This track is definitely one that I really enjoy: it's just like driving on a karting track. I really, really enjoy this place, doing a lap, having a race here. It's quite demanding mentally, because, as I said before, it's a track where it is very easy to make a mistake. I have had a couple of good runs here; as you say back in 2012 I was on the podium. Last year I was very close to win the race but unfortunately later in the race I had some issues and then the contact with Felipe came but up to that point it was a great race and so close to actually win the race. I hope… this year we are in a different position, but we can definitely make it into the points.
Q: (Andrea Cremonesi - La Gazzetta dello Sport) Question for Lewis. Lewis, this is the first time that you meet the team after Monaco. How as the atmosphere in the team, and did you learn a lesson, maybe not to complain any more during the race, the tyres, and maybe stay a little bit more cooler in the race and don't make the people, the strategy staff, have a Plan B that could be dangerous for you?
LH: Okey Dokey. No, things are good with the team. Excited to move on to this weekend. So, I'll keep doing what I'm doing because that's done pretty good for me up until now.
Q: (Dave Stubbs - Montreal Gazette) Lewis, how much of this track becomes muscle memory for you? When a driver does really well on a track, is it easy for you just to be able to arrive here and visualize what you need to do or is it a re-education for you every time you arrive here?
LH: It's not a re-education but it's kind of… you have to re-boost or re-awaken your mind to remember what the circuit is like. But you're always trying to improve every time you come here. You're always trying to be faster. There's always areas in which you can improve. For example, last year's qualifying wasn't strong enough here. There are areas where… I didn't finish the race in the end so there's things we've learnt from that weekend so we should be stronger here naturally this weekend. But I've generally been strong over here over the years - but I can be faster. So that's the plan this weekend.
Q: (Helmut Uhl - Bild) How would you describe the confidence level to the team right now?
LH: Same as always. 100 percent.
Q: (Daniel Johnson - The Telegraph) Lewis, in Monaco, in the immediate aftermath of it all, you were asked 'can you put it into words how you feel?' You said you couldn't because it was all so raw at the time. Looking back now, can you put into words how it felt and how you then subsequently got over the events of Sunday?
LH: First of all, I don't look back. I'm looking forwards, so honestly I don't really… I have not thought about the last race for a long time and I've just really been thinking about the next race, putting my mind to other things, training and trying to come back strong this weekend. So, it's really irrelevant what happened in the past now. There's nothing you can do about it so there's no point dwelling on it.
Q: (Graham Keilloh ¬- Grand Prix Times) I've got a question for all of the drivers. Jacques Villeneuve in recent days spoke in support of a tyre war returning to F1. I wondered what each of you thought about the possibility of more tyre suppliers competing with each other, whether it would improve things or not. Felipe, you remember the tyre wars from the last time. Would you welcome a return?
FM: For sure, when we had the big fight between the tyre suppliers it was amazing the grip we had on the tyres. It was really… I mean all the companies were giving the best they could, y'know? So, I think when you have only one company, whatever they're doing it's the same for everybody. It's the same for every driver so for sure they can spend less money on that, y'know? For the driving point of view, for sure it was better before but for the money point of view I think it maybe was too expensive. Especially now. How it's going in Formula One. For sure it would be too expensive. So, I'm not so sure it will happen. I don't think so to be honest.
Q: Your thoughts Lewis - and also maybe its impact on overtaking - does it make it easier or harder?
LH: I don't think I was… I never really got to drive when it was a tyre war but I agree with Felipe in the sense that I can only imagine one manufacturer… they're always pushing technology and that's naturally what the sport is about. When you have one manufacturer there's no need to push the technology. That's how all of us teams… we're always pushing each other. Everyone wants to get faster and get better and improve and naturally that's what happens if you have a tyre war.
Q: Max?
MV: I don't have a lot of experience with that. I think it's always good to go to the limit of something, and also with the tyres it's exactly the same. Try to push each other forwards and improve the tyres again. I think that would be great to see again. We'll see, maybe it happens one day.
Q: Sergio, do you have any thoughts?
SG: Yeah, of course I never experienced that. I think there is definitely room to improve the tyre that we have. The way we have it right now. If it's good for the sport I will definitely be in favour of that.
PM: Yes, I agree. I mean, it's always fun to see competition everywhere in Formula One. Not only from the teams, drivers, different supplier and maybe the tyres will be great fun. But we need to think. Not only about the competition, even about the cost. As everyone knows the budgets and the sponsors and the economic situation of Formula One now is not the best, not the greatest - so it's a point to argue maybe.
Q: Daniil, final thought.
DK: I don't know really. To be honest if we have one supplier that gives us just a very strong tyre with good grip, I think it's fine. If you have two different suppliers and one does a much better job than the other, then probably there is disadvantage for some teams and advantage for another. So, it can always go one way or another.
Q: (Andrea Cremonesi - La Gazzetta dello Sport) Two questions for Lewis; the first is about the engines. You have a fresh engine here but without using a token. You don't use a token and Ferrari have new engines which the advantage of three tokens. Do you believe that Ferrari can be a little bit more dangerous than usual here? And the second question, coming back to Monaco, if you don't have any complaint - if you don't feel yourself there are some complaints about yourself, your behaviour during the race?
LH: I don't know what Ferrari have done so I have to assume that they have improved. For us, we've just improved reliability. We still have a fantastic engine so I feel quite confident going into the weekend but naturally, Ferrari have been fast in the previous races so they should be fast this weekend. And... really happy how I did the last race.
Q: (Leigh Diffey - NBC Sports) Max, up until you crashed in Monaco, your first Monaco weekend was phenomenal, finishing just a tenth and a half off Lewis in FP1, your qualifying etc, so if you had the chance to turn back time and do it all over again on that lap when you were approaching Romain, what would you do differently?
MV: Not much.. I was attacking, I wanted those points, especially after the pit stop we had. I don't know. Maybe turn a bit earlier to the right, try to avoid it a bit more and maybe try to do it another lap again. I don't think there were so many things I had to do differently, up until then.
Q: (Alan Baldwin - Reuters) Felipe and Max; Felipe, in the aftermath of the crash in Monaco that brought out the safety car you said a few things about Max and about young drivers and the dangers of inexperienced drivers on the track. Do you stand by that and Max, what's your response to what Felipe said?
FM: First of all, I said when I had the interview after the race, he was not penalised and they asked me what I thought and I said 'I think he needs to be penalised because what he did was wrong.' So that's what I said and I think, especially when you're in your first year, 17-years old and if you do something like that and you're not penalised, it's completely wrong. I think the FIA needs to be strong in a proper way which is what they did actually, that's the only thing I said and I don't change my mind. That's what I believe. We need to follow the rules. I said what he did was wrong. That's what I said.
MV: Well, everybody can have their opinion, that's the first thing but I looked at my data, I didn't brake any later. I have braked later in the race before that but on the lap I crashed, it was exactly the same lap as the lap before and I got my penalty. I'm focusing on Canada right now and maybe you should review the race from last year and see what happened there.
Q: Are you clear what you got the penalty for 'though?
MV: Well, you know I have my own view when we discussed it with the team. I don't think there's any reason to look back at Monaco and just focus on Canada like I said and we'll try to score some points again and I will not change my driving style.
Q: (Silvia Arias - Parabrisas) Max, I would like to know if you expected Carlos Sainz to be as strong as he is because he's doing very well as well and he's a rookie like you? What is your feeling about him and his performances?
MV: He's a very good driver, he won 3.5 last year and so he was doing a good job. We are pushing each other forward and that's also something that's very good for the team.
Q: (David Croft - Sky Sports) Felipe, just picking up on what Max said there; we're not drivers here so help us out. I kind of assume that you're saying that Max needed a penalty in Monaco because he was the guy behind Romain and crashed into him. So what is the difference between what happened in Monaco to Max and what happened to you with Sergio here last year?
FM: I think it was a little bit different, no? I was on the side and he moved the car on braking so... I don't think Grosjean moved the car on braking, no? But he was before the braking as well, here, what's happened.
Q: (Gaetan Vigneron - RTBF) Lewis, sorry to come back a last time to Monaco. There are two parts in my question: could you have over-ruled your team decision and when you stopped at Portier, in your mind, was it a real possibility to do like Senna a couple of years ago, to go directly to your flat?
LH: No. There's going to be a lot of questions about Monaco. I'm really not going back to Monaco. I've moved on. I don't even have to think about it. I'm literally moving on. I couldn't care less about it, I'm literally focused on... I can't do anything about the past so there's honestly no point in thinking about it. It's about trying to shape the future. I've got lots and lots of races to come, lots of improvements that can be made, I've got a great team, got a great car and there's a championship to be won so that's all I'm focused on. Doesn't matter what I feel or had felt or feel now because actually I don't feel anything about. I'm literally thinking about this race, I'm excited, I feel good, I feel fit, I feel strong so all positives.
Q: While respecting that, it would be good to know the second part of the question about Portier, why you stopped at Portier?
LH: I know there would be but there is no answer to it.
Q: (Daniel Johnson - The Telegraph) Lewis, on the subject of looking forward there, do you have full trust in the strategic calls that the team make and do you feel that for the following races there's any need to change any procedures you may or may not have at the moment?
LH: No, I think I answered the question early on: I have full trust and confidence in the team so... We've won, we've had pretty incredible successful together. One race doesn't dent the solid foundation that we've got.
Canada preview - will engine upgrades alter the balance of power in Montreal?