text:
299 Thora eller 1935 PC är en asteroid i huvudbältet, som upptäcktes den 6 oktober 1890 av den österrikiske astronomen Johann Palisa. Asteroiden namngavs senare efter den fornnordiska åskguden Tor.

Thoras senaste periheliepassage skedde den 17 december 2019. Dess rotationstid har beräknats till 274 timmar.

Referenser

Externa länkar

Huvudbältesasteroider
Småplaneter namngivna efter mytologiska figurer
Astronomiska upptäckter av J Palisa
Astronomiska upptäckter 1890

redpajama_set_name: RedPajamaWikipedia


text:
Q: Crashlytics is not sending Crash report from iPhone or Real Deivce I followed exactly the way described in documentation. But it's not working. Below is the log I see on the console.
5.9.0 - [Firebase/Crash][I-CRA100003] Crashes uploaded successfully, but there was an error deserializing the response

I'm using below code snippet to crash the app.
@IBAction func crashButtonTapped(_ sender: AnyObject) {
    Crashlytics.sharedInstance().crash()
}

let button = UIButton(type: .roundedRect)
button.frame = CGRect(x: 20, y: 50, width: 100, height: 30)
button.setTitle("Crash", for: [])
button.addTarget(self, action: #selector( self.crashButtonTapped(_:) ), for: .touchUpInside)
view.addSubview(button)

Edit:
I'm testing on simulator and below are few screenshots appeared after updating pods (crashlytics and Fabric) on Firebase dashboard.

How to upload dSYMs?

A: I could resolve my issue after uploading the dSYM file. Here is how I retrieved it on the project. I run my on debug mode and simulator.

*

*First you have to Archive
(Select "Generic iOS Device" or your real device) the project. Then Product --> Archive menu will appear.

After successful archive you will be able to see "YourAppName.app"

*On your Xcode project structure, Right click on "YourAppName.app" (it's under Products --> YourAppName.app) and "Show in finder".

There is file called "YourAppName.app.dSYM" and zip this file and upload it to the firebase. Everything worked fine. I noticed I had to upload YourAppName.app.dSYM again and again on debug mode when rebuild the app. Please let me know if anyone found a solution to that.

A: Go to Project Target -> Build Settings -> Debug Information Format -> DWARF with dSYM File

A: read the troubleshooting part of the below link carefully
https://docs.fabric.io/apple/crashlytics/test-crash.html#cause-a-test-exception

redpajama_set_name: RedPajamaStackExchange


This is a great new addition to the Scalextric range just make sure there's enough of you to get the full benefit.
That's the opening statement on the press release for the latest Scalextric set to come out of the factory. Set out before us as we write this review, we have to say the action is fast and furious.
The excitement comes not from racing cars around a track hour after hour - after all we can do that on our old set - but that you can change lanes on the corners in the track. What this means is that there is a chance that you can overtake your opponent in the dying seconds and cross the finish line first.
Either way the idea is genius, but to make it work to its full potential you really do need to have more than two players playing it, as that's when the overtaking really comes into its own.
To allow the overtaking there are new cars, new track segments and new hand controllers. Additionally the hand controllers also allows you to apply a break if need be and everything including a range of gaming modes and individual car setting is controlled via a central console-come-lap counter on the side of the track. The console is handy as it offers electronic lap counting, timing and other such wonders you didn't think you would need such as Against The Clock and Pursuit modes.
Track changes are made in a similar way to a train track -no surprise there as the creators of Scalextric also make Hornby rail sets - and pressing the button on the back of the controller as you travel over certain bits of the track simply switches the lane to which the car travels down.
In the Ready-to-race box set we tested you get two Porsche Boxsters and a decent amount of track to have a good race. The cars are very fast - fast enough to turn into a blur anyway - and the speed is achieved not only by the motors on board the car, but also the large magnet at the back end that keeps in on the track so you can go faster without flying off at every corner.
If you're panicking that this all sounds like your old set has to go to the charity shop then don't. Scalextric realising this might be the case have opted to sell conversion kits for the cars and track. For the track you'll need to buy track converters as the track connectors are different. Likewise with cars you'll need to adapt them so they can send signals back to the base unit to change the lane.
The multiple gaming modes, the digital lap counter, the lane changing and super fast cars makes this Scalextric set one to want.
Scalextric has really done well to bring itself to a point where it can challenge modern day pastimes, greatly helped by nostalgic adults. With plans for an internet-enabled track next year that will allow you to race other players with identical tracks over the internet it seems this is just the start of an exciting new journey.
If you're new to Scalextric then we would recommend you opt for a Ready-to-race box set like the one reviewed here. However if you are an old hand, you can get the individual elements separately to adapt your set.


The world faces a crisis of meaning. The old stories - whether the exclusive claims of rival religions or the grand schemes of perennial philosophy - seem bankrupt to many. The editorial stance of this book is that mysticism and science offer a way forward here, but only if they abandon the idol of a single logical synthesis and acknowledge the diversity of different ways of knowing. The contributors, from disciplines as diverse as music, psychology, mathematics and religion, build a vision that honours diversity while pointing to an implicit unity.


Cells booster for breast tissues. Helps to balance and firm up the breast, and to enhance the effect of other bust products.
Endo spécial + Cells booster Cells booster for breast tissues. Helps to balance and firm up the breast, and to enhance the effect of other bust products.


On the 28th of October, 2015, sehat.com.pk made history by performing Pakistan's first ever corporate level vaccination as a retailing entity. ICI Polyester was the venue for this momentous vaccination, at their manufacturing facility in Sheikhupura, Pakistan.
ICI Polyester made a request to have 300 of their employees vaccinated for Typhoid. The vaccine used was Typhim, which came in a 0.5 mL pre-filled syringe, manufactured by renowned vaccine manufacturer, Sanofi Aventis.
Dr. Tanvir Haider is in charge of the dispensary, and made the necessary arrangements for employees at the facility to receive their vaccinations. He also arranges his medication for his dispensary from sehat.com.pk, which is able to ship its medicines from Lahore to its facility in 1 day.
Alongside this, Sehat took some time to promote their services to the various employees of ICI. They explained how convenient it was to use Sehat to have medicines delivered straight to their doorstep anywhere in Pakistan.
"I never expected such professionalism from sehat.com.pk in completing this corporate level vaccination. Everything from their necessary precautions, to the recordkeeping, to the inoculations themselves was absolutely remarkable".
In completing this vaccination, sehat.com.pk completely abides by Section 23-A of the Factories Act.


text:
Fri, 17 February 2017
#35: Richard F. Keevey
As the state assesses its fiscal present and future, adjustments to New Jersey's revenue structure deserve consideration.
One proposal involves the elimination of the Corporation Business Tax and the implementation of a franchise tax. The proponents suggest such an alteration would result in simpler and fairer processes and outcomes for the state and the business community.
Joining New Start New Jersey is national expert Richard F. Keevey, the former Budget Director and Comptroller for the state, a Senior Policy Fellow at the Edward J. Bloustein School of Planning and Public Policy at Rutgers University and a Lecturer at Princeton University.

redpajama_set_name: RedPajamaCommonCrawl


, we selects the best selections with greatest image resolution just for you all, and this photographs is actually one of images selections in this ideal photos gallery concerning Best Of order Confirmation Email Template. I hope you can enjoy it.
put up by admin on 2017-12-17 07:08:16. To determine almost all pictures with Best Of order Confirmation Email Template photos gallery you should stick to this particular website link.


"Bipartisan agreement" isn't something that's common these days inside the Beltway, but I think it's safe to say that if there's anything lawmakers on both sides of the aisle have come to a consensus on it's the notion that everyone would be better off if Donald Trump did not have a Twitter account.
Well over the past, let's just call it 72 hours, Trump has subjected his 43 million followers and just generally the entire world to an unrelenting stream of mind-boggling 280-character ramblings and egregious retweets. Included in those retweets were a series of anti-Muslim videos originally posted by Jayda Fransen, the deputy leader of the far-right group Britain First who is facing charges of inciting religiously aggravated harassment.
His decision to retweet those videos led at least two UK MPs to call for Trump's immediate arrest if he should decide to show up in the country and also won the President a condemnation from Theresa May, who later discovered that thanks to that condemnation, she had herself become the victim of a presidential Twitter attack (and that assumes the term "presidential Twitter attack" isn't a complete oxymoron).
The reason he's doing this is because he doesn't have anything else to point to in terms of "achievements" since his inauguration and so, he's going to keep tweeting about record high stock prices in an effort to convince his base that i) record highs on the Dow are somehow meaningful to them, and ii) those record highs are somehow related to his presidency.
The goodies of a trebled stock market aren't evenly distributed. Who owns stocks? If we're talking about households, leaving aside pension funds and endowments and other institutional investors, it's the rich, mostly. And that household share of the Central Bankers' Bubble doesn't increase linearly with wealth, but exponentially, meaning that the really rich own a lot more stocks than the merely rich, so the really rich have gotten a lot richer than the merely rich.
Right. And if Jeff Bezos is getting "exponentially" richer than Steve Mnuchin during this rally, well then you can extrapolate what that means for the likes of Gwynne Abrams, an unemployed nanny in Henderson, Nev., who told the Washington Post how she recently scraped together $78 in nanny money to donate to Trump's "cause." At least Steve gets the satisfaction of knowing that even if Bezos is now 333 times richer than him thanks to the Amazon rally, the money Jeff spends is literally signed "Mnuchin". I don't think you're going to see "Gwynne Abrams, Certified Nanny" scrawled on your dollar bills any time soon.
But the ultimate irony here is that this would be the very same stock market that just 14 months ago, Trump called a "false, big, fat, ugly bubble." He also hilariously suggested (on CNBC) that Janet Yellen was conspiring to "do political things" and "ought to be ashamed of herself" for the market she's created.
This approach eased financial conditions in the past and, so far, looks to be effective again. Stock prices rose and long-term interest rates fell when investors began to anticipate the most recent action. Easier financial conditions will promote economic growth. For example, higher stock prices will boost consumer wealth and help increase confidence, which can also spur spending. Increased spending will lead to higher incomes and profits that, in a virtuous circle, will further support economic expansion.
So Trump surely understood that last year (even if he was about six years late when it comes to fully appreciating it). Fast forward to this year and either he's forgotten to what this market owes its good fortune or else something has changed since September of 2016 which compels him to conveniently forget about the role Yellen, Draghi, and Kuroda are playing in this.
Hmmm. Let's see. What's changed since Trump called this a "big, fat, ugly, false bubble"? Oh, that's right. Trump became President.
And just like the BLS numbers were "fake" before he was President but are, to quote Sean Spicer, "very real now," the stock market is no longer "ugly" and "false" but rather so real that the gains are reducing the country's national debt, according to Trump's own calculations.
As if all of that weren't absurd enough on its own, Trump is now going to go ahead and claim that if a Democrat had won the Presidency, the Dow would be sitting at roughly 12,000.
How he came to that figure is anyone's guess, but what I would note here is that he is digging his own grave, because to the extent he's convinced his base that he is in fact responsible for the latest leg higher in equities, he is going to have to explain to that same base why stocks aren't actually important to them in the event the market sells off.
Either that, or he'll have to find a scapegoat. And God help whoever he decides to blame when risk assets do finally correct, which they almost invariably will at some point during his term.
If there's one person you absolutely do not want to be right now, it's Jerome Powell, because you've got to believe that after Trump has blamed Democrats and after he gets done figuring out a way to tie stock market losses to a CNN conspiracy, the next person in the firing line will be the Fed Chair.
So quick Jerome: deregulate those banks so we can convert all that excess liquidity into leverage and drive this fucker up another 20% lest you should wake up one morning and discover that #JeromeTheJerkOff is trending on Twitter along with #MarketCrash.


Readers want to know all about your characters (or at least they should), but the best way to bring them to life isn't a laundry list of characteristics.
Proofreader and copy editor Louise Harnby has suggestions on how to describe a character's appearance in subtle and engaging ways, along with examples from fiction she admires.
Visit her website to check out these techniques.


text:
The Ballads of Sacco and Vanzetti
The Cradle Will Rock
The Labor Reform Songster
The Little Red Songbook (1909-1973)
The Little Red Songbook (Additions, Parodies, and Variants)
Pins and Needles
Socialist and Labor Songs
Socialist Songs with Music
Songs along the Mahantongo
Songs of Freedom by Irish Authors
Songs of the Fellowship
Songs of Work and Freedom
Composer/Performer Index
Song Title Index
Political Folk Music
Joe Glazer
Joe Glazer (1918-2006) was the Education Director of the United Rubber Workers, AFL-CIO.
"Since the Industrial Revolution, working people have been organizing and campaigning for better treatment from their employers. The labor movement and its unions struggle for fair wages, safe working conditions, and many other benefits. Music is an important tool in the labor movement to motivate workers and help build solidarity. Labor songs detail political issues, glorify martyrs and heroes in the movement, and, most of all, inspire and uplift workers. Joe Glazer (1918–2006), often called 'Labor's Troubadour,' spent a lifetime as one of America's noted historians of labor song. His booming baritone and exuberant guitar performed exuberantly for millions of workers, strikers, and students. He was the author of several significant labor songs, notably 'The Mill Was Made of Marble,' which is a commentary on the need for cleaner, safer mill conditions for textile workers. In addition to his performing, he was employed by the United Rubber Workers, the Textile Workers Union of America, and the United States Information Agency over the course of his career. Glazer founded Collector Records in 1970 to distribute his own recordings of labor songs and those of younger and newer performers he had met through his work—many of them through the Labor Heritage Foundation, which he founded in 1978, and its yearly Great Labor Arts Exchange. Some artists, such as Bobbie McGee, went on to become well-known folk singers, but many Collector artists remained at their jobs. Eddie Starr (1956–2003) was a third-generation Illinois steelworker who declined a life on the road as a rock musician, and took a factory job at home to support his family. Kenny Winfree was a textile worker when Glazer heard his bluegrass-style labor songs. He continues to work, now at an aircraft plant in Texas, where he is an active member of UAW Local 848. Collector Records painted a clear picture of workers' struggles. Songs depicted everyday hazards and ailments encountered on the job, allowing workers to express their situation and make audiences aware of their plight. 'Cotton Mill Colic' was a classic folk song written in 1926 by David McCarn, a textile mill worker in North Carolina, that described the harsh conditions and low pay of mill-working life. The steelworker in 'Corrido Minero' sang about the ever-present danger of working in a mine with outdated equipment. Newer workplace issues were expressed in labor songs as well. The worker in John O'Connor's song suffered from carpal tunnel syndrome, one of the most frequent of modern workplace afflictions, occurring among those who perform a great deal of computer data entry and causing extreme pain in the hands and arms. Collector Records was a historic collection presenting music to inspire and motivate working people. The Glazer family donated the label's recordings to the Smithsonian Center for Folklife and Cultural Heritage in 2006."
—http://www.folkways.si.edu/labors-troubadour-joe-glazer-collector-records/struggle-protest/music/article/smithsonian
The Mill Was Made of Marble
Song of the Guaranteed Wage (with Ruby McDonald)
Soup Song
Too Old to Work
Serving Working Folk Since 2010
223 Composers / Performers
Composers / Performers
© 2019 Political Folk Music. All Rights Reserved. Powered by HostBaby.


text:
Q: await user pins in discord.py? When awaiting a pin with on_guild_channel_pins_update, both pin and unpin actions are detected. I am looking to get the message ID of a message the second it is pinned. However, this method's only parameters are channel, returning the channel where the pin action was detected, and last_pin, which returns only a UTC timestamp of the most recently pinned message in channel, regardless of the message that triggered the function in the first place. If this function did not include unpin actions, I could simply use await channel.pins() to get a list of all the pins in the channel and use the message ID of whatever is at index 0, but because this function triggers even when a pin is removed, this creates several cases where the bot would return something that has been pinned for months.
Any help would be appreciated.

A: You can do this using on_message_edit(), which triggers whenever something happens to a message, which includes being pinned.
@client.event
async def on_message_edit(before, after):
    if not before.pinned and after.pinned:  # check if the action was a message being pinned
        print(after.id)                     # do whatever you want with the ID


The body of the Vajra Regent rested in samadhi, during which time traditional signs of realization appeared. After three days his body was taken to Rocky Mountain Dharma Center in Colorado for the cremation ceremony. At its conclusion, a vivid double rainbow appeared, spanning the sky. He is survived by his wife, Lady Lila Rich, and their four children. His principal student and dharma heir, Patrick Sweeney (Trimé Lhawang), carries on the lineage under the auspices of Satdharma, the organization founded by the Vajra Regent in 1989, which includes Pullahari Retreat Center in Cayucos, California, and the Vajra Regent Ösel Tendzin Library in Ojai, California.


text:
.. _document_api:

Document objects
================

... things having to do with Document objects ...

.. currentmodule:: docx.api

|Document| objects
------------------

.. autoclass:: Document
   :members:

redpajama_set_name: RedPajamaGithub


text:
package com.redhat.ceylon.langtools.tools.javac.util;

import java.lang.reflect.Array;
import java.util.ArrayList;
import java.util.Collection;
import java.util.Collections;
import java.util.Iterator;
import java.util.AbstractCollection;
import java.util.ListIterator;
import java.util.NoSuchElementException;

/** A class for generic linked lists. Links are supposed to be
 *  immutable, the only exception being the incremental construction of
 *  lists via ListBuffers.  List is the main container class in
 *  GJC. Most data structures and algorithms in GJC use lists rather
 *  than arrays.
 *
 *
Lists are always trailed by a sentinel element, whose head and tail
 *  are both null.
 *
 *
This is NOT part of any supported API.
 *  If you write code that depends on this, you do so at your own risk.
 *  This code and its internal interfaces are subject to change or
 *  deletion without notice.
 */
public class List extends AbstractCollection implements java.util.List {

    /** The first element of the list, supposed to be immutable.
     */
    public A head;

    /** The remainder of the list except for its first element, supposed
     *  to be immutable.
     */
    //@Deprecated
    public List tail;

    /** Construct a list given its head and tail.
     */
    List(A head, List tail) {
        this.tail = tail;
        this.head = head;
    }

    /** Construct an empty list.
     */
    @SuppressWarnings("unchecked")
    public static  List nil() {
        return (List)EMPTY_LIST;
    }

    private static final List<?> EMPTY_LIST = new List<Object>(null,null) {
        public List<Object> setTail(List<Object> tail) {
            throw new UnsupportedOperationException();
        }
        public boolean isEmpty() {
            return true;
        }
    };

    /** Returns the list obtained from 'l' after removing all elements 'elem'
     */
    public static  List filter(List l, A elem) {
        Assert.checkNonNull(elem);
        List res = List.nil();
        for (A a : l) {
            if (a != null && !a.equals(elem)) {
                res = res.prepend(a);
            }
        }
        return res.reverse();
    }

    public List intersect(List that) {
        ListBuffer buf = new ListBuffer<>();
        for (A el : this) {
            if (that.contains(el)) {
                buf.append(el);
            }
        }
        return buf.toList();
    }

    public List diff(List that) {
        ListBuffer buf = new ListBuffer<>();
        for (A el : this) {
            if (!that.contains(el)) {
                buf.append(el);
            }
        }
        return buf.toList();
    }

    /**
     * Create a new list from the first {@code n} elements of this list
     */
    public List take(int n) {
        ListBuffer buf = new ListBuffer<>();
        int count = 0;
        for (A el : this) {
            if (count++ == n) break;
            buf.append(el);
        }
        return buf.toList();
    }

    /** Construct a list consisting of given element.
     */
    public static  List of(A x1) {
        return new List(x1, List.nil());
    }

    /** Construct a list consisting of given elements.
     */
    public static  List of(A x1, A x2) {
        return new List(x1, of(x2));
    }

    /** Construct a list consisting of given elements.
     */
    public static  List of(A x1, A x2, A x3) {
        return new List(x1, of(x2, x3));
    }

    /** Construct a list consisting of given elements.
     */
    @SuppressWarnings({"varargs", "unchecked"})
    public static  List of(A x1, A x2, A x3, A... rest) {
        return new List(x1, new List(x2, new List(x3, from(rest))));
    }

    /**
     * Construct a list consisting all elements of given array.
     * @param array an array; if {@code null} return an empty list
     */
    public static  List from(A[] array) {
        List xs = nil();
        if (array != null)
            for (int i = array.length - 1; i >= 0; i--)
                xs = new List(array[i], xs);
        return xs;
    }

    public static  List from(Iterable<? extends A> coll) {
        ListBuffer xs = new ListBuffer<>();
        for (A a : coll) {
            xs.append(a);
        }
        return xs.toList();
    }

    /** Construct a list consisting of a given number of identical elements.
     *  @param len    The number of elements in the list.
     *  @param init   The value of each element.
     */
    @Deprecated
    public static  List fill(int len, A init) {
        List l = nil();
        for (int i = 0; i < len; i++) l = new List(init, l);
        return l;
    }

    /** Does list have no elements?
     */
    @Override
    public boolean isEmpty() {
        return tail == null;
    }

    /** Does list have elements?
     */
    //@Deprecated
    public boolean nonEmpty() {
        return tail != null;
    }

    /** Return the number of elements in this list.
     */
    //@Deprecated
    public int length() {
        List l = this;
        int len = 0;
        while (l.tail != null) {
            l = l.tail;
            len++;
        }
        return len;
    }
    @Override
    public int size() {
        return length();
    }

    public List setTail(List tail) {
        this.tail = tail;
        return tail;
    }

    /** Prepend given element to front of list, forming and returning
     *  a new list.
     */
    public List prepend(A x) {
        return new List(x, this);
    }

    /** Prepend given list of elements to front of list, forming and returning
     *  a new list.
     */
    public List prependList(List xs) {
        if (this.isEmpty()) return xs;
        if (xs.isEmpty()) return this;
        if (xs.tail.isEmpty()) return prepend(xs.head);
        // return this.prependList(xs.tail).prepend(xs.head);
        List result = this;
        List rev = xs.reverse();
        Assert.check(rev != xs);
        // since xs.reverse() returned a new list, we can reuse the
        // individual List objects, instead of allocating new ones.
        while (rev.nonEmpty()) {
            List h = rev;
            rev = rev.tail;
            h.setTail(result);
            result = h;
        }
        return result;
    }

    /** Reverse list.
     * If the list is empty or a singleton, then the same list is returned.
     * Otherwise a new list is formed.
     */
    public List reverse() {
        // if it is empty or a singleton, return itself
        if (isEmpty() || tail.isEmpty())
            return this;

        List rev = nil();
        for (List l = this; l.nonEmpty(); l = l.tail)
            rev = new List(l.head, rev);
        return rev;
    }

    /** Append given element at length, forming and returning
     *  a new list.
     */
    public List append(A x) {
        return of(x).prependList(this);
    }

    /** Append given list at length, forming and returning
     *  a new list.
     */
    public List appendList(List x) {
        return x.prependList(this);
    }

    /**
     * Append given list buffer at length, forming and returning a new
     * list.
     */
    public List appendList(ListBuffer x) {
        return appendList(x.toList());
    }

    /** Copy successive elements of this list into given vector until
     *  list is exhausted or end of vector is reached.
     */
    @Override @SuppressWarnings("unchecked")
    public <T> T[] toArray(T[] vec) {
        int i = 0;
        List l = this;
        Object[] dest = vec;
        while (l.nonEmpty() && i < vec.length) {
            dest[i] = l.head;
            l = l.tail;
            i++;
        }
        if (l.isEmpty()) {
            if (i < vec.length)
                vec[i] = null;
            return vec;
        }

        vec = (T[])Array.newInstance(vec.getClass().getComponentType(), size());
        return toArray(vec);
    }

    public Object[] toArray() {
        return toArray(new Object[size()]);
    }

    /** Form a string listing all elements with given separator character.
     */
    public String toString(String sep) {
        if (isEmpty()) {
            return "";
        } else {
            StringBuilder buf = new StringBuilder();
            buf.append(head);
            for (List l = tail; l.nonEmpty(); l = l.tail) {
                buf.append(sep);
                buf.append(l.head);
            }
            return buf.toString();
        }
    }

    /** Form a string listing all elements with comma as the separator character.
     */
    @Override
    public String toString() {
        return toString(",");
    }

    /** Compute a hash code, overrides Object
     *  @see java.util.List#hashCode
     */
    @Override
    public int hashCode() {
        List l = this;
        int h = 1;
        while (l.tail != null) {
            h = h * 31 + (l.head == null ? 0 : l.head.hashCode());
            l = l.tail;
        }
        return h;
    }

    /** Is this list the same as other list?
     *  @see java.util.List#equals
     */
    @Override
    public boolean equals(Object other) {
        if (other instanceof List<?>)
            return equals(this, (List<?>)other);
        if (other instanceof java.util.List<?>) {
            List t = this;
            Iterator<?> oIter = ((java.util.List<?>) other).iterator();
            while (t.tail != null && oIter.hasNext()) {
                Object o = oIter.next();
                if ( !(t.head == null ? o == null : t.head.equals(o)))
                    return false;
                t = t.tail;
            }
            return (t.isEmpty() && !oIter.hasNext());
        }
        return false;
    }

    /** Are the two lists the same?
     */
    public static boolean equals(List<?> xs, List<?> ys) {
        while (xs.tail != null && ys.tail != null) {
            if (xs.head == null) {
                if (ys.head != null) return false;
            } else {
                if (!xs.head.equals(ys.head)) return false;
            }
            xs = xs.tail;
            ys = ys.tail;
        }
        return xs.tail == null && ys.tail == null;
    }

    /** Does the list contain the specified element?
     */
    @Override
    public boolean contains(Object x) {
        List l = this;
        while (l.tail != null) {
            if (x == null) {
                if (l.head == null) return true;
            } else {
                if (l.head.equals(x)) return true;
            }
            l = l.tail;
        }
        return false;
    }

    /** The last element in the list, if any, or null.
     */
    public A last() {
        A last = null;
        List t = this;
        while (t.tail != null) {
            last = t.head;
            t = t.tail;
        }
        return last;
    }

    @SuppressWarnings("unchecked")
    public static <T> List<T> convert(Class<T> klass, List<?> list) {
        if (list == null)
            return null;
        for (Object o : list)
            klass.cast(o);
        return (List<T>)list;
    }

    private static final Iterator<?> EMPTYITERATOR = new Iterator<Object>() {
            public boolean hasNext() {
                return false;
            }
            public Object next() {
                throw new java.util.NoSuchElementException();
            }
            public void remove() {
                throw new UnsupportedOperationException();
            }
        };

    @SuppressWarnings("unchecked")
    private static  Iterator emptyIterator() {
        return (Iterator)EMPTYITERATOR;
    }

    @Override
    public Iterator iterator() {
        if (tail == null)
            return emptyIterator();
        return new Iterator() {
            List elems = List.this;
            public boolean hasNext() {
                return elems.tail != null;
            }
            public A next() {
                if (elems.tail == null)
                    throw new NoSuchElementException();
                A result = elems.head;
                elems = elems.tail;
                return result;
            }
            public void remove() {
                throw new UnsupportedOperationException();
            }
        };
    }

    public A get(int index) {
        if (index < 0)
            throw new IndexOutOfBoundsException(String.valueOf(index));

        List l = this;
        for (int i = index; i-- > 0 && !l.isEmpty(); l = l.tail)
            ;

        if (l.isEmpty())
            throw new IndexOutOfBoundsException("Index: " + index + ", " +
                                                "Size: " + size());
        return l.head;
    }

    public boolean addAll(int index, Collection<? extends A> c) {
        if (c.isEmpty())
            return false;
        throw new UnsupportedOperationException();
    }

    public A set(int index, A element) {
        throw new UnsupportedOperationException();
    }

    public void add(int index, A element) {
        throw new UnsupportedOperationException();
    }

    public A remove(int index) {
        throw new UnsupportedOperationException();
    }

    public int indexOf(Object o) {
        int i = 0;
        for (List l = this; l.tail != null; l = l.tail, i++) {
            if (l.head == null ? o == null : l.head.equals(o))
                return i;
        }
        return -1;
    }

    public int lastIndexOf(Object o) {
        int last = -1;
        int i = 0;
        for (List l = this; l.tail != null; l = l.tail, i++) {
            if (l.head == null ? o == null : l.head.equals(o))
                last = i;
        }
        return last;
    }

    public ListIterator listIterator() {
        return Collections.unmodifiableList(new ArrayList(this)).listIterator();
    }

    public ListIterator listIterator(int index) {
        return Collections.unmodifiableList(new ArrayList(this)).listIterator(index);
    }

    public java.util.List subList(int fromIndex, int toIndex) {
        if  (fromIndex < 0 || toIndex > size() || fromIndex > toIndex)
            throw new IllegalArgumentException();

        ArrayList a = new ArrayList(toIndex - fromIndex);
        int i = 0;
        for (List l = this; l.tail != null; l = l.tail, i++) {
            if (i == toIndex)
                break;
            if (i >= fromIndex)
                a.add(l.head);
        }

        return Collections.unmodifiableList(a);
    }
}


text:
Q: AWS-Logs, ElasticSearch : Logs not showing up in Kibana from AWS-Logs I am streaming AWSLogs to CLoudwatch and from there, I am streaming it on ElasticSearch domain. I can see in the overview, that I have a heck number of searchable documents, but I am not able to find the documents when I am searching them in Kibana. I will explain how I am doing it, maybe some idea what am I doing wrong. Thank you.
Installed AWSLogs service from here
Commands :
curl https://s3.amazonaws.com/aws-cloudwatch/downloads/latest/awslogs-agent-setup.py -O
sudo python ./awslogs-agent-setup.py --region OUR_REGION

Once that's done, I added in /var/awslogs/etc/awslogs.conf my log files in such manner :
[/var/www/html/var/log/exception.log]
datetime_format = %d/%b/%Y:%H:%M:%S
file = /var/www/html/var/log/exception.log
buffer_duration = 5000
log_stream_name = staging.1c.APP_NAME.exception.log
initial_position = end_of_file
log_group_name = staging.1c.APP_NAME.exception.log

I am able to see the stream-names in CloudWatch, and from actions there I am streaming it to ElasticSearch, but when I go in discover in Kibana and search for _type:staging, I get no results. What am I doing wrong? I also extended the time-criteria, but no luck.
Update
for get indices, I have
health status index          uuid                   pri rep docs.count docs.deleted store.size pri.store.size
    yellow open   cwl-2019.09.14 1xN0jOitQ-GAW7L3zFtiwQ   5   1      78590            0     55.4mb         55.4mb

So, I created an index-pattern with name  cwl-2019.09.14, but still can't get results.


text:
Annie Fortems est une pionnière du football féminin français. Elle a été cofondatrice et capitaine de la section féminine du club de football de l'ES Juvisy (Essonne), transformé en club autonome sous le nom de FCF Juvisy en 1984 puis devenu la section féminine du Paris Football Club en 2017 après la fusion avec le club parisien.

Biographie
Annie Fortems commence le football à l'âge de six ans, dans la cité de l'Air d'Athis-Mons où elle vit avec ses frères et sœurs.

En 1971, elle est cofondatrice de la section féminine au sein du club masculin de l'Étoile sportive de Juvisy-sur-Orge. À la suite de l'intégration du football féminin en  par la Fédération française de football, elle participe au premier championnat de Paris (1971/1972), et à la première Coupe de Paris. De 1971 à 1984, elle est capitaine de cette équipe féminine du club de Juvisy. Dès 1976, elle contribue avec ses coéquipières à la montée de l'équipe au plus haut niveau, en championnat de France.

En 1977, elle est la première pré-sélectionnée en Équipe de France et participe au stage du 12 au  à l'Institut national des sports à Vincennes. Elle est ensuite pré-sélectionnée à deux autres reprises. En raison de ses responsabilités professionnelles en tant que gérante d'entreprise, à une époque où le statut de joueuse professionnelle n'existe pas, elle ne peut toutefois pas s'engager en équipe de France.

Le , elle remporte le tournoi international de Bruxelles au stade du Heysel, dans le cadre de la célébration du millénaire de la ville, en battant les championnes de Belgique et des Pays-Bas et les finalistes de la Coupe d'Angleterre. Cet exploit ouvre aux Juvisiennes les portes du tournoi international de Eindhoven/Braakhuisen (Pays-Bas), compétition qu'Annie Fortems et ses coéquipières remportent en 1980 et 1981.

Elle est l'une des cinq joueuses du Championnat de France à avoir apporté, à son initiative, un soutien officiel à la capitaine du club d'Étrœungt, triple championne de France, avant sa convocation devant la Commission plénière du football féminin de la FFF du  où elle se voit infliger une suspension de six mois pour avoir dénoncé publiquement les carences des instances à l'égard du développement du football féminin.

Depuis 1981, Annie Fortems intervient dans les médias télévisés, dans la presse, à la radio, sur les réseaux sociaux et dans des podcasts afin de développer le thème de l'insertion des femmes dans le monde sportif.

Elle a également signé un article sur le football féminin dans la revue Mouvements.

Le , elle participe aux festivités des cinquante ans du Paris Football Club. Avec Marinette Pichon, elle donne le coup d'envoi fictif du match Paris FC-Montpellier, match comptant pour la  journée de D1 Féminine, au stade Charléty, devant .

Distinctions
Pour son engagement de quarante années pour les droits des femmes dans le sport et l'entreprise, contre les discriminations et l'exclusion, elle reçoit la Légion d'Honneur en 2016 et la médaille Vermeil de la ville de Paris en 2019.

Publication

Notes et références

Footballeuse française
Chevalier de la Légion d'honneur
Date de naissance incertaine (XXe siècle)
Naissance dans les Ardennes


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text:
Стадион Рођени (претходно Сtадион Врапчићи) је фудбалски стадион у Мостару, Федерација Босне и Херцеговине, Босна и Херцеговина. Налази се 10 -{km}- северно од Мостара на путу према Сарајеву. Име је добио по предграђу Врапчићи. Овај стадион као алтернативно решење користи мостарски премијерлигаш Вележ за одигравање утакмица када игра као домаћин, док се не реши питање Градског стадиона под Бијелим Бријегом. Стадион је 2005. године реновиран изградњом северне трибине са око 3.000 седећих места.

Референце

Врапчићи
ФК Вележ Мостар
Спорт у Мостару


text:
Mofaz: Take J'lem off negotiating table
Speaking to Jewish leaders in US, minister warns against reaching a final status agreement this year.
Mofaz 224.88
(photo credit: Ariel Jerozolimski [file])
Jerusalem must be taken off the negotiating table, Transportation Minister and former defense minister Shaul Mofaz said Friday. Speaking to leaders of US Jewish organizations in New York, Mofaz said that reaching a final status agreement with the Palestinians by the end of the year would force Israel to give up on it very foundations and "sell" its national assets. The former defense minister went on to say that Israel should try and reach a gradual interim deal with the Palestinians since it was uncertain if the PA leadership could fulfill its agreements. He stressed that despite the need and willingness to bolster the moderate Palestinians, nothing should come at the expense of Israel's national security interests, saying that Israel must ensure it has defensible borders that can withstand every remaining test. Mofaz said that shelving an agreement with the Palestinians was unsuitable in light of the changing realities in the Middle East, warning that such a deal would be viewed by the Palestinians as a deposit, just like the Golan Heights are viewed by Damascus.


Generally known as medical insurance, Part B covers other medical care. Physician care—whether you received it as an inpatient at a hospital, as an outpatient at a hospital or other health-care facility, or at a doctor's office—is covered under Part B. Laboratory tests, physical therapy or rehabilitation services, and ambulance service are also covered. Medicare Part B also covers 100 percent of the cost of many preventative services and an annual wellness visit.
Although Medicare Part B (medical insurance) is optional, most people sign up for it. If you want to join a Medicare managed care plan or a Medicare private fee-for-service plan, you'll need to enroll in both Parts A and B. And Medicare Part B is never free—you'll pay a monthly premium for it, even if you are eligible for premium-free Medicare Part A.


text:
Европейская счётная палата — один из семи институтов, управляющих Европейским союзом. Палата создана в 1975 году для аудиторской проверки бюджета союза и его учреждений, а начала свою работу в октябре 1977 года.

Штаб-квартира Счётной палаты находится в Люксембурге.

Функции
Функции Счётной палаты имеют следующие направления:
 проверка отчётов о доходах и расходах Европейского союза и всех его институтов и органов, имеющих доступ к фондам Европейского союза;
 контроль качества управления финансами;
 составление доклада о своей работе после завершения каждого финансового года, а также представление Европарламенту и Совету заключения или замечания по отдельным вопросам;
 помощь Европарламенту в контроле исполнения бюджета Европейского союза.
В целях выполнения возложенных на Счётную палату функций, аудиторы осуществляют выездные инспекции в другие институты ЕС, государства ЕС или иные государства, получающие финансовую помощь от ЕС. Однако данный институт не имеет реальных полномочий. Если аудиторы обнаружат нарушения они информируют о них.

Организация
Счётная палата состоит из 27 представителей (по одному от каждого государства-члена), которые исполняли или исполняют в своих странах соответствующие функции внешнего контроля или имеют специальную квалификацию для занятия этой должности. Они назначаются Советом единогласным решением на шестилетний срок и полностью независимы в исполнении своих обязанностей. Председатель Счётной палаты избирается из числа её членов на трехлетний период с правом возобновления мандата.

Примечания

Ссылки

Аудит
Институты Европейского союза
Финансовый контроль


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text:
November 04, 2018 in Portraits, Post-production, Self Portraits, How To Do This, Conceptual Portraits
If you've ever met me or read any of my blog entries, you probably know that I believe photography is one of the best jobs in the world, and that I consider myself seriously lucky to be doing it professionally. Sometimes a portrait subject will ask what I'd do for work if I didn't make pictures, and I honestly don't know what to say. I can't imagine breaking up with photography, or cheating on it with some floozy of a tech job. That said, however, it's also true that like any relationship, the light can go out if you don't occasionally stoke the fire. I don't know any photographers, regardless of how much they love creating images, who don't need to recharge their creative batteries from time to time with a personal project. So, it was in that keep-the-fires-lit spirit that I undertook the surprisingly entertaining extracurricular project of ruining classic paintings by inserting my face into them. The process is pretty simple, but requires lots of attention to detail:
1. Settle on a painting you'd like to debase. If you're like me, the problem won't be finding a painting you like; it'll be narrowing it down.
2. Photograph yourself. Obviously, it's crucial that the position of your head match the position of the portrait subject's head. If you're off by much at all, you'll have problems when you get into Photoshop. It's also necessary to match the lighting in the painting as closely as possible. Your facial structure will almost certainly be different than the portrait subject's, so the shadows may not look the same and you may have to cheat the light around a little, but make sure the quality of the light is as close as you can make it. Last, try not be wildly amiss with your camera angle and lens focal length.
3. Cut your face out (in Photoshop, I mean!) and put it into the painting. Because everyone's head is shaped differently, odds are good that your face won't map perfectly over the existing one. Parts of the face from the original painting will likely peek out from behind yours, so expect to clone the painting a bit to make it look right. Color, contrast, etc. won't match either, so that will all have to be adjusted. You'll also need to steal some texture from elsewhere in the painting and lay it over top, and you'll need to run some combination of filters (and probably the smudge tool) to make your face look less like a photo and more like it's part of the painting. Frankly, I haven't done a perfect texture job on any of these images, but I've done it well enough to be happy.
And here are the images! As always, click on any you'd like to see larger.
First is Ingres's 1811 portrait of Charles-Joseph-Lauren Cordier. This was at the top of my list to try because it's the cover image for my well-worn, unabridged copy of The Count of Monte Cristo, which I have fond memories of reading on trains while passing through Europe at the tender age of 19. It's a pretty thrilling story. A sailor is arrested on his wedding day and falsely imprisoned in a grim island fortress for fourteen years, at which time he's finally able to make a daring escape, recover the vast fortune left to him by a fellow inmate, and exact revenge on the men who conspired to destroy his life. You haven't read it? Then what are you reading this for?! Get off your ass, get down to the library, and get back on your ass and read it. And don't try to cheat and watch a film adaptation, either—they've never made a good one.
The book begins during Napoleon's exile, just before his return to power, so naturally I started looking at Napoleon. This romantic portrait by Jacques-Louis David in 1801 was the first of five versions of Napoleon Crossing the Alps, and it's the one I liked the best. It strikes me as gleefully over the top.
That, of course, made me want to tackle the realistic version of the scene, as painted by Paul Delaroche in 1850. In 1849, Delaroche was visiting the Louvre with a nobleman who had a large Napoleonic collection, and who commented on the implausibly grandiose depiction of the scene in David's painting. That's right—he thought it was OTT too. So, he commissioned Delaroche to paint a more likely representation of the crossing, with Napoleon on a mule. (Incidentally, Delaroche didn't intend for the image to be at all belittling. He was apparently a Napoleon fan, and didn't believe that his depiction in any way takes away from the achievement.)
Ingres again. I came across this one while looking for the portrait of Cordier, and I'll be completely honest—I was drawn to this painting because of the hair. Well, yeah…the sword too…but mostly the hair. Mine is so fine and lifeless (like Scarlett Johansson—snap!), but Ingres' childhood friend Amédée-David, le Comte de Pastoret? He had some of the best hair I've ever seen.
Fun, right? Yes, it absolutely is, but In all seriousness, it's also quite a useful technical exercise. Photographers have studied and emulated and just plain ripped off classic paintings by Old Masters since the inception of photography, and for good reason. Because if you're going to borrow, borrow from the best. I was delighted to look through centuries-old European paintings again—reacquainting myself with some, discovering others—and it's edifying to examine lighting to the extent necessary to recreate it. If you're a photographer, I'd recommend it even more than reading The Count of Monte Cristo.
Life imitates art
March 14, 2014 in Conceptual Portraits, Environmental Portraits, How To Do This, Lighting, Portraits
I shot the image below very recently, and I kind of love it. The model, a really charming kid named Derek, was an absolute pleasure and sat very patiently while my super talented makeup artist Erika Seward did her work with him. He actually was pretty delighted with how rough he looked when she was finished, as I'm sure I would have been.
We shot at Derek's home with a borrowed bunny and stun gun. The bunny's name is Mr. Thumps, and yes, of course the electricity leaping between the contacts on the stun gun was made in Photoshop. I know better than to hand an 11-year-old a stun gun with the battery in it, thank you very much.
The photo is awfully funny to me on its own, but I think it's made even more entertaining by the story that came out of Portland shortly after I shot it. Seems a 22-pound house cat attacked a family, forcing them to dial 911 from their locked bedroom. No kidding. To be fair, though, it does sound to me like the family had it coming. The baby started it all by pulling the cat's tail, which earned him a blood-drawing swipe to the forehead. Then the mom's boyfriend kicked the cat away, and that apparently is where things really went off the rails.
Me, I just enjoy it when I shoot something that turns out to be timely.
For those interested, the photo was lit with a 4-foot by 6-foot softbox from camera left to mimic daylight through a window. A silver bounce to camera right filled in shadows a bit, and I used a smaller box from 3/4 rear, camera left, for a rim light. Camera was set at ISO 100, f/5.6 at 1/60 sec.
Superhero sneak-peek
March 21, 2013 in Conceptual Portraits, Environmental Portraits, How To Do This, Portraits, Post-production
You're right. I don't blog often enough, and I'm sorry about that. The infrequency of posts isn't indicative of infrequent happenings, however, and I'll use this first blog entry in a while to demonstrate that fact with a sneak peek at a personal project I've recently undertaken. It's a conceptual series about superheroes that I've been shooting these past several months, and am continuing to shoot. The central question of the series is: What is everyday life like with a superpower, and what would superheroes do in a city without crime? All of the photos so far are composites of many more than just a couple photos, so each is fairly labor intensive and most have involved several individual shoots. Here are a couple of the images I've done so far—I hope you get a kick out of them. As always, feel free to click on them to view them larger.
This was a composite of seven shots in total. Can you tell what they are? Oh, you don't want to play that game? Okay, the first is the cityscape—it's downtown Seattle as viewed from Smith Tower, a 38-story building from 1914 that until 1931 was the tallest building west of the Mississippi, and until 1962 was the tallest building on the west coast. (I actually hosted pub trivia for years so forgive me if you're not interested in the factoids, but I think that's kind of cool...right?) The second shot in this photo is also part of the cityscape—the tallest building, the one at both edges of the frame. I added it for the sake of composition. The third shot is the flag blowing in the wind, which I thought just added a nice touch. The fourth and fifth shots are the superhero and her cape. The sixth shot is the building on the left, the one she's cleaning. It's a building a block from my studio, which I shot from a ladder at ground level. I just kept the frame and replaced the windows with my own reflections. The last shot is the sky, which I actually shot about a year and a half ago while on a road trip. The "Capitol City Times" sign on the building was added in Photoshop to tie this shot in with the other shots in the series like the one below.
How does an indestructible person get a haircut? I found this wonderful barbershop while scouting downtown. It's called The Stewart Street Barbershop, and the owner, Steve, couldn't have been more generous when I asked if I could shoot in his shop. Nearly everything in the shop was as I shot it, although I did add every element (except the pole) on the wall behind the models. And while I did have my superhero model hold an actual magazine, I mocked up a back cover and shot my own image for my new front cover. The sparks, of course, were all made in Photoshop, as was the shop decal on the window. And speaking of the window, the scene outside was shot about a mile and a half away on a different day. In reality, a bus stop is outside the barbershop, and it didn't work for the photo. Replacing the scene outside the window meant replacing reflections in the window—the barber's back, the sparks, the barber's pole. All in all, this shot was a fair amount of work, but as I've said before, I really enjoy the details. And I really like this shot.
As I say, these are just a couple—there are more already and there will be more in the future. I'm really looking forward to going more in depth on the making of each photo, and to bringing the whole series to the blog and the site when it's ready. In the meantime, I'll be offering peeks here and there, so please check back when you think of it. Thanks!
Blood Squad!
December 03, 2012 in Conceptual Portraits, Environmental Portraits, How To Do This, Lighting, Portraits, Post-production, Studio
I don't really enjoy horror movies, but...I have been a fan of the improv comedy group Blood Squad for years—since early 2007, I think. They're straight-up amazing, and I don't say this of many things, but I couldn't enjoy them more even if squirrels were involved. (I really get a kick out of squirrels.) The next time you're in Seattle, if you have the good fortune of timing your visit during one of their runs, you should really make good on that opportunity. Blood Squad consists of founding members Elicia Wickstead and Brandon Felker—both longtime improv performers and instructors—as well as Molly Arkin and newcomer Jon Axell. All four are incredibly talented and together form an improv group quite literally unlike any you've ever seen. Blood Squad builds their funny out of the horror movie genre(!), and they do it in a long-form improv format. That means that at the start of each performance, the group takes a suggestion from the audience for a horror movie that's never been made (say, "Killer Prom at Murder High" or the very festive "Santa Claus Your Face Off"), and then they just...go. And not for a series of short sketches, like ten minutes at a time, but for an entire show running somewhere in the neighborhood of 75 uninterrupted minutes. Each group member invents several characters to play, and every one of them enjoys a full story arc during the course of the performance. They narrate character, set, title, and action descriptions from the improvised "script", and when the time comes, they off themselves and each other in the most graphic (yet not) ways they can dream up. It's all done without sets, props, costumes, or anything else typically associated with theater or film, though they do usually have a guest at the side of the stage performing improvised mood music during key moments. It's the kind of thing that's hard enough to do without worrying about being funny, and these guys are effortlessly hysterical. Every. Time. I swear I never get tired of watching them pretend to kill each other, and seriously, I can't recommend them more.
I think it was in 2007 that I introduced myself and asked if photography was of interest to them in their promotions. They had been using, and would continue to use, brilliant illustration and design work done by local artists Devin Sheridan and Alex Thomas. That worked really well because the shows in each of their runs are unified by a single horror sub-genre (summer camp slasher, haunted house, psycho hillbilly, zombie, etc.), and Devin and Alex would draw up a poster for each theme. It worked so well, frankly, that I actually wondered if they'd be interested in having photography. It was decided, though, that promotional images of the actual group would be good too, and so it happened that Blood Squad and I collaborated a little later in the year. That's when we came up with the morgue headshots below, which I still love today.
With a new official group member and the departure of Michael, Elicia got in touch in September and asked about the possibility of doing a new shoot to reflect the changes. The idea this time was to photograph them in the woods somewhere, near dusk or at night, with the four of them emerging or having already emerged from a grave. They'd look dashing and done up, yet still bruised and battered (beautifully done by hair and makeup artist Jana Hutchison), and looking either annoyed and inconvenienced or simply non-plussed and blasé about the situation. I liked the concept a lot, but it was clear right away it wasn't the kind of thing we could just casually shoot. More on that shortly, but first, here's the final image:
If you're interested in reading about the production of the shot, then by all means read on. If not, have a great day and don't forget to see Blood Squad. Their next show is at the Balagan Theater at 8pm on December 22nd. Be there.
So, when Elicia presented the idea to me and asked if it was do-able, I did the same thing I always do (the same thing any photographer does, frankly) when asked to do a shoot that poses problems not encountered before. I said, "Sure, absolutely, totally" and then set about figuring out how to do it.
As is often the case, one of the first things to sort out is finding the right location. We wanted something that appeared remote but wasn't. We wanted trees, but we also needed a good amount of open, uncluttered ground. In my mind I had this idea that they were buried on the crest of a hill that looked out over nothing but wilderness, and that they stood out against this dark and sort of ominous sky. I was sure such a place existed but had no idea where to find it, and knew that wherever it was, it was likely to be far enough removed from Seattle city limits that shooting there wouldn't be practical anyway. And who knew if we'd get good clouds on the day of the shoot? Pretty much right away I struck the possibility of finding a perfect location that had everything. What made the most sense to me was finding a suitable foreground (one with trees, open space, and a clear horizon line) that I could drop in front of a totally new background of mountains, trees and sky, which I would shoot later. Seattle's Woodland Park was a no-brainer to check out (although honestly I wish I'd thought of it a little sooner), and it did in fact have a great spot with scattered medium-size trees and lots of bare earth. Well, almost bare—there was the small, half-hour matter of raking away several inches of fallen leaves. When I saw it, though, I knew. If I were going to bury someone, or four someones, I'd definitely do it there. Here it is, in a photo taken after a brisk raking. Yes, that's a dog park in the background.
You might notice a couple changes I made to the foreground in Photoshop, namely the removal of the two trees on the right. Behind and to the left of the main foreground tree is another tree just barely peeking out, which I also removed because it was visually confusing. To the right of the main foreground tree is another, slimmer tree that I nudged left a little bit so it would frame Brandon and Molly a little better. And then I copied the main foreground tree, reversed it, and put it in the far right of the frame to balance out the composition. The background image of the trees and sky I found while scouting in Sand Point. At the top of a residential street, I could stand on my poor car's roof and shoot a clean skyline above the houses.
I darkened the sky, of course, and flipped the image horizontally. The reason for the flip was to make the light part of the sky line up more closely with the rim lights on the Blood Squad members, as though a setting sun were creating them. I had to carve up the background a bit and shuffle pieces of it around, hiding the seams behind the trees in the foreground image. That was necessary to make the treeline coexist with everybody in the shot, and not intersect in a distracting way behind anyone. I also made the treeline dip down behind Elicia so her broken shoe would stand out against the sky.
After location, the second issue was the nighttime nature of the shot. You're not going to have an easy time shooting something like this if you actually try to do it at night because, well, all your light is gone. Duh. When every last bit of natural light is gone, you're left to bring any and all the light that you want and to try to work in the dark, which doesn't work very well at all. To do it at night would mean filling in considerable shadows and dimly lighting a pretty large area, and good luck with that without big lights on lifts. The simple(r) answer is to shoot during the day, and manipulate the color and density later to make it look like late evening. Here's the shot with all the shading, but without the nighttime color layer.
I went with the Profoto 7B for lighting. I love my Paul Buff Einstein monolights, which I use for most things and would have used for this, were it not for the fact that I needed more output than their 640WS. I lit everyone from camera right with a four-foot octobank at the top of a rather high stand, and used a softbox from camera right, about three-quarter rear, for a rim light. The ambient light from the afternoon sun filled it all in.
Opting to shoot in a park meant the hole in the ground would be a problem too. I didn't want to dig a hole in a public park without asking but at the same time, I didn't much want to ask, either. It didn't seem like a lot of good could come from that, so it made more sense to me to shoot Jon elsewhere. We laid some dirt down on the ground at the park to make a burial mound, photographed that, and then after shooting outside moved the party to my studio. Jon was great, and ran through a series of expressions and actions that were as entertaining as they were varied. Really, just the kind of model you want. Here's an outtake showing the studio setup for the hole shot:
I copied the camera angle and lighting from the outdoor shot as closely as possible, using the same high octobank and softbox rim. To Jon's right, camera left, was a 4x8 sheet of white foamcore to do what the sun was doing, just filling in the shadows. The foamcore behind him was only there to make it easier to cut him out in Photoshop. It's the same idea with the dirt he's leaning on—it makes blending him into the scene a world simpler. I photographed Molly and Elicia in the studio as well. Shooting them on location was worth trying, and we did, but it was cold at the park and the soft ground made it difficult for them to stand in heels. It wasn't a problem. I'd kind of figured we'd need to shoot them inside anyway so we had budgeted time for that. Like Jon, I cut them out, placed them into the scene, and drew reasonable shadows behind them. Obviously, it's difficult to overstate the importance of shadows when you're doing this kind of thing. If you get them wrong, or worse yet don't add them at all, you've lost. See what I mean?
And that's pretty much it for the broad strokes. The rest was mostly detailing, because I'm kind of detail-oriented. The smoke was added in Photoshop by blending a couple smoke brushes I found online. I also added the color to the end of Brandon's Nat Sherman cigarette with a Hue/Saturation layer set to Colorize, not necessarily because I think it shows up, but because it was the right thing to do. It only takes a second.
I broke the heel on Elicia's shoe in Photoshop. Also, the shoe was entirely black on the inside, and while it was still clear she was holding a shoe, it didn't read immediately the way I wanted it to. I added a liner, which I think looks way better.
It's a lot of work but I actually enjoy the process as much as the result. Visualizing a concept, breaking it down, solving it, photographing it, and bringing the elements together over a cup of tea and some good music (a lot of Rolling Stones and Black Keys for this one) on a rainy November day is definitely my idea of a good time. Big thanks to Blood Squad for being amazing, and for coming back and giving me this project to chew on. It was a blast, and I'm already looking forward to the next one.
General Powell will see you now, but you'll have to make it quick.
June 10, 2012 in How To Do This, Lighting, Portraits, Black and White
General Colin Powell recently paid a visit to Seattle for a number of interviews and a large public appearance as part of a tour to promote his new book, It Worked For Me: In Life And Leadership. If you live in town, perhaps you saw the billboards. I confess I haven't read the book yet but if the reviews on Amazon are to be believed, it's an inspiring and insightful read. I'll wait a while to get my copy though, because I have a difficult time with hardcover. They're just hard to travel with, and personally, I like to be able to bend back a book's cover. You can hold a paperback in one hand pretty easy that way, and you free up the other to reach for your glass of bourbon, or squeeze that stress ball, or scratch your pug's stomach or what have you. What you're doing with that other hand isn't really the point. The point is, Colin Powell was coming to Seattle and I had been asked to photograph him. To be tasked with photographing someone as accomplished and outstanding as General Powell is really an honor. From his rise in military rank from a second lieutenant to a four-star general, and in his roles as Secretary of State, Chairman of the Joint Chiefs of Staff, National Security Advisor (during which time he developed an impersonation of Reagan that's dead-on, by the way) and more, he's been serving the country one way or another for more than fifty years and he's had my respect and admiration since I became aware of him during my high school days. In making a portrait with him, it was important to me to strike upon a look that evinced certain qualities I associated with him—chief among them strength, thoughtfulness, confidence and calm. As a side note, of further importance to me was speaking at least somewhat intelligently in his presence—in complete sentences, even—and to try and keep my palms from sweating when I shook his hand. But I suppose those goals were less pressing in the grand scheme. Getting a good portrait always matters most, and if I'm unable to keep myself from slippery hands and caveman grunts, well, so be it.
Going into the shoot, I didn't have much nailed down. I was aware I'd be photographing him in a hotel conference suite, but prior to my arrival I didn't know which one. Unsure of how visually appealing the room would be (not very, as it turned out), I decided the day before that I'd only go for some kind of environmental shot if by some miracle the place looked fantastic. Assuming it wouldn't, I opted for a high-key portrait using just two lights. The room didn't fail to disappoint—it was almost aggressively uninteresting, like...well, like a hotel conference suite. Or that pointless movie Oliver Stone made about The Doors. But that was fine; I was happy with and ready for a high-key shot. Preferred it, actually.
The other question I had going in was about the available room—not, like, which room was available, but how much room was available. I didn't know if there would be a lot of open space (what a shock, there wasn't!), or if there would be a huge table in the middle of the room (surprise, there was!). So I decided ahead of time that I would keep my setup as small and simple as possible, just in case. My footprint took up only about fifty square feet—photographer, lights, subject and all—and I still had to move furniture out of the way. I didn't use white seamless paper behind him, or fabric, or a pop-up background, or anything you might commonly use in a studio as a white background because all those things would have taken more stands and a lot more space than I could reasonably expect to have. Instead, I used a four-foot softbox aimed at the camera, and asked General Powell to stand in front of it. It's a pretty good way to get a high-key headshot when you don't have much area in which to work. It's also very quick to set up, which is good for situations like this, where the time between your entry into the room and the arrival of the subject is very short.
Not knowing what your surroundings will be like is nothing unusual, of course, since you never really know exactly what you're walking into on any shoot. There are always plenty of things that are up in the air, things you can't know about until you show up but that you nevertheless try to plan for. That's the nature of being a photographer, and to a great extent, the fun of it too—not knowing what challenges you'll run into or what you'll come up with for solutions. I don't generally view these uncertainties as an obstacle. But this shoot was a little different for me in that one thing I did know for sure was that I wouldn't have very much time with the person I was photographing. Practically none, actually, and almost certainly less time than I've ever had with anyone before. Colin Powell is obviously a very busy man, and had a lot on his plate during his brief time in town (in fact, he'd already run a gauntlet of seven interviews that day before he made his way to me). I understood that my sliver of time was sandwiched tightly between two other appointments, so I knew there'd be no time to significantly alter the set once he showed up and that it would therefore be necessary to have the lights positioned and dialed in as perfectly as possible.
To that end, I ran a quick light test in the studio with my assistant Jonathan the night before. I knew General Powell wore glasses, but I also knew that they were rimless and as such weren't likely to cast terrible shadows. I was actually more concerned about seeing the reflection of my light in his lenses, so I chose to use my beauty dish with a 15° grid. The light would stay soft, and the grid would go a long way to keep the inside of the dish from showing up as a reflection. I got the lights positioned where they needed to be, and found the output ratios I wanted. After recording the light settings and the distances of the stands from Jonathan, there was just one more thing to figure out. I got online with Google on my phone and punched in "how tall is colin powell". It's weird what you can find out on the internet. Colin Powell, according to Google, is 6'2". So I figured the difference between Jonathan's height and General Powell's (about four inches), and added it to the height of the light stands to determine how tall I'd need to set them the next day.
The shoot itself was a pleasure, albeit a very brief one. It was later than expected when he finally got to me, which I feared but expected, so my short amount of time with him had gotten even shorter. After a quick test shot, I decided to drag the key light toward me just a couple inches, and then I started in. I hardly shot much at all, just enough to know I had a few keepers before thanking him and letting him hurry to his next engagement. All totaled, I don't think I spent more than three minutes with him. I have to say, though, I couldn't have hoped for him to be a better portrait subject. I didn't give a ton of direction but the few things I did ask—stand facing this way, head to the left a little...lips closed...now chin down...whoops, no no, that's too much—he did without objection or complaint. And not just without complaint, but with a sense of humor even; at one point he cracked a couple self-effacing jokes about his appearance. Anyway, speaking of the way he looked, I've typed long enough—here are a couple of photos from the shoot.


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The authors integrate knowledge from the fields of cognitive psychology and neuroscience to provide readers with a more complete understanding of the multilevel processes that contribute to the acquisition and control of movement skills. Facilitation techniques: light stroking, brushing, icing, and joint compression are used to facilitate movement. Motor learning is the direct result of both practice and experience. On becoming skillful: Patterns and constraints. Here we review literature on the performance aspects of fast bowling in cricket to exemplify how the qualitative and quantitative analysis tools of dynamical systems theorists—variable-variable plots, continuous relative phase analysis, cross correlations, and vector coding—can enrich the analysis of segmental interactions in performance-oriented sports biomechanics research. Tasks are easier to remember if it is desirable, relevant, important, and motivating to the learner.
The Transmission and Integration of Sensory Input. Each section of the book introduces the most important theoretical models in each particular area, followed by theoretical principles and illustrations with practical examples drawn from movement, skill, and clinical settings. In this volume authors from a variety of backgrounds and theoretical perspectives review their research with particular emphasis on the methods and paradigms employed, and the future direction of their work. Citation Virgil Mathiowetz, Julie Bass Haugen; Motor Behavior Research: Implications for Therapeutic Approaches to Central Nervous System Dysfunction. General Properties of Sensory Receptors and Afferent Pathways. Each section of the book introduces the most important theoretical models in each particular area, followed by theoretical principles and illustrations with practical examples drawn from movement, skill, and clinical settings.
In Thomson J, Grealey M eds : Studies in Perception and Action, Vol 10, 314-318. Your current responses to book A Multilevel Approach to the Study of Motor Control and Learning : some other visitors is able to decide in regards to a book. For example, previous studies have merely described the kinetic chain in terms of the peak resultant velocities Elliott et al. The breadth of the practical applications will appeal to students preparing to enter a variety of professions that require a strong knowledge of motor control and learning principles. Important Notice: Media content referenced within the product description or the product text may not be available in the ebook version. Indeed, variability in movement behavior permits performers to explore task and environmental constraints in order to acquire stable motor solutions over time and enhance motor learning.
What does it take to learn to perform a task? How do we learn to perform a task better once we learn the basics? Neural Processing Letters 5, 193-199 Baumann W 1987. This book covers all the major perspectives in motor control, with a balanced approach. Coordination versus Control of Action. Visual Information for the Timing of Skilled Movements: A Review B. Topological clustering of patients using a self organizing neural map. Elements of Human Performance also addresses the question of the relationship between basic research and applications in the said areas. The motor learning approach allows for the modification of the information presented.
Sports science in the twenty-first century. Motor Control and Learning: How Far do the Experimental Tasks Restrict our Theoretical Insight? A cluster analysis algorithm can then be used to categorize performances in terms of their topology, which can be determined by the amount of distance between trials, where less distance is thought to represent greater similarity stability and therefore less variability. The first section contains chapters examining general issues and trends in the movement behaviour field. This up-to-date textbook provides a comprehensive introduction to the principles of motor control and motor learning. Motor learning stresses that variable practice is fundamental to the development of new skills. Psychological Studies of Perception and Action. Human Skill and Motor Control: Some Aspects of the Motor Control -- Motor Learning Relation; Chapter 4.
Review questions in each chapter help you assess your understanding of rehabilitation concepts. This is particularly urgent in view of the now common notion that the results of many simplified laboratory tasks may be artifactual and of little applied value. Fitts' Three Stages of Learning A Neo-Bernsteinian Perspective Gentile's Two Stage Model. Posture and Locomotion Anticipation Timing Time-to-Contact Information Visual Dominance. A technique for the classification and recognition of geometric patterns. Am J Occup Ther 1994;48 8 :733-745.
Basic Assumptions: Basic Assumptions Each theorist has a somewhat different approach, assessment technique, and intervention strategies. Reception of Visual Input Transmission to the Brain Topographical Organization of the Visual System. The goal of the motor learning approach is learning, not performance. Elaboration View Action-Plan Reconstruction View. Santambrogio eds : Proceedings of the Xth Symposium of the International Society of Biomechanics in Sports, 97-104. Knowledge of Body Position Planning and Modification of Action Plans Learning or, Relearning of Movements. A dynamical systems approach to lower extremity running injuries.
From a dynamical systems perspective, the human movement system is a highly intricate network of co-dependent sub-systems e. In dynamical systems theory, movement patterns emerge through generic processes of self-organization found in physical and biological systems see Chapter 7 of Williams et al. Dynamic pattern perspective of rhythmic movement: An introduction. Survivor's Perspectives help you understand the stroke rehabilitation process from the client's point-of-view. The Movement Approach: A Window to Understanding the Clumsy Child D. All of us thanks upfront if you are happy to head over to fulfill you! Margaret Rood, the earliest theorist, is both an occupational and physical therapist.


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Does freedom of speech justify hate speech?
By Abubakar D. Sani
The increasing incidents of inflammatory speeches clearly designed to stoke ethnic and communal hatred have led to calls for legislative intervention by the government. Those calls are evidently informed by the belief that there is a lacuna or gap in our existing laws on the subject. But, is that really the case? Acting President Prof. Yemi Osinbajo, SAN, does not seem to think so, as in his opinion, hate speech is "a specie of terrorism" under the Terrorism (Prevention) Act, 2011, as amended. Is he correct? If he is, does that law violate the right to free speech guaranteed under the Constitution? I wish to examine these issues.
First, what is press freedom? What is freedom of speech?
Section 39(1) of the 1999 Constitution provides that "Every person shall be entitled to freedom of expression, including freedom to hold opinions and to receive and impart information without interference". Similarly, Article XIX of the United Nations Universal Declaration of Human Rights provides that "Everyone has the right to freedom of opinion and expression; this right includes freedom to hold opinions without interference and to seek, receive and impart information and ideas through any media and regardless of frontiers." By the same token, Article IX of the African Charter on Human and Peoples Rights provides that "Every individual shall have the right to receive information and the right to express and disseminate his opinions within the law."
The Constitution is, however, supreme. By virtue of Section 45 of the Constitution, the right to freedom of speech can be derogated from any law that is "reasonably justifiable in a democratic society for the purpose of protecting the rights and freedom of other persons or in the interest of public defence, public safety, public order, public morality or public health." In other words, the right to freedom of speech is not absolute. This means that one person's right to freedom of speech stops where another person's right to his or her dignity, reputation or property starts. See EFCC vs. Hassan (2014) INWLR pt. 1389 pg. 607 and Ukaegbu vs. NBC (2007) 14 NWLR pt. 1055 pg. 551.
It was in this regard that the court held in Adikwu vs Federal House of Representatives (1982) 3 NCLR 394 @ 412 that the Constitutional guarantee of free speech "does not authorize any person to publish false news." See also Senate vs. Tony Momoh (1983) 4 NCLR 269 @ 296 where it was held that the Constitutional right to freedom of expression "does not protect the disseminator from disabilities or liabilities such as the law of libel". It is for this reason that both the Penal Code and the Criminal Code in force in the Northern and Southern States respectively criminalize offensive or inappropriate language/speech. For instance, Sections 417, 418 and 419 of the Penal Code, provide thus respectively:
Section 417:-"Whoever seeks to excite hatred or contempt against any class of persons in such away as to endanger the public peace shall be punished with imprisonment for a term which may extend to three years or with fine or with both."
Section 418:-"Whoever circulates, publishes or reproduces any statement, rumour or report which he knows or has reason to believe to be false with intent to cause or which is likely to cause fear or alarm to the public whereby any person may be induced to commit an offence against the public peace, shall be punished with imprisonment which may extend to two years or with fine or with both."
Section 419:-Whoever has in his possession without lawful excuse, the proof of which shall lie on him, any book, pamphlet or paper, gramophone record, tape recording, drawing, printing, photography, cinema film or other visible or audible representation or reproduction, the publication or exhibition of which would constitute an offence under sections 416, 417 or 418, shall be punished with imprisonment for a term which may extend to two years or with fine or with both."
Similar provisions are contained in the Criminal Code, as aforesaid. That being the case, one cannot but wonder about the reported resolve of the National Assembly to enact fresh so-called anti-hate speech legislation. To the extent that such laws already exist, in my view, it is either that they are deemed to be not potent enough, or – as I suspect is the case – it is yet another manifestation of the tendency of our policymakers to confuse movement with motion. There is simply no hard evidence to support the view that the existing anti-hate speech legislation is inadequate either as a deterrent or punishment.
For example, what is deficient in Section 417 of the Penal Code which, as can be seen, penalizes the hate-filled utterances of Nnamdi Kanu (IPOB/Biafra), Abdulaziz Suleiman & Shettima Yerima (Arewa Youths) and Adeyinka Grandson (Oduduwa Republic) all of whom patently "seek to excite hatred or contempt against (others) in such a way as to endanger public peace."
This is clearly within the meaning of that provision. Or, Section 419 of the same Code, which criminalizes certain reportedly viral anti-Igbo songs in Hausa language? It will be recalled that this provision explicitly penalizes mere possession of such records or other audio or video representation/reproduction with imprisonment for 2 years or a fine or both. In my view, rather than enacting entirely new legislation, the punishment prescribed in this statute (and similar laws) can be strengthened simply by amending them.
Is Hate Speech Terrorism?
As previously stated, the Acting President Prof. Yemi Osinbajo, SAN, has invoked the Terrorism (Prevention) Act, as amended, against purveyors of hate speech. That law prescribes penalties of between three (3) years and death as well as fines of up to N150 million for anyone who engages in "acts of terrorism" within the meaning of the Act. Section 1(2)(b)(ii) of the Terrorism (Prevention) Act defines "act of terrorism" as "an act which is deliberately done with malice aforethought and which is intended or can reasonably be regarded as having been intended to seriously intimidate a population".
The Macmillan English Dictionary, 2nd edition (page 794) defines 'intimidate' as "to deliberately make someone feel frightened, especially so that they will do what you want; to frighten someone or make them feel nervous". It can be seen that the key phrase in the provision is "act of terrorism", of which the word "act" is dominant.
This word is used either as a verb or a noun. It is clear that it is used in the latter sense in the Act. An online dictionary defines its noun variantas "a thing done; a deed", as in "a criminal act". I submit that in the light of this definition, it would be a bit of a stretch to describe hate speech as terrorism. Quite simply, a speech is not an "act", either in the context in which it is used in the Terrorism Act or otherwise; to construe it otherwise, in my view, would defeat the manifest legislative intention of the statute.
This is my conclusion. Beyond any legislative characterization of deviant or anti-social behavior – of which hate speech is but a manifestation – it is a myth to assume that laws, in and of themselves, always persuade the criminally-inclined to conform. That notion has historically proved to be a fallacy. I believe that the long-term panacea to the problem of hate speeches – as with all crimes – lies beyond mere legislative rule-making.
Sani writes from Lagos
This is because, while appropriate legislation is an integral part of the policy mix for tackling hate speech, in my view, such behaviour can only be reduced to a 'tolerable' level – and not completely eliminated, as that is impossible – through an elite consensus across the fault lines presently exerting centripetal forces against the country's unity and stability.
While that consensus has by no means been lacking, the reality is that it appears to be drowned out – for the time being at least – by the voices of hate typified by the aforesaid ethnic jingoists. The real solution, I think, is for the protagonists and antagonists alike to realize that not only is Nigeria greater than the sum of its parts, the want-aways and irredentists should be convinced, by any means possible, that they would be better-off as part of the Union, with all its imperfections, than in an uncertain, ill-defined separate entity, whose promise as an utopia is by no means a given – if in doubt, look at South Sudan.
This is obviously a call to arms, but, as a battle for hearts and minds, it is one which, in the nature of things, cannot be won through the coercive instrument of the law alone. Rather, in my view, it can be accomplished without firing a shot, as it were, through the simple logic of realizing that the goal so passionately pursued by the separatists might turn out, in the long run, to be a pyrrhic victory: I believe that the physical and emotional ties that presently bind us which have been nurtured over time will see to that.
Abubakar D. Sani, Esq.
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Santa Claus is coming to town on a Harley Davidson for "Christmas Bike Night" Thursday, Dec 21, from 5-8pm at Texarkana Harley Davidson Bring the kids to see Santa make his big entrance along with Amy the Elf.
"This year Texarkana Harley Davidson has the privilege of being a Bowie County Distribution location for Toys for Tots and we're hoping the community will come out in support of this great organization that does so much for kids in our area," said, Heather Linn Gunsolus marketing manager for Texarkana Harley Davidson.
Bowie County residents are invited to Texarkana Harley Davidson from 5PM - 8PM with their children to pick up the donated toys. Each child will receive a wrapped present and get a photo opp with Santa and Amy the Elf.
The Toys for Tots staff will give the parents the donated toys on behalf of the community.
Everyone is invited out for Hot Dogs and refreshments!


text:
AQSQID: 371450004
Site Name: Semora Drr
Location: Semora (State Rd 1316), NC
Reporting: True, Located: True
Current AQI: 0.0
Semora (State Rd 1316) NC, US: 36.489943, -79.058523
Date Observed (UTC)
NO2Y
AQI/500
Jan. 18, 2020, 5 a.m. N/A N/A N/A N/A N/A 0.0 ppb (0) N/A N/A N/A N/A N/A
Jan. 18, 2020, midnight N/A N/A N/A N/A N/A 0.0 ppb (0) N/A N/A N/A N/A N/A
Jan. 17, 2020, 11 p.m. N/A N/A N/A N/A N/A 0.0 ppb (0) N/A N/A N/A N/A N/A
Jan. 17, 2020, 9 p.m. N/A N/A N/A N/A N/A 0.0 ppb (0) N/A N/A N/A N/A N/A
Jan. 17, 2020, noon N/A N/A N/A N/A N/A 0.0 ppb (0) N/A N/A N/A N/A N/A
Jan. 17, 2020, 11 a.m. N/A N/A N/A N/A N/A 0.0 ppb (0) N/A N/A N/A N/A N/A
Jan. 15, 2020, 9 p.m. N/A N/A N/A N/A N/A 1.0 ppb (1) N/A N/A N/A N/A 1.0
Data from airnow.gov


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Esperance Museum
Attractions Esperance
The Museum Park area was the town's original railway marshalling yards and the first section of the Museum was known as the 'Bonded Store' built in 1895. Further extensions up until 1900 saw the development of the building into the Goods Shed operated until 1965. The Museum officially opened on 9th October 1976 and is supported by a team of dedicated volunteers.
The Esperance Museum is an attraction to both locals and visitors to Esperance. It offers a glimpse into the history of Esperance and how the region has grown over the years. It is a defining component for an Esperance cultural/heritage area and a focal point for heritage assets linked to Esperance's past.
The Museum is open daily from 1:30pm to 4:30pm (closed Good Friday and Christmas public holidays) and entry fees apply.
Hours: Daily 1.30pm-4.30pm
6 James street Esperance WA 6450


Credit Checks for Employees and Applicants: Are They Worth It?
"States have become much more active in this area," said Jill Rosenberg, a partner in Orrick, Herrington & Sutcliffe LLP's New York City office. In her recent presentation at the National Employment Law Institute's 41st Annual Employment Law Update in Washington, D.C., Rosenberg discussed credit check laws as one of a number of recent trends in state and local employment law.
Several states and cities have passed laws in the last five years aimed at curbing the use of credit history information when it comes to making employment decisions, causing employers to start questioning the wisdom of conducting credit checks on applicants and employees.
The EEOC and the Federal Trade Commission have published joint guidance documents for both employers and applicants/employees, outlining rights and requirements under the Fair Credit Reporting Act. However, credit checks are "not really regulated by federal law unless there's discrimination," Rosenberg explained, causing some jurisdictions to adopt requirements that are more strict than the FCRA.
Approximately a dozen states have passed laws limiting employers' ability to use credit checks, according to Rosenberg. A handful of other states allow for credit checks generally, but impose certain requirements on employers that utilize them. States such as Colorado and Illinois generally prohibit employers from conducting credit checks, subject to a few exceptions. States such as Massachusetts and New Hampshire, on the other hand, allow employers to conduct credit checks on employees and prospective employees, but require employers to make certain disclosures to those for whom the checks are being conducted and limit the information that can be included in credit reports. Notably, while the state laws vary in this regard, none of them bar credit checks in their entirety.
The length of time that has passed since an employee's or applicant's bankruptcy, tax lien, or other adverse credit event is also an important factor for employers to consider. Several states limit the information that can be included in credit history reports based on the number of years that have elapsed since the event in question. California, for example, prohibits consumer reporting agencies from reporting bankruptcies that are over ten years old. While these requirements are directed toward consumer reporting agencies and not employers per se, Rosenberg advised employers to be aware of the limitations that they impose.
For employers that are able to conduct lawful credit checks given all of these restrictions, documenting why a credit check is warranted for a specified class of employees is particularly important, Rosenberg said. Creating a record as to why credit history would be relevant to a particular position may save a lot of headaches if the employee or applicant challenges the credit check at a later date.
Procedural requirements for conducting credit checks must be considered as well. Like the FCRA, state laws tend to have "very clear notice requirements," Rosenberg observed. Employers in most states that have credit check laws must notify the employee or applicant that a credit check will be conducted and must obtain the employee's or applicant's written consent. Notice is also typically required before taking an adverse employment action on the basis of information gleaned from a credit report.
In many cases, even if credit checks are legally permissible, they may not be advisable. Most states allow individuals to bring private causes of action and/or administrative proceedings against their employers or would-be employers for alleged violations of their credit check laws, which could be costly to resolve.