text:
namespace google {
namespace protobuf {
namespace compiler {
namespace objectivec {

// Strips ".proto" or ".protodevel" from the end of a filename.
string StripProto(const string& filename);

// Returns true if the name requires a ns_returns_not_retained attribute applied
// to it.
bool IsRetainedName(const string& name);

// Returns true if the name starts with "init" and will need to have special
// handling under ARC.
bool IsInitName(const string& name);

// Gets the name of the file we're going to generate (sans the .pb.h
// extension).  This does not include the path to that file.
string FileName(const FileDescriptor* file);

// Gets the path of the file we're going to generate (sans the .pb.h
// extension).  The path will be dependent on the objectivec package
// declared in the proto package.
string FilePath(const FileDescriptor* file);

// Checks the prefix for a given file and outputs any warnings/errors needed.
void ValidateObjCClassPrefix(const FileDescriptor* file);

// Gets the name of the root class we'll generate in the file.  This class
// is not meant for external consumption, but instead contains helpers that
// the rest of the the classes need
string FileClassName(const FileDescriptor* file);

// These return the fully-qualified class name corresponding to the given
// descriptor.
string ClassName(const Descriptor* descriptor);
string EnumName(const EnumDescriptor* descriptor);

// Returns the fully-qualified name of the enum value corresponding to the
// the descriptor.
string EnumValueName(const EnumValueDescriptor* descriptor);

// Returns the name of the enum value corresponding to the descriptor.
string EnumValueShortName(const EnumValueDescriptor* descriptor);

// Reverse what an enum does.
string UnCamelCaseEnumShortName(const string& name);

// Returns the name to use for the extension (used as the method off the file's
// Root class).
string ExtensionMethodName(const FieldDescriptor* descriptor);

// Returns the transformed field name.
string FieldName(const FieldDescriptor* field);
string FieldNameCapitalized(const FieldDescriptor* field);

// Returns the transformed oneof name.
string OneofEnumName(const OneofDescriptor* descriptor);
string OneofName(const OneofDescriptor* descriptor);
string OneofNameCapitalized(const OneofDescriptor* descriptor);

inline bool HasFieldPresence(const FileDescriptor* file) {
  return file->syntax() != FileDescriptor::SYNTAX_PROTO3;
}

inline bool HasPreservingUnknownEnumSemantics(const FileDescriptor* file) {
  return file->syntax() == FileDescriptor::SYNTAX_PROTO3;
}

inline bool IsMapEntryMessage(const Descriptor* descriptor) {
  return descriptor->options().map_entry();
}

// Reverse of the above.
string UnCamelCaseFieldName(const string& name, const FieldDescriptor* field);

enum ObjectiveCType {
  OBJECTIVECTYPE_INT32,
  OBJECTIVECTYPE_UINT32,
  OBJECTIVECTYPE_INT64,
  OBJECTIVECTYPE_UINT64,
  OBJECTIVECTYPE_FLOAT,
  OBJECTIVECTYPE_DOUBLE,
  OBJECTIVECTYPE_BOOLEAN,
  OBJECTIVECTYPE_STRING,
  OBJECTIVECTYPE_DATA,
  OBJECTIVECTYPE_ENUM,
  OBJECTIVECTYPE_MESSAGE
};

string GetCapitalizedType(const FieldDescriptor* field);

ObjectiveCType GetObjectiveCType(FieldDescriptor::Type field_type);

inline ObjectiveCType GetObjectiveCType(const FieldDescriptor* field) {
  return GetObjectiveCType(field->type());
}

bool IsPrimitiveType(const FieldDescriptor* field);
bool IsReferenceType(const FieldDescriptor* field);

string GPBValueFieldName(const FieldDescriptor* field);
string DefaultValue(const FieldDescriptor* field);

string BuildFlagsString(const vector<string>& strings);

string BuildCommentsString(const SourceLocation& location);

bool InitializeClassWhitelist(string* error);
bool FilterClass(const string& name);

// Generate decode data needed for ObjC's GPBDecodeTextFormatName() to transform
// the input into the the expected output.
class LIBPROTOC_EXPORT TextFormatDecodeData {
 public:
  TextFormatDecodeData() {}

  void AddString(int32 key, const string& input_for_decode,
                 const string& desired_output);
  size_t num_entries() const { return entries_.size(); }
  string Data() const;

  static string DecodeDataForString(const string& input_for_decode,
                                    const string& desired_output);

 private:
  GOOGLE_DISALLOW_EVIL_CONSTRUCTORS(TextFormatDecodeData);

  typedef std::pair<int32, string> DataEntry;
  vector<DataEntry> entries_;
};

}  // namespace objectivec
}  // namespace compiler
}  // namespace protobuf
}  // namespace google
#endif  // GOOGLE_PROTOBUF_COMPILER_OBJECTIVEC_HELPERS_H__


text:
Piotr Paweł Stawecki (ur. 3 czerwca 1930 w Ciechocinku, zm. 7 września 2015 w Zalesiu Górnym) – polski historyk wojskowości.

Życiorys
Syn Stefana oraz Anny z domu Kołowrocka. Był najmłodszym z pięciorga dzieci Staweckich. Jego naukę przerwał wybuch II wojny światowej, którą po wojnie kontynuował w miejscowej szkole powszechnej. Był wraz z rodziną wysiedlony przez niemieckiego okupanta, znajdując schronienie w ubogiej wsi w okolicy Kołbieli leżącej na obszarze Generalnego Gubernatorstwa. Będąc tam zaznał goryczy niedostatku i poniewierki, a szczególnie dotkliwej, kiedy w 1941 roku zmarł mu ojciec. Jeszcze w 1943 lub 1944 roku rodzina otrzymała wiadomość o prawdopodobnej śmierci wuja Zygmunta Kołowrockiego, podporucznika rezerwy, nauczyciela. Później okazało się, że w 1940 roku został rozstrzelany przez NKWD w Charkowie. Po zakończeniu wojny powrócił do rodzinnego miasta, gdzie uzupełnił wykształcenie i kontynuował naukę na poziomie średnim: początkowo w Gimnazjum Salezjanów w pobliskim Aleksandrowie Kujawskim, a następnie w nowo otwartym Gimnazjum i Liceum Ogólnokształcącym im. Stanisława Staszica w Ciechocinku, w którym w 1950 roku otrzymał świadectwo maturalne. W latach 1950-1952 studiował historię na Uniwersytecie Mikołaja Kopernika w Toruniu, w latach 1952-1953 na Uniwersytecie Warszawskim, w latach 1953-1959 pracował jako kustosz i archiwista w Centralnym Archiwum Wojskowym, w 1955 wznowił studia historyczne jako ekstern na Uniwersytecie Warszawskim, w 1958 obronił pracę magisterską napisaną pod kierunkiem Stefana Kieniewicza.

W 1969 obronił na Uniwersytecie Warszawskim pracę doktorską Wojsko a polityka wewnętrzna Drugiej Rzeczypospolitej w latach 1935-1939 napisaną pod kierunkiem Henryka Jabłońskiego i w tym samym roku rozpoczął pracę w Wojskowym Instytucie Historycznym, kolejno jako adiunkt (1969-1980), docent (1980-1991) i profesor (1991-1998), w latach 1992-1998 kierował tam Zakładem Polskiej i Powszechnej Historii Wojskowej do 1939 r. W 1980 otrzymał stopień doktora habilitowanego (w Instytucie Historii PAN), w 1991 tytuł profesora nauk humanistycznych.

Był członkiem rady naukowej Wojskowego Instytutu Historycznego (1982-2000) i Polskiego Słownika Biograficznego (1985-2000). Od 1958 był członkiem Polskiego Towarzystwa Historycznego, w latach 1992-1996 należał do ZG PTH.

Otrzymał wyróżnienie Ministra Obrony Narodowej – zespołowe w 1968 i indywidualnie w 1983. W 1979 roku otrzymał zespołową nagrodą Ministra Obrony Narodowej I stopnia. W 1987 roku został wyróżniony zespołową nagrodą Ministra Nauki i Szkolnictwa Wyższego II stopnia.

Jego synem jest Tomasz Stawecki

Ordery i odznaczenia
 Krzyż Kawalerski Orderu Odrodzenia Polski – 1993
 Medal Komisji Edukacji Narodowej – 1987

Książki
 Następcy komendanta. Wojsko a polityka wewnętrzna Drugiej Rzeczypospolitej w latach 1935-1939 (1969)
 Polityka wojskowa Polski 1921-1926 (1981)
 Słownik biograficzny generałów Wojska Polskiego. 1918-1939 (1994)
 Oficerowie dyplomowani wojska Drugiej Rzeczypospolitej (1997)
 Konstytucje Polski a siły zbrojne 1791-1935. Studium historyczno-prawne (1999)
 Z badań nad dyscypliną, przestępczością i moralnością wojska Drugiej Rzeczypospolitej (2000)
 Z dziejów wojskowości Drugiej Rzeczypospolitej (2001)
 Attaché wojskowi Drugiej Rzeczypospolitej (2004)
 Wojsko Marszałka Józefa Piłsudskiego 12 V 1926 - 12 V 1935 (2004)
 Generałowie polscy. Zarys portretu zbiorowego 1776-1945 (2010)
 Następca komendanta. Edward Śmigły-Rydz (2014) - z Markiem Jabłonowskim

Przypisy

Bibliografia
 Kto jest kim w Polsce. Edycja IV, wyd. PAI, Warszawa 2001
 Złota księga nauki polskiej. Naukowcy zjednoczonej Europy, wyd. Mastermedia, Gliwice 2006
 Tomasz Wituch, Bogdan Stolarczyk, Studenci Instytutu Historycznego Uniwersytetu Warszawskiego 1945–2000, Wydawnictwo Arkadiusz Wingert i Przedsięwzięcie Galicja, Kraków 2010

Absolwenci Wydziału Historycznego Uniwersytetu Warszawskiego
Ludzie urodzeni w Ciechocinku
Odznaczeni Krzyżem Kawalerskim Orderu Odrodzenia Polski (III Rzeczpospolita)
Pracownicy Wojskowego Instytutu Historycznego
Współpracownicy Polskiego Słownika Biograficznego
Członkowie Polskiego Towarzystwa Historycznego
Urodzeni w 1930
Zmarli w 2015

redpajama_set_name: RedPajamaWikipedia


text:
What Does the Bible Say About..Cymbals in Psalm 150?
My friend told me that the cymbals in Psalms 150:5 were talking about drums. But I didn't think those kinds of instruments were supposed to be used in the church. So I was just wondering this because he also listens to some secular music and says it is okay when I tell him it has a worldly beat to it, and then he refers back to Ps. 150:5.
There are several points to my answer.
1. If he says "cymbals" in Psalm 150:5 should be translated "drums," he should be able to show some reputable scholar of Hebrew that says this. Actually, the instrument referred to may not be any we now know. The Hebrew word used here is also translated (in the King James Version) locust, spear, and shadowing. The word really means a buzzing or whirring, much like the sound of a locust. So the instrument in question may be more like the "grogger" used in Purim celebrations. This sort of noisemaker used to be available for kids party favors. Basically it is a handle with a gear on it, and a sounding box with a ratchet attached. When you spin the contraption it makes a whirring noise. It certainly would be nothing like modern drums or cymbals.
2. The instrument in question was to be used in the Temple worship. It has nothing to do with Christian or secular music. If he wants to use this passage to support any kind of music, then he would have to rebuild the Temple in Jerusalem and reinstitute the animal sacrifices and worship there. He certainly can't apply this passage to secular music, because it clearly says it was an instrument used to praise God. (Actually, it may have been an instrument used to call people to praise God. The verse could just as easily be translated, "Praise him upon hearing the cymbals: praise him upon the signal of the cymbals.") And because it was a whirring instrument, it probably had no specific beat at all.
3. Whether such instruments were used in the Temple has little to do with whether they were or are to be used in the church. At the time of the beginning of the church no instruments were used in synagogue worship. The reasoning of the rabbis was that those instruments were used in the Temple worship, and after the destruction of Solomon's Temple they were never used in worship. They may have been used in the Second Temple, but would not have been used after it was destroyed in 70 AD. Musical instruments were not commonly used in Christian worship for about 500 years, although there is some indication that someone tried to introduce them after about 300 years. Since the church is God's temple today (1 Corinthians 3:16-17; Ephesians 2:21) and the church is made up of people and not stones and timber, the instrument for worship today is that which is in people, the voice. The musical instruments of the Temple worship were the shadow of the reality of the church. We should concern ourselves with the reality, not the shadow.

redpajama_set_name: RedPajamaCommonCrawl


text:
Craig Kneale
JuneJun 12, 1988
JuneJun 12, 1988 (age 32)
32 Year Old Drummer#17
Drummer Born in Scotland#7
Gemini Drummer#48
Gemini Named Craig#9
Scottish drummer known for being a founding member of the Glaswegian band Twin Atlantic. Their 2014 album Great Divide was their first to chart in the top 10 in the UK, peaking at number one in Scotland.
The band was formed in 2007 after the members, grammar school friends all playing in different bands, decided to play together.
They've shared the stage with bands like Blink-182, Smashing Pumpkins, and The All-American Rejects.
Like his bandmates, he grew up in Glasgow, Scotland.
He and Sam McTrusty have played together in Twin Atlantic.
Craig Kneale Popularity
Craig Kneale Is A Member Of
First Name Craig
Craig Kneale Fans Also Viewed
Josh Dun
Rian Dawson
Otto Wood
Spencer Smith
More June 12 Birthdays
June 12 Birthdays
More Geminis
Mackenzie Ziegler


text:
Q: PHP Defining array variable within logical operator I'm trying to define a point in an array within a logical operator. Is this possible?
e.g.
$a = $deg[0];
$b = $deg[1];
$c = $deg[2];
$d = $deg[3];
$e = $deg[4];

if ($c == False){
$array['$a']['$b'][0][1] = $value;

} else {

if ($d == False){
$array['$a']['$b']['$c'][0][1] = $value;

} else {

if ($e == False){
$array['$a']['$b']['$c']['$d'][0][1] = $value;
}

Is there a reason the array variable is not being defined?

A: start with removing ' single quotes
$array[$a][$b][0][1] = $value;

and it not wise to use key word like array as variable name

redpajama_set_name: RedPajamaStackExchange


text:
Forskel mellem versioner af "Behavior modification in films"
Versionen fra 21. nov 2009, 16:16 (vis wikikode)
(reformatted page)
(added info)
(4 mellemliggende versioner af den samme bruger vises ikke)
==TV Shows==
{| border ="1" cellpadding="5" cellspacing="0" style="text-align:left; background:#ABCDEF; color:black"
{| border ="1" cellpadding="3" cellspacing="0"
|+
|- style="text-align:left; background:#ABCDEF; color:black"
!Show!!Episode!!Description
|[http://en.wikipedia.org/wiki/Weeds_(TV_series) Weeds]||Season 1 - episode 1 & 2||The characters Quinn Hodes is sent to ''Casa Reforma'' in Mexico properly modelled after [[Casa by the Sea]]. It is not odd that she ends up holding a grudge against her mother.<Ref>[http://en.wikipedia.org/wiki/List_of_Weeds_episodes List of Weeds episodes]</Ref>
|[http://en.wikipedia.org/wiki/There_Won't_Be_Trumpets Desperate Housewives]||Season 1 - episode "There Won't Be Trumpets", "Children Will Listen", Season 2 (Andrew packs for the camp but it is not shown)||The caracter Andrew Van De Kamp is sent to Camp Hennessy, which seem to be modelled after [[Eagle_Academy,_Florida|Eagle Academy in Florida]]. However, opposite Eagle Academy the camp in the TV-show seems to be involuntary. It also shows a typical pick up by a [[Teen Escort Company|teenage transportation company]].
|[http://en.wikipedia.org/wiki/List_of_Ghost_Whisperer_episodes Ghost Whisperer]||Season 1 - episode "Friendly Neighbourhood Ghost"||A girls is committed to Shelter Harbor School for boys and girls which turns out to be a normal therapeutic boarding school with use of corporal punishment and isolation rooms. It also shows a typical pick up by a [[Teen Escort Company|teenage transportation company]].
|[http://en.wikipedia.org/wiki/Law_%26_Order:_Special_Victims_Unit_(season_7)#Fat Law and Order: Special Victims Unit]||Season 7 - episode "Fat"||Jessica had been incarcerated at weight loss boot camp called "Hidden Glades Ranch". The PTSD resulting from her stay make her hate overweight people and she becomes partical responsible for the attack on an overweight young man.
|[http://www.imdb.com/title/tt1420898/ The Mentalist]||Season 1 - episode 22 "Blood brothers"||A boy is found dead at a wilderness styled program
==Movies==
!Movie!!Description
==Documentaries==
!Show!!Description
*Forum: [http://fornits.com/wwf/viewtopic.php?f=22&t=27618 TV shows and the Troubled Teen Industry], a thread on Fornits webforum
[[Category:Behavior modification in the Media]]
The following movies and films shows examples of behavior modification:
1 TV Shows
3 Documentaries
90210 Season 1 - episode 24 The character of Liam Court is very realistic picked up by Youth transport firm to be sent to a military school.
Higher Grounds Entire serie The show is regarded as promotion for the industry. Among the advisers were the founder of Diamond Ranch Academy [1]
The Sopranos Season - 6 Episode 11 A very realistic use of a Youth transport firm is seen as the troubled son of Vito Jr is sent to an unnamed wilderness therapy program [2]
Weeds Season 1 - episode 1 & 2 The characters Quinn Hodes is sent to Casa Reforma in Mexico properly modelled after Casa by the Sea. It is not odd that she ends up holding a grudge against her mother.[3]
Desperate Housewives Season 1 - episode "There Won't Be Trumpets", "Children Will Listen", Season 2 (Andrew packs for the camp but it is not shown) The caracter Andrew Van De Kamp is sent to Camp Hennessy, which seem to be modelled after Eagle Academy in Florida. However, opposite Eagle Academy the camp in the TV-show seems to be involuntary. It also shows a typical pick up by a teenage transportation company.
Ghost Whisperer Season 1 - episode "Friendly Neighbourhood Ghost" A girls is committed to Shelter Harbor School for boys and girls which turns out to be a normal therapeutic boarding school with use of corporal punishment and isolation rooms. It also shows a typical pick up by a teenage transportation company.
Law and Order: Special Victims Unit Season 7 - episode "Fat" Jessica had been incarcerated at weight loss boot camp called "Hidden Glades Ranch". The PTSD resulting from her stay make her hate overweight people and she becomes partical responsible for the attack on an overweight young man.
The Mentalist Season 1 - episode 22 "Blood brothers" A boy is found dead at a wilderness styled program
Boot Camp A fictitious version of Paradise Cove which was located in Samoa instead of Fiji. While a program is operating in Fiji today, it has not been proven that this program looks like the one in the movie.
Over the GW Movie based of the stories of survivors from KIDS of North Jersey / Kids of Bergen County
Self-medicated Movie based on a story from Brightway Adolescent Hospital
Brat Camp Show there so-called troubled teenagers from United Kingdom and Germany are sent to different programs in the United States. The German version used german speeking staff hired for the show and special made-for-TV versions of the programs. A special Dutch version were made where the teenager were sent to Kenya.
The Worlds strictest parents A show where teenagers are sent to a host family. Unlike host-family based programs like Pathway Family Center, the teenagers can leave
Forum: TV shows and the Troubled Teen Industry, a thread on Fornits webforum
↑ Interview with Joe Lando, Joe Lando's homepage
↑ Chasing it - episode guide on Wikipedia
↑ List of Weeds episodes
Hentet fra "http://www.secretprisonsforteens.dk/fornitswiki/index.php?title=Behavior_modification_in_films&oldid=4371"
Behavior modification in the Media


Are you a creative person? Perhaps you're a fiction author, or an investigative journalist. Perhaps you like to write songs and perform them online. Perhaps you're an artist taking breathtaking photographs, or creating amazing graphics that you then share on your Tumblr. Thanks to the Internet, it has never been easier to share your creative oeuvres with the world.
Monetization has always been tricky though. We've discussed how to monetize blogs 5 Interactive Ways To Monetize Your Blog & Increase Traffic 5 Interactive Ways To Monetize Your Blog & Increase Traffic Read More in the past 4 Ways to Make Your Blog Pay Real Money 4 Ways to Make Your Blog Pay Real Money Writing a popular blog, getting famous, and then living off the Internet from a desert island beach are faily common dreams for many aspiring bloggers. With the advent of content management systems such as Wordpress... Read More (we even wrote a manual on it). But what if you're not just a blogger? What if you're a programmer, or a videographer, or a musician?
If so, this article is for you. Here are 4 of the best ways to monetize content you've probably never thought of.
So, you've been doing your thing for a while now. You've built a following on Twitter and Facebook. You might have even done a successful Reddit AMA The Best Reddit AMAs Of All Time [Weird & Wonderful Web] The Best Reddit AMAs Of All Time [Weird & Wonderful Web] Under the IAmA subreddit, you'll find informal interviews with all sorts of interesting people. These are some of the best AMAs online. Read More . You're now recognized for being the best at what you do.
How do you turn that into hard cash? One thing you might want to consider is Patreon. This site has borrowed the tiered-perks, crowd-funding model of Kickstarter, and mixed it with recurring, monthly payments. Kind of like Kickstarter by subscription.
One musician who has effectively used Patreon Support Your Favorite Online Artists And Get Exclusive Rewards On Patreon Support Your Favorite Online Artists And Get Exclusive Rewards On Patreon Patreon is a new initiative from musician and video-maker Jack Conte, that tries to solve the age-old problem both artist and fans face every day. For artists, it's the need to stay afloat while still... Read More to fund her work is American indie-folk singer Kina Grannis. Almost 300 of her devoted fans contribute financially to the production of her YouTube videos. Each clip she publishes pulls in $1,672 per clip. Not bad. Not bad at all.
But what's in it for the fans? Well, it depends on how much they are willing to contribute. The highest tier gets free concert tickets whenever Kina rocks up in town, in addition to the same stuff the lower and middle tiers get. This includes free music, and monthly Q&A meets with Kina on Google Hangouts.
The beauty of Patreon is it allows creative individuals to leverage the enthusiasm of their fans, whilst simultaneously rewarding fans for their loyalty.
Patreon is available internationally. Opening an account is free, although they do take 4% from all transactions as a commission. This covers the cost of processing credit cards (which is expensive indeed), as well as the costs associated with operating the site.
Beacon can best be described as two separate properties. The first is a beautiful content management and publishing platform that rivals the likes of WordPress and Tumblr in their ease of use. It allows journalists and writers to publish stunning, engaging content, without breaking a bead of sweat.
Another — more interesting — facet of Beacon is how it allows readers to support content creators with monthly financial gifts, much like Patreon does.
However, unlike Patreon, if you fund one writer, you don't just get a single perk. You get access to all the works produced by writers working on the Beacon network.
There's a diverse range of journalists and storytellers taking advantage of Beacon, from cutting edge science writers, to stories of people hitchhiking their way from California to Africa.
Beacon empowers users to fund research into stories they care about. One author I fund personally is Lyra McKee. This Northern Irish investigative journalist is currently researching the decades old murder of a Unionist politician during the turbulent period of The Troubles.
Over 150 supporters have contributed almost $9000 to her research, which has funded six, richly detailed posts about this real-life murder mystery.
And much like Patreon and Kickstarter, there's also the option to offer tiered rewards. If you contribute more, you might get more.
Beacon is currently invitation only. Prospective writers can submit applications to become an author, although there's no guarantee they'll be accepted. Beacon gives 70% of all subscription dues to the author, and keep 30% for themselves. They have a minimum pledge, which is $5 per month.
Paywalls. They're not for the little guys, right? They're for the big players. Paywall Trend On The Internet [INFOGRAPHIC] Paywall Trend On The Internet [INFOGRAPHIC] Being a former newspaper journalist, I can sympathise to a very large extent with the plight of print media. With the relentless onslaught of the Internet, and peoples expectations that "information should be free", print... Read More The massive media houses, like The London Times and The Telegraph. They're the ones who have the audience, the money, and the technical infrastructure to actually implement one and make a profit.
It's not just mainstream media outlets who operate paywalls. The likes of Conservative blogger Andrew Sullivan (we've written about him before Banners Begone: How Readers Supported These Three Websites Banners Begone: How Readers Supported These Three Websites How to survive in a post-banner-advert world? Here's how two popular websites have managed it. Read More ), to German cycling e-zine Farrhad Journal both restrict some content to paying customers.
Paywalls allow you to control who gets access to your content, and to actually give your content a tangible dollar value for consumers.
TinyPass also handles the tricky process of taking payments. Their services aren't free, however. They insist on a commission from each sale, with the fee for payments over $2 being a somewhat painful 18%. That's not quite as much as Patreon charges, but many magnitudes above what BeaconReader takes.
There's still a place for advertising on the Internet, but this model is under serious threat. This is partly due to the spread of AdBlocking software, and people trying to stiff content creators by avoiding banner adverts entirely.
Many content producers have taken to accepting tips in order to supplement the income from their online properties. Tipping is pretty hot right now and there are two horses in this race worth mentioning.
The first is Flattr, which was created by Peter Sunde — one of the three founders of The Pirate Bay. We've talked about extensively about this service before. Their product works a bit like this. Users sign up and establish a recurring payment which tops up an account with cash. This is then later used to 'tip' content creators.
Site operators then put a 'flattr' button on their website. Whenever a user presses that button, they indicate that they wish for a portion of their funds to go to them. At the end of the month, the money in the user's account is divided equally between the sites who have been tipped.
Flattr takes a cut of any money donated, but rival TipTheWeb does not. Instead, they fund their operations through tips themselves. There's no monthly subscription to pay, and users are free to choose how much they wish to tip, from $0.05 to as much as $100.
TipTheWeb also allows you to support not only blogs, but also open source software on Github, presentations on SlideShare and videos on YouTube and Vimeo.
Another service is Gittip. Despite the name, it has got nothing to do with code-hosting service Github What Is Git & Why You Should Use Version Control If You're a Developer What Is Git & Why You Should Use Version Control If You're a Developer As web developers, a lot of the time we tend to work on local development sites then just upload everything when we're done. This is fine when it's just you and the changes are small,... Read More or the Git version control system, and nothing to do with software development.
Rather, it's a slightly bizarre hybrid between Patreon and Flattr. You sign in with Twitter, and you select who you wish to 'tip'. That person is then sent an unconditional cash payment from you each week. The person receiving the cash doesn't have to be a software developer. Anyone can get paid with Gittip.
You can sign in with your Twitter, BitBucket and Github account. Beneficiaries can get paid via direct bank transfer in the US, and they accept International users, although this is handled manually through the banking system.
And if neither of these take your fancy, there's still Dogecoin Dogecoin: How A Meme Became the 3rd Largest Digital Coin Dogecoin: How A Meme Became the 3rd Largest Digital Coin Read More .
As a revenue source, tipping is still incredibly speculative. It hasn't been proven as a reliable model for monetization like advertising. With that said, when used in addition to traditional revenue models such as advertising, it becomes an appealing additional source of funding. .
There's still a place for advertising. People can still make money from their digital properties by throwing up some AdSense adverts. But if that doesn't appeal to you, there are other options.
Are you a creative? Have you found any unusual ways of monetizing content? Let me know. Comments are below.
Explore more about: Make Money Online, Online Advertising.
I notice Amazon's self-publishing program isn't listed here. Probably because it has a reputation for publishing a glut of amateurish Nanowrimo drafts with bad clip art covers -- and Fifty Shades of Gray. The reputation of the site does matter when you're building a career, and Amazon keeps shooting itself in the foot, occupying a dual identity as self-serving corporate shill and cultural philistine opening the floodgates to functional illiterates. I'm a writer myself who knows that my "brand" would inevitably be scarred by association with the Amazon name, and I'm on the side of the traditional vanguard (Hachette) and its proven track record, rather than the cubic-zirconia-in-the-rough fan fictioners. I think somehow the internet model will work better for journalists and bloggers than fiction writers. There's just something about the form that strongly resists being reduced to mere ones and zeroes. Discerning readers believe that the slush pile should stay that way, but Bezos is more than happy ($$$) to act as wish-granting genie for the unpolished Mary Sues.
I've been interested in getting into freelance journalism, and I think these could be good platforms where I could start posting work. I'll have to do a bit more research, but this has given me some great ideas! Thanks for rounding them up—cool article, Matt.
Nice! :) Check out Beacon Reader! You might find it useful!
One of the more "creative" ways, I came across was using sponsored CAPTCHA's. Saw it first on CollegeHumor.com.
Aye, I saw that. That's pretty cool.
Just delete any cookie starting "tele". when you get the "Exceeded 10 free..." message.
How is TinyPass' 'painful 18% more than Patreon's 4%?
Just what they've decided to charge, I guess.


This kurta is decorated with chikankari embroidery, white in white embroidery from the wonderful city Lucknow in Uttar Pradesh. The term Kurta can be traced back to the persian influence.
Chikankari is also called as shadow work. The word "Chikan" derived from the Persian word "Chikeen", meaning cloth wrought with needlework. "Kari" is Hindi and means work. Chikankari work from Lucknow, with a repertoire of 36 different stiches, has now GI status, that means Geographical Indication.
The garment is starched to obtain the right stiffness.
Please let us know, witch size you want.


Enjoy a fun-filled vacation in Columbia, SC, and Lake Murray Country! Head to the wild side at Riverbanks Zoo & Garden with over 2000 animals and cool off at Waterfall Junction. This package gives you the option to purchase the Cool Pass which includes admission to the Riverbanks Zoo & Garden, EdVenture Children's Museum and the SC State Museum. There is even more to do as you visit historic sites in downtown Columbia including the SC State House building and grounds.
Package Includes a 10% discount on participating attractions!


I made this Jurassic cake for my son's 3rd birthday. He loves dinosaurs but I wasn't sure I could make something that even resembled a dinosaur so I made this.
The base is a 12×18 cake that I leveled off. It is frosted in homemade chocolate buttercream. The volcano is 2 6×2 round cakes. Both were cut in half and I frosted in between the layers so it was like a miniature 4 layer cake. Then I just started shaving down the sides until it looked like volcano. Then I just sat it in the middle of the base.
I mixed powdered sugar and milk until it was the right consistency and colored it with red and orange food coloring. I baked dinosaur shaped cookies on Popsicle sticks and stuck them in beside the volcano. I used chocolate covered peanut clusters for the rocks and graham cracker crumbs for the dirt. It was delicious and my son loved it.
Birthday cake idea posted by Holly M.


Backing up and restoring MongoDB clusters at large scale is challenging. There are hosting providers like MongoDB Atlas which will handle it for you, but it can come with a price tag that many (like my organization) find prohibitive. This article will assume that you find yourself in that camp as well.
This is not a definitive guide, nor am I a leading expert on the subject - the methods listed herein are what has worked for my organization. Note that this assumes that your MongoDB servers are running in AWS EC2.
A smaller instance that functions as a backup controller. He orchestrates backups of the Production cluster and restores of that data into our Test and Dev environments every week.
Our environment is currently a mix of WiredTiger and MMAPv1 storage engines. I won't go into this oddity in detail - suffice it to say that while this is not a typical arrangement, it is entirely possible for the two to coexist even within the same replicaset.
Our hidden secondaries, which are the hosts from which we take a data snapshot and backup, are both 100% WiredTiger. Roughly 10% of the Logical Volume Group on which our data resides are reserved for snapshotting purposes.
MongoS processes are run on any other EC2 resource that needs access to data from the cluster. MongoS are given a connection string containing the DNS addresses of all three config servers, which keep track of where sharded data chunks are stored across the cluster.
We leverage LVM to ensure a consistent point-in-time snapshot and backup without stopping writes to the cluster. In order to do this, we leave 10% of the disk space in our volume group free - this space is utilized by the snapshot.
LVM snapshots only record data that has changed since the snapshot is taken - they start out very small, then grow as data is written to disk, removed from disk, or moved on disk. Therefore, the amount of space you need to leave free in your volume group needs to be large enough to accomodate the rate of change present in your Mongo cluster, and will be affected by the speed at which your backup occurs. If the backup takes too long and the snapshot runs out of free space to use in your volume group, LVM simply "drops" the snapshot - and obviously at that point, your backup will fail. Every cluster and workload is different, so I can't tell you what that might be for your environment.
10% has proven to be enough for us - we typically use well under 25% of that free space in the time it takes for our backup to finish.
We use two forms of backup. The first method, which won't be discussed in much detail in this article, leverages the mongodump utility. We use this to dump and restore every individual database in our cluster. This is useful if someone does something questionable with Production data and we need to restore it from backup without impacting any other database. We have databases ranging from a few megabytes in size to hundreds of gigabytes. We utilize Python, the mongodump utility, celery, RabbitMQ and S3 to achieve this.
The other used to backup and restore our entire cluster in one go - this is what we'd use in the event of a total disaster, like our primary EC2 AZ failing. This method utilizes EBS volumes and some custom python code.
Stop shard balancing across the cluster. This will finish any current migrating chunks and then leave the data where it is until balancing is re-enabled. This is done via MongoS.
Issue an fsyncLock against the cluster to temporarily stop writes and ensure a consistent state.
issue an fsyncUnlock against the cluster to allow writes to recommence. fsyncLock should only be active for a few moments, snapshots are created instantaneously.
For each MongoD, create a /backup/rs1 type directory.
Snapshot each EBS volume and then create a new volume from each snapshot in another EC2 region to ensure that a meteor strike in Northern Virginia can't destroy our livelihoods.
If deploying the backup onto new servers (ie new DNS addresses for each replicaset config), do that now.
Drop the replset.minvalid collection. This is used to track replication status, you want it starting at a blank state or you'll get replicasets failing to start and other unpleasantness. It can be safely removed in this context.
Start all MongoDs! Great success, your data is restored.
This methodology allows us to rapidly backup and restore large amounts of Mongo data on a daily basis. Mongodumping our whole cluster takes roughly 18 hours, and restoring it takes even longer - fine for doing a single database, very bad in a total disaster scenario. With this method, we can perform a complete backup in ~90 minutes and do a complete restore in roughly the same amount of time. We validate these backups weekly by restoring a complete copy of our Production data into our Test and Development environments. These have different DNS addresses, which necessitates automatic reconfiguration of each replicaset by issuing commands against each individual MongoD.


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IoT Alliance Australia and nextmedia to create Australia's premier IoT event
IoT Impact event to take place in Melbourne on October 14, 2021.
By Staff Writer on Dec 16 2020 4:01PM
Australia's peak Internet of Things (IoT) industry body, IoT Alliance Australia (IoTAA), is partnering with nextmedia to create the nation's premier IoT event in 2021.
The two organisations will merge their market-leading IoT Impact and IoT Festival events to create a combined conference called IoT Impact. The event will take place on October 14, 2021, at the Melbourne Convention and Exhibition Centre.
The new IoT Impact event will provide a focus point for the IoT event calendar – a major conference catering to Australia's IoT buyer and sellers.
Darren McNally, General Manager of nextmedia B2B, which owns IoT Hub, said: "There are a lot of players in this market that cause confusion. By partnering with the IoTAA, we aim to create a must-attend event dedicated to the Australian IoT landscape."
"Because IoTAA members, content and contacts align with IoT Hub's coverage, database and network, they are a perfect combination," McNally added.
IoT Impact will facilitate discussion about IoT technology and its implications for industry, government and the public. This technology is enabling new ways to manage Australia's environment, health, energy usage, water supplies, manufacturing sector, farms, supply chains, transport, cities and towns. It also is playing a vital part in our nation's COVID-19 response.
The event will bring together experts from IoTAA workstreams, other Australian organisations working with IoT, and buyers and sellers of IoT solutions, to discuss these topics.
The October 14, 2021 event will also include a gala dinner to announce the winners of the 2021 IoT Awards, the official awards program of IoTAA and IoT Hub. The awards will recognise IoT achievements in multiple fields, such as health, food and agribusiness, manufacturing, energy, water and transport. This year, the IoT Awards received more than 100 nominations, including from CSIRO's Data61, City of Perth, NNNCo and the NSW Government.
"IoTAA is thrilled to partner with nextmedia for the signature IoT event in Australia. IoT Impact is industry led, with the content and interaction that only true practitioners can provide," said Frank Zeichner, CEO and Co-founder of IoTAA.
Organisations can register interest in attending or sponsoring the October 14, 2021, IoT Impact event here.
2021 IoT Insight Series
In 2021, IoTAA will also continue its IoT Insight Series events, which provide a forum for members to discuss IoT developments and issues.
This rolling series of events will provide in-depth insights and interaction with IoT experts and implementers in strategic areas of IoT innovation and transformation, including IoT security, manufacturing and cities. It will also include IoTAA's mid-year "State-of-the Nation" assessment.
iot alliance australia iot festival iot impact iotaa melbourne
Major Australian IoT providers fund COVID-19 discussion hub
How real-time data can help Australian organisations fight crises like COVID-19
COVID-19 will spur "massive" spending on digital infrastructure, predicts IoTAA chair
COVID-19 will transform Australia's real-time data needs, says IoTAA


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Created with Sketch.2021 Code (current)
2021 Code (current)
PM Code and Old Zoning
Philadelphia Overview
The Philadelphia Code
PHILADELPHIA HOME RULE CHARTER
TITLE 2. CITY-COUNTY CONSOLIDATION
TITLE 3. AIR MANAGEMENT CODE
TITLE 4. THE PHILADELPHIA BUILDING CONSTRUCTION AND OCCUPANCY CODE
TITLE 4.1. ELECTRICAL CODE
TITLE 4.2. PROPERTY MAINTENANCE CODE
TITLE 5. FIRE PREVENTION CODE
TITLE 6. HEALTH CODE
TITLE 7. HOUSING CODE
TITLE 8. PLUMBING CODE
TITLE 9. REGULATION OF BUSINESSES, TRADES AND PROFESSIONS
TITLE 10. REGULATION OF INDIVIDUAL CONDUCT AND ACTIVITY
TITLE 11. STREETS
TITLE 12. TRAFFIC CODE
TITLE 13. WATER AND SEWER
TITLE 14. ZONING AND PLANNING
TITLE 15. PARKS AND RECREATION
TITLE 16. PUBLIC PROPERTY
TITLE 17. CONTRACTS AND PROCUREMENT
TITLE 18. COMMERCE
TITLE 19. FINANCE, TAXES AND COLLECTIONS
TITLE 20. OFFICERS AND EMPLOYEES
TITLE 21. MISCELLANEOUS
TITLE 22. PUBLIC EMPLOYEES RETIREMENT CODE
§ 10-109. Penalties.
§ 10-109. Penalties. 177.3
A violation of any of the foregoing sections of this article shall be punishable by a fine of up to the maximum of the City's authority to establish fines by statute, and if the violator is an officer or employee of the City, ineligibility for any office or position under the City for up to one year or, in the case of egregious conduct, by removal from office or immediate dismissal.
Sources: See Act of April 21, 1949, P.L. 665, Section 17.
Purposes: The maximum penalties that can be imposed under the enabling legislation (see Act of April 21, 1949, P.L. 665, Section 17) are made applicable in cases of violation of Sections 10-100 to 10-108 inclusive because of the gravity of such offenses. In addition, if a violator is an elective or appointive officer of the City, he is to be immediately dismissed from his position and in certain instances he becomes ineligible for appointment to or employment in any City position. See Sections 10-107 and 10-108.
Amended by approval of the voters at the election held on June 2, 2020, and certified on June 22, 2020. See Bill No. 200015 (approved February 26, 2020); Resolution No. 200056 (adopted February 13, 2020).


The regulating authorities of the New York state have given their seal of approval to a new scheme of electricity rates for cryptocurrency miners. This move, reported by Bloomberg on the 12th of July, allows them to enter into contract negotiations. Some months before this move, the regulatory body had allowed 36 municipal power entities to extract higher revenues from cryptocurrency miners vis a vis others consuming the service.
The municipal body at Massena is slated to present a new scheme of rates for crypto miners who are enthusiastic to conduct their operations in that area. John Rhodes, the Chair of New York State Department of Public Service, in a statement, said, that to avoid unreasonably discriminatory pricing for other users, the municipal authorities will take a call on a case by case basis rather than implementing a blanket decision.
He further commented that they aimed to ensure all users were priced justly but also that the policies could encourage economic development in the area.
The hydroelectricity available in New York makes electricity costs low and residential users in the Massena area pay about $0.39 per kilowatt hour. As a result of such low costs, cryptocurrency miners have increasingly begun to flock to Massena to conduct operations since they need a high degree of intense electricity usage to fire their operations. Areas that benefit from an abundance of hydroelectric power have so far steered clear of allowing crypto miners to operate. While some regulators have banned mining altogether, others have made use of incremental charges to prevent crypto miners from flooding in. After the largest crypto miner in New York's Plattsburgh City used 10 percent of the city's electricity quota in January and February, the authorities put into place a stringent moratorium in March for new crypto miners looking to come in.
Hydro-Quebec of Canada suggested a new scheme which would require blockchain companies to bid for electricity and stipulate the number of job creations they have the potential to create. This scheme would involve allotting about 500-megawatt hour of electricity in addition to the pre-available 120 units for crypto miners, the rates being about 20 percent more than the usual rate.


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Has Social Security Influenced Family Formation and Fertility in OECD Countries? An Economic and Econometric Analysis
Isaac Ehrlich, Jinyoung Kim
Issued in January 2007
NBER Program(s):Health Economics, Public Economics, Labor Studies, Aging
There is growing concern about a decline in the total fertility rate worldwide, but nowhere is the concern greater than in OECD countries, some of which already face the prospect of population decline as well. While the trend is largely the result of structural economic and social changes, our paper indicates that it is partly influenced by the scale of the defined-benefits, pay-as-you-go (PAYG) social security systems operating in most countries. Through a dynamic, overlapping-generations model where the generations are linked by parental altruism, we show analytically that social security tax and benefit rates generate incentives for individuals to reduce not just the fertility rate within families, but also the incentive to form families, which we capture empirically by the fraction of adults married. We conduct calibrated simulations as well as regression analyses that measure the quantitative importance of social security tax rates in lowering both net marriage and total fertility rates. Our results show that the impact of social security on these variables has been non-trivial. Our calibrated simulations also enable us to study the effects of changes in the structure of social security on family formation and fertility.
Document Object Identifier (DOI): 10.3386/w12869
Published: "Has Social Security influenced family formation and fertility in OECD countries? An economic and econometric analysis", Isaac Ehrlich and Jinyoung Kim, Journal of Pharmaceuticals Policy and Law, Vol. 9, 2007, pp. 99-120.
Users who downloaded this paper also downloaded* these:
Ehrlich and Ben-Zion w0071 On the Theory of Productive Saving
Boldrin, De Nardi, and Jones w11146 Fertility and Social Security
Ehrlich and Saito w16009 Taxing Guns vs. Taxing Crime: An Application of the "Market for Offenses Model"
Ehrlich and Kim w10890 The Evolution of Income and Fertility Inequalities over the Course of Economic Development: A Human Capital Perspective
Ehrlich and Kim w11121 Social Security, Demographic Trends, and Economic Growth: Theory and Evidence from the International Experience


Welcome to Canada's premier pet care service provider!
At Dog Walkers R Us, our primary objective is to work with you in providing the best care possible for your pets needs in your absence. Our success is measured by direct feedback from our two and four legged customers, and we are proud to report that we have achieved our goal of always leaving our customers with a smile or wiggling their tail.
All Dog Walkers R Us employees are fully (please click on links) bonded & insured, carefully screened and meticulously trained in first aid for cats & dogs. They record daily notes about the pets routine, and are committed to spending quality time walking, playing, petting, ensuring that your pets relieve themselves, and nurturing your pets while you're away.
Call today to speak with one of our Pet Care Servicing Specialists, who will gladly answer any of your questions and schedule your first visit.
Also, click for Toronto Dog Parks.
Copyright © 00-2002 DOG WALKERS R US. All rights reserved.


Hi I'm Jen a photographer based in Kapiti, Wellington. I have my Diploma in photography through the Photography Institute of New Zealand. I have a huge passion for photography and the never ending learning. I love the use of natural light and enjoy testing out new concepts.
I love love love weddings especially all the beautiful details. I have so much fun photographing them as I am super passionate about weddings. I love hunting out magical locations where my visions excite me. Im a huge fan for genuine moments and I am the lucky one to capture these memories.
Thanks so much for checking out my site - Drop me a line for a non-obligation consultation or quote.
I would love to help make your special day that much more memorable by capturing those special moments that you will then cherish forever. Collections starting at $1250.
Family portraits are a stunning addition to any household and make perfect gifts for your loved ones. Give something special this festive season.


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In June 1998, Core released a "Gold" edition of the original PC version of Tomb Raider - as well as adding Glide support and selling at a budget price, it came with an extra disk called "Unfinished Business" that provided four (large) additional levels.
Best time: 0:23:21 by Aleš 'Ewil' Horák on 2006-12-21, done in 7 segments appended to four files (one for each level).
Unfinished Business is more like a bonus level pack, but it's a true expansion, although you can download it for free. I thought this run will be done fairly quickly since it's only 4 levels, but at the end it turned out to be hard.
Half of the levels are multi-segmented, because there's lot of randomness in it as well as some hard stuff, particularly in Temple of Cat. All levels are doable single-segmented, but the total time would rise up to 25 minutes or so.
No matter where I saved in multi-segmented level, the camera doesn't start at the exact position when I loaded, which is the reason why you can see a small spike, because I had to cut off those few bad frames in order to get it looked smooth.
I was using DgVoodoo graphic emulator since there's no other way to get this run recorded on XP system and for some reason, you will hear "bad audio cabel contact" sounds especially during beginning of the ambient music.
Luckily, the newest version has a fixed time made specially for the first Tomb Raider, so game speed should be same as runned under W9x or DOS. It doesn't matter anyway, because if the game runs faster, the timer would be also faster.
I'd like to thank to The Croft times for providing an excellent walkthrough, niebezimienny for pointing out that site and a huge shortcut in Atlantean Stronghold, MMAN for founding a faster way in the same level and to the entire SDA crew for this site.
Short comments for every level:
Return to Egypt: I used a fence bug, otherwise I wouldn't probably survive those 2 panthers and it's of course faster. It was hard even that way. Other than that, I'm very happy with this one. It went absolutely perfect till the very end, where is a small mistake when doing a curve jump. Oh, and the block bug doesn't work there.
Temple of Cat: 3 segmented level due to hard stuff and enemy avoiding. Could have been done slightly better though. I hesitated a bit in room with 4 keys, which cost me about 5 seconds. It's possible to skip fighting 3 more enemies, but that would require 4 or 5 segments.
If you go thru death room instead of just going the other way, the cat's tongue will appear without pulling a lever on the top of the cat statue, which means I could take a curve jump shortcut to save more than 1 minute. The block bug used in beginning of the level works at the end as well, but it forces you to top, where you just slide down.
Atlantean Stronghold: With the lucky 90 degrees turn in that hole leading to pool, I reckon 0:52 is possible.
The Hive: 2 segmented due to 7 enemies fight at the end, which is random. The last and the worst. About 15 seconds of mistakes has been made, which I'm sorry for. I just didn't have the strength and patience to make it perfect. I'm sorry.


Blue Fields by Simon Butterworth, are a series of stunning ariel photographs, capturing the remarkable crystal salt flats in Australia.
Ariel photographs of the Useless Loop solar salt operation situated in Shark Bay, the westernmost point of mainland Australia. Shot from a light aircraft flying at between 4,000 and 5,000ft, the shallow ponds of salt crystals otherwise known as crystallisers, can be seen clearly from above. Taking on the appearance of an abstract watercolour on canvas, it is hard to believe these aren't paintings, as the reflection of the sky gives them their dazzling blue appearance and the tracks left by salt harvesting machines look like brushstrokes.
The combination of tranquil blues and calming aqua hues, make for a harmonious result that brings a sense of serenity to any room.


text:
Choose which site to search.
All of UAMS
College of Medicine: Department of Neurobiology and Developmental Sciences
UAMS Health
Toggle Primary Nav
Primary Faculty
Noor Akhter, Ph.D.
Gwen V. Childs, Ph.D.
David L. Davies, Ph.D.
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Angus M. MacNicol, Ph.D.
Melanie C. MacNicol, Ph.D.
Erica Malone, Ph.D.
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Secondary and Adjunct Faculty
Steve W. Barger, Ph.D.
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Medical School Courses
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Seminars (Archive)
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ArkanSONO in the News
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Summer 2021 Virtual Activities
Incorporating Ultrasound and CT Imaging into Anatomy & Physiology Classrooms
Human Anatomy in Health and Disease: Heart and Brain
Past Program: UAMS Partners in Health Science
Cellular and Molecular Neuroscience Emphasis
Division of Translational Neuroscience
Department of Neurobiology and Developmental Sciences
Our faculty is committed to broad interdisciplinary collaborative endeavors that foster research and science education. These efforts have resulted in the development of two campus-wide research centers that are based in the department.
The Center for Cellular and Molecular Neuroscience serves as a centrally located resource for all neuroscientists at UAMS, providing access to sophisticated equipment, trained technical staff, and the research expertise of established investigators.
The Center for Translational Neuroscience aims to facilitate and integrate research on translational aspects of neuroscience across UAMS, basically bringing basic neuroscience findings to the bedside.
In addition, several members of our faculty participate in the Arkansas Biomedical Research Infrastructure Network (AR BRIN). One of its goals is to expand biomedical research opportunities for undergraduate faculty and students through collaborations with graduate research institutions in Arkansas.
Many of our faculty members are also active in the Arkansas Chapter of the Society for Neuroscience and voluntarily participate in Brain Awareness Week activities.
UAMS College of MedicineUniversity of Arkansas for Medical Sciences
Mailing Address: 4301 West Markham Street, Little Rock, AR 72205
© 2022 University of Arkansas for Medical Sciences


I have had the pleasure of working with Kate on the commercialisation of the Eddie Stobart Training Academy and Driving School. Kate has been an inspiration in her ideas of how we get these products to market and achieve a wide and diverse media coverage.
She not only demonstrates a passion for her role, but also the ability to take on new projects that are both difficult and critical to the company's growth. The work Kate has done is already reaping financial benefits.
I have worked with Kate over many years but I saw the full range of her skills and abilities when she led the national communications team in the Environment Agency. She is insightful and has an instinct on how and when best to engage with both communities and the media.
During major flood events she calmly managed a number of comms and media teams in what is a crucial role during a major crisis. Kate was also a trusted adviser to the Executive Team and mixed professionalism and a bit of fun masterfully.
It was a pleasure to work with Kate. She has great ideas, thinks strategically and is delivery focused. She is also an inspiring leader with clear vision and clarity of communication.
Her fast pace and attention to detail is impressive and she is always quick to change approach based on latest evidence and insight to get the best from campaigns and communications.
Kate is a team player and also a challenger at heart. I have found her counsel to be expert whilst remaining innovative and leading.
She has a strong focus on leadership and diversity but most of all is incredibly fun to work with. I would recommend Kate in a heartbeat.
Kate is an accomplished, experienced communications professional and is always good fun to work with.
Enthusiastic and positive about the role of effective communications in securing outcomes.


Hello, searching for machinery to buy, I have found your 2011 Bomag Bomag BW161AD-4 for sale on https://www.usedmachineryfinder.com/bomag-bomag-bw161ad-4-for-sale/KTEAPc5E. If you have not yet sold this machine, please contact me at your earliest convenience. Else, are you currently offering other machines that might match my criteria? Thank you and kind regards!


text:
MARTA Launches New Public Art Program
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MARTA launched its new ArtsBound program at Five Points Station.
MARTA, Atlanta's rapid transit authority, has launched a new program, ArtsBound, to add public art and performances throughout the system. Using the percent-for-art model that funds public art in numerous cities, MARTA will set aside one percent of its annual budget, amounting to $2.5 to $3 million in funding for the art projects.
ArtsBound will include permanent installations as well as performances, art-focused community activities and system-wide art restoration projects. The program was launched on Monday, June 19, at an event at Five Points MARTA Station that included Moving in the Spirit dance company and cellist Jenn Cornell.
Last December, MARTA hired Katherine Dirga, the former manager of the Hartsfield-Jackson International Airport art program, to spearhead the new initiative, which was approved by MARTA's Board of Directors in 2016.
"Our approach is to install high-quality, captivating pieces that transcend various artistic genres and reflect, in some way, the vibrancy and history of the community," said Dirga. She says they'll soon be putting our a call for artists for the permanent commissions, with temporary commissions to come in the future. Fahamu Pecou will install a large mural this year at the H.E. Holmes station (in collaboration with WonderRoot), and a call will be going out for a piece in the underpass at Grant Street at King Memorial.
Keith Parker, MARTA's CEO, said that installing a work at the H.E. Holmes station was a priority. Hamilton Holmes was one of the first black students to attend the University of Georgia and later earned his M.D. at Emory University. Parker hopes to teach the public about Holmes and other individuals and topics through public art.
In no small way, ArtsBound is modeled after New York City's MTA Arts & Design program (previously Arts for Transit). Its director, Sandra Bloodworth, will be speaking at Atlanta Contemporary on July 20 [click here for info]. Dirga will also present at the event, which is sponsored by MPAC (Metropolitan Public Arts Coalition) and the Fulton County Arts Council.


text:
DEWA 2022 profit is $3bn
DEWA reported consolidated revenue of $7.46 billion.
UDC posts $107mn net profit
Established in 1999, UDC was first listed on the Qatar Exchange in June 2003.
Inma Holding's profit spikes
Its net profit jumped 61.7%, touching $2.69m in 2022.
QIMC profit rises by 9.8%
Its profit rose to $42m during 2022 as against $38m in 2021.
Equinor posts record profit
Output slipped by 2% to 2.04 million barrels per day of oil equivalent.
LATEST NEWS /
Morocco criticizes 'unjust' EU campaign over Pegasus spyware
Algeria recalls envoy from France in fresh outbreak of tensions
Innovations chart Dubai's path to sustainable future
Unicorns benefit as KSA, UAE diversify investments
$580m investment, 2 tech skills academies pledged at LEAP 23
Business, Economy, Energy, Global, Science, Climate Change
UN nature deal calls to protect 30% of planet by 2030
The deal called on countries to ensure that by 2030 at least 30 percent of terrestrial, inland water, and coastal areas are conserved. (AFP)
By TRENDS Desk AFP
It called on wealthy countries to increase financial aid to the developing world to $20 billion annually by 2025.
Developing countries, spearheaded by Brazil, were seeking the creation of a new fund to signal the global north's commitment to the cause.
MONTREAL, CANADA – A UN nature deal proposed Sunday calls to protect at least 30 percent of the planet by 2030 and asks rich countries to stump up $20 billion in yearly aid for developing nations to save their ecosystems.
China, chairing the COP15 biodiversity summit in Montreal, presented a long-awaited compromise text aiming to seal a pact to save the species and ecosystems on which life depends.
It called on wealthy countries to increase financial aid to the developing world to $20 billion annually by 2025, rising to $30 billion per year by 2030.
The document also called on countries to "ensure and enable that by 2030 at least 30 percent of terrestrial, inland water, and coastal and marine areas" are effectively conserved and managed.
Crucially, it includes language safeguarding the rights of Indigenous people as stewards of their lands, strongly backed by campaigners.
The compromise text was quickly welcomed by conservationists, but still needs to be agreed upon by the 196 signatories to the Convention on Biological Diversity before it is finalized.
More than 10 days of fraught biodiversity negotiations came to a head as delegates examined the compromise draft agreement just as the football World Cup between France and Argentina kicked off in Qatar.
A plenary session was scheduled for Sunday evening when countries will have the opportunity to approve the deal. Negotiations over the past 10 days have been slow however and observers warned the talks, scheduled to end on Monday, could run over.
Risk of pushback
The proposal "responds to parties' calls for ambitious outcomes by 2030, including calls to enhance ecological integrity, reduce the risk of pathogen spillover, and conserve at least 30 percent of our lands and oceans," said Alfred DeGemmis of the Wildlife Conservation Society in a statement.
"However, parties may push back in plenary, so it's important for China to bring any hesitant governments on board with the overwhelming global consensus that biodiversity loss is an urgent crisis that requires immediate action."
He also cautioned that much of the text was too focused on action by 2050, as opposed to more immediate achievements by 2030.
Another key issue to watch for is the funding mechanism.
Developing countries, spearheaded by Brazil, were seeking the creation of a new fund to signal the global north's commitment to the cause. But the draft text instead suggests a compromise: a "trust fund" within the existing Global Environment Facility.
China's Environment Minister Huang Rinqiu said ahead of Sunday's publication: "It is not a perfect document, not a document that will make everyone happy. However… it is a document that must be adopted at this meeting, that is highly expected by the international community."
Observers had warned the COP15 conference risked collapse as countries squabbled over how much the rich world should pay to fund the efforts, with developing nations walking out of talks at one point.
But Huang said Saturday he was "greatly confident" of a consensus and his Canadian counterpart Steven Guilbeault said "tremendous progress" had been made.
Million species threatened
Delegates are working to roll back the destruction and pollution that threaten an estimated one million plant and animal species with extinction, according to scientists that report to the United Nations.
The more than 20 targets also include reducing environmentally destructive farming subsidies, requiring businesses to assess and report on their biodiversity impacts, and tackling the scourge of invasive species.
Representatives of Indigenous communities, who safeguard 80 percent of the world's remaining biodiversity, want their rights to practice stewardship of their lands to be enshrined in the final agreement.
The issue of how much money the rich countries will send to the developing world, home to most of the planet's biodiversity, has been the biggest sticking point.
Lower income nations point out developed countries grew rich by exploiting their resources and therefore they should be paid to protect their own ecosystems.
Current financial flows to the developing world are estimated at around $10 billion per year.
Several countries have recently made new commitments.
The European Union has committed US$7.4 billion (seven billion euros) for the period until 2027, double its prior pledge.
SPEEDREAD
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There will be only one major change during this rating round. Last time, we published full and detailed rating results only for think tanks in the United States. This time, our report will list every think tank worldwide by name and the number of stars received.
Our raters may miss information uploaded onto websites after this date, and we cannot revisit websites we have already rated due to logistical constraints.
While Transparify obviously encourages all think tanks to make the changes required to achieve a minimum of four stars, this is especially true for those institutions that in early 2014 told us that they would place more information online soon. They were highlighted in our 2014 report and data set as "updating" and listed on a special page on our website.
If your think tank has any questions about the ratings process, or needs help in becoming more transparent, please look at our website's Frequently Asked Questions and subscribe to our email updates. You can also follow us on Twitter and connect on Facebook. For any further questions, please contact our advocacy manager, who will be happy to assist you.
One year ago, Transparify was able to celebrate a 40% increase in the number of transparent think tanks around the world. We look forward to welcoming many more institutions into the family of transparent think tanks during our second rating round!
For your convenience, here is how to achieve 5-star transparency.


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'The Bodyguard' Set To Open May 2 At Pantages
The first U.S. National tour of the hit musical THE BODYGUARD, will celebrate its Los Angeles premiere at Hollywood Pantages Theatre for a 3-week engagement; May 2 – 21, 2017.
Tickets for THE BODYGUARD are on sale and are available for purchase at www.HollywoodPantages.com or www.Ticketmaster.com, by phone at 800-982-2787, and at the Hollywood Pantages Box Office (6233 Hollywood Boulevard). The box office opens daily at 10am except for Holidays.
Grammy® Award-nominated and multi-platinum R&B/pop recording artist and film/TV actress Deborah Cox stars as Rachel Marron. In the role of bodyguard Frank Farmer is television star Judson Mills.
Based on Lawrence Kasdan's 1992 Oscar nominated Warner Bros. film, and adapted by Academy Award-winner (Birdman) Alexander Dinelaris, THE BODYGUARD had its world premiere on December 5, 2012 at London's Adelphi Theatre. THE BODYGUARD was nominated for four Laurence Olivier Awards including Best New Musical and Best Set Design and won Best New Musical at the Whatsonstage Awards. The UK production of the musical recently completed a triumphant return run in London's West End after a sell-out 16-month UK and Ireland tour.
Former Secret Service agent turned bodyguard, Frank Farmer, is hired to protect superstar Rachel Marron from an unknown stalker. Each expects to be in charge; what they don't expect is to fall in love. A romantic thriller, THE BODYGUARD features a host of irresistible classics including So Emotional, One Moment in Time, Saving All My Love, Run to You, I Have Nothing, I Wanna Dance with Somebody and one of the biggest selling songs of all time –I Will Always Love You.
Rounding out the principal cast are Alex Corrado (Gotham, Hannibal) as Tony Scibelli, Rachel's personal security guard, Jarid Faubel (Black & White, X-Men: First Class) as FBI agent Ray Court, Charles Gray (Broadway: The Color Purple, Tour: The Lion King) as manager Bill Devaney, Jonathan Hadley (Broadway: Jersey Boys, A Class Act) as publicist Sy Spector, Jorge Paniagua (Regional: The Full Monty, Oregon Shakespeare Festival) as the Stalker, Jasmin Richardson (Tour: Memphis, Dreamgirls) as Rachel's sister Nicki Marron, and Douglas Baldeo (Broadway: Kinky Boots, Tour: Motown) and Kevelin B. Jones III (Idlewild Music Festival) alternating in the role of Rachel's son Fletcher.
The ensemble includes Brendon Chan, Willie Dee, Megan Elyse Fulmer, Alejandra Matos, DeQuina Moore, Bradford Rahmlow, Benjamin Rivera, Sean Rozanski, Matthew Schmidt, Jaquez André Sims, Maria Cristina Slye, Nicole Spencer, Lauren Tanner, and Naomi C. Walley.
Direction is by Thea Sharrock. Set & costume design is by Tim Hatley, lighting design by Mark Henderson, sound design by Richard Brooker and video design by Duncan McLean.
Choreography is by Karen Bruce, orchestrations by Chris Egan, musical supervision by Richard Beadle and production musical supervision by Mike Dixon. Musical director Matthew Smedal conducts the live orchestra.
The U.S. National tour of THE BODYGUARD is produced by Michael Harrison, David Ian and Nederlander Presentations, Inc.
The performance schedule for THE BODYGUARD is Tuesday through Friday at 8 p.m., Saturday at 2 p.m. & 8 p.m., and Sunday at 1 p.m. & 6:30 p.m. Opening night is Tues., May 2, 2017, at 8 p.m. Deborah Cox is not scheduled to perform at the matinee performances.
THE BODYGUARD is recommended for ages 13 and up. (Children under 5 will not be admitted to the theatre. All patrons must have a ticket, regardless of age.)
Individual tickets for THE BODYGUARD start at $35. Prices are subject to change without notice. For more information, visit www.TheBodyguardMusical.com
For tickets or more information about the Los Angeles engagement of THE BODYGUARD, please visit the official website for Hollywood Pantages Theatre: www.HollywoodPantages.com/TheBodyguard.
Performances Begin For Mark Taper's 'Archduke'
L-R: Ramiz Monsef, Patrick Page and Josiah Bania
in the world premiere of Rajiv Joseph's "Archduke." Photo by Craig Schwartz.
Performances have begun for Center Theatre Group's production of "Archduke." Written by Rajiv Joseph, the world premiere of "Archduke" began previews April 25 and will continue through June 4, 2017, at the Mark Taper Forum. Opening night is set for May 7.
Directed by Giovanna Sardelli, the cast includes, in alphabetical order, Josiah Bania, Joanne McGee, Ramiz Monsef, Patrick Page, Stephen Stocking and Todd Weeks.
The creative team includes scenic design by Tim Mackabee, costume design by Denitsa Bliznakova, lighting design by Lap Chi Chu, music and sound by Daniel Kluger, casting by Telsey + Company and the production stage manager is David S. Franklin.
"Archduke" follows the unlikely path to terrorism as three strangers, already struggling to get by, receive a death sentence in the form of a tuberculosis diagnosis. But being young men with nothing to lose in Belgrade, 1914, makes them the perfect recruits for a secret organization looking to strike a blow in the name of Serbian nationalism.
"Archduke" explores the short journey from individual hardship to public harm as personal desperation is cultivated into an act with international significance and a few average men spark World War I.
Rajiv Joseph's "Bengal Tiger at the Baghdad Zoo" premiered at the Kirk Douglas Theatre in 2009 before moving to the Taper in 2010 and Broadway in 2011. "Bengal Tiger at the Baghdad Zoo" was named a 2010 Pulitzer Prize finalist for Drama and was also awarded a grant for Outstanding New American Play by the National Endowment for the Arts. Joseph's play "Guards at the Taj" was a 2016 Obie winner for Best New American Play and 2016 Lucille Lortel winner for Best Play. His other plays include "The North Pool," "Gruesome Playground Injuries," "Animals Out of Paper" and "The Lake Effect." His plays have been translated and produced worldwide.
'Dr. Du Bois and Miss Ovington': A Review
Melanie Cruz and Ben Guillory
Photos by: Matthew Leland
Like a fly on the wall, the audience is able to listen to candid conversations between Dr. W.E.B. Du Bois and NAACP co-founder Miss Ovington in the Robey Theater Company production of Dr. Du Bois and Miss Ovington, currently playing through May 21, at the Los Angeles Theatre Center (LATC).
Dr. W.E.B. Dubois was and continues to be a larger than life figure in the civil rights movement. He was best known for ruffling feathers by saying exactly what was on his mind.
Dubois, who co-founded the National Association for the Advancement of Colored People (NAACP) was considered one of the most important black protest leaders in the United States during the first half of the 20th century.
A civil rights activist, Pan-Africanist, sociologist, educator, historian, writer, editor, poet, and scholar, Du Bois publicly fought for the civil rights of African Americans and was vocal about his opposition to racism. Miss Ovington was also an intellectual who could stand toe-to-toe with Du Bois.
Photo credit: Blaze
This two-person, one-act, presentation is performed by Melanie Cruz, who plays Miss Ovington and Ben Guillory, who, in addition to playing W.E.B. Du Bois, also directs.
When the play opens it's a Sunday morning in June 1915 and both Dr. Du Bois, who, of course, is black and Miss Ovington, who is white, have arrived at the NAACP office to catch up on their work. Co-founders of the organization, neither knew the other would be there. Du Bois is there to put the finishing touches on his fourth resignation letter to the organization. The only Black man in a leadership position at the NAACP at the time, he's grown weary of the organization pulling the strings. He does not want to report to a committee of three. He wants the NAACP's board to treat him as an equal or he'll leave the NAACP.
Melanie Cruz
This play brings Miss Ovington's unknown and untold role as a co-founder of the NAACP to life.
In this production a reserved Miss Ovington tries to talk Du Bois off the ledge. After all, because she believes Du Bois is the power behind the NAACP, she wants to save the organization by convincing him to stay and continue his work. As the afternoon wears on, the two wax philosophical about race, civil rights, justice and even relationships. Soon, sexual tension fills the office and the two of them have to quickly decide their next move. Their attraction for and to each other is palpable. It's an interesting turn of events because Du Bois is married, but he is rarely in the same room as his wife, who lives in London. Miss Ovington is single, but isn't serious about anyone.
There is some rich dialogue in Clare Coss's slow and deliberate piece. There isn't much action, but the play flows on the strength of the examination of two bright historical figures. The attempt is to peel back the curtain just enough to peek in and see a different side of Du Bois and to reveal the importance of Miss Ovington to the organization's success. We find that Du Bois wasn't that much different than his public persona. His gate was still reserved and rigid, his opinions verbally dispersed. With Ovington it's a wide open canvass as not much about her has even been discussed.
Ben Guillory
Both Guillory and Melanie Cruz are a delight to watch as they spar. Both move about the stage with confidence. Guillory is always a commanding figure on stage. He brings an undeniable dignity to the role. Cruz is an absolute delight with her delicate movements and her radiant and beatific expressions. She delivers a strong, charming and feisty Miss Ovington.
Under the direction of Ben Guillory, Dr. Du Bois and Miss Ovington flows freely. Thomas Meleck's impressive set, Michael David Ricks' lighting, Ivan Robles' sound and Naila A. Sanders' costumes makes for a full and convincing production.
Dr. Du Bois and Miss Ovington, written by Clare Coss and directed by Ben Guillory, stars Guillory and Melanie Cruz.
The show is produced by The Robey Theatre Company in association with Los Angeles Theatre Center.
On the DONLOE SCALE: D (don't bother), O (oh, no), N (needs work), L (likeable), O (oh, yeah) and E (excellent), Dr. Dubois and Miss Ovington gets an O (oh, yeah).
Dr. Dubois and Miss Ovington, Los Angeles Theatre Center, Theatre 4, 514 S. Spring St., Los Angeles; 8 p.m., Thur.-Sat; 3 p.m. Sun. through May 21; $20-$30; For information: (213) 489-7402, (866) 811-4111 or www.thelatc.org.
MdFF Announces Opening & Closing Night Films
BALTIMORE (Wednesday, April 26, 2017) – Today Maryland Film Festival (MdFF) announced the complete guide for the opening night short films and closing night film for the 19th annual Maryland Film Festival, taking place May 3-7 in Baltimore, Maryland. The complete festival program, schedule and tickets for all screenings are now available online at http://mdfilmfest.com/film-guide/ and is also available for download as a PDF from that page.
GRAND OPENING / OPENING NIGHT FILMS
The festival will kick-off with the Opening Night Shorts program, the Grand Opening and first public event in the festival's new home, the Stavros Niarchos Foundation Parkway, the stunning newly-renovated three-screen theater in the heart of the city's Station North Arts and Entertainment District. The evening is hosted by MdFF alums Kris Swanbergand Josephine Decker. The opening night event will be held on Wednesday, May 3 at 8 PM at the Parkway.
The five films in the opening night shorts program are: BALLONFEST from director Nathan Truesdell, COMMODITY CITY from director Jessica Kingdon, GAME from director Jeannie Donohoe, RICHARD TWICE from director Matthew Salton, and THEY CHARGE FOR THE SUN from director Terence Nance. All five directors will be in attendance. In fact, all U.S. feature films and all Opening Night Shorts are hosted by their filmmakers, and many more filmmakers will be in attendance across MdFF 2017's international features and 10 shorts programs, continuing a unique MdFF festival tradition.
BALLONFEST, Nathan Truesdell, 6 minutes, USA
Cleveland attempts to overcome its nickname, 'The Mistake by the Lake' by launching a bunch of balloons.
COMMODITY CITY, Jessica Kingdon, 10 minutes, USA
Commodity City is an observational documentary exploring the daily lives of vendors who work in the largest wholesale consumer market in the world: the Yiwu Markets in China. The film explores moments of tension between commerce and individuality, between the goods for sale and the humans who sell them.
GAME, Jeannie Donohoe, 16 minutes, USA
A new kid in town shows up at the high school boys basketball tryouts and instantly makes an impression. Will talent and drive be enough to make the team?
RICHARD TWICE, Matthew Salton, 10 minutes, USA
Richard Atkins, the singer and songwriter of the early 70's California psychedelic folk duo 'Richard Twice', was on his way to stardom and a huge success with his first debut album when he mysteriously walked away from it all.
THEY CHARGE FOR THE SUN, Terence Nance, 17 minutes, USA
In a dystopian future where people live nocturnally to avoid the harmful rays of the sun, a young black girl unravels the lie that has kept her and her sister in the dark.
CLOSING NIGHT FILM: THE HERO
Director Brett Haley will present his beautiful narrative feature THE HERO, the festival's closing night film, at the Parkway on Sunday, May 7 at 7:15 PM.
THE HERO stars the legendary Sam Elliott as an aging actor confronting mortality in the moving new film from writer/director Brett Haley (I'LL SEE YOU IN MY DREAMS). Lee Hayden (Elliott) is a Western icon with a golden voice, but his best performances are decades behind him. He spends his days reliving old glories and smoking too much weed with his former-co-star-turned-dealer, Jeremy (Nick Offerman), until a surprise cancer diagnosis brings his priorities into sharp focus. He soon strikes up an exciting, contentious relationship with stand-up comic Charlotte (Laura Prepon), and he attempts to reconnect with his estranged daughter, Lucy (Krysten Ritter), all while searching for one final role to cement his legacy. THE HERO is a beautiful and poignant celebration of life and the legacies we all leave behind.
NOTABLE WORLD PREMIERES & U.S. PREMIERES
The festival will feature world premieres of two excellent narrative feature works, Stephen Cone's nuanced coming-of-age drama PRINCESS CYD (the follow-up his highly-acclaimed recent film HENRY GAMBLE'S BIRTHDAY PARTY) and Josh Crockett's hilarious and insightful DR. BRINKS & DR. BRINKS. It will also feature the U.S. premiere of Ashley McKenzie's haunting and uncompromising narrative feature WEREWOLF and Hugh Gibson's documentary feature THE STAIRS.
PRINCESS CYD – World Premiere (Narrative Feature)
Director: Stephen Cone
Thursday 5/4 at 8 PM at MICA Gateway Building
Friday 5/5 at 11:30 AM at MICA Gateway Building
Saturday 5/6 at 4:40 PM at Parkway Auditorium 3
Eager to escape life with her depressive single father, 16-year-old athlete Cyd Loughlin visits her novelist aunt in Chicago over the summer. While there, she falls for a girl in the neighborhood, even as she and her aunt gently challenge each other in the realms of sex and spirit. From the director of Henry Gamble's Birthday Party, which had its world premiere within MdFF 2015.
Princess Cyd is playing with the short film IMAGO from director Liz Cardenas Franke. The courageous, life-altering decision to never let anyone bully him ever again – not even his own father – leads a 15-year-old gay teen to fully embrace his true identity. (8 minutes, USA)
DR. BRINKS & DR. BRINKS – World Premiere (Narrative Feature)
Director: Josh Crockett
Thursday 5/4 at 7:40 PM at Parkway Auditorium 2
Friday 5/5 at 4:50 PM at MICA Gateway Building
Sunday 5/7 5:15 PM at Parkway Auditorium 2
Marcus and Michelle Brinks reunite at the funeral for their parents, crazy aid workers who rarely stuck around to do any parenting. As their lawyer sorts out the convoluted estate of the globe-trotting doctors, who may not be the angels they were thought to be, the siblings turn their lives and relationships into chaos while reckoning with their shared past. The movie is about pain, loss, sex, ego…about the search for real family and the strong pull of roots. It's hard to be the children of saints. The first feature from the director of such short films as Dogsbody (MdFF 2016).
WEREWOLF – U.S. Premiere (Narrative Feature)
Director: Ashley McKenzie
Friday 5/5 at 10 PM at MICA Gateway Building
Blaise and Nessa are outcast methadone users in their small town. Each day they push a rusty lawnmower door-to-door begging to cut grass. Nessa plots an escape, while Blaise lingers closer to collapse. Tethered to one another, their getaway dreams are kept on a suffocatingly short leash.
THE STAIRS – U.S. Premiere (Documentary Feature)
Director: Hugh Gibson
Friday 5/5 at 7:05 PM at Parkway Auditorium 3
Sunday 5/7 at 2:40 PM at Parkway Auditorium 2
The Stairs tells the story of Marty, Greg and Roxanne, each of whom survived decades of street-involvement. Using their experiences to ease the paths of others, each performs social work in their old neighborhood, while struggling to maintain their newly-found stability. Told over five years, The Stairs is a non-judgmental character study of life on society's margins. Defying stereotypes through intimate portraits, its remarkable subjects are by turns surprising, funny, shocking and moving.
About MdFF – Founded in 1999, MdFF brings films, filmmakers, students and audiences together in a friendly, inclusive atmosphere. Through the organization's annual five-day Maryland Film Festival each May, daily programming at the Stavros Niarchos Foundation Parkway in the Station North Arts and Entertainment District, and the Maryland Filmmakers Fellowship, MdFF reflects the unique creative aspects of Baltimore's community, while participating in the film and cultural dialogue across the country and the world. Film for Everyone. Every Day. More information about MdFF is available at www.mdfilmfest.com.
About the Maryland Film Festival – Now in its 19th year, the Maryland Film Festival is the annual, five-day celebration of film held each May by MdFF. Centered in and around the Stavros Niarchos Foundation Parkway in Baltimore's Station North Arts and Entertainment District, Maryland Film Festival champions films and filmmakers with diverse and engaging viewpoints. The Film Festival screens filmmaker-hosted features and short films of all varieties—narrative, documentary, animation, experimental, and hybrid—to thousands of attendees. Film for Everyone. Every Day. More information about Maryland Film Festival is available at www.mdfilmfest.com.
About the Stavros Niarchos Foundation Parkway – Debuting in May 2017, the Stavros Niarchos Foundation Parkway is the new home of MdFF, the organization that creates and delivers the annual Maryland Film Festival. An $18.2 million "rescued ruin," the Parkway features curated, bold programming that showcases films from every era, region, and genre, with a focus on independent, international, documentary, classic, and cult-favorite films, providing audiences with a fresh and immersive new window into the art form. In addition, the Parkway provides classroom space for film students and is a year-round hub for film education and the Baltimore community. Film for Everyone. Every Day. More information about the Parkway is available at www.mdfilmfest.com.
Jade Wheeler Stars In Drama, The Originalist
Jade Wheeler and Edward Gero
The Originalist, a play written by John Strand and directed by Molly Smith, takes an up-close-and-personal look at the late Supreme Court Justice Antonin Scalia. It takes place in and around Washington, D.C., during the 2012-2013 term of the U.S. Supreme Court.
It doesn't exactly sound like a production that will have audiences flocking to buy tickets. After all Scalia, who died February 13, 2016, wasn't exactly thought to be a warm and fuzzy figure. In fact, he was arguably considered one of the most combative and polarizing jurists in history. That being said, the play, currently running at the Pasadena Playhouse through May 7, 2017, is not only a popular show, it's doing exactly what it's meant to do – not change anyone's opinion of the man, his views or ideas, but rather to make people think and then think again. Who knew Scalia had a wicked sense of humor? He was actually funny.
When a bright, liberal law school graduate named Cat embarks on a nerve-wracking clerkship with Scalia, she discovers him to be both an infuriating sparring partner and an unexpected mentor.
The three-person play, which premiered at the Arena Stage, The Mead Center for American Theater, Washington, D.C., on March 6, 2015, stars four-time Helen Hayes Award recipient Edward Gero as Scalia, Brett Mack as Brad and Jade Wheeler as Cat, his liberal law clerk.
Wheeler, an army brat whose father was in the military, calls Washington, D.C. home although she grew up with her two older sisters and half-brother "kind of all over."
A thespian that honed her craft from coast to coast, Wheeler went to George Mason University in Virginia. She trained twice at acting workshops in France at Ferme de Trielle, in Spain at The Actors Space and in Ireland at The Gaiety School of Acting. She also trained at several acting workshops in D.C.
Jade Wheeler
I recently caught up with the feisty, amiable Wheeler to discuss her role in the play and how her involvement has or hasn't changed her opinion of the now deceased Supreme Court Justice Antonin Scalia.
DD: Describe The Originalist.
JW: I like to basically say it's a political drama that is, sort of investigating civil discourse and how we all have, sort of, taken sides. It feels like the good guys against the bad guys. Everyone thinks they are the good guys.
DD: You played Cat before. How has the character evolved since you first played her at the Asolo Repertory Theater in Florida?
JW: I played Cat at the Asolo. It was my first time with the character and the piece. There, I was still sort of feeling her out. Sometimes you put on a new garment and you say, "How do I feel in this?" You eventually become comfortable and you're really in there. It's like a glove. At Asolo, because I was new to the role, I was still thinking a lot about it and becoming aware. This time it feels lived in. Now we get to go deeper into the character and process the relationship. Not to say it was on the surface at Asolo. It's just that now the words are really in my body and mind. We've lived and we're all in different places now. Even the audience hears something different. When we first started the show on Inauguration Day 2017 – it was tense in the country. Now we've been living with the administration for a few months. Things have shifted. We've lived and breathed it a bit more. Jan. 20, 2017, we opened at Asolo. Audiences were holding their breath. Imagine after the women's march and after Neil Gorsuch was voted in (as the Associate Justice of the Supreme Court of the United States) – all of the political and social events that have been happening, the audience is bringing those experiences into the theater, even though the play takes place in 2012-2013. This show is very interesting.
DD: Tell me about your character, Cat, and why you wanted to play her.
JW: So, Cat is the clerk in the play. She acknowledges that she and Scalia are more alike then she had thought earlier on – in their personalities and even in superficial ways. Both of their fathers were professors of literature. They both went to Harvard. She is tough as nails. She loves a good argument. She loves law. She loves to study and know that what she is saying is right. She is willing to learn. She's a nice, juicy character. She's someone any actor would love to play. She's passionate and does everything 100%. She has her flaws like anyone else. She's not afraid to admit that. She's proud and humble. She shows a brave face, but she knows how to check in and say this is what I need in order to grow and become a better person. That's what's really beautiful about her. That's her fighting spirit.
DD: How did you prepare for this show?
JW: When I found out I booked the role, immediately I started going through the script and highlighting names for the different court justices and for the presidents as well. In this play, I wanted to know a lot more about them so I could have a valid opinion so that when a name is brought up, I have an opinion and feeling about it. I also highlighted court cases. Cat has very strong feelings about them. That was the dramaturgical portion. I'm always thinking what is her history and background and relationship to these other people. I think about what the playwright has given me and what it is that I already know?
DD: What do you think about Scalia now that you've lived with the character?
JW: To be honest, I've never been hugely political. I've been pretty objective. I'm not going to say he was my favorite. I never had strong negative feelings about him either. I've taken things with a grain of salt. I've always been a bit of a devil's advocate. I learned about his personal side – the stuff you don't see. I learned about his sense of humor and the relationship he had with his colleagues.
DD: Do you and your character agree philosophically?
JW: As actors we always have something with our characters. The starting point is to find a commonality. Find a truth. That's the way that we can perform something and breathe life into our characters. Cat and I both want a pure freedom for everyone. Some saw Scalia as Mr. Far Right!
DD: In an early scene, Cat tells the justice: "You are probably the most polarizing figure in American civic life." Do you feel the same way?
JW: Maybe. In 2012, I think Scalia was the hot button topic. People loved him or hated him.
DD: Why should audiences come see this show?
JW: I think the audiences should see the show because I'm the one that thinks people should see everything. I like to see everything, especially if I know nothing about it. I try to see as much as possible to constantly challenge myself and keep an open mind. Some audiences after the show say they didn't think they would come see a show about Scalia. They say they are surprisingly pleased because they didn't think they would enjoy watching something about him. They came in one way and left another. We're not out to change your opinion. The show is setting out to say something about the conversation. Audiences need to see the show because we all need to grow and expand.
DD: What do you like about Cat and what don't you like about Cat?
JW: I love Cat. She's amazing. She's like a superhero. It makes me wish that Jade was a bit more like her at her age.
DD: How do you prepare to go onstage? Any rituals?
JW: It depends on the show. With some shows it's a vocal warm up or stretching. With a historic character I would make sure I'm walking as that person and getting in their voice. With Cat, she's very grounded and put together. I have to make sure my (hair) bun is tight and that I'm grounded. Her voice is a bit more commanding than mine. I get into her vocal range. I like to write in her notepad. I write notes on the legal pad. The rituals are the writing and some shake out.
DD: What do you mean by shake out?
JW: I literally just shake. Get some oxygen to your blood. I do it to get out of Jade's body and into Cat's.
DD: What are you most proud of in your career and why?
JW: I think that answer changes often. Right now I'm most proud of doing a show that is so important and relevant. I'm really proud of this project. It's making an impact on people. I'm happy to be working as an actor.
DD: Why did you want to be an actress?
JW: I actually wanted to be a paleontologist. I love dinosaurs. I thought I'd be excavating bones. Then, my father was in the military. We traveled a lot. When we came back to the states my mother put us in a drama camp one summer. At that point I didn't want to do paleontology anymore. I wasn't sure what I was going to do. I decided to major in theater. I graduated from George Mason University where I majored in theater and minored in French. I graduated and didn't know what I was going to do.
DD: What is the one thing you have to do – in order to consider yourself successful in this biz?
JW: That again is something where the answer changes often. Not having to work part time in restaurants and bars. I have a bucket list of theaters I want to work with. I want to do important, meaningful work. That's all I can really ask for. Traveling for my art has always been important to me. It's huge. It forces us to constantly reevaluate ourselves. It's a constant learning thing. My dream is to perform in France, in French. That's my next level of pure success. There isn't just one definition for success.
DD: What's next for you after this show?
JW: We close here May 7, then we're going to Washington, D.C. and then Chicago. After that, I go directly to Miami to perform at the GableStage. I'm doing The Legend of Georgia McBride. It's here at the Geffen right now. Then I go back to D.C. and pick up with this show.
DD: It sounds like you're very busy.
JW: I'm never busy enough.
The Originalist, Pasadena Playhouse, 39 S. El Molino Avenue, Pasadena, California; 8 p.m., Tues. – Fri.; 4 and 8 p.m. Sat., and 2 p.m., Sunday. (There will be one Sunday evening performance at 7 p.m. on April 30); $25 – $80; For information: PasadenaPlayhouse.org, 626-356-7529.
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