When it comes to financial crime compliance, a lot can change in 20 years. Just ask Jorge Guerrero, the chief executive of Optima Compass Group, a consultancy that, like the man himself, is pushing the boundaries of convergence and technology to better counter criminals.
The Texas resident and former Manhattanite has seen the field of anti-money laundering (AML) go from an afterthought – at times given to the bank worker with too much time on their hands and just enough smarts to know not ask too many questions – to a front-burner issue commanding the attention of top executives, boards and government agencies.
But in a field buzzing with the electric hum of new technologies, one piece of advice from an unlikely source guides Guerrero – a simple phrase from a New York doorman before he went to law school that was "prophetic" in its prescience: follow the money.
The axiom has guided Guerrero, who was born in the Dominican Republic, even as the tools available to compliance professionals have gone from "sigh" to sci-fi.
Currently global banks, regulators and fintech firms are tinkering with the intersection of AML and artificial intelligence, machine learning, blockchain, and swimming social media with classic customer details to better gauge risk, a global initiative to give richer and more valuable intelligence to law enforcement, satisfy ever more nitpicky regulators and counter increasingly creative criminals.
Here are some of his thoughts in the latest ACFCS Member Spotlight.
I am the Chief Executive Officer of Optima Compass Group, where I have worked for 12 years. I am also a lawyer. In my job, I work with banks, money services businesses and other financial institutions to improve in a broad array of compliance areas, including AML, identifying and countering fraud and also crafting stronger cybersecurity defenses, responding to attacks and recovering systems and data to restore normal business operations.
What does your career trajectory in financial crime look like?
I worked in big Washington, D.C. firms when I first graduated from law school. As well, I had a law firm in New York. I was also the first president and cofounder of the National Money Transmitters Association. I was also a financial crime compliance officer at Vigo remittance for three years. Then I jumped into AML consulting.
Follow the money. Literally. That was from a doorman at a building in New York where I was working during the summer as a part time job before I went to law school. I told him about my plans, and he said, "I have one piece of advice for you. Follow the money." As it turns out he was prophetically right.
What is the worst advice you have ever gotten?
Don't sweat the little stuff. In AML, you have to sweat everything. Because little details can end up being pretty important in compliance and in law. Both of them. One example of that is some banks may not realize the compliance obligations that apply to financial institutions don't just come from regulations. They may come from opinions issued by the regulators but also legal opinions by the courts. It's important for compliance professionals to take a more holistic approach to considering other sources of obligations.
What would you say are the most important attributes for someone in your role to be able to succeed?
In the compliance field, I would say being able to see the big picture. Being able to connect what you do to the greater consequences of what you are doing. We are all doing our little parts but it's for a greater good. That places greater importance on doing it well.
On that note, what do you think of U.S. regulators' calls for convergence?
It's critical to be converged and know compliance requirements, best practices and guidance beyond AML, including fraud and cyber. Not doing that is like going into a fight with one hand tied behind your back. You won't get much for your effort. Limiting the information you have at your disposal to process is generally not a good idea, particularly when we deal with the complex issues that we see in the compliance world.
That's because when it comes to AML, it really cut across multiple subject matter areas. For instance, something that starts out as a money laundering attempt will get you into the underlying crime. And the underlying crime may be a cybersecurity event. That affects the institution but also affects the client. That one investigation may evidence deficiencies in information technology or processing, not necessarily in compliance. You truly have to have a comprehensive view of the risks in order to apply effective controls.
How has (compliance, investigations, etc.) changed and evolved during your career?
When I first started out, the role of the compliance officer was greatly diminished. The person that would be appointed as a compliance officer was the one the owner finds reading the newspaper all the time and not doing a lot of work. That person was eminently qualified to be the compliance officer. (Guerrero laughing.) But the position has evolved to requiring a more technical and scientific approach. Now, compliance teams use big data, analytics, predictive logic and algorithms in developing tools to better help us do our job today.
As for my company, that is what we do. Our AML Compass program uses artificial Intelligence to connect our system to social media, and gets a better picture of the customer that we have to know. Before, we had to know customer transactions to know them and see if they have the financial wherewithal to do the transaction, looking for things that don't make sense, such as a person with an average salary depositing or wiring that in a month.
But now we have the ability to know who the customer truly is to better understand if, in a particular transaction, it is being done by the actual customer or a fraudster. For instance, it can be very advantageous to know if a person is trying to do a transaction in New York, but their social media profile says they are in Los Angeles. That begs many questions. Is that just a flaw in a computer system? Or is it maybe the transaction is not done by you. AML compliance is becoming a very technically demanding position, whereas before you pretty much just needed to have a pulse and show up.
What do you see as key challenges related to financial crime in your role or in the sector overall?
Technology. And the ability to mask identities, mask transactions, and transcend geographic boundaries. But also technology is the antidote. It's one of the antidotes but you also need a clear thinking and intelligent person applying those controls and driving the technology. It's critical. The tech helps with the heavy lifting by reducing the universe of transactions to only those that need to be looked at. The bottom line is even the reduced number of transactions need to be looked at. But looking at them requires evaluation, analysis and conclusions. You have to use all of your senses and knowledge to both protect the institution and also apply surgical controls to maximize resources.
What motivated you to become a financial crime professional?
It's intellectually challenging. But also, I have seen a lot of movies. Being in compliance kind of feels like being an old-time private investigator.
Is there anything that surprised you about your current role?
That it exists. When I went to law school this was not a possibility. The role of AML or financial crime compliance officer was not discussed at all.
Why did you join ACFCS and/or become CFCS certified?
To enhance my skill set and stay up to date on the issues in this ever-changing landscape.
That we are on the right side of issues. This job is not only professionally rewarding, but you feel like you are making a solid contribution to society. It's rewarding financially, intellectually and rewarding morally.
Jorge Guerrero, a lawyer licensed in New York, concentrates in the areas of money laundering and fraud prevention and controls at financial institutions. He holds a Master of Science Degree and has worked with banks, non-banks, regulators and law enforcement agencies in the area of anti-money laundering compliance since 1996.


Preheat oven to 350 degrees F. Spray 12 individual 3-inch cake pans with baking spray and set aside. Or, when individual pans are not available, line a half-sheet pan with parchment paper, spray the paper and sides of the pan with baking spray and set aside.
Combine carrot cake mix and other ingredients in a large bowl. Beat with an electric mixer according to package directions, for about 3 minutes. Pour into prepared pans. Bake individual pans for 12-15 minutes or the half-sheet pan for 20-25 minutes. Set aside to cool for 10 minutes. Invert onto cooling racks and cool completely. (If using the half-sheet pan, Invert onto a cutting board, remove the parchment paper and cut into 3-inch circles using a round cutter.) Store in a container with a tight-fitting lid until ready to serve.
Beat cream cheese and confectioners' sugar with an electric mixer in a medium bowl until smooth. Gradually beat in the cream. Divide the mixture among the cups, filling to desired fullness. Tap the cups on the counter to remove air bubbles and place cups in muffin tins and freeze for 3-4 hours or overnight. Cut away the paper cups to serve.
Heat butter in a saucepan over medium heat. Add pecans and sauté until butter and pecans began to brown. Stir in brown sugar and half and half. Bring to a boil. Reduce heat and stir in the vanilla extract. Set aside.
*White chocolate carrots make a great garnish and they're simple to prepare without any special equipment. Simply melt a bar of good quality white chocolate in the microwave, stirring at one-minute intervals. Place one-third of the chocolate in a small bowl and color with two drops of green food coloring. Color the remaining chocolate with two drops each of red and yellow food coloring. Place the white chocolate in plastic sandwich bags. Line a baking sheet with parchment paper. Cut a tiny bit of the corner off of the orange bag and squeeze squiggly carrot shapes onto the paper. Cut a tiny corner off of the green bag and squeeze onto the paper to form the leaves. Freeze until firm.


We were discussing the "Elongation of uniformly tapering circular rod" and "Elongation of uniformly tapering rectangular rod" and also we have seen "Stress analysis of bars of composite sections" and "Stress analysis of bars of varying sections" with the help of previous posts.
Now we are going further to start our discussion to understand the concept of "Thermal stress in composite bar", in subject of strength of material, with the help of this post. We have already discussed the basics of thermal stress and strain and we will use that concept here too.
First we will understand here, what is a composite bar?
Composite bar is basically defined as the bar made by two or more than two bars of similar length but different materials and rigidly fixed with each other in such a way that it behaves as one unit and strain together against external load i.e. it behaves as single unit for compression and extension against compressive and tensile load.
We can say here from the definition of composite bar that strains will be same for each bar of composite bar and hence actual change in length will be similar for each bar or we can say that actual strain will be same for each bar of composite bar and we will use this concept during thermal stress analysis for composite bars.
Let us consider that we have one composite bar consisting two bars of different materials i.e. one bar of brass and other bar of steel and it is displayed here in following figure. Let us assume that we are now going to heat the composite bars up to some temperature, so what will be expected to occur?
As we know that if we are going to heat any material, there will be increase in temperature of the material and hence there will be increase in dimensions of the material. Similarly if we are going to cool the material, there will be decrease in temperature of the material and hence there will be decrease in dimensions of the material.
We can simply say that there will be free expansion or free contraction in the material according to the rising or lowering of temperature of the material. If free expansion or free contraction of the material due to change in temperature is restricted partially or completely, there will be stress induced in the material and this stress will be termed as thermal stress.
We must note it here that if free expansion or free contraction of the material due to change in temperature is not restricted i.e. expansion or contraction of the material is allowed, there will no stress developed in the material.
Now suppose if brass and steel both are not in composite in nature and we want figuring out the change in dimensions separately for steel and brass due to change in temperature, we will be able to say easily that change in length of the brass bar will be more than the change in length of the steel bar for similar rise in temperature of the bar and this is basically due to different co-efficient of linear expansion i.e. α for brass and steel.
Co-efficient of linear expansion i.e. α for brass will be more than as compared to steel and therefore change in length of the brass bar will be more than the change in length of the steel bar for similar rise in temperature of the bar.
But in this situation, brass and steel are in composite state and therefore both members of composite bars will not be able to expand freely. Hence the expansion of the composite bar, as a whole, will be less than that for brass but more than that for steel.
We must have to note it here that brass will be subjected with compressive load or compressive stress because steel will restrict the brass to expand up to the limit up to which brass could be expanded.
And similarly, steel will be subjected with tensile load or tensile stress because brass will force the steel to expand beyond the limit up to which steel could be expanded. In simple words, we can say that both members of composite bars will be under stress but one will be in tensile stress and other will be in compressive stress i.e. steel will be under tensile stress and brass will be under compressive stress.
We will see another important topic, in the category of strength of material, in our next post.


text:
---
published: true
title: Mirroring with rsync
layout: post
---
{% highlight ruby %}
rsync --progress -havz -e "ssh" root@108.166.xx.xx:/var/www/html ./
rsync --progress -havz -e "ssh -l ssh-user" rsync-user@host:/path/to/files/ /dest
rsync --progress -havz -e "ssh -p $portNumber" /local/path/ user@remoteip:/path/to/files/
{% endhighlight %}

{% highlight ruby %}
rsync -Phavz --stats -e "ssh -l geraldl" 50.57.xx.xx:~/aws/ ~/
rsync -Phavz --stats --exclude="*.mp4" ./* gluzangi@192.0.159.178:/media/gsung/
rsync -Phavz -AX --compress-level=9 --bwlimit=0 --stats -e "ssh -c blowfish -i /root/.ssh/id_rsa" admin@host.domain.com:/path/to/source /path/to/dest/folder
{% endhighlight %}

Synch while excluding folders:
{% highlight ruby %}
rsync -Phavzn --stats --exclude='Blah/' --exclude='Park/' --exclude='Monster/' --exclude='OpsCenter/' --exclude='muze/' --exclude='system/' --exclude='*/snapshots/' -e "ssh -i /root/.ssh/server.pem" ./  ec2-user@ec2-23-22-xxx-xxx.compute-1.amazonaws.com:/home/ec2-user/

rsync -Phavzn --stats --exclude='*/snapshots/' -e "ssh -i /root/.ssh/server.pem" ./*Smiles  ec2-user@ec2-23-22-xxx-xxx.compute-1.amazonaws.com:/home/ec2-user/

rsync -Phavzn --stats -e "ssh -i /root/.ssh/server.pem" ./*Smiles/snapshots/  ec2-user@ec2-23-22-xxx-xxx.compute-1.amazonaws.com:/home/ec2-user/
{% endhighlight %}

Bandwidth optimization:
{% highlight ruby %}
rsync -Phavzn -X --compress-level=9 --bwlimit=0 --stats --log-file="/vol/rsync_logs/rsync.log.$(date +%Y%m%d%H%m%S)" -e "ssh -c blowfish -i /root/.ssh/id_rsa" /vol/ admin@host.domain.com:/share/vol/
{% endhighlight %}

redpajama_set_name: RedPajamaGithub


text:
John Nolan
Rocky Hadadi
Julian Lytle
Mae Abdulbaki
The Punch Drunk Podcast
Cinema Royale
Cinema Con Queso
'Billionaire Boys Club' Featuring Kevin Spacey Is Geting Released This Summer
By Travis Hopson6/20/2018View Comments
Last year Kevin Spacey was one of the highest-profile celebrities to be hit hard by allegations of sexual assault. Not only was he dropped from Netflix's House of Cards, but he was removed from Ridley Scott's All the Money in the World and replaced by Christopher Plummer. For all intents and purposes we had seen the last of Spacey in anything new for a while. Or so we thought.
A couple of years ago Spacey shot the crime film Billionaire Boys Club, which also stars Taron Egerton, Ansel Elgort, Billie Lourd, Suki Waterhouse, and more with Wonderland director James Cox behind the camera. Not a bad cast, but Spacey's involvement basically forced distributor Vertical Entertainment to keep it on the shelf. Well, they're done with that now, and the film will be opening later this summer. The story follows a group of rich Los Angeles private school boys who set up a Ponzi scheme in the 1980s, only to end up murdering their benefactor.
Here's Vertical Entertainment's statement on the release: "We hope these distressing allegations pertaining to one person's behavior — that were not publicly known when the film was made almost 2.5 years ago — do not tarnish the release."
"We don't condone sexual harassment on any level and we fully support victims of it. At the same time, this is neither an easy nor insensitive decision to release this film in theaters, but we believe in giving the cast, as well as hundreds of crew members who worked hard on the film, the chance to see their final product reach audiences," the statement continued. "In the end, we hope audiences make up their own minds as to the reprehensible allegations of one person's past, but not at the expense of the entire cast and crew present on this film."
I actually don't think Vertical has anything to apologize for or explain. I don't hold them responsible for Spacey's actions anymore than I would if someone else in the cast did something awful. They should be free to release the movie without scrutiny so that people who want to see it can do so. I for one really do want to check this out and will be doing so when it hits VOD and select cities on August 17th. Looks like some Wolf of Wall Street/Boiler Room shit and that's my jam.
You can check out a trailer for last week's international release below.
DC Area Film Critics Assoc.
DC Readers: Attend A Free Screening Of 'Once Upon A Time In Hollywood'
Review: 'Point Blank', Anthony Mackie And Frank Grillo Take On Pretty Much Everybody
*SPOILERS* A Major Bond Villain Has Been Confirmed To Return For 'Bond 25'
Review: 'Crawl', Killer Gators And Deadly Hurricanes Make For Sharp Summer Thrills
Johnny Depp Definitely Out, Oliver Jackson-Cohen In For Blumhouse's 'The Invisible Man'
Takin' Over Facebook!
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redpajama_set_name: RedPajamaCommonCrawl


Thanks for all these amazing patterns. I've just started tackling the fire engine and I am definitely adding this one to my list! Love it.
Pingback: Handmade Holidays Nov. 11: Ornament Time | Sew Mama Sew | Outstanding sewing, quilting, and needlework tutorials since 2005.


text:
À Râse dè têre (Belgium)
The ensemble À Râse dè têre (literally meaning "at ground level" in Walloon language) was created in 2005. They play dance tunes called "arguèdenes" in the Walloon dialect spoken in southern Belgium. Traditionally, the melody line is orally transmitted and the accompaniment is improvised. A flugelhorn, cornet, euphonium, and helicon form a balanced ensemble that is well suited to this musical genre in vogue from the mid-19th century until the turn of the 20th century. The group is composed of four passionate amateur brass musicians: a museum curator, a psychologist, a postman and a police officer. They received their initial musical training in Belgian village bands before improving their skills in music academies or conservatories. They learned numerous "arguèdenes" on the job when they were young bandsmen, alongside older musicians. They want to perpetuate this rustic and old-fashioned music and thus prove that it can also be charming and full of subtleties. The band leader is Géry Dumoulin. This is the first time that À Râse dè têre has performed at Vintage Band Festival.
À Râse dè têre
Original Drachenfelser Musikanten (Germany)
Coming from Germany is Original Drachenfelser Musikanten, a folk music brass band reflecting the Rhineland tradition of the Drachenfels Mountains. Masters of polka, the band features a tenor horn, trumpet, tuba and accordion. Their leader, tuba player Erhard Schwarz, was at the VBF for the first time in 2006 and is a noted specialist on such exotic instruments as the ophicleide and helicon. Drachenfelser have been regular participants in the Vintage Band Festival in recent years and have a dedicated fan club among the locals of German and Czech traditions. Original Drachenfelser Musikanten has previously played at Vintage Band Festival in 2010, 2013 and 2016.
Original Drachfelser Musikanten
FinnBrass (Finland)
FinnBrass is a "project ensemble" that was formed to do tours and performances. They are made up of players from two communities in Finland, Kokkola and Kronoby. They specialize in performing traditional Finnish brass music from earlier decades. They represent a wide range of professions (from education, to medicine, to technology and engineering). Their instrumentation is based on the traditional village brass band of the 1800s. This is FinnBrass's first appearance at Vintage Band Festival.
FinnBrass


text:
Option Infer On

Imports System
Imports System.Runtime.InteropServices

Namespace Examples
    Friend Class Program
        <STAThread>
        Shared Sub Main(ByVal args() As String)
            Dim application As SolidEdgeFramework.Application = Nothing

            Try
                ' See "Handling 'Application is Busy' and 'Call was Rejected By Callee' errors" topic.
                OleMessageFilter.Register()

                ' Attempt to connect to a running instance of Solid Edge.
                application = DirectCast(Marshal.GetActiveObject("SolidEdge.Application"), SolidEdgeFramework.Application)

                ' Get the documents collection.
                Dim documents = application.Documents

                Dim fileName = "C:\ems032_0.x_t"
                Dim template = "C:\Normal.par"

                documents.OpenWithTemplate(fileName, template)
            Catch ex As System.Exception
                Console.WriteLine(ex)
            Finally
                OleMessageFilter.Unregister()
            End Try
        End Sub
    End Class
End Namespace


Liberty Universal Management, Inc. will be sponsoring a booth again this year at Retail Live! Orlando 2018 at Orlando World Center Marriott, 8701 World Center Drive, Orlando, FL 32821. Let us know if you'd like to schedule a meeting with any of our Associates!


Laurence Li and Chico Wang serve their fashion hot and with a side of humor and a big dollop of playfulness!
On Day 3 on New York Fashion Week, I was excited to wear this cool Jeremy Scott sweater with a message I believe in, "Keep Fashion Weird" …. What's that mean to me? Just that fashion should be individual and creative. I hate seeing bloggers look like clones of each other. Oh sure, we all get ideas from each other, but I like to see a personality shine through in our style choices!
Photo: A big thanks to Denton Taylor for these first two photos!
The House of Nonie is known for their tailored and refined vibe, with a touch of Eastern inspiration. Made ethically and thoughtfully in Canada, the brand has many celebrity fans, including the ever chic Meghan Markle.
The post is a collaboration with Chico's, a brand my readers know I adore!
I wore this boss babe Lafayette 148 NY outfit for the second half of my Day 2 at New York Fashion Week. Do I look ready to take on the world? I felt like it!
I was very excited to be there to experience the super glamorous Badgley Mischka runway show!
Taoray Wang is always one of my very favorite fashion week shows. The suits! The belts! The tailoring! This season is no exception with many beautiful outfits, fresh details, and a hint of what's to come for all of us for fall 2019.
Let's talk about this AMAZING Bianca Zidik coat I wore on Day 1 of New York Fashion Week!


text:
John L. Clarke
John Louis Clarke was born in Highwood, Montana, near Great Falls, March 10, 1881, of a Blackfeet Indian mother, Margaret, daughter of Chief Stands Alone, and a part Scottish, part Blackfeet father, Horace J. Clarke. Horace's father was Major Malcolm Clarke, a West point cadet classmate of General William Sherman of Civil War fame. At the age of two, John was stricken with scarlet fever which left him permanently deaf and mute. Clarke often signed his works with his Blackfeet Indian name, "Cutapuis," which means "The-Man-Who-Talks-Not."
Although still carving at the age of 89, Clarke could look back at the honors of exhibiting his sculpture and wood carvings in many galleries including New York, London, Paris, Boston, and the Academy of Fine Arts at Philadelphia with annual displays at the Chicago Art Institute. In 1918, he was awarded a gold medal for a wood sculpture of a bear by the American Art Galleries of Philadelphia, and a silver medal in 1928 from the Spokane Art Association. The artist is listed in "Who's Who, American Art Annual." Volumes XVI, XX, XXII.
He issued a prodigious number of carvings, sculpture and paintings during his lifetime including four life size carvings of a goat, a standing grizzly bear commissioned for Grizzly Gasoline and 3'-4' big horn sheep which is in the David Rockefeller Collection along with seven other pieces. His wildlife carvings from one piece of wood drew recognition and were acquired by many collectors and notables such as the late President Warren G. Harding, John D. Rockefeller, Jr., famed western artist Charlie Russell, Johnson Manville, and others. Russell was a close friend and admirer of Clarke's as was Russell's protégé, Joe De Yong. In 1950, he executed large-scale panels for the museum of the Plains Indian in Browning, the Browning Hospital, and later the University of Missoula. In 1956, Clarke carved a panel or frieze for the Veteran's and Pioneer's Historical Building in Helena measuring 13s4 feet which involved one ton of carving. In 1964, he was honored by members of the Montana Association of the Deaf with a bronze plaque giving a capsule summary of his life in recognition of his artistry in carving which was presented to the Montana Historical Society, and he was a chosen delegate from Montana for the Washington State Association of the Deaf convention in Seattle in 1951. His prominence as an artist is listed in many books including "Bronzes of the American West," "Artists of the American West" and Montana author Dale Burk's "New Interpretations."
John's education began in 1894 at the North Dakota School for the Deaf at Devil's Lake, and later, the Montana School for the Deaf and Blind at Boulder, Montana, the s=St. John's School for the Deaf in Milwaukee and Ft. Shaw Indian School although he had no formal art education. In 1913, he returned to the forested, mountainous country around Midvale, Montana, and the site of the present town of East Glacier Park on the Blackfeet Indian Reservation and eastern entrance to Glacier National Park. Here he first became familiar with the numerous wild animals of the area, which he featured in all the carvings and paintings he created during his long and successful career. He is "generally considered the best portrayer of western wildlife in the world." In 1918, Clarke married Mary (Mamie) Simon, who proved to be an invaluable business partner by handling the sales of his paintings and carvings. Later, they adopted a daughter, Joyce. Clarke lived and worked in his home and studio at East Glacier Park until his death, November 20, 1970.
In 1994, the artist, John L. Clarke was selected as one of the inductees into the Gallery of Outstanding Montanans in March 2003. Also, the Clarke Art Gallery is on the Nationwide Register's Who's Who in Executives & Businesses 2000-2001.
THE JOHN L. CLARKE WESTERN ART GALLERY & MEMORIAL MUSEUM was started in 1977 by Joyce Clarke Turvey and features many fine western artists from Montana and out of state, featuring Bronzes, Paintings, Prints, Wood Carvings, Turquoise Indian Jewelry, byrl clocks and ribbon-winning photographs of Glacier National Park by Joyce Clarke Turvey. Limited edition block prints and bronzes by John Clarke are also available for sale.


New Delhi, March 13 - The International Air Transport Association (IATA) on March 13 said it has signed a Memorandum of Understanding (MoU) with the Ministry of Civil Aviation and the National Aviation University to enhance human resource availability in India's aviation industry.
The three parties to the MoU "formalised this partnership in the presence of Minister of State for Civil Aviation Jayant Sinha on the sidelines of Wings India 2018 in Hyderabad", IATA said in a statement.
The understanding among other provisions also provides for developing closer academic cooperation between IATA and National Aviation University, it said.
Under the agreement, the signatory institutions would also leverage "the existing infrastructure for training in India to expand the reach of vocational training in aviation disciplines".
Commenting on the agreement, Conrad Clifford, IATA's Regional Vice President, Asia-Pacific, said: "India is expected to be the third largest aviation market in the world behind China and the US by 2024, and is forecast to grow to a market size of 480 million passengers in 2036. Our partnership with MoCA (Minisry of Civil Aviatioin and RGNAU (National Aviation University) will help contribute to human resource capacity building for India."


text:
Cancer Research UK ignites strong feelings by comparing obesity with smoking
Our Score:
I am sure you'll have seen the Cancer Research UK (CRUK) Obesity Campaign on poster sites around the country.
It's been causing quite a stir and it has divided opinion within the industry and with the public.
We all know there's link between smoking and cancer, but according to Cancer Research UK, obesity is also a cause of cancer, so it developed the campaign to highlight this.
Visually, the campaign looks like a strange deja vu of cigarette advertising from the 70s.
It features giant cigarette packs, just as the Benson and Hedges and Silk Cut brands used to do. But the old familiar brand names are now replaced with the line 'Obesity is a cause of cancer too'.
The reason the campaign has caused controversy is that some say it is unfair to obese people.
In response to the campaign, a petition was sent to CRUK that said "Implying that individuals are largely in control of and responsible for their body size (and therefore cancer) supports a culture of blame and plays into prejudices and negative stereotypes, which drive the social exclusion, marginalisation and inequality of an already stigmatised population."
But the International Agency for Research on Cancer has stated that extra body fat does increase the risk of cancer. This is an argument I am unqualified to enter, so I won't.
But I am qualified to look at the campaign from an advertising art director's point of view. And, from the point of view of someone who, back in the 70s, worked on cigarette advertising campaigns.
The CRUK campaign is instantly intriguing.
It's brave to use cigarettes, a now almost taboo product, and possibly CRUK's ultimate villain, as the star of the show.
The concept is instantly understandable (whether you support the argument or not). It works, even from a distance, say when you're driving past it on the M4 flyover, as I was when I first spotted it.
The pastiche cigarette packs have cleverly captured that retro Embassy come Silk Cut graphic style.
The Cancer Research health message and CRUK logo fit seamlessly onto the packs, where government health warnings used to be printed.
I do wonder whether these graphic cues will be lost on a younger generation who weren't around during the last days of cigarette marketing. If a Millennial was to picture a cigarette packet in their mind's eye, I imagine they'd see a blank, olive green, brand free box, with a grisly picture of a lung on it.
But the graphic cues weren't lost on me. Seeing that retro style cigarette packaging on a poster reminded me of the vast amounts of money and research that we used to spend on the packaging and the advertising of a humble packet of fags.
Those were the days when everyone smoked. You could smoke on an airline, smoke on the tube, my family doctor smoked like a chimney, it was the norm. And as such, it was just another product that we had to advertise, to encourage the smoker towards our particular brand. Which smoker were you? A Marlborough cowboy, a Dunhill sophisticate or a Camel adventurer? Different times.
Cigarette packs were also designed to encourage brand loyalty. They created an air of sophistication. They were designed to be an accessory.
I think there's a similarity between old school cigarette pack design and the way modern-day food is packaged and marketed. Which links back to the CRUK obesity claim.
Just as used to be the case with cigarette packs, the colours, designs and photography used in food packaging are chosen to attract the eye, then the brain, to encourage consumption.
Maybe, to help combat obesity, which in turn may help combat cancer, food packaging and advertising should have similar restrictions placed on it to those that were eventually imposed on cigarettes?
When restrictions were first tried on cigarette advertising in the 70s, it's worth noting that it was a spectacular failure.The government of the time, in a bid to reduce the appeal of smoking, decided to control the imagery that could be used to promote tobacco, in a bid to make smoking less attractive.
Old-school cigarette ads traditionally featured sophisticated people smoking in beautiful locations. The government's new rules would change all that.
The Advertising Standards Authority of the time put a mandatory health warning on every advert. Then it banned the use of all aspirational images. It banned images of success, images of attractive people, images that could be deemed of a healthy nature. You couldn't show sunshine, blue sky, blue seas, green grass, anything to do with leisure, and definitely no imagery that would appeal to children.
All well and good you might think. But as all creative people will tell you: Nothing gets the creative juices going like a restrictive brief…
From that point on, cigarette campaigns started to get lateral. Agencies experimented using surrealist and abstract art as inspiration for their campaigns. The visuals became puzzles that were completely open to the viewers interpretation. To adhere to the new rules, agencies utilised what seemed to be anti-advertising. The public often saw death symbolism in this new style cigarette advertising. Pyramids, mouse traps, moths around a flame, brooding doomy skies. These supposedly off-putting images obeyed the government's new guidelines, but they didn't put off the smokers, just the opposite in fact.
Messaging seemed to be appeal to the smokers who had an appreciation of irony, of semiotics and hidden meaning. Suddenly cigarette advertising was flattering a smoker's intelligence, gaining a smoker's allegiance in a new way!
In Hindsight
Eventually and quite rightly, all cigarette advertising was banned in the UK, and smoking was banned in public places.
This led to a huge increase in people quitting smoking.
Which brings us back to the CRUK obesity campaign.
If obesity is proven to be a cause of cancer, should the government try to temper our over-indulgence by introducing packaging and advertising restrictions?
Or maybe they could try a ban on eating in public places…
Creative Corner: Goodmove and space, OPI and Xbox, veganism and comedy, Duolingo and Emily in Paris[..]
Like getting your money's worth? McDonald's launches new TV spot for its Saver Menu
Up next in Advertising:
John Merriman
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Adolf Frederik III () (7. juni 1686 – 11. december 1752) var regerende hertug af Mecklenburg-Strelitz fra 1708 til 1752.

Biografi
Adolf Frederik blev født den 7. juni 1686 i Strelitz i Mecklenburg som den ældste søn af Hertug Adolf Frederik 2. af Mecklenburg-Strelitz i hans første ægteskab med Marie af Mecklenburg-Güstrow. Efter længere tids arvestridigheder indenfor Huset Mecklenburg grundlagde hans far linjen Strelitz af Huset Mecklenburg ved indgåelsen af det hamburgske forlig af 8. marts 1701.

Han efterfulgte sin far som hertug af Mecklenburg-Strelitz ved dennes død den 12. maj 1708.

Adolf Frederik døde den 11. december 1752 i Neustrelitz. Da han ikke havde mandlige arvinger, blev han efterfulgt som hertug af sin brodersøn Adolf Frederik 4.

Ægteskab og børn

Adolf Frederik giftede sig den 16. april 1709 i Reinfeld med Prinsesse Dorothea af Slesvig-Holsten-Sønderborg-Plön, datter af Hertug Johan Adolf af Slesvig-Holsten-Sønderborg-Plön. I ægteskabet blev der født to børn:

Hertuginde Marie Sophie (1710–1728)
Hertuginde Magdalene Cristiane (1711–1713)

Se også
 Mecklenburg

Referencer

Eksterne links

Huset Mecklenburg
Hertuger af Mecklenburg-Strelitz
Personer fra Strelitz
Tyskere i 1600-tallet
Tyskere i 1700-tallet

redpajama_set_name: RedPajamaWikipedia


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Clean, trim and dry arugula leaves.
Place leaves in salad bowl; add onion slices.
Blend vinegar, oil, garlic, salt and pepper and pour over salad. Toss well and serve.


text:
Home2018March15
Pokemon Episode 45 Analysis – The Song of Jigglypuff
March 15, 2018 May 19, 2019 fiddletwix Pokemon Episode Analyses	4kids, analysis, anime, episode, jigglypuff, pokemon, review
CotD(s): None
Character Debuts: Jigglypuff – Wanting nothing more than to be an adored singer, Jigglypuff is constantly annoyed when its attempts at singing result in everyone falling asleep. Its singing translates into the Pokemon move, Sing, which lulls humans and Pokemon alike into a slumber. When its audience falls asleep, Jigglypuff scribbles on their faces in anger.
Jigglypuff, for some reason, follows around Ash and co. throughout their journey doing this same shtick over and over. It's rarely ever funny, almost always annoying. It was a fairly regular character in Indigo, but faded in and out throughout the seasons until Advanced Generation where it appeared a few times before disappearing entirely. I only just learned that, for no other reason I can think of besides nostalgia, Jigglypuff was brought back in the newest anime series, Sun and Moon.
Plot: After getting lost in the desert, Ash, Misty and Brock make it to Las Veg—Neon Town. The city that never sleeps….literally. Everyone in town is incredibly rude and short tempered because no one ever gets any sleep.
They leave the city the next morning and find a Jigglypuff. Misty tries to capture it, but is surprised to find it starting to cry after attacking it.
After learning one of it's main talents is singing, Misty asks it to sing a song, but it refuses. They believe it can't sing, so they start trying to teach it to sing. Brock gets the idea to feed it a fruit which is said to soothe sore throats and revitalize tired vocal chords. The fruit works, and Jigglypuff sings, but they all soon find out that Sing puts people to sleep.
Jigglypuff is extremely angry when they fall asleep at its song and draws on their faces in revenge. They try everything to see if someone can listen to the song all the way through, but to no avail.
They get the idea to bring Jigglypuff to Neon Town. Since the people in Neon Town seemingly never have to sleep, they should be able to hear the whole song. They bring Jigglypuff to Neon Town, and Team Rocket, in disguise, offers them a fancy outdoor stage for Jigglypuff to perform on. They want Jigglypuff to put everyone in town to sleep so they can swipe all of the Pokemon and money.
Jigglypuff sings, and the entire town falls asleep, including Ash and co. and Team Rocket. Angry again, Jigglypuff draws on everyone's faces before running off.
Ash and Co. wake up to find everyone has fallen asleep. Not only that, but they're suddenly much nicer, and everyone's apologizing for their past rudeness left and right.
Misty laments over Jigglypuff running away, but she has nothing to worry about. Jigglypuff is never too far behind.
– We're literally not even a second into the episode and I have to stop. Why…and how….are Ash and Co. lost….in a damn desert? Where the hell is there even a desert in Kanto? Hang on, let me check that map gif from Pikachu's Goodbye.
Hm. Can't argue with that. I hope they rescue that castle that's yelling for help, though.
I know that their shtick is getting lost, but there's a difference between 'Well, damn, there's a lot of forests and they all look the same' and 'Hey, there's a desert. There's no desert on the map, but there is on this globe, so I guess we're going the right way. Remember, just follow the sun at all times, except when the sun sets, then we follow the moon. If the moon isn't out, we follow our nose. We'll find Fruit Loops eventually.'
– Ah I get it. They're trying to emulate Las Vegas….with the desert surrounding it…..Ya know, you can have an episode with a Las Vegas-esque town and not require that it be surrounded by a bunch of desert that doesn't make any sense.
…Hey, wait. Does the real Las Vegas not exist in this world or is Neon Town trying to pretend it's Las Vegas? If it does exist for real, as hinted at in March of the Exeggcutor Squad, then the fact that they put in a desert to give a nod to the real Las Vegas makes no sense. I would ask why they don't just say this is Las Vegas since they established that it's a real place, canonically, especially since 4Kids usually has no qualms about pretending this show is set in America, but…..No, I'm actually going to ask that question. Why?
– Might I also bring up that it seems odd to set an episode of Pokemon in a place that is very clearly Las Vegas anyway? Let's see, a city known for prostitution, gambling, drinking and mafia ties, with the nickname Sin City. Perfect place to set a kids show in.
Let me remind everyone that Pokemon got flak for years for having the Game Corner because it promoted gambling. Let me also point out that, while children don't seem to be doing it, they clearly show slot machines and gambling in this episode.
– How did Jenny hear these two having an argument when she was probably a hundred yards away and in the middle of an insanely loud city?
For that matter, why does she feel the need to rush over on her motorcycle and stop this argument? It's an argument, and it's not loud enough or going on long enough to warrant police action.
– Now for the major gripe about Neon Town….They're making a play off of the moniker 'the city that never sleeps' by having the citizens….literally never sleep. They stay out all night and never go to sleep, so everyone's bitchy all the time.
That is so stupid. Yes, most people in Las Vegas are night owls, because Las Vegas is basically known for its night life, but that doesn't mean the people there never sleep. The place is loaded with hotels, and a lot of people probably sleep in the daytime over there.
I've never been, but shouldn't people in Las Vegas be very laid back? There are a ton of fun things to do there, and the place is a den of getting laid, getting drunk, watching shows, partying and gambling. Most people who take trips to Las Vegas do so to relax and have fun.
Even so, I understand that lack of sleep makes people snippy, but it also makes them….ya know….tired. No one in this town is acting tired in the least. They're all just acting like assholes. If no one here really did get an ounce of sleep, people would be more apt to toppling over in the sidewalk than they would be to blow up at someone over bumping into them.
– Sooooo…Jenny hears a little argument and rushes over to yell at them to break it up, but that same guy is punching James in the head and….a large woman is spanking Jessie, and Jenny is nowhere to be found. Pokemon Police: We All Suck.
Ah, fond memories of my childhood.
– Wait, first the city was surrounded by desert, and now it's directly parallel to a forest? Where the hell is this place?!
– This is another instance of Pokemon capture just seeming mean. 'Hey look! A super cute Jigglypuff smiling and minding its own business! I'm going to attack it without provocation and slam it into a tree!'
– *Misty attacks Jigglypuff out of nowhere with Staryu*
*Jigglypuff starts crying*
Misty: "What's wrong?"
Ash: "It looks like it's crying."
Brock: "There's something strange about it."
Ash: "I wonder what its problem is."
Durrr, why's this pink little puffball Pokemon crying? I only slammed a giant starfish into its face and smashed it into a tree. Durrrrr how weird.
– Seems really rude to request a song from Jigglypuff after you just viciously attacked it like that.
– Ash: "I see. A Jigglypuff that can't Sing. So that's why it didn't attack." Yeah, because Sing is its only attack…..Also, I thought you were questioning why Jigglypuff was crying after being attacked, not why it wasn't fighting back. Given how Pokemon are portrayed as do-no-wrong angels, I'm certain some are just pacifists.
– Misty: "I still think it's cute, but who wants a Jigglypuff that can't Sing?" I dunno, Misty. That sounds like it would almost be as useless as a main character who is ultimately given nothing to do and is relegated to being a part of background 80% of the time.
– Team Rocket actually has a fairly solid plan this week. Put Neon Town to sleep with Jigglypuff's song and steal all of their stuff.
– I've always loved Team Rocket's motto-song. I wish they did more song versions of it.
– Considering that Rachel Lillis voices Jigglypuff and Misty, it's surreal to see Misty teaching Jigglypuff how to sing.
– Awww, Pikachu trying to Sing.
– Jigglypuff kicking Pikachu behind its back is incredibly dickish. One of the main reasons I don't like Jigglypuff much isn't because they milk the Sing→face scribble joke so hard, though that is a big part of it – it's because Jigglypuff's also an annoying petty little puffball. It's nice sometimes, but it's almost on the same level as Chikorita in terms of vindictiveness.
– I appreciate what they're trying to do…..but uh…do you guys see anything weird about them trying to teach Jigglypuff to improve its lung capacity by blowing up a balloon?…Jigglypuff?….the BALLOON Pokemon?
– Why would you just shove a full balloon into its mouth like that? If that were me, I'd punch her in the throat.
– Okay, kicking Pikachu before was a dick move, but slightly understandable from a motivational standpoint because Ash was praising his singing while Jigglypuff couldn't sing, making it jealous. But Pikachu cheers that Jigglypuff can sing now and it does it again. And laughs! Go to hell, Jigglypuff.
– That same dumb cliché of the other characters not noticing when something is happening. How can no one be seeing Jigglypuff kicking Pikachu? Especially considering that, given the editing, it looks like Misty is basically watching this happen.
I think it's even dumber that Pikachu isn't realizing that Jigglypuff's kicking it, particularly after that last time. Gee, something kicked me from directly behind me and Jigglypuff jumped into Misty's arms from directly behind me….I wonder who kicked me.
– It's smart of Team Rocket to use a recording of Jigglypuff's song instead of going to the trouble of catching it, but 1) I'm not sure that would work on a technical level and 2) They didn't think that recording the song would put themselves to sleep.
– Aw Ash and Misty sleeping next to each other. And since Misty has returned kinda in the new series, I can watch these scenes without feeling too bad! Yay!
– How does Jigglypuff not know that Sing puts people to sleep?
For that matter, if this is one of Jigglypuff's main abilities, why did Dexter not share this information?
For another matter, why did Misty care whether or not the Jigglypuff could sing if she didn't know Sing was a move that put others to sleep?
– Brock: "I got it! Maybe there are some Pokemon who wouldn't fall asleep!" The Pokemon move meant to put Pokemon to sleep….better see if it works on our Pokemon.
– Awwww, the sleeping Pokemon. Though, I still have to nitpick.
Where are Vulpix, Starmie, Zubat or Geodude? I understand why Horsea and Goldeen aren't out, because they're not near water, and, wow, good on ya Ash, for not letting Charmeleon out, but why not the others?
Also, where are Onix's ears? Or Staryu's?
– Why didn't Jigglypuff draw on the faces of the Pokemon?
– I guess there's some reasonable yet insulting logic behind trying Psyduck, but why was he excluded in the first place?
– Psyduck falling over in a daze is hilarious.
I caught this frame by accident. What the unholy hell?
– The amount of time Jigglypuff's 'victims' for lack of a better term, stay asleep seems really inconsistent. Before, Ash and co. were asleep for…eh, ten minutes or so? Then they were only asleep until Jigglypuff finished its song. But Team Rocket is only just now getting up. Later, it takes hours for the town to wake up.
– Why didn't they get Jigglypuff's song on tape? They used a boom mic and recorded right at the tail end of the song. Even if they did record a good deal of snoring, surely the very start of the tape has some of the song. Not sure if that's enough, but still.
This would be more understandable if they caught the snoring of Ash and co, considering the boom mic was very close to them. Maybe make them snore so loudly it drowned out the song. However, Team Rocket's snoring is all they recorded, despite the mic not being anywhere near them.
– The animation on Brock when he says 'They'll be able to listen to Jigglypuff sing!' is extremely shaky.
– This plan is stupid. It's not a literal city that never sleeps. These people don't have a super power of Mega Insomnia. Given that they're not toppling over each other in exhaustion, they have to sleep sometimes.
How the hell are Team Rocket the smart ones in this episode? They don't believe for a second that the people of Neon Town will stay awake through this.
– I feel weird saying this, but James looks really good in his punk rocker disguise.
– I am not in the least bit surprised that Team Rocket has quick access to a portable outdoor stage.
– I can understand the song reaching the town square and maybe even a little beyond that, but Neon Town is incredibly loud. I doubt it would cover the whole city, even with loud speakers and amps. I especially don't believe it would be audible in the buildings, particularly the casinos and bars…..Oh yeah, by the way, there's a place here called 7 Diamond Bar in this town and 4Kids didn't censor or paint it. I guess because it just looks like a slot machine, but it's very obviously the sign for the casino/bar.
– Bullshit those people are not only sleeping standing up, but also holding things and not dropping them. This town is filled with people that don't make sense.
– While Team Rocket somehow failed in their attempt to not hear the song, why didn't Ash and Co. think to do anything?
– I realize now that Jigglypuff's shtick would be funnier if it actually drew things half the time instead of just making mindless scribbles. He makes some actual drawings, like drawing open eyes on Pikachu and a twirly mustache on Brock, but it's mostly just scribbles.
– Jigglypuff has to have massive petty vengeance to go all around the city and draw on every single person….except Ash and co. for some reason.
– Ash: "Uh oh, everybody in town fell asleep." Yeah, because they're human.
– Getting a few hours of sleep does not reverse rampant dickishness.
– Brock: "Jigglypuff's song not only puts people to sleep, but maybe it has the power to make people nicer, too." Oh pft. Fuck off.
Gonna keep that line in my back pocket because I am almost positive it will be needed in the future.
– Also, this solves nothing for Neon Town. I don't believe Brock's theory for a second, so I'm left to believe these people just lost their grumpiness because they got some sleep, even if that's incredibly stupid too. Be that as it may, won't they all be back to being jerks in another couple of days or so without Jigglypuff to forcibly thrust them into slumberland?
I really think the original ending of this episode was Jigglypuff staying in Neon Town to help visitors and citizens sleep when they had to either combat insomnia or to get sleep when the lights and sounds of the city were too much to sleep through, but then the writers thought Jigglypuff's shtick was so gosh darn hilarious that they kept it as a recurring character.
– They really try to hammer Brock's theory in by having Team Rocket ridiculously giddy as they leave the city, but-
1) Nope, still bullshit.
2) If it really does make you nicer, and Ash and Co, have fallen asleep from it three times at this point, shouldn't they be joining a convent by now?
3) Team Rocket was not any nicer after they fell victim to the song the first time.
4) If they're nicer now, shouldn't they stop being criminals, or is the nice thing just temporary? Because that makes this ending even more pointless.
And 5) This little extra power stuff is never seen or mentioned after this episode, so bullshit.
– And just to get this out of the way, we know Jigglypuff got the marker from Ash's backpack, but where did it later get a microphone that also doubles as a marker?
I'm alright with this episode. Jigglypuff can be pretty entertaining in small doses, and it is cute, but knowing what I know will become of it now, and taking into consideration how jealous, petty and mean it can be sometimes, I have mixed feelings.
There is definitely a good deal of humor in this episode that works, but the plot with Neon Town is so terrible and poorly written it's insane.
The animation in this episode was also weird. Half the time, the animation seemed better than normal and the other half it seemed worse.
Next episode, we meet the fossil Pokemon, and Charmeleon suddenl–…..*sigh* This is going to be a ranty episode, isn't it?
Previous Episode….


Me and my friends, Alex Brown and Kacy Harrison took part in the tenner challenge because we were one of the selected 7 groups to participate. We were given £10 to start a small business, ours was selling cakes with cake toppers on them.
We sold cakes every break and lunch for 4 weeks from the 27th February. We loved doing the cake sales because we are all really competitive and all our friends came to support us while we were doing it by buying cakes. It was great because lots of people, even from other stalls, came and bought our cakes and made donations!
In total we raised a profit of £123.32! I think we came around 2nd in the competition between all the groups!


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Peter Almqvist, guitarist and leader of Organic Trio put up some nice videos from out gig at Nefertiti on July 28th. Check them out!
On May 4-6th Arnesen Bluesband played at EUROPAfest 2012 in Bucharest. The venues were the Odeon Theatre and Il Commendante.
There are some pictues on my facebook page. Check them out!
There also some very nice pictures som the EUROPAfest facebook page. Check them out to!
This was also the premiere gig for my new Nord C2D organ. It was perfect for air travel and it sounds really good!