The Royal Institute for Deaf and Blind Children (RIDBC) is Australia's largest non-government provider of therapy, education and diagnostic services for people with hearing or vision loss. It provides quality and innovative education and other services to achieve the best outcomes for current and future generations with hearing or vision loss throughout Australia.
RIDBC provides range of specialist services that is unique in Australia and is benefiting thousands of children a year delivered by a broad range of highly qualified professionals. It combines a range of face to face services with modern technology to serve families and children from its 13 permanent sites throughout Australia.


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Q: Log use of deprecated fields in python graphene Is there a way to automatically log any queries that involve a deprecated field (i.e. one with a non-null deprecation_reason)?
It'd be helpful to help work out whether a deprecated field was still in use or could be properly removed.

redpajama_set_name: RedPajamaStackExchange


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Archive for the 'Bob James' Category
Beyond "Taxi": Robinsongs Pairs Two LPs From Fender Rhodes Hero Bob James
Cherry Red's Robinsongs label, which has recently been responsible for reissues from jazz greats like Hank Crawford, Richard Tee and Ramsey Lewis, has turned its attention to producer-arranger-composer Bob James with the two-for-one release of his 1980 and 1981 albums, H and Sign of the Times. The electric piano master has been making records as a leader since 1963 – his most recent is 2013's Quartette Humaine with saxophonist David Sanborn – and this pair comes from the early years of his own Tappan Zee label (formed in1977).
The Missouri-born, Berklee-trained Bob James' first outing as a leader, 1963's Bold Conceptions for the Mercury label, remained his only such recording until 1974. Instead of pursuing above-the-title stardom, James busied himself as a keyboardist and arranger, contributing an arrangement to Quincy Jones' 1969 CTI record Walking in Space which first acquainted him with the Fender Rhodes electric piano. James never planned on becoming so closely identified with the instrument, but his mastery of the Rhodes contributed mightily to the sound of 1970s crossover and fusion jazz styles. James continued arranging and playing at Creed Taylor's CTI, which spun off from its A&M Records roots into a true independent. At CTI, he made significant contributions to sets from Grover Washington, Jr., Stanley Turrentine, Milt Jackson, and outside of Taylor's empire, James added color to recordings by Paul Simon and Neil Diamond and composed the wistful theme to television's Taxi. But his key roles as arranger and sideman led to his artistic rebirth on the 1974 album One.
Each year between 1974 and 1977, James issued a numbered release, from One to BJ4, arranging, conducting and playing both his own tunes and choice cover versions. With 1977's Heads, he parted ways with Taylor, establishing his own Tappan Zee banner under the aegis of Columbia Records. He was rewarded when the album became his first Jazz No. 1 LP. Also serving for a time in A&R at Columbia, James continued to turn out records like clockwork. He also took along the masters to his first four albums and saw to their reissue at Tappan Zee. H marked his first album of the 1980s.
Hit the jump for details on both albums included on this reissue, including track listing and order links! Read the rest of this entry »
Posted in Bob James, News, Reissues
"Taxi" Driver Bob James' Funky Fusion Celebrated On New 2-CD Anthology
Every day, somewhere in the world, someone is watching Taxi – and hearing the catchy yet wistful theme song composed by Bob James. The television comedy, created by Mary Tyler Moore Show alumni James L. Brooks, Stan Daniels, David Davis and Ed. Weinberger, ran from 1978 to 1983 and netted eighteen Emmy Awards. But the original music of Taxi is just one of the many credits of jazz great Bob James. His spellbinding ouevre has just been compiled by the Decision Records label in association with James' own Tappan Zee Records for the 2-CD compendium Rhodes Scholar: Jazz-Funk Classics 1974-1982.
The compilation's title comes from James' mastery of the Fender Rhodes electric piano, an instrument developed by Harold Rhodes that was practically ubiquitous in the sound of seventies fusion jazz. Herbie Hancock, Chick Corea, Joe Zawinul and Bill Evans are among the legendary pianists who took to the instrument in jazz settings, while in R&B, Stevie Wonder and Ray Charles also cottoned to its singular sound. But the Fender Rhodes arguably had no more prominent home than Creed Taylor's CTI label. Taylor's label aimed to blend jazz with pop, rock, funk and R&B overtones, a formula it mastered on albums from unquestionable giants like Wes Montgomery, Quincy Jones, Stanley Turrentine, Hubert Laws, Freddie Hubbard, Milt Jackson, Paul Desmond, Antonio Carlos Jobim, and the pre-mainstream fame George Benson.
The Missouri-born, Berklee-trained Bob James' first outing as a leader was 1963's Bold Conceptions for the Mercury label, but it remained his only such recording until 1974. Instead of pursuing above-the-title stardom, James busied himself as a keyboardist and arranger, contributing an arrangement to Quincy Jones' 1969 CTI record Walking in Space which first acquainted him with the Fender Rhodes. As Andrew Mason recounts in the comprehensive liner notes that accompany Rhodes Scholar, James never intended to become so closely identified with the instrument. He had generally found its use as a novelty in jazz, explaining to Mason that "some of my favorite players occasionally would use the Rhodes – Oscar Peterson, Bill Evans – and I was quite critical of the way they played it, because I could tell that they weren't really embracing it as a musical instrument." He realized that "if I used the same technique that I would use on the acoustic piano, it was too heavy and sounded clunky and awkward." And so his more subtle approach honed specifically for the Rhodes established James as one of the instrument's virtuosos. He continued arranging and playing at CTI, which spun off from its A&M Records roots into a true independent, and made significant contributions to sets from Grover Washington, Jr., Stanley Turrentine, Milt Jackson, and others. Outside of CTI, James could be heard on recordings by Paul Simon and Neil Diamond. But James' key role at Taylor's label led to the artistic rebirth on his 1974 album One, which is where Rhodes Scholar begins.
After the jump: what will you find on this new compilation? We have more details plus the full track listing and order link! Read the rest of this entry »
Posted in Bob James, Compilations, News

redpajama_set_name: RedPajamaCommonCrawl


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Furcifer belalandaensis is een hagedis uit de familie kameleons (Chamaeleonidae).

Naam en indeling
De wetenschappelijke naam van de soort werd voor het eerst voorgesteld door Édouard-Raoul Brygoo en Charles Antoine Domergue in 1970. Oorspronkelijk werd de wetenschappelijke naam Chamaeleo belalandaensis gebruikt.

Uiterlijke kenmerken
Furcifer belalandaensis is groen van kleur.

Verspreiding en habitat
Deze kameleon is endemisch in het zuidwesten van Madagaskar. De soort wordt heel beperkt waargenomen nabij de oevers van de rivier Fiherenana in Belalanda in het district Toliara II, regio Atsimo-Andrefana. De habitat bestaat uit tropische en subtropische bossen. De soort is aangetroffen op een hoogte van ongeveer twintig meter boven zeeniveau.

Beschermingsstatus
Hij behoort tot de vijf kritisch bedreigde soorten reptielen wegens zijn heel klein woongebied van 4 km² en omdat zijn oorspronkelijk leefgebied bijna volledig verdwenen is. Door de internationale natuurbeschermingsorganisatie IUCN is de beschermingsstatus 'ernstig bedreigd' toegewezen (Critically Endangered of CR).

De resterende grote bomen waar hij woont worden bedreigd door houtkap voor de houtskoolindustrie in de regio. Het WWF probeert Furcifer belalandaensis voor uitroeiing te behoeden.

Bronvermelding

Kameleons
IUCN-status kritiek
Endemisch dier uit Madagaskar

redpajama_set_name: RedPajamaWikipedia


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WOW: In Iceland, A Hand-Drawn Map As An Address Gets...
20 Mother's Day Gifts For All The Cool New Moms...
Woman Arrested On Refusing To Return $1.2 Million Accidentally Put In Her Account
by Shaista 9 months ago 9 months ago
Recently, a worker from the sheriff's office was arrested for allegedly refusing to return more than $1.2 million that had been deposited into her account by accident. That's a lot of dough, though.
Jefferson Parish Sheriff's Office
The 33-year-old convict, Kelyn Spadoni had been taken into custody on charges of theft that were valued at over $25,000 as reported by WVUE-TV reported and nola.com .
According to the authorities, a clerical error caused major financial services corporation, Charles Schwab to deposit a whopping amount of more than $1.2 million into Spadoni's brokerage account. Whereas, they were only meant to transfer about $82 in February.
When the bank tried to reclaim the money, the request was outright rejected! Apparently, the money was not available, according to the sheriff's officer. The office later learned that Spadoni had transferred the funds into another account. Capt. Jason Rivarde, the sheriff's spokesman said –
"It's not her money. She has no legal claim to that money. Even if it was put in there by mistake. It was an accounting error."
When Charles Schwab & Co. tried to contact Spadoni, they were unsuccessful. Only 75% of the money has been recovered so far. Rivarde went on to say:
"If someone accidentally puts an extra zero on a utility payment, they would want that money returned or credited to them. This is no different."
Stuff like this sure does happen once in a blue moon, but not returning the funds? That's a first!
Man Discovers That A Treasure Box In His Yard Is Actually A Septic Tank
These Uninhabited Houses Are Almost Completely Buried Under Sand
The New TikTok Trend Of 'Deep Fried Water' Is Dangerous, According To Experts
fraud, money, money laundering
25 Funniest Doormats That Will Surely Entertain Your Guests
Mother Builds A Stairway Leading To Her Dead Daughter's Coffin, To Comfort Her During Storms


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Kid In The Front Row Film Blog
I don't really care how much the latest superhero film took at the box office, although I'd probably know if you asked me. When I watch a film the main thing I am looking for is a good story. I like it when I look up at the big screen and can see a part of me staring back at me. More than anything, I am still looking for Jimmy Stewart and Jack Lemmon and Billy Wilder in every film I see.
My Ideal Woman, In Song
She'd be a mixture of these three songs.
TB 3 December 2011 at 16:56
I'd never heard that last song before, but I love it. Great songs. I hope you find her.
ELI ATTIE - Screenwriter
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DIRECTING ACTORS: Multiple Takes
Movie Star Girl - Chapter Four
Movie Star Girl - Chapter Three
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Permanent Pages
The moment Chief Brody changes.
I was watching 'Jaws' (Spielberg, 1975) and the brilliance of these few scenes hit me in a way it hadn't before. It's a mast...
CINEWORLD UNLIMITED PASS - Is It Worth It?
Here in the UK, one of our major cinema chains is Cineworld. They offer a pass, for £13.50 a month (or the one I have, £16.50 a month, which...
Interview with GIUSEPPE SULFARO, Star Of 'Malèna'
Malèna is a perfect film. One of the most memorable things about it is the incredible performance by GIUSEPPE SULFARO. When they shot the m...
A 'LIFE' Sentence
I re-watched the film 'LIFE' (1999, Dir. Ted Demme). And it's a film I've always loved. When you have great comedic talents...
What Was This Place?
I'm a little in awe of the me that used to write this site. I was posting almost daily. Full of ideas and, not to sound egotistical, but...
The Apartment - A Perfect Screenplay, Dialogue-Wise, Structure-Wise, And Other-Wise
For one week I will be focusing on the film "The Apartment." This is the second in a series of articles. 'The Apartment'...
Film Critics Suck.
Film critics suck. I think the least qualified person to review a film is a film critic. Some grumpy, middle aged man who sits probably some...
Women In The World, Women In Film - GUEST WRITER Zoje Stage.
Women, Men & The Film Industry and The Missing Voice Of Women In Film are two articles that I recently wrote, where I am slowly and gr...
What impact can we have as filmmakers? And with impact, do we have responsibility?
I'm interested in whatever any of you might bring to this discussion -- be you a film director, a writer, a film-lover, someone who hate...
Forrest Gump - What Does Normal Mean Anyway?
Forrest Gump is one of those rare films that truly captured the imagination of the world. You can never predict when a film is going to do s...


The producers behind myrtle beach TV believe that there is no greater good than helping others in need and giving back to the community around us.
With this core belief in mind, regular segments titled Giving Back appear in the series.
Greg Rowles, pictured at right with event organizer Hailey Davis, emceed the annual Victory Over Violence live and silent Basket auction at Revolutions night club at Broadway at the Beach.
Watch the final leg of the inaugural Sara's Beach Walk that ends in Plyler Park, downtown Myrtle Beach, as Hard Walkers, Day Trippers, and Punk Walkers converge on the last stretch of sand.
Then get a brief glimpse of the celebration and first in the lineup of several bands at Hard Rock Park that followed the three-day charity event.
Watch the tremendous outpouring of community support at the HB Spokes Employee Benefit at Captain Poos Blue Marlin Yacht & Fishing Club.
Sara's Beach Walk - Interview with Hard Rock Park's CEO, Steven Goodwin, about the reason behind Sara's Beach Walk, as well as the use of funds raised by the event.
Myrtle Beach TV's giving back to the community segment made its debut along with the rest of the show's segments on June 3, 2007, with a touching discussion about the many animals at the North Myrtle Beach Humane Society and the daily care each requires.
Bill Norman and Cathy Honeycutt mention a few small things each of us can do to help an animal, including donations at the shelter, participation in the annual Duck Race, and contributing annual membership dues.


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Interview: Filmmaker & Actor Alex Winter on Making Documentaries
"All I want is for people to understand the human implications." Some may known him as Bill S. Preston, Esq. Others may known him as the director of the acclaimed technology documentaries Downloaded, Deep Web, The Panama Papers, and Trust Machine: The Story of Blockchain. His name is Alex Winter (you can follow him on Twitter @Winter), and he's an actor, a writer, a filmmaker, a producer, a journalist, and much more. I have become a big fan of Winter's documentaries over the years, he's one of a few filmmakers who actually understands the internet, and presents it in an intelligent and digestible way. Last year, two of his new documentaries premiered - The Panama Papers, about all the journalists who reported on the Panama Papers leak; and Trust Machine: The Story of Blockchain, about the origins and implications of blockchain (aka encrypted digital distributed ledgers), the latest technology fad that's sweeping the world.
› Posted March 12 in Documentaries, Feat, IDFA, Interview | Comments
Interview: Filmmaker Jennifer Kent Discusses Making 'The Nightingale'
"This is a shared story. So you have my permission to tell it." My favorite film of 2018, my #1 film of the year (which I first saw at the Venice Film Festival last fall), was The Nightingale, directed by Australian filmmaker Jennifer Kent. This harrowing, intense, but beautiful story is about a woman who ventures out into the forest on the island of Tasmania seeking revenge. She befriends an Aboriginal guide along the way, and the story becomes as much about their friendship as it is about her revenge. The Nightingale is Kent's second feature film, her first being the world famous horror hit The Babadook. I caught Kent in Park City, Utah in January for an interview, as The Nightingale also premiered at the Sundance Film Festival this year.
› Posted February 21 in Interview, Sundance 19 | Comments
Interview: Filmmaker Zhang Yimou on 'Shadow' + Changes in Cinema
Acclaimed, iconic Chinese filmmaker Zhang Yimou is ready to release his 21st feature film since his debut as a filmmaker in the 1980s. Titled Shadow, the film is another martial arts epic yet also a drama, based on the Three Kingdoms era in Chinese history. Over the years, Zhang Yimou has won two BAFTA Film Awards (for Raise the Red Lantern in 1991 and To Live in 1994), but never an Academy Award or Golden Globe. He still keeps making films year after year, working mostly in China nowadays, though still trying his hand at a Hollywood blockbuster (The Great Wall) in addition to a war-time drama (The Flowers of War). Shadow premiered at the Venice Film Festival this year, and also played at the Toronto Film Festival. I had a chance to interview the legendary Zhang Yimou during his visit to the festivals, and I am honored I could meet him.
› Posted September 28 in Feat, Interview, TIFF 18 | Comments
Interview: Belarusian Filmmaker Darya Zhuk on Her First Feature Film
"I was trying to create a character that I myself would identify with." A film from Belarus titled Crystal Swan premiered at the Karlovy Vary Film Festival this year, the feature directorial debut of a talented filmmaker named Darya Zhuk. Darya grew up in Minsk, Belarus, but left at age 16 to study in the US. After graduating college and years of working in various jobs, she decided to go and study directing at Columbia University and has finally completed her first feature film - Crystal Swan, about a young Belarusian woman named Velya who is trying to get a visa to travel to the USA. The film premiered to positive reviews and is still searching for an American distributor, but I wanted to bring extra attention to this filmmaker and her film. Here is my interview with Darya Zhuk, discussing the challenges and joys of making her first feature.
› Posted July 26 in Feat, Indies, Interview, Karlovy Vary | Comments
Interview: 'Sorry to Bother You' Director Boots Riley Talks Filmmaking
"This is telemarketing. Stick to the script." One of the year's wildest, weirdest, most original films is Sorry to Bother You, from the mind of Boots Riley (watch the trailer here). This is Boots first feature film, but he has some experience making music videos and in the theater world previously. Boots is also a very successful musician, not only as a rapper and songwriter but also as a producer. His film is about a kid from Oakland, played by Lakeith Stanfield, who takes a crap telemarketing job to make some money. Using his "white voice", he works up the sales chain until finally meeting the CEO and being introduced to the glorious world of high society and rich snobs. It's already on its way to becoming a huge indie hit. With the film now playing in theaters, I had a chance to chat with Boots for an interview and couldn't pass up the opportunity.
› Posted July 13 in Feat, Indies, Interview | Comments
Interview: Australian Writer/Director Leigh Whannell Talks 'Upgrade'
"Not man. Not machine. More." One of the biggest surprises of the year is an action sci-fi titled Upgrade, the second feature film directed by Australian filmmaker/writer Leigh Whannell. Whannell has worked in Hollywood for over a decade. He broke in with a little indie called Saw, which premiered at the Sundance Film Festival in 2004 and went on to become, well, a succesful franchise and a massive hit. Whannell wrote the script for it with James Wan, and starred in it, then continued his career mostly as a screenwriter & producer. The first film he directed was Insidious: Chapter 3 in 2015, jumping in the hot seat with another horror franchise he co-created with James Wan. Upgrade is Whannell's first time going all out, directing an original screenplay he wrote, working with Blumhouse and mega-producer Jason Blum to get the film made.
› Posted June 19 in Feat, Interview, Sci-Fi | Comments
Interview: 'The Rider' Director Chloé Zhao on Telling Emotional Stories
"I'm not interested in making a film for a niche audience. I want to make films about people who we don't usually see, but for a wider audience so they can all relate to it." One of the best films I saw at a festival last year was The Rider, a film by Chloe Zhao, set in the heartland of America about a broken cowboy trying to maintain his identity. The film left me an emotional mess, in the best kind of way, and I wrote a glowing review after catching it at the London Film Festival. The person who made this is a Beijing-born filmmaker named Chloé Zhao, and she has many stories to tell - not only her own, about everyone she encounters. I was lucky to meet with her for an interview and to talk about The Rider, and the art of minimal filmmaking.
› Posted April 12 in Feat, Indies, Interview | Comments
Sundance Interview: 'Minding the Gap' Director Bing Liu on Doc Films
"Feedback screenings are essential to get out of your headspace." One of my very favorite films of the 2018 Sundance Film Festival was a documentary titled Minding the Gap, made by filmmaker Bing Liu. It won over audiences and critics, and picked up the U.S. Documentary Special Jury Award for Breakthrough Filmmaking at the end of the festival. Minding the Gap follows three skater kids from a small town called Rockford, Illinois as they grow up and become adults and start to realize who they really are and how they were raised. It's quite a moving, powerful, remarkably aware film about American society and masculinity, and the struggle of breaking free from the world you were raised in, and much more. I made it my mission to meet filmmaker Bing Liu, and shake his hand, and talk to him about making this film. Bing's the real deal.
› Posted February 15 in Documentaries, Interview, Sundance 18 | Comments
Interview: Swiss Filmmaker Petra Volpe on Making 'The Divine Order'
"Sometimes you need luck as a director. We always think it's all about control and it is a lot about control when you direct a movie, but it's also about things that you can't foresee." There's a film now playing in theaters titled The Divine Order, from Swiss writer/director Petra Volpe. The film is Switzerland's entry in the Oscars this year and it's obvious why when you see it. This very entertaining, exciting, engaging film tells the story of a woman in a mountain town in Switzerland who rallies other women to join in the fight for the right to vote. Swiss women only passed a law in 1971. I had a chance to talk with writer & director Petra Volpe and I'm so happy I did - she's a joy to talk with and had much to say about making empowering films.
› Posted November 13 in Feat, Indies, Interview | Comments
Interview: Denis Villeneuve on the Task of Crafting 'Blade Runner 2049'
"It's the multiplication of brains and [all] the people that you have to tune to make sure that they are all dreaming in the same direction." He's a master filmmaker and continues to deliver some of the best films of this decade - Denis Villeneuve. Born in Quebec, Villeneuve has been an acclaimed filmmaker for many years but finally got his foot into Hollywood's door after making Incendies in 2010. He followed that up with Prisoners, as well as Enemy released the same year, before making Sicario and Arrival. His latest is Blade Runner 2049, a highly anticipated, long-awaited sequel to the sci-fi cult hit from 1982 starring Harrison Ford as a cop named Deckard. I didn't get to chat with Villeneuve for Arrival last year (it was one of my favorite films), so I chased him this time for Blade Runner and got to spend a few minutes talking with him.
› Posted October 5 in Feat, Interview, Sci-Fi | Comments
Interview: Darren Aronofsky Talks 'Mother!', Cinema, Batman & More
"I tell stories. All I can ever do is express how I'm feeling at a moment." In theaters this week is the new film from acclaimed filmmaker Darren Aronofsky, a very provocative and intense feature titled mother!. The film stars Jennifer Lawrence and Javier Bardem as a couple living in a secluded home, trying to fix it up and make it nice until one day uninvited guests show up. Mother! premiered at the Venice and Toronto Film Festivals, and the reviews have been all over the map. I loved the film (here's my review), because I understood exactly what he was doing. This is Aronofsky's outburst of anger about the state of the world, and the way we abuse and mistreat this beautiful planet we live on. While at the Venice Film Festival, I met with Darren briefly for a chat about mother!, and the state of the world - he's always fascinating to talk with.
› Posted September 13 in Feat, Interview, Venice 17 | Comments
Interview: Lake Bell Discusses the Joys & Challenges of Making Films
"I feel very proud to put something out there that is kind-spirited." Lake Bell has a new movie hitting theaters this week and it's worth a watch whenever you have the time. Many people know Lake Bell as an actress, from shows like "Boston Legal" and "How to Make It in America" and movies like Million Dollar Arm, What Happens in Vegas, and Man Up. But Lake is also a talented filmmaker, writing and directing original feature films. Her feature directorial debut, In a World…, a charming comedy about voice-over actors, premiered at the Sundance Film Festival in 2013. She has followed that up with a romantic comedy titled I Do… Until I Don't about marriage that is opening in theaters soon. Lake stars in I Do… Until I Don't as one of the lead characters, and she also produced, wrote & directed it, which is an impressive feat.
› Posted August 30 in Feat, Interview | Comments


After a rainy morning yesterday, I was glad to have dry conditions around Marina Bay this morning, and walked through Marina Bay Sands to a view point overlooking the Gardens by the Bay to watch the sunrise. There were some clouds which made for interesting texture in the sky above the Supertrees, the Flower Dome, and the Cloud Forest conservatories.
Photo Editing Note: Both of these images were processed with HDR Efex Pro 2.


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014: The Numbers Don't Matter
Like counts. Followers. Page views. Impressions. Favorites. Retweets.
It seems that you can't go to any website or app these days without seeing some form of voting system. Vote for your favorite image, double tap to leave a heart, favorite, and subscribe.
The problem is that it's easy to attach personal value to these numbers. If your latest picture on Instagram got less likes than the last one did, you immediately start wondering what went wrong and why you messed up.
But the numbers don't matter.
What would you do if you had just one follower? What about 1,000? What about 100,000? What changes between 1 and 100,000?
In this episode, we talk about how to avoid equating personal value with the numbers that are coming in, and ultimately why numbers don't matter.
Look at numbers as an indicator of health, not of worth.
Numbers aren't just about what you're seeing right now, they're about what you're building towards.
The positive people who appreciate what your brand is about will stay after you post something controversial.
Numbers show you who is resonating with your work, and those are the people you should focus on.
When your audience knows that you're listening, they're more willing to engage.
Reach out to your audience on a personal level so they will feel like you're approachable.
If you are a passive creator, you're going to have passive consumers.
Create like you're creating for one person, and create like you're creating for a million people.
You never know what a moment of connecting with one person is going to do in the future.
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01:54 Cory: Numbers, numbers, numbers. The numbers don't matter. I need to make a disclaimer here—I'm talking about like counts, followers, page views, and impressions. I'm not talking about sales, profits, or revenue. Those numbers do kind of matter, to a certain extent. You look at your income, and revenue and profit are what's going to allow you to continue to do business. Look at numbers as an indicator of health, not of worth. The reason we wanted to talk about numbers and why they don't matter is because I constantly see people get frustrated at the numbers they see. They want to be at the next level, but they feel stuck in this place.
02:57 "I only have 20 followers," or, "I only have 138 likes on my Instagram post," or, "I only got 2,000 page views last month instead of the 2,865 that I got the previous month." People get so wrapped up in the numbers they see, and they impose that worth and value on themselves and their brand. They think, "Because I'm not seeing the numbers I want to see, that's an indication of how good I'm doing, how good I am." They personalize it and internalize it, and that's really detrimental.
Numbers Aren't the Full Picture
03:42 Kyle: Just to clarify, we're focusing on social media and audience in general. It's very detrimental. People go through seasons of things all the time, and your brand is going to have that, too. A lot of the stuff involved in social media and audience building can't be completely controlled. Somebody who liked a photo from you on Instagram yesterday may not like one today, even though they liked it just as much. They just didn't think to tap the photo twice or hit the button. Maybe they're busy. They're doing something, but they saw your photo, loved it, and they remember you. You're still top of mind for them, but they didn't acknowledge that, and that's tough.
04:36 For anybody that's used Periscope, it's a lot like that. It's this one-way conversation. With Periscope, you're talking and you know people are listening because there are a bunch of numbers. That number of people have to be watching you, especially if they're watching from a phone—that takes over your whole phone. They aren't doing anything except watch you. The problem is that many of them may not comment, so you assume that people aren't super interested because they aren't commenting right now. Cory and I have about 40 people listening live right now, and hardly anyone is saying anything. That's not a bad thing, because they're listening.
05:24 We don't see that interaction, so we can sit here and say, "People aren't commenting! Our numbers aren't up! We need to shut down the podcast." That's not correct. There are still people getting things out of what we're sharing.
05:39 Cory: This episode is going to go out and reach a larger number of people than we're streaming to. We could get wrapped up in the now, this moment, but we aren't thinking forward to the people we're going to be able to reach in the future. Look at it and say, "I realize that I'm in this 'now' moment, but that doesn't mean it's going to be my always."
06:15 You're not going to sign up for an account on Instagram and get 1.3 million followers in two days, unless you're Justin Bieber. It's all incremental. There are stages. Ask yourself, how many followers did you have when you first started? Is that less than you have now? If it's less than what you have now, that's good. If you had one follower when you first started and now you have ten, that's a sign of growth. It's going to fluctuate, and that's okay. It scales. I know artists who get frustrated when they don't get over 10,000 likes on the their Instagram photo. "Man, I only got 10,000! I must have done something wrong. Should I delete my picture because the last one got 30,000 and this one only got 10,000? What should I do? I messed up." It scales.
07:31 You might have 100% engagement with three people because all of them are liking your thing. Maybe that decreases, but it's always going to be relative to your current point. All your numbers are relative to where you are now, and it's going to scale. That's why we say that it doesn't matter if you have 10 likes or 15,000 likes, if you have 20 followers or 20,000 followers. It doesn't matter, because it's all relative to what you're doing right now, which is building toward the future.
08:17 Kyle: It's been over a year, I believe October 2014, since I really started focusing on my Instagram. At the time, I think I had 50 followers. The like counts on anything I would post was about eight to ten people, and that was awesome for me. If I got to ten, I thought, "Wow! Ten people were interested in this!" As time went on, I'm now sitting on over 2,000 followers. I have to catch myself, because sometimes I get wrapped up in thinking, "I haven't gotten to 100 likes yet." It's silly. Me a year ago was super pleased with ten people, and now I'm sad if 100 people don't come through and like this photo. Cory's right.
Not All Losses Are Bad
09:31 If you're pushing your brand, especially with the intentionality we talked about in the previous episode, you're going to have moments when topics you refer to are somewhat polarizing for either you or people in your industry (Related: e13 Approaching the New Year With Intentionality). When that happens, you're going to see a drop in something. The reason that's happening is a good thing. The people that aren't invested in what you want to do and the way your brand does things will drop off, and new people will come on.
The positive people who appreciate what your brand is about will stay after you post something controversial and now new positive people are welcomed in.
10:20 They're in a much better culture. Whether those numbers rise or drop, there are good reasons for either of those. I might write about a topic and think, "Some people may not agree with this." The other day, I wrote a post about icon design as a profession and becoming a specialist in something. That's not something everyone agrees on in our industry. There are people that think you should do multiple things, and other people think specializing is the best. I wrote my thoughts on it. My goal wasn't to offend anybody or cause a riot, it was just to share my thoughts and experiences, the things I've gotten out of specializing. Immediately after I sent the newsletter, I saw a decrease in subscribers.
11:22 As weird as this may sound, that was something I celebrated. Those people either weren't willing to take in new thoughts or they don't agree with what I'm doing, and I don't expect everyone to be on board with what my brand is doing. The people who would say, "I'm not willing to listen to you and I don't like what your brand does," those people are gone now. I've got this audience that's much more healthy. Numbers don't say a whole lot. If you lose all of your followers in a day, there may be something going on.
12:18 Cory: That's why I say that numbers are an indicator of health, not of worth. There might be a reason why there's a drop off, and maybe it's good to know what that reason is. Maybe there's a reason why there's a massive increase. It's good to look at those things and say, "Where did this traffic come from? I know that I wrote this post and I lost 100 subscribers, or I tweeted this thing that was kind of controversial and I lost 100 followers." That isn't necessarily a bad thing. In the chat room, Cynthia says, "I get frustrated that I see a lot of people following me, but not a lot of growth, which means that people are unfollowing me." It's totally their prerogative, their right to do that.
13:10 I live in California currently, surrounded by vineyards. Wine country is everywhere where I live. When you're growing grapes to produce wine, you have to prune. You go in and find the places in the vines that are dead or that aren't producing as much fruit as you want, and you have to cut those off and let them fall away so you can have a bountiful harvest. It's not that you're going through and cutting out your subscribers or your followers, but it's okay to have there be a little bit of pruning as you grow. The ones who stick with you are the ones with whom you're resonating.
A Real Audience is Better Than a Big Audience
14:10 I want to be clear about the word "resonate." When someone is frustrated with you, they don't like what you have to say, or whatever, it's not because what you're producing is bad, wrong, or incorrect. That's not at the foundation. It's that that person didn't resonate with what you're creating, they aren't connecting, and that is okay. There have been days when I've gone on my Twitter account and I've watched the number of followers go up and down in single digits. One down, one up, two down, one up. In a single day, I've watched that happen. It isn't that I'm losing followers—it's that the ones I have are the ones I need to nurture more.
15:27 Kyle: However you're delivering a message to your audience, these topics that are polarizing where someone could be on one side or the other of the topic are great things to address. I get much more engagement from my audience when I do those. In the example of the newsletter that I talked about, the people that did agree wrote in and said, "This was great! I hadn't thought about this before. I'm excited about this." I think one person that didn't like it wrote, "I don't understand why you're writing this." That's okay. You want people to engage with your brand.
16:13 Now you've given an opportunity for the people who are really a part of your brand, who believe in what you're doing, to say, "I want to be behind what this person is doing." They write in to you, and that is a moment to pull someone in, say thank you, and actually have a conversation with your audience. That's bigger than any number you could have. I would much rather have ten people that email me every time I send something out or post something than to have 2,000 people that sit there silently every time I release something.
16:58 Cory: Kyle is saying he would rather have ten followers that engage with him than 2,000 who don't.
17:06 Kyle: You don't learn anything from numbers. Hopefully, if you're listening to this podcast, you aren't doing this—if you are, stop now—these things that say, "You can buy followers," or, "We'll add followers to your account." Those are fake people. It doesn't matter. There are whole companies, call centers of people that sit around and just follow people so that pages or Twitter profiles can get more follows. What's the point? Maybe it gives you social proof, but you haven't built anything.
18:07 Cory: It's false social proof. It's the worst.
18:10 Kyle: You may not have an enjoyable brand, and you're not going to know that because all of your followers aren't real. They won't write in and tell you how much they loved your content because they don't care about your content.
Dealing With Audience Silence
18:33 Cory: Cynthia asked, "How do you deal with audience silence?" At every point that is convenient or matches what I'm doing, I ask a specific question. When someone signs up for the Invisible Details newsletter, you get an initial email that asks you a question. First, you get the free 40 page guide that I wrote, and then there's a question at the very bottom that says, "What is your biggest struggle with building your brand?" If people are signing up to my newsletter, that's a relevant question for where they're at. If I asked, "What's your biggest struggle in life right now?" That's not relevant to them right now.
19:07 I say, "Here's something relevant for you right now. If you want me to answer that or you want to have a dialogue, hit reply on this email." I have also asked questions on social media and said, "What are your thoughts? Where are you at in this?" People can engage that way. Typically, audience silence happens when it's a small audience and the questions being asked aren't relevant or aren't matching painpoints. Let's say you have 100 subscribers on your newsletter. You send out the newsletter with a bunch of value, and at the bottom you say, "Reply to this with your biggest struggle in regards to this particular post/article." If nobody replies to that, why not email a couple of people on your list? No formatting, just open up your mail app.
20:18 Email those people and say, "Hey, I have noticed that you've been subscribed to my newsletter since January 1. It's been three months. I want to thank you for sticking with it. I really appreciate you being a subscriber. Is there anything I can do to make this newsletter more relevant for you?" Leave it open ended. Send that to 10 or 30 people. Take an afternoon and manually type these emails out to each person, by name, addressing them directly. That's going to make them realize that you're actually listening.
21:15 When someone replies with a problem or a question, you can reply to that specific email, but you can also turn that into content. Say, "I received this email from a newsletter subscriber, from Jaron, and his question was this. Here's the answer." You write a newsletter on that. At the bottom of that newsletter, say, "If anyone else has questions you would like me to address on this subject, hit reply on this email." Start a snowball of your audience knowing that you're listening and you want to engage.
22:09 Kyle: I think it's really powerful to make yourself real to your audience, especially if you have an online business. It's easy for people to think of you as your social media account. It's easy for people not to make the connection that you're a real person who does other things, that you're on their level. Something I've done that has created a lot of engagement and conversations in context to my content, though maybe not always my brand message, is that I post three days a week on Dribbble, a social media platform for designers. A lot of that is to show proficiency in making icons and to give people a view of what I can make.
23:22 A few weeks ago, I posted this image of some music icons for a music player app. At the end of it, I told them what the icons were for. Then I said, "What kind of music are you guys listening to right now?" Although that isn't part of my brand goals for icon design, it's a personal question. Maybe somebody hasn't interacted with you because they don't feel like they're a great icon designer, but now they think, "Oh, I love music. Let me talk to him about music." Now they know that I'm approachable. They realize that they can approach and talk to me, that I'm a person.
24:13 When they get to the point where they start having questions about icons, or whatever my brand is trying to do at that moment, they'll feel like, "Yeah, I've talked to this guy. He's approachable." It's helpful for your brand to reach out there and think outside of the box a little bit about these questions.
24:38 Cory: You have to be engaging and invite people into your story. If you are a passive creator, you're going to have passive consumers. You have to be approachable, someone people know is listening, and then you have to respond and engage. You have to put in more legwork than your audience, so they feel like they're being pulled in and they have a place to speak.
Create For One Person
25:24 In regards to the content you produce and the kind of brand you want to have, what would you do if you had just one audience member? Just one follower, just one subscriber. What kind of content would you produce? What kind of newsletter would you write? What sort of products would you make? Now, what would you do if you had 1,000 followers/subscribers/customers? Think through that. What about 100,000? What are you doing for 100,000 people? What changes between one and 100,000? Why are you doing things differently for one person than you are for 100,000 people?
26:26 Think through that and ask yourself, "What things need to scale, and what can stay consistent?" Create like you're creating for one person and create like you're creating for a million people. There is a great speaker named Andy Stanley who said, "Do for one what you wish you could do for everyone." In this particular situation, he was talking about adoption. You might have these big, glorious plans, but if you get so caught up in the numbers, you'll forget that these are individual people.
27:23 With every single episode of Invisible Details, with everything we put out, we want to drive home that you are creating for people. People to people, that's the only way brands can be successful. By people, for people. As you grow and expand, as your brand gets larger, 100,000 followers is 100,000 individual persons—unless you went on the site Kyle talked about where you can buy followers. It's always going to be one person to that one person. For them, it's just one.
Think about what you're doing for one person and produce that for a million people.
28:22 Kyle: If you're just starting your brand and maybe you've started some social media accounts attached with that, you're trying to build your audience and you're concerned with all of these numbers, you need to understand this. At some point, you're going to grow and you'll lose that interaction with people. You become less and less approachable the larger you become, because people don't understand that you're still listening to them, and sometimes you can't respond to everybody. I'm not at that point yet, but I've seen that in certain seasons of my business. There's so much interaction that I can't respond to everybody. That's tough. Maybe you only get one person responding to you each month, but don't take that for granted. That's only going to be there for a while.
29:24 Cory: Also, when you have a lot of followers, if you're receiving 100 emails a day and you reply to one email, that could make a world of difference to that one person. You could literally change the world for one person. You don't need to change the world for a billion people. You could, but maybe there's one person you need to respond to, one person who comments on your Instagram photo amongst the 600,000 people who commented. You go in and say, "Thank you so much. I checked out your portfolio on Instagram, and you're doing great work. Keep it up." You were their hero, that brand that's untouchable.
30:09 Now, you're saying that they're doing a good job, and they're thinking, "I've got to keep going! This is jet fuel, and I'm going to go to the moon because this person encouraged me." When you're building your brand and looking at the numbers, remember the individual people. Create like you're creating for one, create like you're creating for a million. Disable all of your notifications and get rid of all of that stuff. Get your mind off of the numbers and start thinking about those numbers as people.
30:44 Kyle: Not to get morbid, but at the end of your life, you built this brand because you had a purpose and you wanted to change the world for somebody. Would you rather get to the end of your life and hear someone say, "He/she had 2,000 followers on Instagram," or would you rather have one person come to your funeral and say, "This changed my entire life." Maybe one person comes up to you and says that you've changed their life—to me, that's validation for everything I've done, and I don't need to have a ton of followers. If I've helped one person understand their worth, be able to do what they want to do, and break out of a bad time of their life, you don't need more than that.
32:00 Cory: A few years ago, I started listening to a podcast. I was listening to this guy online. I was really impressed with his work. He had a podcast where he talked about being really discouraged—he had received some hateful comments or emails, and he was really hurt and questioning a lot of things. I wrote in to encourage him and said, "You're doing great. You've really impacted my life, my creativity, my work." I did not expect anything in reply, but he responded and said, "Thank you so much. This gave me a really impactful moment in my day. It helped me take a step back and know that what I'm doing is important." That started a conversation between the two of us, and now I work for him. That was Sean McCabe, almost three years ago now.
33:08 He took the time to respond and pushed me on to know that we could have a conversation, that we were both approachable. It started a friendship, which eventually ended up resulting in my joining the Community and him asking me to join seanwes full time.
33:35 All you can do is to say, "I'm going to do for one what I wish I could do for everyone," and make it happen.


text:
Archer Avenue
ochippie@hotmail.com
Movie Review – Rounders
Category : Movie Review
Director: John Dahl
Starring: Matt Damon, Ed Norton, John Malkovich
Rounders gets low critic's ratings on both IMDb and Rotten Tomatoes, and I can only assume that those people didn't understand the 90s. This film is so dated it hurts, but in the best way possible, and watching it is like traveling back to a simpler time when every single plot outline hadn't already been recycled a million times. Some standard recipes were still fresh, and directors knew just how to manipulate them enough to convince audiences that what they were watching was pure gold. But we should let ourselves be convinced, let ourselves be swept away, because that's the joy of the movies, isn't it? Rounders is a 90s icon with great acting to propel the story and predictable events that chug along in a perfectly lovely and comfortable way, making this smooth ride nothing short of genius.
Mike McDermott is a poker player, that's what he was born to do, and taking the game away from him is like cutting off an arm or a leg; you know it's gone but you can still feel the tug. After he loses a giant pot to the sinister Teddy KGB, which represents the loss of his dreams of going to Vegas and making it big as a professional gambler, Mikey swears off the game, hitting the books to become a lawyer and trying to forget poker. But that's impossible, and when his best friend Worm gets out of prison and asks Mikey to become his gambling partner once more, it's hard to say no. Now he's back in over his head and owing money to some dangerous people, but the call of the cards is stronger than ever, because he knows that he has what it takes to play with the big boys, and that winning isn't merely a matter of luck.
The narration, the angst, the dark dens, the petty violence, the notable hotties; it's a 90s dance party and we're all invited. It might have come out in 1998, but Rounders is a summation of the decade and of this type of drama; people really ought to respect it more than they do. Its delivery is near perfect, and its characters are gold; what else are you looking for than a cool crime movie about underground poker that succeeds around basically every corner? Thrills, defeat, grit, growth; check, check, check, and check. And then there's the cast: Damon, Norton, Malkovich, John Turturro, Martin Landau, Famke Janssen. That's quite a group, all in their respective prime, you don't see that every day, and that's just another reason to love what we're watching. Rounders is not just a drama, not just a gambling movie, it's a pot we've already won before we even sit down to ante up, a gift given to us by the cinema gods that shan't be taken in vain, so help me, amen.
My rating: ☆ ☆ ☆ ☆ ☆
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☆ - Hated it
☆ ☆ - Didn't like it
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Schedule a FREE Cosmetic Consultation with Dr. Couvillion today. Call 713.850.0240 to schedule an appointment.
I am from New Orleans, Louisiana, where I spent the last 10 years earning my master's and medical degrees, and completing my dermatology residency training. I grew up in Metairie – a suburb right outside of New Orleans.
What is it about medicine that you love?
I love making a connection with other people, and it feels like such an honor and privilege to be trusted with the care of my patients. Also, we continue to make advances in medicine and science and physicians have to be lifelong learners. Constantly being challenged to learn and grow satisfies my intellectual curiosity.
Why did you choose to go into dermatology? What aspects do you love?
Dermatology is a great blend of medicine and surgery, while still being a focused and specialized field – which I love. The skin, hair, and nails can tell us subtle (or not so subtle!) clues about the condition and it is a challenge to be a discerning clinical diagnostician. I also enjoy the ongoing patient relationships in the clinic setting and get much joy from getting to know and helping my patients. My special interests include skin cancer screening and prevention, psoriasis, rashes, hair loss, nail problems, and procedures such as skin cancer surgery, cosmetic injectables, and lasers.
How would you describe your style as a doctor?
Collaborative. I feel strongly that information is power and helps patients to understand the problem, and why I might recommend certain treatments over others. I encourage my patients to be a part of treatment decisions, and have found that this helps ensure better outcomes and patient satisfaction.
How long have you been practicing and where? Tell us a little about your experiences.
I've been practicing medicine for 4 years. I completed an internal medicine internship and then dermatology residency at Tulane University in New Orleans. During my training I had the privilege to learn from nationally recognized medical, general, and cosmetic dermatologists and treated a diverse population with complex medical dermatologic problems, more common conditions of the skin, hair, and nails, and aesthetic concerns. My well-rounded experience has given me the tools to provide high quality care.
Maybe not a motto, but I am generally an optimistic person and believe in our ability to choose how we react to situations and in resilience in the face of hardship. To be able to do this I think we have to 1. Take care of ourselves when we need it and 2. Ask for help when we need it. I try to keep this in mind and remind patients, family, and friends when they need it.
Are you active in the community (or intend to be)? What issues/organizations do you feel passionate about?
As a new Houstonian I am looking for opportunities to get involved, and one of the things that attracted me to Suzanne Bruce and Associates is their dedication to the community, whether through the food bank, Dress for Success, or free skin cancer screenings. As I mentioned I am really passionate about early skin cancer detection, and even better: prevention through education. I look forward to getting involved in community skin cancer screenings at local events and teaching school age children about the importance of sun protection.
My husband and I really enjoy food and love cooking, entertaining, and going out to restaurants. Lately we've been reading through The Food Lab, a book about the science of how heat and other things like salt alter meat or eggs. It's been so interesting and fun to try the different techniques. I love to stay active and our favorite weekends and vacations usually involve some kind of outdoor activity or hiking. Some of our favorites have been the hike to Hanakapi'ai Falls in Kauai, Hawaii and to Lake Haihaya in Estes Park, Colorado – I am looking forward to wherever we go next!
Congratulations cousin. I hope and pray this is a dream job for you!
Your grandfather was my orthodontist! Your mom and I were on publication staffs together in high school. Good luck to you!!!
I tried making an appointment yesterday and was told there weren't anymore "free" consultations available. I was very disappointed.


text:
\chapter{Introduction}
It is well known that electroweak theory satisfies the three necessary
conditions by Sakharov${}^{1)}$ to generate the baryon asymmetry of the
universe, provided that the phase transition is first order${}^{2)}$.
During the phase-transition process of first order, we assign
a complex mass to a fermion as a function of $z$, $m(z) = m_R(z) + im_I(z)$,
where $z$ is the coordinate perpendicular to the wall.
The real part $m_R(z)$ asymptotically behaves such that
$m_R(z)\rightarrow 0$ as $z\rightarrow -\infty$ (symmetric phase)
and $m_R(z)\rightarrow m_0$ as $z\rightarrow +\infty$ (broken phase),
where $m_0$ is the fermion mass. The imaginary part $m_I(z)$
produces quantum-number flow through the bubble wall${}^{3)}$,
if $m_I(z) / m_R(z)$ is not a constant as in the case that CP is
violated in the Higgs sector.\par
We give a general prescription to treat fermion propagation
in CP-violating bubble-wall background, by regarding the CP-violating term as
a small perturbation (DWBA---the distorted wave Born approximation)${}^{4)}$.
We obtain the transmission and reflection coefficients for chiral fermions
incident from the symmetric-phase or from the broken-phase region.
There hold the respective sets of unitarity relations and also reciprocity
relations among the coefficients. These relations enable us to rigorously
derive quantum-number flux through the bubble wall, which is the
first order quantity of the CP violation. Here the dynamical quantity,
$\Delta R\equiv R^s_{R\rightarrow L} - \bar R^s_{R\rightarrow L}$,
where $R^s_{R\rightarrow L}$ ($\bar R^s_{R\rightarrow L}$)
is the reflection coefficient for right-handed chiral fermion
(anti-fermion) incident from the symmetric-phase region,
is of primary importance. If $\abs {\Delta R}$ is small, no sufficient
amount of baryon-number asymmetry of the universe is generated${}^{4,5)}$.
\par
Taking $m_R(z)$ of the kink type${}^{6)}$, we evaluate $\Delta R$ for several
forms of $m_I(z)$. $\abs {\Delta R}$ is extremely small for a thick wall
such that the thickness $1/a$ is larger than $2/m_0$. For one-Higgs-doublet
models with $1/a\sim(20-40)/T$ ${}^{7)}$, this excludes the top quark from
the baryogenesis game.
\chapter{DWBA to CP-Violating Dirac Equation}
\noindent
\section{Dirac equation and Ansatz}
We consider one-flavor model described by the lagrangian,
$$
  {\cal L} = \bar\psi_L i\del\kern-0.55em\raise 0.14ex\hbox{/} \psi_L + \bar\psi_R i\del\kern-0.55em\raise 0.14ex\hbox{/} \psi_R
         + ( f \bar\psi_L\psi_R\phi + {\rm h.c.} ).
\eqn\IIa
$$
In the vacuum, near the first-order phase transition point,
$\expecv\phi$ may be $x$-dependent field, so that we put
$$
  m({\mib x}) = - f \expecv\phi({\mib x}),
\eqn\IIb
$$
where $m({\mib x})$ is complex-valued and we neglect the time dependence. If the
phase of $m({\mib x})$ has no spatial dependence, it is removed by a constant
bi-unitary transformation, which is outside of our interest.
The Dirac equation describing fermion propagation in the bubble-wall
background  with CP violation is${}^{3)}$
$$
i\del\kern-0.55em\raise 0.14ex\hbox{/}\psi(t,{\mib x})-m({\mib x})P_R\psi(t,{\mib x})-m^*({\mib x})P_L\psi(t,{\mib x}) = 0.
\eqn\IIc
$$
For the bubble wall with large enough radius, $m({\mib x})$ could be regarded as
a function of only one spatial coordinate, so that we put
$m({\mib x})=m(z)$.\par
To solve \IIc, we take the following Ansatz${}^{6)}$:
$$\eqalign{
 \psi(t,{\mib x})
 &= (i\del\kern-0.55em\raise 0.14ex\hbox{/} + m^*(z)P_R + m(z)P_L)
    {\rm e}^{i\sigma(-Et+{{\mib p}_T}{\mib x}_T)}\psi_E({{\mib p}_T},z) \cr
 &= {\rm e}^{i\sigma(-Et+{{\mib p}_T}{\mib x}_T)}[\sigma(\gamma^0E-\gamma_Tp_T)
    + i\gamma^3\partial_z+ m^*(z)P_R + m(z)P_L] \psi_E({{\mib p}_T},z), \cr
}\eqn\IId
$$
where $\sigma=+(-)$ for positive (negative)-energy solution,
${{\mib p}_T}=(p^1,p^2)$, ${\mib x}_T=(x^1,x^2)$, $p_T=\abs{{{\mib p}_T}}$ and
$\gamma_Tp_T=\gamma^1p^1+\gamma^2p^2$. By putting $E=E^*\cosh\eta$ and
$p_T=E^*\sinh\eta$ with $E^*=\sqrt{E^2-p_T^2}$, the Lorentz
transformation eliminates ${{\mib p}_T}$.
After this Lorentz rotation for a fixed ${{\mib p}_T}$,
the Dirac equation is rewritten as
$$
 \bigl[ {E^*}^2 + \partial_z^2-{\abs{m(z)}}^2
    +im_R^\prime(z)\gamma^3 - m_I^\prime(z)\gamma_5\gamma^3 \bigr]\psi_E(z)=0,
\eqn\IIe
$$
where $m(z)=m_R(z)+im_I(z)$. Now let us introduce a set of dimensionless
variables using a parameter $a$, whose inverse characterizes the thickness
of the wall: $m_R(z)=m_0f(az)=m_0f(x)$, $m_I(z)=m_0g(az)=m_0g(x)$,
$x\equiv az$, $\tau\equiv at$, $\epsilon \equiv E^*/a$, $\xi\equiv m_0/a$,
where $m_0$ is the fermion mass in the broken phase. Eq.\IIe\ is expressed as
$$
 [\epsilon^2 + {d^2\over{dx^2}} - \xi^2(f(x)^2+g(x)^2)
  +i\xi f^\prime(x)\gamma^3-\xi g^\prime(x)\gamma_5\gamma^3]
  \psi_\epsilon(x) = 0.
\eqn\IIh
$$
\par
As for $f(x)$ and $g(x)$, we do not specify their functional
forms but only assume that
$$
 f(x)\rightarrow\cases{1, &as $x\rightarrow+\infty$,\cr
                       0, &as $x\rightarrow-\infty$,\cr}
\eqn\IIi
$$
and that $\abs{g(x)}<<1$, ${\it {i.e.,}}$ small CP violation.
Eq.\IIi\  means that the system is in the broken (symmetric) phase at
$x\sim+\infty$ ($x\sim-\infty$), the wall height being $m_0$.
\par
\section{DWBA to the Dirac equation${}^{4)}$}
We regard the small $\abs{g(x)}$ as a perturbation, and keep quantities
up to $O(g^1)$. Put
$$
   \psi_\epsilon(x) = \psi^{(0)}(x) + \psi^{(1)}(x),
\eqn\IIj
$$
where $\psi^{(0)}(x)$ is a solution to the unperturbed equation
$$
 [\epsilon^2 + {d^2\over{dx^2}} - \xi^2f(x)^2+i\xi f^\prime(x)\gamma^3]
  \psi^{(0)}(x) = 0
\eqn\IIk
$$
with an appropriate boundary condition. Then $\psi^{(1)}(x)$ of $O(g^1)$
is solved as
$$
 \psi^{(1)}(x) = \int dx^\prime G(x,x^\prime)V(x^\prime)
                 \psi^{(0)}(x^\prime)\qquad {\rm with}\qquad
   V(x) = -\xi g^\prime(x)\gamma_5\gamma^3.
\eqn\IIl
$$
$G(x,x^\prime)$ is the Green's function for the operator in \IIk\ satisfying
the same boundary condition as $\psi^{(0)}(x)$. To this order, the solution
to the Dirac equation is given by
$$
 \psi(x)\simeq {\rm e}^{-i\sigma\epsilon\tau}\Bigl\{ [\sigma\epsilon\gamma^0 +
    i\gamma^3{d\over{dx}}+\xi f(x)][\psi^{(0)}(x) + \psi^{(1)}(x)]
         - i\xi g(x)\gamma_5\psi^{(0)}(x) \Bigr\}.
\eqn\IIo
$$
If we expand $\psi^{(0)}(x)$ in terms of the eigenspinors of $\gamma^3$
as $\psi^{(0)}(x)\sim \phi_\pm(x)u^s_\pm$ with
$ \gamma^3 u^s_\pm = \pm i u^s_\pm (s=1,2)$, $\phi_\pm(x)$ satisfies
$$
  [\epsilon^2 + {d^2\over{dx^2}} - \xi^2f(x)^2 \mp \xi f^\prime(x)]
  \phi_\pm(x) = 0.
\eqn\IIq
$$
Because of \IIi, the asymptotic forms of $\phi_\pm(x)$ should be
$ \phi_\pm(x)\rightarrow {\rm e}^{\alpha x}, {\rm e}^{-\alpha x} (x\rightarrow+\infty)$ and
${\rm e}^{\beta x}, {\rm e}^{-\beta x} (x\rightarrow-\infty),$
where $\alpha=i\sqrt{\epsilon^2-\xi^2}$ and $\beta=i\epsilon$. Putting all these together,
we obtain the asymptotic forms of the wave function (2.11) at
$x \rightarrow \pm \infty$.
\section{Fermion incident from symmetric-phase region${}^{4)}$}
We consider a state in which the incident wave coming from $x=-\infty$ is
reflected in part at the bubble wall, while at $x=+\infty$ only the
transmitted wave exists. We denote two independent solutions to \IIq\
as $\phi^{(+\alpha)}_\pm(x)$ and $\phi^{(-\alpha)}_\pm(x)=\bigl(\phi^{(+\alpha)}_\pm(x)\bigr)^*$ which
behave as
$$\eqalign{
 \phi^{(+\alpha)}_\pm(x)\rightarrow{\rm e}^{\alpha x},\qquad
 \phi^{(-\alpha)}_\pm(x)\rightarrow{\rm e}^{-\alpha x}
}\eqn\IIra
$$
at $x\rightarrow+\infty$.
Their asymptotic forms at $x\rightarrow-\infty$ are
$$\eqalign{
 &\phi^{(+\alpha)}_\pm(x)\sim \gamma_\pm(\alpha,\beta){\rm e}^{\beta x}+\gamma_\pm(\alpha,-\beta){\rm e}^{-\beta x}, \cr
 &\phi^{(-\alpha)}_\pm(x)\sim \gamma_\pm(-\alpha,\beta){\rm e}^{\beta x}+\gamma_\pm(-\alpha,-\beta){\rm e}^{-\beta x}.\cr
}\eqn\IIr
$$
{}From these, the general solution to \IIk\ is eventually given as
$$
 \psi^{(0)}(x) = \sum_s
 [A_s^{(-)}\phi^{(-\alpha)}_+(x) + A_s^{(+)}\phi^{(+\alpha)}_+(x)]u^s_+.
\eqn\IIv
$$
The required boundary condition is achieved by setting $A_s^{(-)}=0$
for $\sigma=+$ and $A_s^{(+)}=0$ for $\sigma=-$ respectively.
The Green's function which matches this boundary condition can be
constructed from $\phi^{(\pm\alpha)}_\pm(x)$.
\par
{}From the asymptotic forms of
$\bigl(\psi_{\sigma}(x)\bigr)^{inc}$,
$\bigl(\psi_{\sigma}(x)\bigr)^{trans}$ and
$\bigl(\psi_{\sigma}(x)\bigr)^{refl}$ in \IIo,
we obtain those of the vector and axial-vector currents,
$j_V^\mu = \bar\psi\gamma^\mu\psi$ and $j_A^\mu = \bar\psi\gamma^\mu\gamma_5\psi$.
In terms of the chiral currents, $j^\mu_L = (1/2)(j^\mu_V-j^\mu_A)$ and
$j^\mu_R = (1/2)(j^\mu_V+j^\mu_A)$,
the transmission and reflection coefficients for the chiral fermion
are defined as
$$\eqalign{
 &T^{(\sigma)}_{L\rightarrow L(R)}
 = \bigl(j^3_{L(R),\sigma}\bigr)^{trans}\bigr|_{A_1^\sigma=0}
  /\bigl(j^3_{L,\sigma}\bigr)^{inc},        \cr
 &T^{(\sigma)}_{R\rightarrow L(R)}
 = \bigl(j^3_{L(R),\sigma}\bigr)^{trans}\bigr|_{A_2^\sigma=0}
  /\bigl(j^3_{R,\sigma}\bigr)^{inc},         \cr
 &R^{(\sigma)}_{L(R)\rightarrow R(L)}
 = -\bigl(j^3_{R(L),\sigma}\bigr)^{refl}
   /\bigl(j^3_{L(R),\sigma}\bigr)^{inc}.        \cr
}\eqn\IIae
$$
If we denote $R^s(T^s)=R^{(+)}(T^{(+)})$ and
$\bar R^s(\bar T^s)=R^{(-)}(T^{(-)})$,
where the superscript $s$ denotes the fermion incident from the
symmetric-phase region, we have
$$\eqalign{
 &T_{L\rightarrow L}^s=\bar T_{R\rightarrow R}^s
={{\sqrt{\epsilon^2-\xi^2}+\epsilon}\over{2\epsilon\abs{\gamma_+(\alpha,\beta)}^2}}
 (1-\delta^{inc}),     \cr
 &T_{L\rightarrow R}^s=\bar T_{R\rightarrow L}^s
={{\sqrt{\epsilon^2-\xi^2}-\epsilon}\over{2\epsilon\abs{\gamma_+(\alpha,\beta)}^2}}
 (1-\delta^{inc}),     \cr
 &T_{R\rightarrow L}^s=\bar T_{L\rightarrow R}^s
={{\sqrt{\epsilon^2-\xi^2}-\epsilon}\over{2\epsilon\abs{\gamma_+(\alpha,\beta)}^2}}
 (1+\delta^{inc}),     \cr
 &T_{R\rightarrow R}^s=\bar T_{L\rightarrow L}^s
={{\sqrt{\epsilon^2-\xi^2}+\epsilon}\over{2\epsilon\abs{\gamma_+(\alpha,\beta)}^2}}
 (1+\delta^{inc}),     \cr
 &R_{L\rightarrow R}^s=\bar R_{R\rightarrow L}^s
=\abs{\gamma_+(\alpha,-\beta)\over\gamma_+(\alpha,\beta)}^2
 (1-\delta^{inc}-\delta^{refl}),   \cr
 &R_{R\rightarrow L}^s=\bar R_{L\rightarrow R}^s
=\abs{\gamma_+(\alpha,-\beta)\over\gamma_+(\alpha,\beta)}^2
 (1+\delta^{inc}+\delta^{refl}).    \cr
}\eqn\IIaf
$$
Here the corrections by the CP violation are
$$\eqalign{
 \delta^{inc} &= {\xi\over{2\sqrt{\epsilon^2-\xi^2}}}
 \Bigl( {\gamma_-(-\alpha,\beta)\over\gamma_+(\alpha,\beta)}I + c.c. \Bigr),    \cr
 \delta^{refl} &= {\xi\over{2\sqrt{\epsilon^2-\xi^2}}}
 \Bigl( {\gamma_-(-\alpha,-\beta)\over\gamma_+(\alpha,-\beta)}I + c.c. \Bigr),    \cr
}\eqn\IIz
$$
where
$ I=\int_{-\infty}^{\infty}dx\, g^\prime(x)\phi^{(+\alpha)}_-(x)\phi^{(+\alpha)}_+(x).$
Among these, the following unitarity relations hold:
$$\eqalign{
 T^s_{L\rightarrow L}+T^s_{L\rightarrow R}+R^s_{L\rightarrow R}=1, \qquad
 T^s_{R\rightarrow L}+T^s_{R\rightarrow R}+R^s_{R\rightarrow L}=1.
}\eqn\IIag
$$
\section{Fermion incident from broken-phase region and reciprocity${}^{5)}$}
In place of $\phi^{(+\alpha)}_\pm(x)$, we start with $\phi^{(-\beta)}_\pm(x)$:
$$\eqalign{
\phi^{(-\beta)}_\pm(x)\rightarrow{\rm e}^{-\beta x},\qquad
\phi^{(+\beta)}_\pm(x)=\bigl(\phi^{(-\beta)}_\pm(x)\bigr)^*
\rightarrow{\rm e}^{+\beta x}
}\eqn\IIba
$$
at $x\rightarrow-\infty$, while
at $x\rightarrow+\infty$
$$\eqalign{
 &\phi^{(-\beta)}_\pm(x)\sim {\widetilde \gamma}_\pm(-\beta,\alpha){\rm e}^{\alpha x}+{\widetilde
\gamma}_\pm(-\beta,-\alpha){\rm e}^{-\alpha x}, \cr
 &\phi^{(+\beta)}_\pm(x)\sim {\widetilde \gamma}_\pm(\beta,\alpha){\rm e}^{\alpha x}+{\widetilde
\gamma}_\pm(\beta,-\alpha){\rm e}^{-\alpha x}.\cr
}\eqn\IIbb
$$
In parallel to Sect.2.3, we can derive the transmission and reflection
coefficients (denoted by the superscript $b$) such as
$T^b_{L\rightarrow L}={\bar T}^b_{R\rightarrow R}$ and
$R^b_{L\rightarrow L}=\bar R^b_{R\rightarrow R}=-R^b_{R\rightarrow R}=-\bar
R^b_{L\rightarrow L}$. The following unitarity relations hold as they should:
$$\eqalign{
 T^b_{L\rightarrow L}+T^b_{L\rightarrow R}+R^b_{L\rightarrow
L}+R^b_{L\rightarrow R}=1, \qquad
 T^b_{R\rightarrow L}+T^b_{R\rightarrow R}+R^b_{R\rightarrow
L}+R^b_{R\rightarrow R}=1.
}\eqn\IIbc
$$
\par
Since  $\phi^{(\pm \beta)}_\pm(x)$ are linearly dependent on
$\phi^{(\pm \alpha)}_\pm(x)$, we have
${\widetilde \gamma}_\pm(\beta,\alpha)=(\beta/\alpha)\gamma_\pm(-\alpha,-\beta)$ and so on. Then
we can prove reciprocity relations for the chiral fermion scattered off the
bubble wall including CP violation of $O(g^1)$:
$$\eqalign{
 T^b_{L\rightarrow R}+T^b_{R\rightarrow R}=
 T^s_{L\rightarrow L}+T^s_{L\rightarrow R}, \qquad
 T^b_{L\rightarrow L}+T^b_{R\rightarrow L}=
 T^s_{R\rightarrow L}+T^s_{R\rightarrow R}.
}\eqn\IIah
$$
\chapter{Quantum-Number Flux through Bubble Wall${}^{5)}$}
Let $Q_L$ ($Q_R$) be an additive quantum number carried by the
left(right)-handed fermion, which is conserved in the symmetric
phase. The quantum-number flux into the symmetric-phase region just
in front of the bubble wall moving with velocity $u$ is given by
$$\eqalign{
F_Q= &{1 \over \gamma}\int_{m_0}^\infty dp_L \int^\infty_0 {dp_Tp_T
\over{4\pi^2}}
(Q_L-Q_R) \cr
     &\times \Bigl[(R^s_{R\rightarrow L}-{\bar R^s_{R\rightarrow
L}})f^s(p_L,p_T)-
(T^b_{L\rightarrow R}+T^b_{R\rightarrow R}-T^b_{L\rightarrow
L}-T^b_{R\rightarrow L})f^b(-p_L,p_T)\Bigr], \cr
}\eqn\IIIa
$$
where $\gamma=\sqrt{1-u^2}$ and the fermion-flux density in the symmetric
(broken) phase $f^s(f^b)$ is given by
$$\eqalign{
& f^s(p_L,p_T)=(p_L/E)\bigl(\exp {[\gamma (E-up_L)/T]}+1\bigr)^{-1}, \cr
& f^b(-p_L,p_T)=(p_L/E)\bigl(\exp {[\gamma (E+u{\sqrt
{p_L^2-m_0^2}})/T]}+1\bigr)^{-1}, \cr
}\eqn\IIIb
$$
the chemical potential being omitted for simplicity.
\par
Thanks to the unitarity and reciprocity relations, \IIIa\ is reduced to a
simple expression:
$$\eqalign{
F_Q= {1 \over \gamma}\int_{m_0}^\infty dp_L \int^\infty_0 {dp_Tp_T
\over{4\pi^2}}
(Q_L-Q_R)\Bigl[f^s(p_L,p_T)-f^b(-p_L,p_T)\Bigr]\Delta R.
}\eqn\IIIc
$$
Here $\Delta R$ is the difference between the chiral fermion and
its anti-fermion in the reflection coefficients incident from
the symmetric-phase region:
$$
\Delta R
\equiv R^s_{R\rightarrow L}-\bar R^s_{R\rightarrow L}
= 2R^{(0)s}(\delta^{inc}+\delta^{refl})
=-2T^{(0)s}\delta^{inc},
\eqn\IIah
$$
where
$$\eqalign{
 T^{(0)s}={\alpha\over\beta}{1\over{\abs{\gamma_+(\alpha,\beta)}^2}},  \qquad
 R^{(0)s}=\abs{\gamma_+(\alpha,-\beta)\over\gamma_+(\alpha,\beta)}^2
}\eqn\IIac
$$
with $T^{(0)s}+R^{(0)s}=1$ are respectively the transmission and reflection
coefficients in the absence of CP violation,
and we have used $\delta^{inc}+R^{(0)}\delta^{refl}=0$.
\par
We now recognize that $\Delta R$ is the dynamical quantity of primary
importance, since, if its absolute value be small, any quantum-number
flow is almost forbidden. Note that the vector-like quantum numbers
such as baryon and lepton numbers do not flow through the
CP-violating bubble wall. (The next order correction would be $O(g^3)$.)
Then one might have to resort to some charge transport scenario or other
to explain cosmological baryogenesis${}^{3,8)}$. If one takes hypercharge
flux, for example, $(Q_L-Q_R)=-1,1,1$ for the up-type quark, down-type
quark, massive lepton respectively.
\chapter{Quantum-Number Flux through the Kink-Type Bubble Wall}
A simple profile of the bubble wall without CP violation may be of the kink
type studied in Ref.6):
$$
f(x)=(1+\tanh x)/2.
\eqn\IIIIa
$$
The unperturbed solutions $\phi^{(\pm \alpha)}_\pm(x)$ are expressed in terms of
the hypergeometric functions. The transmission and reflection coefficients
without CP violation are respectively
$$\eqalign{
 &T^{(0)s}
={{\sin(\pi\alpha)\sin(\pi\beta)}\over
  {\sin[{\pi\over2}(\alpha+\beta+\xi)]\sin[{\pi\over2}(\alpha+\beta-\xi)]}},\cr
 &R^{(0)s}
={{\sin[{\pi\over2}(\alpha-\beta+\xi)]\sin[{\pi\over2}(\alpha-\beta-\xi)]}\over
  {\sin[{\pi\over2}(\alpha+\beta+\xi)]\sin[{\pi\over2}(\alpha+\beta-\xi)]}}.\cr
}\eqn\IIIf
$$
\par
The effects of CP violation can be evaluated, once the functional form
of $g(x)$ is given. We have executed numerical calculations for several
forms of $g(x){}^{5)}$. We show one example in
Fig.1, {\foot {Because of a trivial error in our program for numerical
calculation, Figures in Ref.4) are incorrect.}} {\it i.e.,}
$g(x)=\Delta\theta\cdot f(x)^2$,
where $\Delta\theta$ characterizes the magnitude of CP violation.
(Note that $g(x)=\Delta\theta\cdot f(x)$ gives rise to no quantum-number
flow, as the $x$-independent phase is removed away.)
Although the sign of $\Delta R/\Delta\theta$ varies depending on functional
forms of $g(x)$, the dependence of
$\Delta R/\Delta\theta$ on the wall thickness $1/a$
shows a remarkable general trend. Namely,
${\abs{\Delta R/\Delta\theta}}$
is very small for $a/m_0 \lsim 0.5$, as typically illustrated in Fig.1.
Then it rapidly grows as $a$ increases but turns to decrease for $a/m_0
\gsim 2$.
\chapter{Concluding Remarks}
Although many complicated factors such as the wall velocity $u$ would
largely affect baryogenesis, a sufficient amount of baryon-number asymmetry
could not be produced unless ${\abs{\Delta R/\Delta\theta}}$
due to CP violation is large enough. We conclude with some remarks.
\par
(1) The general trend mentioned just before would require that, in order
for an effective baryogenesis to work, the wall thickness $1/a$ is smaller
than $2/m_0$, about twice the Compton wave length of the relevant fermion.
This would imply that, for $1/a=C/T$ with $C\simeq (20-40)$ of
one-Higgs-doublet models${}^{7)}$, any fermion whose mass $m_0$ is
subject to $m_0 \gsim 2T/C$ could not contribute to baryogenesis.
For $T\sim 200$ GeV, the top quark is excluded from the baryogenesis
game, even though its interaction with the bubble wall is large.
{\it A larger Yukawa coupling does not necessarily mean a larger effect
of CP violation.}
\par
(2) It is impossible for the one-Higgs-doublet model to incorporate
$x$-dependent phase into the bubble wall. On the other hand, there would be
many varieties of two-Higgs-doublet models or SUSY extension of the standard
model, among which a new source of CP violation $g(x)$ may be incorporated.
Once the wall thickness $1/a$ is given, it selects what species of fermions
take part in baryogenesis game. \par
(3) If some of the models predict a thin bubble wall, they may generally be
favored to explain the cosmological baryogenesis. We expect that our DWBA
prescription and the results would serve to build models to generate
baryon asymmetry of the universe.
\par
\bigskip
{\bf References}
\item{1)} A.~Sakharov, JETP Lett. {\bf 5} (1967) 24.
\item{2)} V.~Kuzmin, V.~Rubakov and M.~Shaposhnikov,
Phys.~Lett. {\bf B155} (1985) 36.
\item{3)} A.~Nelson, D.~Kaplan and A.~Cohen,
Nucl.~Phys. {\bf B373} (1992) 453;\nextline A.~Cohen,
D.~Kaplan and A.~Nelson,
Ann.~Rev.~Nucl.~Part.~Sci. {\bf 43} (1993) 27.
\item{4)} K.~Funakubo, A.~Kakuto, S.~Otsuki, K.~Takenaga and
F.~Toyoda, \ \ preprint\nextline
SAGA--HE--55---KYUSHU--HET--15 (1994),
to be published in Phys.~Rev.~{\bf D}.
\item{5)} K.~Funakubo, A.~Kakuto, S.~Otsuki, K.~Takenaga and F.~Toyoda,
\nextline in preparation.
\item{6)} A.~Ayala, J.~Jalilian-Marian, L.~McLerran and
A.~P.~Vischer, \ \ preprint \nextline
TPI--MINN--54---MUC--MINN--93/30--T---UMN--TH--1226/93 (1993).
\item{7)} M.~Dine, R.~Leith, P.~Huet, A.~Linde and D.~Linde,
Phys.~Rev.~{\bf D46} (1992) 550.\nextline
B-H.~Liu, L.~McLerran and N.~Turok, Pys.~Rev.~{\bf D46} (1992) 2668.
\item{8)} M.~Joyce, T.~Prokopec and N.~Turok, \ \ preprint
PUPT--91--1437 (1993).
\bigskip
{\bf Figure Caption}
\item{\rm Fig.1} $\Delta R/\Delta \theta$ as a function of $E^*$ for
various $a$, in the case where $g(x) = \Delta \theta \cdot f(x)^2$.
The numerical values of $E^*$ and $a$ are respectively those of
$E^*/m_0$ and $a/m_0$.
\bye
Please save the following by a suitable file name ( e.g., fig.uu ),
and execute a command:  sh  fig.uu  .
--------- cut here --------- cut here --------- cut here ---
#!/bin/sh
#
#
uudecode $0
uncompress fig1.ps.Z
rm $0
exit 0
#

redpajama_set_name: RedPajamaArXiv


text:
CASA of Fayette County Celebration
Ellen Brown	August 2, 2021
CASA of Fayette County held a ribbon-cutting ceremony on Friday, July 23rd, at its newly opened office in Uniontown. On hand for the ceremony were PA CASA Executive Director Jennifer DeBlako, Mitchell Samick, the program's executive director, Judge Linda Cordaro, Senator Pat Stefano, Representative Matthew Dowling, and CASA of Fayette County Board Members, along with a group of child advocates, interested citizens and representatives from the Fayette Chamber of Commerce.
CASA of Fayette County is the 28th local program in the Commonwealth and was developed by PA CASA with financial assistance from the Victims of Crime Act (VOCA) grant from Pennsylvania's Commission on Crime and Delinquency (PCCD).
The first class of volunteers has started the training course, and in her remarks, Judge Cordaro said she was looking forward to having CASA volunteers working the court.
Senator Pat Stefano thanked Judge Cordoro for spearheading the formation of CASA in Fayette County and acknowledged the tireless work of the extraordinary volunteers who advocate for abused and neglected children throughout the Commonwealth and donated thousands of hours of their time. Senator Stefano also recognized the volunteer board members for their contributions on behalf of the children of Fayette County.
The ceremony concluded with Program Director Mitch Samick cutting the ribbon to open the new CASA office in Uniontown. Watch the ribbon-cutting >
Categories: CASA Across the Commonwealth
Welcoming CASA of Fayette County
Pennsylvania CASA Association (PA CASA) is pleased to announce the launch of CASA of Fayette County on May 3, 2021. CASA of Fayette County joins…
Ellen Brown	May 6, 2021
Court Appointed Special Advocates Save Lives
It's not easy growing up with a mother who is battling addiction. Or coping with a mom's overdose death before a longed-for reunion. Nor is…
Ellen Brown	June 18, 2021
Finding Permanent Solutions
While the world has gone virtual, the role of CASA volunteers and administrators has become even more critical as child service providers are strained to…
CASA of Philadelphia	April 8, 2021
Virtually Unstoppable!
In this season of social distancing, CASA YOUTH ADVOCATES OF DELAWARE & CHESTER COUNTIES, DAUPHIN COUNTY CASA and CASA OF WESTMORELAND swear-in new volunteers virtually!
Trevor Brandt	May 13, 2020
Announcing Pennsylvania CASA's Local Program Board of Directors Representatives
Pennsylvania CASA Association reserves a minimum of two positions on the Board of Directors for representatives from local CASA programs. They are selected according to…
Jennifer DeBalko	October 19, 2021


Windows Vista automatically restarts if your PC encounters an error that causes it to crash. This doesn't matter if it happens once in a blue moon, but if you have a serious problem that happens each time you boot - your PC will constantly reset itself.
The easiest way to solve this problem is to disable automatic restart within the Vista control panel. This won't solve the problem causing the crash, but it will provide some on-screen information that will help you diagnose the error.
Next time your have a crash in Windows Vista, your PC will not automatically reset and you will be able to view the error message.


MissWooHoo11 - BSL for American Pit Bull Terriers!
Unsubscribe from MissWooHoo11 - BSL for American Pit Bull Terriers!?
This tactic is specifically for PB. They're the only breed that grabs & shakes without opening the jaw. Do not use this on other breeds, they are more likely to turn & snap at you than stay clinged on like a PB. PitBull Rescue Central recommends you have a break stick if you own a PB.


The new argument for the death of résumés (will it ever end?) is not LinkedIn or any other online profile that will cause its demise; no, it's a personality test called Cream.hr, which guarantees to make the hiring process flawless.
It takes more pressure off hiring managers, recruiters, and human resources. What a wonderful thing; no more résumés and less decision making from hiring authorities.
An article in Wired.com called Kill Your Résumé: What about Using Science to Hire asserts that this test "can unearth the perfect job candidates even if they don't necessarily have the most relevant work experience or college degree on paper." The test can even select executive-level candidates worth interviewing, assuring hiring authorities they have what it takes.
According to Cream.hr the most essential skills are "task management skills, work ethic, intelligence, and what it calls the "Big Five" personality traits – openness, conscientiousness, extraversion, agreeableness, and neuroticism." And this test will nail down all these traits without a single résumé having to be read. Simply wonderful.
What makes this tests even more amazing is that it's hard for applicants to fool it, as opposed to a personality test that many companies use, Unicru. The way Cream.hr accomplishes this is by asking similar questions multiple times to assure consistency in answers.
For example, one question gives you a list of five personalities traits including "I am the life of the party" and "I am always prepared," both of which sound similar to the Myers-Briggs Personality Indicator. The first example determines extraversion, while the second speaks to a preference for judging.
It's possible that résumés will finally become obsolete, which means jobseekers will no longer have to labor over writing them and, most importantly, employers will no longer have to read them. This is a big selling point for the Cream.hr; for a mere fee ranging from $99.00 to $499.00, companies will no longer have to read tons of résumés.
I have some questions about the effectiveness of this wunder software, such as, does it identify a candidate's accomplishments, or reveal one's ability to write succinctly, or show the jobseeker's understanding of the position? Will it make companies lazy as they rely on a test that has as much human element as…a robot.
The hiring process is never a sure thing but to use a test to determine that best candidates, no matter how accurate, is simply that…a test. If all companies rely on a test such as this, our job as career advisors will be to teach our clients to answer the questions the way employers want them to. We'll see how this argument goes.
This entry was posted in Career Search and tagged LinkedIn, Myers-Briggs Type Indicator, Personality test, resume on November 24, 2012 by Things Career Related.
No, resumes (or some form thereof) will never become obsolete. The testing that they are talking about is not new, in fact. It's the same animal, just by a different name. I will argue that this 'testing' (asking variations of the same question to gauge consistencies) is nothing more than a regurgitation of what's already out there. It's just more automated. My reasoning? We answer these questions in the way we perceive ourselves, and NOT in our actual behaviors. If I say I'm always on time, and I believe I'm always on time, it'll show up that way in the 'testing'. The reality (hypothetically, of course), however, is that I'm always late, but my 'lateness' is 'justified' in my mind, therefore I'm always on time. Perception vs. reality.
For the record, our staffing model is truly behavioral based. We don't use 'testing' like this, but instead, we evaluate actual behaviors looking for consistencies. These consistencies are then evaluated to determine if they are manageable within the client company. Much more successful than relying on computerized testing on who we THINK we are.