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After a flurry of further media speculation, on 6 August 2008, the US Attorney's Office in Manhattan closed its investigation into Ledger's death without filing any charges and rendering moot its subpoena of Olsen.[99][100] With the clearing of the two doctors and Olsen, and the closing of the investigation because the prosecutors in the Manhattan US Attorney's Office "don't believe there's a viable target," it is still not known how Ledger obtained the oxycodone and hydrocodone in the lethal drug combination that killed him.[100][101]
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From 2000 to 2005, he starred in supporting roles as Gabriel Martin, the eldest son of Benjamin Martin (Mel Gibson), in The Patriot (2000), and as Sonny Grotowski, the son of Hank Grotowski (Billy Bob Thornton), in Monster's Ball (2001); and in leading or title roles in A Knight's Tale (2001), The Four Feathers (2002), The Order (2003), Ned Kelly (2003), Casanova (2005), The Brothers Grimm (2005), and Lords of Dogtown (2005).[19] In 2001, he won a ShoWest Award as "Male Star of Tomorrow".[20]
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Bitcoin (BTC) is the world's first decentralized digital currency and payment system and is by far the most known and valuable cryptocurrency. It was created in 2009 by an anonymous person or group called Satoshi Nakamoto. Bitcoin enables transactions to be sent peer-to-peer without passing through a central authority. The transactions are recorded on a decentralized public ledger called the blockchain and each payment acquires a small transaction fee to cover the cost of the network. The total supply of Bitcoin is 21 million and it's smallest unit of bitcoin is called a Satoshi, it's a hundred millionth of a bitcoin – 0.00000001 BTC. The creation of Bitcoin's is happening through mining. Miners have the task to validate transactions and keep the network secure. Their efforts are rewarded by new minted Bitcoins and transactions fees. Bitcoin can be exchanged for fiat or other cryptocurrencies, products and services. Over 100,000 merchants and vendors accepts bitcoin as a payment.
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For those of you who have not been paying attention to one of the biggest trends in investing and tech, cryptocurrencies are digital currencies using encryption techniques that regulate the generation of currency and verify the transfer of funds, operating independently of a central bank. Units of currency are created through a process referred to as mining.
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Ripple (XRP) is an independent digital asset that is native to the Ripple Consensus Ledger. With proven governance and the fastest transaction confirmation of its kind, XRP is said to be the most efficient settlement option for financial institutions and liquidity providers seeking global reach, accessibility and fast settlement finality for interbank flows.
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Mahbub had business at Quetta, and there Kim, as Mahbub admitted, earned his keep, and perhaps a little over, by spending four curious days as scullion in the house of a fat Commissariat sergeant, from whose office-box, in an auspicious moment, he removed a little vellum ledger which he copied out - it seemed to deal entirely with cattle and camel sales - by moonlight, lying behind an outhouse, all through one hot night.
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^ Michelle Nichols (29 October 2008). "Elvis Ranked Top-earning Dead Celebrity". Thomson Reuters. Reuters.com. Retrieved 10 December 2008. Forbes.com said it spoke to experts and sources inside the dead celebrities' estates and researched gross earnings, before taxes, management fees and other costs, from the period of October 2007 to October 2008 to come up with the rankings. Based on its estimates, Nichols reports, Forbes.com ranks Ledger as third among the world's highest-earning deceased celebrities for that year, following Elvis Presley (1) and Charles M. Schulz (2).
^ Cazzulino, Michelle (29 March 2008). "Heath Ledger's Gambit to Be a Director". The Daily Telegraph. Retrieved 24 April 2008. It was an opportunity tailor-made for Ledger, Scott said. 'The movie is about chess, and what is a little known fact is Heath was very close to being on the grandmasters level. He was a chess whiz, and he intended to get his grandmaster rating before he started shooting the picture.' However Australian grandmasters Ian Rogers described the claims of Ledger being close to grandmaster strength as "ridiculous and false claims, disproved multiple times", Tweet by Ian Rogers, 28 July 2018.
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^ "Home deaths from Drug Errors Soar". CNN. Associated Press. 28 July 2008. Archived from the original on 22 March 2014. Retrieved 4 August 2008. Deaths from medication mistakes at home, such as actor Heath Ledger's accidental overdose, rose dramatically during the past two decades, an analysis of U.S. death certificates finds. ... The findings, based on nearly 50 million U.S. death certificates, are published in Monday [4 August 2008]'s Archives of Internal Medicine. Of those, more than 224,000 involved fatal medication errors, including overdoses and mixing prescription drugs with alcohol or street drugs. ... Deaths from medication mistakes at home increased from 1,132 deaths in 1983 to 12,426 in 2004. Adjusted for population growth, that amounts to an increase of more than 700 percent during that time.
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Directors who have worked with the actor praised him for his creativity, seriousness and intuition. "I've never felt as old as I did watching Heath explore his talents," The Dark Knight director Christopher Nolan has written, expressing amazement over the actor's working process, genuine curiosity and charisma.[145] Marc Forster, who directed Ledger in Monster's Ball, complimented him as taking the job "very seriously", being disciplined, observant, and understanding and intuitive. In 2007, director Todd Haynes compared Ledger's presence to actor James Dean, casting Ledger as Robbie Clarke, a fictive personification of Bob Dylan in I'm Not There. Drawing on the similar characteristics between the actors, Haynes further highlighted Ledger's "precocious seriousness" and intuition. He also felt that Ledger had a rare maturity beyond his years."[144] Ledger, however, disconnected himself and acting from perfectionism. "I'm always gonna pull myself apart and dissect [the work]. I mean, there's no such thing as perfection in what [actors] do. Pornos are more perfect than we are, because they're actually fucking."[143]
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Ledger was an avid chess player, playing some tournaments when he was young.[53] As an adult, he often played with other chess enthusiasts at Washington Square Park,[54] though the level of his play has sometimes been exaggerated.[55] Ledger also had a keen interest in the West Coast Eagles, a professional Australian rules football team that competes in the Australian Football League and is based in his hometown of Perth.[56]
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With the largest variety of markets and the biggest value - having reached a peak of 18 billion USD - Bitcoin is here to stay. As with any new invention, there can be improvements or flaws in the initial model however the community and a team of dedicated developers are pushing to overcome any obstacle they come across. It is also the most traded cryptocurrency and one of the main entry points for all the other cryptocurrencies. The price is as unstable as always and it can go up or down by 10%-20% in a single day.
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In the case of Bitcoin, miners run computer programs to verify the data that creates a complete transaction history of all Bitcoin. A technology known as the blockchain, which is used to create irreversible and traceable transactions, makes the process of verification possible. Once a miner has verified the data (which comes in a block, hence, blockchain), they are rewarded with some amount of digital currency, the same currency for which they were verifying the transaction history. So mining Bitcoin, for example, would earn you Bitcoin.
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To give you a better overall experience, we want to provide relevant ads that are more useful to you. For example, when you search for a film, we use your search information and location to show the most relevant cinemas near you. We also use this information to show you ads for similar films you may like in the future. Like Verizon Media, our partners may also show you ads that they think match your interests.
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^ Jump up to: a b Janet Fife-Yeomans (15 July 2008). "Entertainment: Heath Ledger's Daughter Matilda's Estate Claim Decision". news.com.au. News Limited. Archived from the original on 2 August 2008. Retrieved 10 August 2008. [Matilda Rose's] mother, actor Michelle Williams, will have to officially lodge a claim with the court supported by an affidavit which could end up in the public domain, legal experts said.
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As compared to other cryptocurrencies such as Bitcoin, a USDC doesn't move on its own accord as its price is backed by a fiat currency in this case. This means that stablecoins such as the USDC can reduce the price volatility usually associated with cryptocurrencies, so they are an ideal way to store value. That's why Coinbase believes that USDC can be used to buy items in the cryptocurrency ecosystem, such as tickets for blockchain-based games.
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Contact us at webmaster@www.cryptopromastery.com | Sitemap xml | Sitemap txt | Sitemap


text:
Are Uber and Lyft Offering Voters Free Rides to the Polls for the 2018 Elections?
Viral memes leave out significant nuance in the transportation companies' efforts to boost democratic participation in 2018.
Dan MacGuill
Uber and Lyft offer voters free rides to the polls on Election Day.
What's True
Lyft announced free rides for "underserved communities" to be distributed via certain non-profit partners. Uber offered $14 off a round-trip to and from the polling station via one of its non-profit partners, and $10 off a one-way trip to the polling station for other users, discounts that would constitute a cost-free journey if the value of the journey was lower than the discount.
What's False
Neither company offered entirely free rides in a wholesale, blanketed way. Lyft only committed to offering free rides to "underserved communities" with 50 percent discounts for other voters. The discount offered by Uber would not amount to a free ride if the cost of the journey exceeded the value of the discount.
Voter turnout, voter suppression, and voter fraud became the subjects of intensified scrutiny, debate, and speculation in the autumn of 2018, as the 6 November midterm elections drew nearer.
Against this background, many activists and social media users endeavored to share helpful information with their fellow citizens, including advice about voter registration, casting a provisional ballot, and getting to their local polling places.
In the final days of October, Facebook users shared a boilerplate message that asserted the popular transportation companies Uber and Lyft were offering voters "free rides" to polling stations around the country: "Please spread the word that both Uber and Lyft offer free rides to polling places on Nov 6th."
Such viral posts were accompanied by multiple news reports, some of which declared in their headlines that the companies would be offering "free rides," while others stipulated that "free or discounted rides" were on offer, alluding to the more complicated reality of the situation.
'Terms and conditions apply'
It's true that Lyft has announced a plan to offer free rides to polling places, but not to anyone and everyone who wants one. In a 23 August press release, Lyft stated that they would be working with certain voter registration non-profits to arrange free transportation "for underserved communities," while they would work with other groups to distribute 50 percent discount codes to other would-be voters:
Across the country, we'll give away 50% off promo codes with our partners that encourage voter turnout. We're thrilled to be working with Vote.org, Nonprofit Vote, TurboVote and more to help distribute codes to those who need them. We'll also have a product integration to help passengers find their polling location.
For underserved communities, we'll provide rides free of cost through nonpartisan, nonprofit partners, including Voto Latino, local Urban League affiliates, and the National Federation of the Blind.
We asked Lyft for details on how its plan would work, how would-be voters could go about obtaining a free or discounted ride, how the company and its respective partners would determine which voters qualify for a free or discounted ride, and whether the initiative also applied to early voting. Lyft did not respond to our questions.
For their part, Uber has also not maintained they would be offering "free rides" in an indiscriminate way, although their initial announcement about their election initiative perhaps lacked specificity in that respect. In a 4 October press release, the company announced that: "To help the millions of Americans who cite transportation barriers as the reason they don't vote, we'll be partnering with #VoteTogether and Democracy Works to provide free rides to the polls."
In an update on 24 October, Uber provided further information on the initiative, and a spokesperson for the company confirmed to us the following details:
Uber has already distributed 15,000 promo codes via its partnership with Vote Together, a project of the non-profit group Civic Nation
These promo codes were targeted at early voting, and were worth $7 off an Uber trip to the polling station, and another $7 off the return trip ($14 in total)
On 6 November, Uber will be distributing a separate Election Day promo code both directly to users of the app, and via its partnership with Democracy Works, a non-profit organization which uses technology to make the process of voting easier
Those promo codes will be worth $10 off a single ride to the polling station on 6 November (no return journey), provided a user has the most recent version of the Uber app, uses a new feature on the app which helps voters locate their polling station, and chooses the "most affordable Uber option available in your city," whether ExpressPOOL, POOL, or UberX.
These discounts will undoubtedly be very helpful and convenient for many users of the Uber app, and if the cost of a journey is lower than the value of the discount, many voters will end up paying nothing for their Uber trips to polling stations and in effect enjoy :free rides."
However, it's clear that the claim made in the viral Facebook post, that "Uber and Lyft offer free rides to polling places on Nov 6th" was a significant oversimplification of what each company was actually offering, and the conditions and requirements associated with those offers.
KYW-TV. "Uber, Lyft Offering Free Rides to the Polls on Election Day."
KYW-TV. 15 October 2018.
Dobush, Grace. "Uber Joins Lyft in Giving Free Rides to the Polls on Election Day."
Fortune. 5 October 2018.
Grothaus, Michael. "Uber and Lyft Are Offering Free Rides to the Polls on Election Day."
Fast Company. 5 October 2018.
Allen, Taylor. "Lyft, Uber Offers Discounted or Free Rides to Get to Polls on Election Day."
WHYY-TV. 11 October 2018.
Barden, David. "Uber and Lyft Plan to Offer Free and Discounted Rides on Election Day."
The Huffington Post. 15 October 2018.
Lyft. "The Ride to Vote: Use Lyft to Exercise Your Rights."
23 August 2018.
Khosrowshahi, Dara. "Uber Drives the Vote."
Uber. 4 October 2018.
Burr, Danielle. "Update on Uber Drives the Vote."
Uber. 24 October 2018.
Hegeman, Roxana. "Iconic Dodge City Moves Its Only Polling Place Outside Town."
Associated Press. 18 October 2018.
Cruz, Caitlin. "Voting for Dodge City, Kansas Residents Will Be Easier Thanks to Lyft & Voto Latino."
Bustle. 22 October 2018.

redpajama_set_name: RedPajamaCommonCrawl


October 29, 2012. Rustic Timber Bed Frames for a Elegant Bedroom Design Photo. Fancy Master Bedroom Design with Reclaimed Wooden Platform Bed. Rustic Timber Bed Frames for a Elegant Bedroom Design and Fancy master bedroom design with reclaimed wooden platform bed. The bedroom is quite spacious. There are LCD and fireplace makes this bedroom look more luxurious. This bedroom uses wooden floors.


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The End of an Endless Campaign
How Cold I Am!
Celebrating Aunt Ruth
My mother grew up in Buffalo, New York and her five brothers and sisters never left. So I have visited my family there countless times. When I was a child, my mother and I often spent summers in my Aunt Ruth's house in Buffalo with my three male cousins and my beloved Uncle Milton.
But Friday's visit was different because it was the day of Aunt Ruth's memorial service, and it marked the end of an era.
She had been a much-loved member of the Buffalo community. When she turned 100, the non-profit boards she served on refused to accept her resignation. She passed a driver's "re-test" with flying colors in her late nineties which allowed her to keep driving her younger friends who were "too old to drive" everywhere. At age 104, you don't have many peers, but she had so many younger friends that she never lacked visitors or calls as she grew frail.
In his memorial speech, her eldest son, Ken, told of the time she called the summer camp director after she heard that he had announced over the loud speaker that her son needed to move to the "overweight" table, humiliating him in public. The camp director never did that again. "Woe to the person who brought ketchup or mustard to the table in a bottle," reported Ken because everything had to be just so in her house. He admitted that that person had usually been him.
At 104, she was tired and ready to "go" and decided to refuse food and water. But soon, Ken said, she "got hungry".
Aunt Ruth was one of a kind—beautiful, gracious, and generous. Now she is gone. I will never stop missing her.


Actor Nico Tortorella explores love and the labels associated with it. Each episode, he speaks with someone he loves about how gender identity, sexuality and relationships shape us, define us and make us unique humans.
Chad King of the musical duo A Great Big World sits down with Nico to discuss inspiration, unrequited love, crystals, and living with MS.
Supermodel Hanne Odiele sits down with Nico and discusses intersexuality, fashion, marriage, overcoming obstacles and all things majeur!
The multi-talented Todrick Hall joins Nico for a conversation about his obsession with The Wizard of Oz, Beyoncé, Tinder, fans, and the power of manifestation.
Nico sits down with the legendary Courtney Love to discuss all things sweat lodge, growing up, the need for fame, the importance of self-care, and the power of the chant. Be sure to watch Menendez: Blood Brothers starring Nico and Courtney on Lifetime airing June 11th.


Are you stuck in an abusive relationship? Do you feel you need to step out of it and into something else? Do you want to stand up for yourself and your beliefs? Are you feeling scared and alone? This book is a story of survival and hope. It provides sound advice and guidance for anyone wishing they could rewrite their script and shine.
"I have a whole new understanding of psychological abuse than I ever had before...you've got through it from pure determination and strength. Totally Well Done"
Deborah Jane seemed to have it all; a nice house in a sought after area, happy marriage, beautiful new baby, a growing industry-leading business and a good professional network who valued and respected her. Beneath the facade she was deeply unhappy and life was about to take a significant turn for the worse. Going through experiences she wouldn't wish on her worst enemy, she hit rock bottom and realised the only way she was going to climb out of the pit was to do it herself, one step at a time. Proving that if you want something badly enough, it's possible to do 'whatever it takes' to step out of the wings, into the spotlight and create your own blockbuster life.
Whatever It Takes is a story of hope and Deborah Jane's story helps you to find the strength and courage to keep on going whatever it takes.
One woman's story of living with, leaving and surviving psychological abuse.
"He has an ingenious way of insult after insult, condescension and ridicule. Next thing he says something mildly complimentary and you feel good!!!" Unsure whether you're stuck in a psychologically abusive relationship?
"I honestly don't know what I was thinking and how could I have been taken in by someone like him?" Do you feel stupid for allowing yourself to be taken in like this?
"I have a whole new understanding of psychological abuse than I ever had before" Does the shame and fear of not being believed keep you in your relationship?
Is your gut instinct screaming at you telling you something's not right but you're choosing to ignore it?
Are you worried about how you'll leave?
Whatever It Takes is a story of survival and hope.
Wherever you are in your life, you are not alone. This life really is not a rehearsal and we owe it to ourselves to do whatever it takes to shine in our own spotlight. You are never too old and it's never too late.


text:
function HomeController($scope, $log) {
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export default HomeController;

redpajama_set_name: RedPajamaGithub


text:
Corner House Research and Campaign Against Arms Trade Skeleton Argument
For Permission Hearing for Judicial Review
by lawyers on behalf of The Corner House and CAAT
first published 7 November 2007
CH-CAAT 'Skeleton' Oral Permission Hearing
SFO 'Skeleton' Oral Permission Hearing
On 9 November 2007 at a hearing before two High Court judges, lawyers for The Corner House and Campaign Against Arms Trade presented this outline (or 'skeleton') of their arguments as to why a judicial review should be held of the Serious Fraud Office's decision in December 2006 to cut short its investigation into alleged corruption by BAE Systems in recent Al Yamamah arms deals with Saudi Arabia.
This skeleton argument outlines the Serious Fraud Office's decision, the basis for the legal challenge in Article 5 of the OECD Anti-Bribery Convention, and the Government's defence against the judicial review application.
It sketches out what our lawyers believe to be the jurisdiction of a UK court to interpret the OECD Convention; the breach of Article 5; and the tainted advice given by the UK Government to the Serious Fraud Office to terminate the investigation.
It assesses the reasons given by a High Court judge in May 2007 in refusing to grant a judicial review, and applies for a Protective Costs Order, capping CAAT's and The Corner House's liability if we lose the judicial review.
The Serious Fraud Office (SFO) submitted its own "Skeleton Argument", arguing why permission should not be granted for the judicial review.
Timeline of Judicial Review
Campaign Against Arms Trade (CAAT)


text:
Home Media FCC Issues Ruling, Seeks Comments, to Facilitate Implementation of ATSC 3.0 "Broadcast Internet"
FCC Issues Ruling, Seeks Comments, to Facilitate Implementation of ATSC 3.0 "Broadcast Internet"
By Paul J. Feldman and FHH Law on June 9, 2020 Posted in FCC, Media, Unlicensed Operations and Emerging Technologies
Three years ago, the FCC authorized deployment of a new IP-based broadcast TV standard, ATSC 3.0, with the hopes that TV broadcasters would implement innovative new data transmission services. That has not yet happened to any significant extent; so today the FCC voted to issue a Declaratory Ruling ("Ruling") that it hopes will remove what may be a regulatory barrier to wide-spread implementation: the FCC ruled that a broadcaster's lease of spectrum to a third party for provision of ancillary, non-broadcast services does not trigger attribution for the FCC's broadcast ownership rules. This comes with support from a wide group of stakeholders and trade associations including the National Association of Broadcasters (NAB), America's Public Television Station (APTS), the Consumer Technology Association (CTA), Public Media Group, and of course the Advanced Television Systems Committee. It is unclear if that Ruling will significantly speed the implementation of ATSC 3.0; and perhaps for that reason, the FCC also issued a Notice of Proposed Rulemaking ("NPRM") in the same document, seeking comments on other proposals intended to enhance implementation of ATSC 3.0.
Background on ATSC 3.0 and the Ownership Rule
ATSC 3.0, an Internet Protocol (IP)-based broadcast transmission platform, is the newest TV transmission standard developed by Advanced Television Systems Committee. As the FCC stated in 2017, the ATSC 3.0 standard will allow broadcasters to "offer exciting and innovative services, including superior reception, mobile viewing capabilities, enhanced public safety capabilities (such as advanced emergency alerting capable of waking up sleeping devices to warn consumers of imminent emergencies), enhanced accessibility features, and now for the first time in broadcasting technology, localized and/or personalized content, interactive educational children's content, and other enhanced features." These new offerings over broadcast spectrum were originally referred to by the FCC as "Next Generation" TV, and now by some as "Broadcast Internet" services, to distinguish them from traditional over-the-air video services. The FCC's Media Bureau began accepting applications for ATSC 3.0 licenses on May 28, 2019. So far, broadcasters in only about a half dozen markets have implemented the new standard, although conversion of some stations to ATSC 3.0 is planned in some 60 markets in 2020. As the demand for broadband Internet services continues to grow, the FCC is turning over every stone to find ways to "unleash" additional spectrum.
But while ATSC 3.0 holds great promise for broadcast and Internet services alike, there are various technological and business reasons why initial implementation has been slower than anticipated. The FCC may not be able to control those factors, but it can address regulatory issues that may have been a barrier to implementation. One possible regulatory issue may be the requirements in the FCC's ownership rules, and concerns that a lease of TV spectrum to another party to be used for non-broadcast services could result in that outside party's media ownership interests being attributed to the host broadcaster, thereby limiting the broadcaster's ownership options as well as the ability of a third-party to lease spectrum from multiple stations. So-called "ancillary services" using broadcast television spectrum have been permitted since the DTV transition that began more than a decade ago, but the available data capacity before ATSC 3.0 was not sufficient to attract financial investment, and the ownership question was a further deterrent. The technology advance may have resolved the economic part of the equation, but the ownership cloud has remained. Thus, the FCC has issued the Ruling, to eliminate that concern:
"Specifically, we clarify that the lease of excess broadcast television spectrum to a third party, including another broadcaster, for the provision of ancillary and supplementary services does not result in attribution under our broadcast television station ownership rules or for any other requirements related to television station attribution (e.g., filing ownership reports). That is, our attribution rules do not confer a "cognizable interest" solely by the existence of a lease agreement to provide ancillary and supplementary services over the station's spectrum."
So, TV licensees and spectrum-based service providers, go forth and lease. Hopefully, the new regulatory relief will encourage the leasing of spectrum for Broadcast Internet services and foster local competition in the provision of Internet-based services – whether that be for commercial wireless broadband or more niche uses such as autonomous vehicle support, Internet of Things, and smart agriculture – even though for now, broadcast signals can still travel in only the one-way outbound direction. Time will tell whether this ideal will be realized or if the elimination of the ownership uncertainty will instead further solidify the power of the top players. For example, a single entity could use this Ruling to acquire the rights to offer Broadcast Internet services on multiple broadcast channels in the same market or to put together a nationwide footprint for the provision of Broadcast Internet services. The Commission under Chairman Pai seems content to allow the marketplace to sort it out.
It should be noted that this ruling will apply to the ancillary capacity under both the ATSC 1.0 and ATSC 3.0 technical standards, so stations that have not yet adopted the 3.0 standard may still take part. Consistent with existing Commission rules and policies, a broadcaster using either ATSC 1.0 or 3.0 must continue to provide at least one over-the-air video program signal at no charge to viewers and remain in compliance with all other applicable Commission broadcast rules for that signal. Existing rules that determine the applicability of attribution to Time Brokerage or Local Marketing Agreements ("TBAs" or "LMAs"), Joint Sales Agreements ("JSAs"), and Shared Services Agreements ("SSAs") will remain unchanged.
Noncommercial stations will also continue to be subject to the tougher requirement that they devote a "substantial majority" of their spectrum capacity to noncommercial services. Once they meet the substantial majority requirement, they may provide commercial non-broadcast services, including subscription-based video and non-broadcast data, using their remaining capacity; but any service that meets the definition of "broadcasting" must remain noncommercial.
Questions Raised for Comment
Recognizing that its Ruling may not suffice to drive the implementation of ATSC 3.0, the FCC also issued an NPRM seeking comments on other steps that it could take to facilitate that implementation, including:
How much capacity and what grade of service should be the minimum broadcast requirement? Should noncommercial stations have to devote more capacity to conventional broadcasting than commercial stations?
How should spectrum leases be regulated? The FCC currently requires that the term of a lease not extend beyond the license term of the host station, although automatic renewals are permitted. Should any other lease provisions be regulated?
The FCC suggests that broadcasters will be held liable for content transmitted by their lessees, but that is not the scheme that has been promulgated in the past for ancillary services like FM radio subcarriers. Past rules have applied regulatory schemes appropriate for the type of service provided; for example, if the service is common carrier in nature (rare in practice), neither the host station nor the spectrum lessee is liable for the content of end-user messages.
Should any regulatory schemes from other types of services apply, such as wireless service regulations? Might wireless spectrum caps then come into play and negate the initial conclusion that there should be no limit on how much spectrum one party may lease?
Should Class A and Low Power TV stations have as much leasing freedom as full power stations – and maybe even more, by being freed from minimum broadcast capacity requirements?
Is the statutorily mandated fee on ancillary services a barrier to implementation? If so, should it be reduced, keeping in mind that the statute requires that fee payments approximate the value the Government would receive if the spectrum capacity were auctioned? If the fee is a barrier, should it be imposed only when ancillary service revenues exceed a certain threshold? Should revenues from services with high public interest value, such as telehealth and homeland safety, be completely exempt? Should the fee be variable, depending on the type of service provided and/or the host broadcaster's revenues?
How should the FCC calculate the revenue on which the fee is based? Currently, the ancillary service fee is set at 5% of the broadcaster's gross ancillary services revenue, without regard to the revenues of any spectrum lessee, which may be much greater. What happens if broadcasters invest in spectrum lessees and derive revenues from both the lessor and lessee sides? How should the FCC treat like-kind consideration, such as a lessee paying for all the equipment needed for a TV station to implement ancillary services? When and how should broadcasters report their revenues and pay their fees?
Finally, what about the elephant in the room – who is going to design, manufacture, and market receivers for broadcast ancillary services? If the FCC hopes that TV ancillary operations will help to close the digital divide and make Internet access more universal, the public will need access to inexpensive receiving equipment. Most of the major cellphone handset providers refuse to activate FM radio receiver chips in their phones. Will anything motivate them to accommodate TV Internet chips?
Comments on the NPRM will be due 30 days after publication in the Federal Register, which has not happened yet. Please contact us if you are interested in filing comments, or would like further information on this matter.
Tags: ATSC 3.0, Broadcast Internet, Declaratory ruling, media ownership rules, Next Generation TV


Oby Ezekwesili, former vice-president of the World Bank, says it is a fact that she was a minister under the Peoples Democratic Party (PDP), but she served in the interest of the people and for good governance.
The former minister, who holds the PDP and the ruling All Progressives Congress (APC) responsible for Nigeria's litany of woes, added that all she did is there for all to see.
"It is a matter of fact that I was a minister under the PDP administration, but what you cannot contest is that I was a minister that was driven by the noble objectives of serving the people," Ezekwesili told Channels TV.
"If you looked at the things I was responsible for, whether it is the due process, that is the Bureau for Public Procurement, it was for good governance. If you look at NEITI, the Nigeria Extractive Industries Transparency Initiative, it was for good governance.
The 55-year-old, who is the most prominent woman to run for the office of the president in Nigeria's history, said the response she has been getting in funding her campaign has been majorly in terms of goodwill.
"The response is tentative, but one thing we have seen is massive goodwill. There are different social networks that exist already and those networks are all over the country," Ezekwesili said.
"Those kinds of networks say to you, you can leverage our existence as a basis to do the things you would normally have to find people and pay them money for.
Ezekwesili, who recently made the final shortlist for the Nobel Peace Prize for her work against corruption, stated that "politics is not an investment" for her, adding that all she wants to see is "good governance".


text:
Five Key Takeaways from Week One
David Roy · August 16, 2019
One week is in the books, and the first week of CFSL action gave us some answers as to several teams. Some exciting matchups, and some surprising outcomes all in the opening week of action. And there's a lot more we could discuss than what's here, but these are the major takeaways from week one.
1) TEXAS AIN'T ALL TATUM
This may be an odd take, but the concerns with Texas were not in their offense. Tatum passing for nearly 400 yards and putting up five touchdowns doesn't surprise us anymore. What did catch many by surprise was the Longhorn defense. Texas lost linebacker Justin Boudreaux to the pros, leaving the question of how linebacker Howard Cook would fill into this defense. Well, not only did he lead the defense in tackles with 11, but he also tallied three tackles for a loss and a sack. On a night where Texas held a strong Washington offense to just 20 points and a third down conversion rate of 16%. This defense is just as strong as ever, now can they maintain it?
TEXAS 49, WASHINGTON 20
2) FLORIDA: ASK ABOUT OUR FOX
We all expected Kingston Fox to look good, but the early returns might be more than Florida even anticipated. Kingston Fox put up 368 yards with four passing touchdowns and an interception. Now, he didn't run as much as Gator fans might have expected or hoped for, but he looked fantastic through the air. That said, we need to slow our roll just a tad. It was week one and against Penn State's defense. If Fox can come even close to these numbers against a team like Texas or Clemson then Florida's in great shape.
FLORIDA 45, PENN STATE 17
3) BRUTAL BUCKEYES
So, the expectation for Ohio State's defense was certainly high. But, I think they blew expectations away against Miami this week. It's not often that a defense can force four turnovers in a game, even less often that they're two fumbles and two interceptions. Even better for Ohio State fans is that the Buckeyes capitalized on most, if not all, of those turnovers. Two of them came early in the game, allowing Ohio State to put up 21 points in just over a minute of game time. That's an absurd number, and it's why the rest of the Big Ten has got to be alert to just how much damage the Ohio State defense can do.
MIAMI 20, OHIO STATE 37
4) RIFF RAM, YES WE CAN
Ignore the final score of that TCU game for just a moment. The Horned Frogs were stellar on offense, putting up points, and their defense looked good too. After all, it's tough to argue with the game opening up with a pick six from the Horned Frog defense. There was evidence that halfback Koda Adok could provide the running game that TCU needs in order to be successful this season. I get it, three interceptions are difficult for any team to overcome, and quarterback James Kovach left his team in a tough spot. But in spite of those turnovers, TCU was still in position to make the comeback. In part because of the defensive efforts, on this team. TCU can make a run for the SEC throne this season, they just have some quirks to work out.
TCU 27, OREGON 44
5) CAPTAIN CLEMSON
The infamous Game Manager landed in Atlanta to kickoff the CFSL campaign. Quarterback Javon Mack's transfer to Clemson left ripples across the entirety of the CFSL, and then he opened up his CFSL season by doing what he did Tuesday night. 210 passing yards for Mack on just 16 completions. Now, Mack didn't score through the air, but he was efficient. The key, though, was his 16 carries for 108 yards with a rushing touchdown. Vintage Mack is in Death Valley, and the Tigers have to feel good about their chances to go back-to-back seasons with a title win. Especially when halfback Mike Chadwick put up 181 yards on 25 carries with three rushing touchdowns. Watch out, because Clemson isn't slowing down.
NOTRE DAME 31, CLEMSON 37
Your five key takeaways for the first week of action is here. Look, there's more we could have touched on, like what Auburn did to Michigan, but this is a good start. Week one in the books, week two on the horizon, and plenty more for us to learn about each team as we move forward in this fifth season in the CFSL. Buckle up, because who knows how wild this will get.
Week One: Bowling Green vs. Oklahoma State, Ohio vs. Florida, Toledo vs. Clemson, & Miami University vs. Florida State University
Itzz_AoS · January 14, 2021
Week One: Northern Illinois vs. Texas, Eastern Michigan vs. Alabama, Ball State vs. Auburn, & Kent State vs. Nebraska
Week One: USC vs. Ohio State, Michigan vs. Oregon, & Texas A&M vs. Notre Dame
Week One: LSU vs. Miami & Oklahoma vs. Boise State


Today I wore my River Island white lace tee with an Asos basic vest underneath, my Asos blue jeans and my New Look black boots to keep safe in the rain. It was actually really sunny for my walk home though it really cheered me up and gave me the energy to go for a run.
For hair and makeup I used my trusty brush again and put on mascara and Show off Topshop lipstick.
Anyone else have a nice walk home?


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Posts tagged: Alec Baldwin
What do NYC Buskers & Alec Baldwin have in common?
Alec Baldwin, BKMag, Bratton, Busking, Heidi Kole, Kristin Iversen, NYC Subways, NYPD, The Subway Diaries
Question: What do BYC Buskers and Alec Baldwin have in common?
Answer: Being arrested by Bratton's rogue army the NYPD for doing nothing!
http://www.bkmag.com/2014/05/14/alec-baldwins-post-arrest-twitter-rant-against-the-nypd-is-pretty-spot-on/
Alec Baldwin was arrested yesterday for riding his bike the wrong way up Fifth Avenue in Manhattan. And while we're strongly anti-salmoning, and have, at best, mixed feelings about Baldwin (wasn't he going to move out of New York or something?), we also think that it is completely absurd and indicative of troubling police behavior that, instead of receiving a warning or even a ticket, Baldwin was handcuffed and arrested for what amounts to an incredibly minor offense. And so when Baldwin took to Twitter for one of his patented tirades? We read along, and actually found ourselves agreeing with everything he said. (We know! We were surprised too!)
Following his arrest and subsequent release (Baldwin left with two Criminal Court summonses), the actor used his social media platform to unleash his side of the story. Baldwin claims that he did not ask for special treatment by the officers who pulled him over, and instead acquiesced to being ticketed. However, the officers claimed that he was being belligerent and took Baldwin in for disorderly conduct. Baldwin is clearly indignant that such a minor offense as riding a bike the wrong way has become an arrest-worthy offense, and there's little doubt that his frustration is in part due to the actor's not insignificant persecution complex, however (and this is a big however!), Baldwin hits the nail on the head when he notes, "New York City is a mismanaged carnival of stupidity that is desperate for revenue and anxious to criminalize behavior once thought benign." What? Yes! Wait. We're agreeing with Alec Baldwin? The world's gone MAD.
Even if you weren't one of the people who had particularly high hopes for the return of Bill Bratton as the chief of the NYPD (which we weren't; we lived through the Giuliani years… RIP Squeegee Men), it still felt pretty good that Ray Kelly and his policies like Stop-and-Frisk and targeting Muslim-Americans were going to disappear. And, hey! De Blasio ran on a progressive campaign, so how bad could Bratton be? As it turns out, pretty bad! Bratton has made it his mission to focus on criminalizing the homeless population, arresting buskers and subway break dancers, and ticketing jay-walkers (read more about it in the Free Cecily! gazette), all of which means that the police—and the city government—are not only looking to make a lot of money off non-violent crimes, but also that the department as a whole is targeting the most helpless segments of the population. This is bullshit, because it both literally and figuratively handcuffs people who are already struggling and frequently have no recourse other than to do what the police say, no matter how inherently stupid. But because the most recent victim of this overzealous police department just so happened to be a notably vocal, social media "savvy" actor, we're actually hearing about the absurdity of what the NYPD is doing with this reinstatement of the "broken windows" policy of Bratton's Guiliani-era heyday. Which, we never thought we'd advocate spreading the Gospel of Baldwin, but in this case, the actor is absolutely right: the NYPD doesn't have New Yorker's interests at heart, only their own bottom line. And so, if you have a public platform like Baldwin does, it's important to speak out against this type of thing, because most of the people being targeted will never be heard.
Author – Kristin Iversen
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Chimera by Julian Mihdi
by Julia Gaskill | Jul 26, 2017 | Anthologies, Archived Reviews (pre-April 2020), Short Stories, Sponsored | 0 comments
Chimera is a collection of four short stories and one novelette, all written by Julian Mihdi. These stories focus on both the benign and the extraordinary. One story, "Follow the Scroll", has its protagonist chatting with the likes of Bugs Bunny and Marilyn Monroe, all while providing commentary on how present-day people cannot tear themselves away from their phone screens. "A Search in Siam" presents a blue deity who appears to an American man in Thailand, which depicts how society these days will do anything to turn a profit. These stories use vivid language, carefully crafted details, and an array of characters to weave Mihdi's words into five stories that the audience will find themselves certainly invested in reading.
[alert variation="alert-info"]Publisher: Julian Mihdi
Formats: Paperback, eBook
Purchase: Amazon | IndieBound[/alert]
The author kicks off his book with a Foreword, where he explains that the title comes from a character in The Iliad. This part-lion, part-goat, part-snake creature breathed fire and guarded the gates of the underworld. Mihdi explains how the word went on to become a symbol of human fabrication or, much like the word chimerical, wildly fanciful or highly unrealistic. This definition hits three of the five stories in this book right on the nose. "A Search in Siam" and "Follow the Scroll" clearly fall within those guidelines, as does "Second Life of a Tyrant," where a man stumbles across a fled Nazi and must make a decision on what to do. Yes, these three stories all fit the definition of the word chimerical quite well.
However, the fourth short story, "Shed Wilson, Antiques," tells of a man who's reminiscing on the past and misses his deceased wife – altogether, it does not feel magical or visionary like the other three stories. Neither does the novelette in the collection, "The Scorekeeper," which tells of a man named Noel in search of answers about his dead father who used to be a basketball player. While these two stories don't necessarily feel like they fit with the theme of this collection, they're still well written and highly enjoyable – especially "Scorekeeper."
It's clear right off the bat that Mihdi has a way with words. Each one of his stories uses a bounty of language to depict settings, characters, and themes. Color plays a key part in all of his stories, as the author gives focus to color in each one of the book's portions. While Mihdi has a strong command of the English language, at times it does feel a bit overbearing. The four short stories are all written in thick, block paragraphs, and while compelling, the bulky text makes it a bit of a sludge to get through at times. There's also some confusing shifts in tense in "Shed Wilson," with the author switching from first to third person, sometimes in the middle of a paragraph, without any indication as to why.
Although the stories can feel a bit dense to go through at times, all five are beautifully written. Chimera makes for a compelling short read for anyone looking to delve into these fantastical worlds mirroring the realities of life.
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The Cake Book: Beautiful Sweet Treats for Every Craving $11.99
Standoff: Why Reconciliation Fails Indigenous People and How to Fix It $21.95
The Crux: How Leaders Become Strategists $18.99
Spineless $16.99
The Skies Above: Storm Clouds, Blood Moons, and Other Everyday Phenomena $9.99


If you are eating any Indian or Asian cuisine, ginger is a common ingredient found in almost every food dish you order. There is hardly any Indian or Asian, in whose spice-rack, ginger is absent. This spice is very much popular for its rich and exotic flavor. Yet, there are many among us who are not aware of the benefits that ginger offers other than just the striking flavor.
In ancient old Indian natural medical science, Ayurveda and naturopathy, ginger is considered to be a very important medicinal solution for various health problems. Ginger is long known for relieving various digestive problems such as nausea, stomach ache, and loss of appetite. It is also known for curing osteoarthritis, cold-flu, muscle pain and soreness, improving heart conditions, lowering cholesterol levels and many other things as discussed below. Before knowing the healthy benefits of ginger, it is more important to note the nutrient factors of ginger.
Drinking fresh ginger juice with water and lemon or just adding ginger to food in juice or powdered form can add an amazing flavor and taste to your drink and food and that too without even adding unnecessary sodium. Ginger is all known to contain numerous other antioxidant and inflammatory compounds such as beta-carotene, caffeic acid, gingerols, curcumin, and salicylate.
Other nutrients that one gets by consuming ginger are the carbohydrate, protein, dietary fiber, sugars, sodium, vitamins B6, Calcium, Iron, Vitamin C, Potassium, Magnesium, Phosphorous, Zinc, Folate, Riboflavin, and Niacin.
Researchers say that ginger contains phenolic compounds which are known to help relieve gastrointestinal irritation, suppress gastric contractions, and stimulates saliva, bile production, movement of food and fluids through the GI tract.
Research suggests that ginger has shown interesting results in speeding up the emptying of the stomach and helps in proper digestion. It is also a very much known home remedy to cure nausea. Chewing ginger raw or drinking ginger tea helps to get rid of nausea. It is often advised by the Ayurveda professionals and naturopaths to the patients suffering from nausea during cancer treatment or women under pregnancy.
If you are thinking to make yourself fitter but worried about the exercise-induced muscle pain, then it's time you should say good-bye to muscle soar and pains. Research has proved that components present in ginger give relief from the exercise-induced muscle pain. Researchers say that it does not give immediate effect, but it is an effective solution for a long-time process and has shown measurable progress in reducing pain in the day-to-day process.
In a study conducted at the University of Georgia by 74 volunteers, it was found that supplementation of ginger daily has reduced exercise-induced muscle pain by almost 25 percent.
A study suggested that people with osteoarthritis of the knee had less pain and required fewer painkillers after consuming ginger extract on a regular basis. Experts informed that a combination of ginger, mastic, sesame oil, and cinnamon when applied topically, can act as a helpful way to reduce pain and stiffness in patients having osteoarthritis. Researchers commented that ginger root reduces inflammation markers which ultimately reduces the changes and risk of colon cancer. Ginger can play an important role in curing colon cancer too.
If you are advised to begin your insulin course, or you are already taking it for getting relief from the symptoms of diabetes, then, you should try consuming ginger, as it is reported to have antidiabetic properties.
In a study, it was found that patients with diabetes type 2 who was consuming 2grams of ginger powder per day were reported to have lowered fasting blood sugar by 12 percent.
You can add fresh ginger to your next smoothie or juice.
You can spread fresh or dried ginger on the next stir-fry or homemade salad you make.
Steep freshly peeled ginger in the boiling water and add tea later to enjoy the taste ginger tea along with its beautiful aroma.
You can spice up any food with fresh or dried ginger to add its health benefits along with the rich taste and exotic flavor.
Ginger is a powerful house remedy to cure multiple health problems like a migraine, headaches, and it helps tremendously in reducing major risk factors for heart diseases, lowers blood cholesterol level and reduces menstrual pain, fights infections and improves mental health. Among all other qualities, it acts as anti-cancer and protects people from Alzheimer's disease.


San Francisco-based Zynga, which claims it is the world's largest developer of social games for giant sites like Facebook, has announced a strategic alliance with the World Series of Poker to "…leverage poker fan bases from both worlds." Zynga and WSOP will work closely to bring the largest online and offline poker brands and communities together following the agreement.
Zynga's free-to-play Texas Hold'Em Poker game is Facebook's top game application with over 12 million monthly active users, the company boasts. Zynga will leverage this popularity by hosting several "Shootout" tournaments on its Texas Hold'Em Facebook application, offering two skilled poker winners the chance to win a sponsored seat in the WSOP Main Event.
The VIP WSOP prize packages offered by Zynga include round trip airfare to Las Vegas, three nights' accommodation at the Rio All Suite Hotel and Casino, a backstage tour of the WSOP venue and a day pass to the VIP player's lounge. The "Shootout" tournaments begin on June 8 and will run through June 22. Eighteen winners from the tournaments will be randomly selected to play in the Final Showdown on June 29-30. Two VIP WSOP winners will be announced on July 1 where they will be whisked off to Las Vegas for a seat at the table.


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David A. Kolb es un teórico de la educación estadounidense cuyos intereses y publicaciones se centran en el aprendizaje experiencial, el cambio individual y social, el desarrollo profesional y la educación ejecutiva y profesional. Es el fundador y el presidente de la Experience Based Learning Systems, Inc. (EBLS); y Profesor Emérito del Comportamiento Organizativo en la Weatherhead School of Management, Case Western Reserve University, Cleveland, Ohio.

Kolb obtuvo su licenciatura en el Knox College (Illinois) en 1961 y el Máster y el Doctorado en Psicología Social en la Universidad de Harvard en 1964 y 1967 respectivamente.

Aprendizaje Experiencial
A principio de la década de 1970, Kolb y Ron Fry (ahora ambos en el Weatherhead Escuela de Administración) desarrollaron el Modelo de Aprendizaje Experiencial (Experiential Learning Method o ELM), compuesto de cuatro elementos:
 Experiencia concreta (CE). Este estadio del ciclo del aprendizaje representa la inmersión de las personas en las actividades y tareas que están realizando. Gracias a ello, se potencian las aproximaciones más intuitivas a los problemas frente a los abordajes más sistemáticos, ordenados y científicos; es la base para el aprendizaje concreto. Se trata de aprender a través de las experiencias. Es el aprender sintiendo.
 Observación y reflexión de la experiencia (RO). En este estadio del ciclo de aprendizaje, el aprendiz dedica un cierto tiempo a revisar aquello que hace o experimenta. Este estadio del ciclo es la base del aprendizaje reflexivo. Se aprende mediante la reflexión y el razonamiento. Se aprende viendo y reflexionando sobre ello.
 La formación de conceptos abstractos basados en la reflexión (AC). En este estadio se interpretan los acontecimientos percibidos y se comprenden las relaciones entre ellos. Dentro del ciclo, este es el momento de las ideas, de los conceptos y de la lógica. En este estadio es más importante el pensamiento que el sentimiento. Es el aprendizaje abstracto. Se aprende mediante la conceptualización y las generalizaciones. Es el aprender pensando.
 Experimentación activa de los conceptos nuevos (AE). En este estadio del aprendizaje el aprendiz transforma la comprensión en una propuesta o pronóstico sobre de lo que puede suceder en el futuro o qué actuaciones deben emprenderse para mejorar lo que se está haciendo. Se trata de experimentar activamente lo aprendido en una nueva situación.
 (Repetición).
Estos cuatro elementos son la esencia de una espiral de aprendizaje que puede empezar con cualquiera de los cuatro elementos, pero que típicamente empieza con una experiencia concreta.

Inventario de Estilos de Aprendizaje
Kolb es famoso en los círculos educativos por su Inventario de Estilos de Aprendizaje (Learning Style Inventory o LSI). Su modelo está construido sobre la idea de que las preferencias de aprendizaje pueden ser descritas utilizando dos ejes: por un lado, el de experimentación activa-observación reflexiva y, por el otro, el de conceptualización abstracta-experiencia concreta. Del cruce de ambos ejes, surgen cuatro tipos de estudiantes: focalizador ( que se sitúa en el espacio entre la experimentación activa y la conceptualización abstracta), acomodador (experimentación activa-experiencia concreta), asimilador (observación reflexiva- conceptualización abstracta), y ramificador (observación reflexiva-experiencia concreta). Así pues, el LSI está diseñado para determinar la preferencia de aprendizaje de cada individuo.

Bibliografía
 Kolb, D.Un., Rubin, yo.M., McIntyre, J.M. (1974). Psicología organizativa: Un Libro de Lecturas, 2.ª edición. Englewood Acantilados, N.J.: Prentice-Sala.

Véase también
 Constructivismo (filosofía de educación)

Referencias

Enlaces externos
 http://www.infed.org/biblio/b-explrn.htm
 http://reviewing.co.uk/research/experiential.learning.htm
 Hay Group On Demand products
 Kolb Learning Style Inventory (LSI)
 Faculty Profile at Case Western University
 Experiential Learning Management System (ELMS)

Psicólogos de Estados Unidos
Profesores de la Universidad Case de Western Reserve
Alumnado de la Universidad de Harvard

redpajama_set_name: RedPajamaWikipedia


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Starting as a small fishing town, Bellandur is today one of the self-sustaining townships in Bangalore. It is in proximity to major IT companies and reasonably close to the areas of Whitefield, Electronic City and ITPL. The urbanization has caused the eponymous Bellandur Lake to slowly vanish. The Lake Development Authority, however, is planning on renewing the area with rejuvenating the lake and providing a park around Bellandur lake to make the area more lucrative to its residents.


What is a tectonic plate?
It is a piece of the crust that is in continuous movement due to movement of the magma.
It is a breaking of the crust due to pressure of the plates.
A bend in layer of rock due to pressure of the plates.
What is a earthquake ?
Theory that states that the plates are in continuous movement across the Earth´s surface.


I love, love, love this place. A fantastic outdoor sculpture park with 500 acres of rolling hills, fields and woodlands which provide the setting for a collection of more than 100 sculptures created by some of the most acclaimed artists of our time, including Henry Moore, Barbara Hepworth, Andy Goldsworthy and Mark di Suvero. It's about a 1 hour drive south of Woodstock, a nice way to break up your journey if you are heading back to New York City. This year (2014) the park is open from April 3 until the end of November (closed Mondays and Tuesdays, except for the holiday Mondays of Memorial, Labor & Columbus Days). You can either explore the park by foot, tram (trams leave every 30 minutes from various locations and you can hop on and off as you wish) or bike (you can take your own bike or rent bikes on a first come first served basis). Touring Storm King by bicycle is a great way to experience the art and landscape. Bike rental is $8/$10 per hour with a two-hour minimum, or $32/$40 for the day (weekday/weekend). You can easily spend a day here exploring. There is a cafe but if you are going to bike it I'd recommend taking a picnic lunch.
The park is located just off I-87. The address for your GPS is: 1 Museum Road, New Windsor, NY 12553.


text:
Донна Тартт (;  , Грінвуд) — сучасна американська письменниця та авторка романів «Таємна історія» (1992), «Маленький друг» (2002), «Щиголь» (2013). У 2003 році Тартт отримала літературну премію WH Smith Literary Award за роман «Маленький друг» і Пулітцерівську премію за роман «Щиголь» у 2014 році. Донна Тартт увійшла до списку Time 100: 100 найвпливовіших людей 2014 року.

Біографія

Донна Тартт народилася в місті Грінвуд, Міссісіпі, і виросла неподалік у місті Гренада. У 1981 році вона вступила до Університету Міссісіпі. Після того, як вона надсилає свої короткі історії в студентську газету «The Daily Mississippian», її помічає Віллі Морріс. Він рекомендує її Баррі Ханна, який приймає Донну на свій курс літературної творчості. У 1982 році Донна Тартт переводиться до Беннінгтонського коледжу.

Романи
 «Таємна історія» () (1992)
 «Маленький друг» () (2002)
 «Щиголь» () (2013)

Нагороди
 WH Smith Literary Award за роман «Маленький друг» у 2003 році
 Пулітцерівська премія за роман «Щиголь» у 2014 році
 Медаль Ендрю Карнегі за роман «Щиголь» у 2014 році

Переклади українською
 Тартт Донна. Щиголь / пер. з англ. В. Шовкуна. Харків : КСД, 2016. 816 с. ISBN 978-617-12-0838-4
 Тартт Донна. Таємна історія / пер. з англ. Б. Стасюка. Харків : КСД, 2017. 564 с. ISBN 978-617-12-4121-3

Примітки

Посилання
 http://sf-encyclopedia.uk/fe/fe.php?nm=tartt_donna
 https://www.vanityfair.com/news/1992/09/donna-tartt-the-secret-history

Прозаїки США
Письменники-романісти США
Письменники-романісти XX століття
Письменники-романісти XXI століття
Письменниці США XX століття
Письменниці США XXI століття
Письменники фентезі США
Англомовні письменники-фантасти
Англомовні письменниці
Письменниці-фантастки
Лауреати Пулітцерівської премії
Лауреати Медалі Ендрю Карнегі


text:
Wir haben Thing Frankfurt 2010 auf eine neue Seite umgestellt. http://www.thing-frankfurt.de
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The Infinite Art Process, 1/12/96
alone been able to show is that, then, the pure employment of our sense receptions is the key to understanding our sense receptions, yet the paralogisms can not take account of, in the case of our art experience, reason.
By means of sabotage, the Antinomies of Art exclude the possibility of the employment of the Art-Space, yet the transcendental unity of reception is just as necessary as, even as this relates to the Art-Time, philosophy of art. We can deduce that metaphysics of art, by means of Media Art, would be falsified. I assert that our sense receptions (and there can be no doubt that this is the case) would thereby be made to contradict the Categories of Art.
It is obvious that Media Art (and what we have alone been able to show is that this is true) teaches us nothing whatsoever regarding the content of the artwork in itself. Dan Cameron tells us that the Museum is the mere result of the power of a painting, a blind but indispensable function of the soul.
It is not at all certain that, in particular, transcendental logic teaches us nothing whatsoever regarding the content of a painting, but our a priori knowledge is just as necessary as the architectonic of human reason. What we have alone been able to show is that our sense receptions prove the validity of the Transcendental Deduction of Art.
In all theoretical sciences of Art, natural reason is the clue to the discovery of, even as this relates to the transcendental aesthetic, the Transcendental Deduction of Art. What we have alone been able to show is that our judgements, in accordance with the principles of the Categories of Art, occupy part of the sphere of the ideal Artwork concerning the existence of natural causes of Art in general.
Thus, the artwork in itself stands in need of, in other words, the ideal Artwork. By means of nuclear fusion, our concepts (and let us suppose that this is the case) have nothing to do with our sense receptions. As we have already seen, what we have alone been able to show is that, in reference to ends, the Transcendental Deduction of Art proves the validity of the Art-Space, but our ideas of Art, on the other hand, have lying before them Media Art.
Our deductive judgements would thereby be made to contradict, so far as I know, our judgements. This often happens when you prefer a piece of Art over a beautiful women. As we have already seen, our concepts (and Adorno reminds us that this is the case) would thereby be made to contradict the artworks in space and time. To avoid all misapprehension, it is necessary to explain that, then, our a priori concepts, so regarded, abstract from all content of knowledge, and formal logic, still, exists in natural causes of Art.
The reader should be careful to observe that the infinite Art-Process stands in need of, certainly, the noumena of Art. (It remains a mystery why, even as this relates to the Art-Time, the phenomena of Art stand in need to, when thus treated as our faculties, the Categories of Art, but our judgements exclude the possibility of the artworks in themselves.)
As is evident upon close examination, what we have alone been able to show is that natural causes of Art are just as necessary as, so regarded, the Categories of Art; thus, natural causes of Art are the clue to the discovery of, for these reasons, the transcendental aesthetic. What we have alone been able to show is that the transcendental unity of reception is the key to understanding our a posteriori concepts. The Antinomies of Art have lying before them the Gallery.
To avoid all misapprehension, it is necessary to explain that the Antinomies of Art have nothing to do with, however, our understanding of art, because of our necessary ignorance of the conditions. As is proven in the ontological manuals, the artworks in space and time (and Kasper König tells us that this is the case) are a representation of the manifold of Art Pieces. (Consequently, the noumena of Art are just as necessary as the Artworks in space and time, by means of analytic unity.)
Because of the relation between the transcendental unity of reception and the paralogisms, there can be no doubt that the Museum is the mere result of the power of the Gallery, a blind but indispensable function of the soul; certainly, the discipline of beautiful reason, in reference to ends, teaches us nothing whatsoever regarding the content of our understanding of art. It must not be supposed that, indeed, our faculties, in the study of the ideal Artwork, stand in need to the Ideal of cynical reason.
But to this matter no answer is possible. The transcendental Artworks in space and time are just as necessary as the ideal Artwork, because of the relation between the Art-Time and the Antinomies of Art. The Antinomies of Art have nothing to do with, on the contrary, the Artworks in space and time, by means of analytic unity. In all theoretical sciences of Art, our disjunctive judgements have lying before them the Ideal of practical reason, as any dedicated reader can clearly see.
In natural art, let us suppose that the Art-Space occupies part of the sphere of the Art-Space concerning the existence of the empirical Artworks in space and time in general. The Categories of Art, thus, are the clue to the discovery of our ideas of Art. As we have already seen, the architectonic of pure reason occupies part of the sphere of necessity concerning the existence of our judgements in general, and our faculties have lying before them our ideas of Art. By means of nuclear fission, it must not be supposed that the paralogisms (and Walter Benjamin tells us that this is the case) have lying before them the paralogisms of natural Art.
As I have elsewhere shown, the phenomena of Art would be falsified. By means of analysis, a painting is the key to understanding the Antinomies of Art, but the artworks in space and time have nothing to do with, in so far as this expounds the universal rules of the transcendental aesthetic, our concepts.
The reader should be careful to observe that, in other words, philosophy of art, however, is by its very nature contradictory, but the transcendental Artworks in space and time, in view of these considerations, can never, as a whole, furnish a true and demonstrated science, because, like philosophy of art, they can not take account of inductive principles. It is not at all certain that our faculties, in the case of philosophy of art, constitute a body of demonstrated doctrine, and some of this body must be known a priori.
As is proven in the ontological manuals, Adorno reminds us that, in reference to ends, necessity, in the case of our art experience, is by its very nature contradictory.
Kasper König tells us that the artworks in space and time can not take account of modern Sexuality. And similarly with all the others.
The Museum excludes the possibility of the transcendental aesthetic. Because of the relation between our a posteriori knowledge and our judgements, the Categories of Art are a representation of the Art-Space.
By virtue of beautiful reason, the paralogisms of practical Art, in the case of the transcendental aesthetic, constitute the whole content for the transcendental aesthetic. The reader should be careful to observe that the artworks in space and time (and let us suppose that this is the case) can not take account of the artworks in themselves; for these reasons, transcendental logic (and the reader should be careful to observe that this is true) has lying before it the noumena of Art. Is it the case that our art experience has nothing to do with the transcendental unity of reception, or is the real question whether natural causes of Art are the mere results of the power of the Art-Time, a blind but indispensable function of the soul? It is obvious that the Gallery is the key to understanding Media Art.
Walter Benjamin reminds us that the ideal of human reason teaches us nothing whatsoever regarding the content of philosophy of art. It is obvious that our a posteriori concepts prove the validity of, for example, Picasso; as I have elsewhere shown, the Artworks in space and time are the clue to the discovery of the Antinomies of Art. Let us suppose that, so far as regards our art experience and the artworks in themselves, our ideas of Art exclude the possibility of, on the other hand, the paralogisms, yet the Antinomies of Art exclude the possibility of, in so far as this expounds the contradictory rules of our concepts, the architectonic of natural reason.
On the other hand, the Antinomies of Art, for these reasons, occupy part of the sphere of the discipline of practical reason concerning the existence of the Antinomies of Art in general. It is obvious that natural causes of Art, that is to say, occupy part of the sphere of philosophy of art concerning the existence of our sense receptions in general; in the study of the Gallery, the Art-Time (and it is not at all certain that this is true) is a representation of our a posteriori knowledge. It is not at all certain that the discipline of natural reason may not contradict itself, but it is still possible that it may be in contradiction with modern Sexuality. It must not be supposed that the architectonic of natural reason has lying before it, so far as I know, the Art-Time.
Let us suppose that our sense receptions are a representation of the ideal Artwork; in view of these considerations, the discipline of pure reason, in respect of the intelligible character, can be treated like the noumena of Art. #
However, the discipline of natural reason would be falsified. There can be no doubt that the transcendental Artworks in space and time, certainly, would be falsified; thus, the artworks in themselves are just as necessary as the transcendental aesthetic. Our concepts, however, exist in Media Art, since knowledge of our a posteriori concepts is a posteriori. As will easily be shown in the next section, Picasso stands in need of, consequently, our concepts.
By means of analytic unity, the artworks in space and time are the mere results of the power of the Art-Space, a blind but indispensable function of the soul; in the case of necessity, the practical employment of the ideal Artwork can never furnish a true and demonstrated science, because, like our art experience, it would thereby be made to contradict speculative principles.
Since all the same of our sense receptions are disjunctive, the artworks in themselves have lying before them the Art-Space, yet our sense receptions can not take account of the ideal Artwork. By means of nuclear fission, to avoid all misapprehension, it is necessary to explain that natural causes of Art are a representation of our concepts.
As we have already seen, it remains a mystery why sarcastical reason, in particular, can never furnish a true and demonstrated science, because, like the never-ending regress in the series of empirical art conditions, it is what first gives rise to inductive principles. The reader should be careful to observe that our faculties, in accordance with the principles of reason, constitute a body of demonstrated doctrine, and some of this body must be known a priori; in all theoretical sciences of Art, our sense receptions, so far as regards the transcendental aesthetic, would be falsified. It must not be supposed that our faculties, in all theoretical sciences of Art, would be falsified. I feel I have sufficiently shown this to be true.
As is proven in the ontological manuals, the reader should be careful to observe that the architectonic of natural reason has nothing to do with necessity; in all theoretical sciences of Art, natural causes of Art are the mere results of the power of the discipline of beautiful reason, a blind but indispensable function of the soul.
Since knowledge of our faculties is a posteriori, our sense receptions stand in need to the architectonic of practical reason. Since some of natural causes of Art are ampliative, we can deduce that, on the contrary, the phenomena of Art are just as necessary as the Gallery.
The Artworks in space and time abstract from all content of knowledge, and the infinite Art-Process, in respect of its intelligible character, is the mere result of the power of the ideal Artwork, a blind but indispensable function of the soul. By means of nuclear fission, the artwork in itself may not contradict itself, but it is still possible that it may be in contradiction with necessity, and human reason proves the validity of general logic.
It remains a mystery why, so far as I know, Media Art is the key to understanding our ideas of Art, but our a posteriori concepts exclude the possibility of human reason. Because of our necessary ignorance of the conditions, the architectonic of pure reason, insomuch as applied logic relies on the noumena of Art, occupies part of the sphere of the infinite Art-Process concerning the existence of our judgements in general, yet the ideal Artwork occupies part of the sphere of Media Art concerning the existence of our concepts in general.
We can deduce that, for example, the Art-Space is a representation of the Categories of Art. In all theoretical sciences of Art, our faculties, so regarded, can be treated like metaphysics of art, as any dedicated reader can clearly see.
The reader should be careful to observe that, so far as I know, the empirical Artworks in space and time, consequently, can never, as a whole, furnish a true and demonstrated science. What we have alone been able to show is that, then, the pure employment of our sense receptions is the key to understanding our sense receptions, yet the paralogisms can not take account of, in the case of our art experience, reason.
By means of sabotage, the Antinomies of Art exclude the possibility of the employment of the Art-Space, yet the transcendental unity of reception is just as necessary as, even as this relates to the Art-Time, philosophy of art.
We can deduce that metaphysics of art, by means of Media Art, would be falsified. I assert that our sense receptions (and there can be no doubt that this is the case) would thereby be made to contradict the Categories of Art. It is obvious that Media Art (and what we have alone been able to show is that this is true) teaches us nothing whatsoever regarding the content of the artwork in itself.
Dan Cameron tells us that the Museum is the mere result of the power of a painting, a blind but indispensable function of the soul. It is not at all certain that, in particular, transcendental logic teaches us nothing whatsoever regarding the content of a painting, but our a priori knowledge is just as necessary as the architectonic of human reason.
What we have alone been able to show is that our sense receptions prove the validity of the Transcendental Deduction of Art. In all theoretical sciences of Art, natural reason is the clue to the discovery of, even as this relates to the transcendental aesthetic, the Transcendental Deduction of Art. What we have alone been able to show is that our judgements, in accordance with the principles of the Categories of Art, occupy part of the sphere of the ideal Artwork concerning the existence of natural causes of Art in general.
Thus, the artwork in itself stands in need of, in other words, the ideal Artwork. By means of nuclear fusion, our concepts (and let us suppose that this is the case) have nothing to do with our sense receptions. As we have already seen, what we have alone been able to show is that, in reference to ends, the Transcendental Deduction of Art proves the validity of the Art-Space, but our ideas of Art, on the other hand, have lying before them Media Art. Our deductive judgements would thereby be made to contradict, so far as I know, our judgements.
This often happens when you prefer a piece of Art over a beautiful women.
As we have already seen, our concepts (and Adorno reminds us that this is the case) would thereby be made to contradict the artworks in space and time.
To avoid all misapprehension, it is necessary to explain that, then, our a priori concepts, so regarded, abstract from all content of knowledge, and formal logic, still, exists in natural causes of Art. The reader should be careful to observe that the infinite Art-Process stands in need of, certainly, the noumena of Art. (It remains a mystery why, even as this relates to the Art-Time, the phenomena of Art stand in need to, when thus treated as our faculties, the Categories of Art, but our judgements exclude the possibility of the artworks in themselves.)
As is evident upon close examination, what we have alone been able to show is that natural causes of Art are just as necessary as, so regarded, the Categories of Art; thus, natural causes of Art are the clue to the discovery of, for these reasons, the transcendental aesthetic. What we have alone been able to show is that the transcendental unity of reception is the key to understanding our a posteriori concepts.
The Antinomies of Art have lying before them the Gallery.
To avoid all misapprehension, it is necessary to explain that the Antinomies of Art have nothing to do with, however, our understanding of art, because of our necessary ignorance of the conditions.
As is proven in the ontological manuals, the artworks in space and time (and Kasper König tells us that this is the case) are a representation of the manifold of Art Pieces. (Consequently, the noumena of Art are just as necessary as the Artworks in space and time, by means of analytic unity.) Because of the relation between the transcendental unity of reception and the paralogisms, there can be no doubt that the Museum is the mere result of the power of the Gallery, a blind but indispensable function of the soul; certainly, the discipline of beautiful reason, in reference to ends, teaches us nothing whatsoever regarding the content of our understanding of art.
It must not be supposed that, indeed, our faculties, in the study of the ideal Artwork, stand in need to the Ideal of cynical reason. But to this matter no answer is possible. The transcendental Artworks in space and time are just as necessary as the ideal Artwork, because of the relation between the Art-Time and the Antinomies of Art. The Antinomies of Art have nothing to do with, on the contrary, the Artworks in space and time, by means of analytic unity. In all theoretical sciences of Art, our disjunctive judgements have lying before them the Ideal of practical reason, as any dedicated reader can clearly see. In natural art, let us suppose that the Art-Space occupies part of the sphere of the Art-Space concerning the existence of the empirical Artworks in space and time in general. The Categories of Art, thus, are the clue to the discovery of our ideas of Art. As we have already seen, the architectonic of pure reason occupies part of the sphere of necessity concerning the existence of our judgements in general, and our faculties have lying before them our ideas of Art. By means of nuclear fission, it must not be supposed that the paralogisms (and Walter Benjamin tells us that this is the case) have lying before them the paralogisms of natural Art. As I have elsewhere shown, the phenomena of Art would be falsified. By means of analysis, a painting is the key to understanding the Antinomies of Art, but the artworks in space and time have nothing to do with, in so far as this expounds the universal rules of the transcendental aesthetic, our concepts. The reader should be careful to observe that, in other words, philosophy of art, however, is by its very nature contradictory, but the transcendental Artworks in space and time, in view of these considerations, can never, as a whole, furnish a true and demonstrated science, because, like philosophy of art, they can not take account of inductive principles. It is not at all certain that our faculties, in the case of philosophy of art, constitute a body of demonstrated doctrine, and some of this body must be known a priori. As is proven in the ontological manuals, Adorno reminds us that, in reference to ends, necessity, in the case of our art experience, is by its very nature contradictory.
The Museum excludes the possibility of the transcendental aesthetic. Because of the relation between our a posteriori knowledge and our judgements, the Categories of Art are a representation of the Art-Space. By virtue of beautiful reason, the paralogisms of practical Art, in the case of the transcendental aesthetic, constitute the whole content for the transcendental aesthetic.
The reader should be careful to observe that the artworks in space and time (and let us suppose that this is the case) can not take account of the artworks in themselves; for these reasons, transcendental logic (and the reader should be careful to observe that this is true) has lying before it the noumena of Art. Is it the case that our art experience has nothing to do with the transcendental unity of reception, or is the real question whether natural causes of Art are the mere results of the power of the Art-Time, a blind but indispensable function of the soul?
It is obvious that the Gallery is the key to understanding Media Art.
Walter Benjamin reminds us that the Ideal of human reason teaches us nothing whatsoever regarding the content of philosophy of art. It is obvious that our a posteriori concepts prove the validity of, for example, Picasso; as I have elsewhere shown, the Artworks in space and time are the clue to the discovery of the Antinomies of Art.
Let us suppose that, so far as regards our art experience and the artworks in themselves, our ideas of Art exclude the possibility of, on the other hand, the paralogisms, yet the Antinomies of Art exclude the possibility of, in so far as this expounds the contradictory rules of our concepts, the architectonic of natural reason. On the other hand, the Antinomies of Art, for these reasons, occupy part of the sphere of the discipline of practical reason concerning the existence of the Antinomies of Art in general.
It is obvious that natural causes of Art, that is to say, occupy part of the sphere of philosophy of art concerning the existence of our sense receptions in general; in the study of the Gallery, the Art-Time (and it is not at all certain that this is true) is a representation of our a posteriori knowledge. It is not at all certain that the discipline of natural reason may not contradict itself, but it is still possible that it may be in contradiction with modern Sexuality.
It must not be supposed that the architectonic of natural reason has lying before it, so far as I know, the Art-Time. Let us suppose that our sense receptions are a representation of the ideal Artwork; in view of these considerations, the discipline of pure reason, in respect of the intelligible character, can be treated like the noumena of Art. However, the discipline of natural reason would be falsified. There can be no doubt that the transcendental Artworks in space and time, certainly, would be falsified; thus, the artworks in themselves are just as necessary as the transcendental aesthetic.
Our concepts, however, exist in Media Art, since knowledge of our a posteriori concepts is a posteriori.
As will easily be shown in the next section, Picasso stands in need of, consequently, our concepts. By means of analytic unity, the artworks in space and time are the mere results of the power of the Art-Space, a blind but indispensable function of the soul; in the case of necessity, the practical employment of the ideal Artwork can never furnish a true and demonstrated science, because, like our art experience, it would thereby be made to contradict speculative principles.
As we have already seen, it remains a mystery why sarcastical reason, in particular, can never furnish a true and demonstrated science, because, like the never-ending regress in the series of empirical art conditions, it is what first gives rise to inductive principles. The reader should be careful to observe that our faculties, in accordance with the principles of reason, constitute a body of demonstrated doctrine, and some of this body must be known a priori; in all theoretical sciences of Art, our sense receptions, so far as regards the transcendental aesthetic, would be falsified.
It must not be supposed that our faculties, in all theoretical sciences of Art, would be falsified. I feel I have sufficiently shown this to be true. As is proven in the ontological manuals, the reader should be careful to observe that the architectonic of natural reason has nothing to do with necessity; in all theoretical sciences of Art, natural causes of Art are the mere results of the power of the discipline of beautiful reason, a blind but indispensable function of the soul. Since knowledge of our faculties is a posteriori, our sense receptions stand in need to the architectonic of practical reason. Since some of natural causes of Art are ampliative, we can deduce that, on the contrary, the phenomena of Art are just as necessary as the Gallery.
The Artworks in space and time abstract from all content of knowledge, and the infinite Art-Process, in respect of the intelligible character, is the mere result of the power of the ideal Artwork, a blind but indispensable function of the soul. By means of nuclear fission, the artwork in itself may not contradict itself, but it is still possible that it may be in contradiction with necessity, and human reason proves the validity of general logic.
The reader should be careful to observe that, so far as I know, the empirical Artworks in space and time, consequently, can never, as a whole, furnish a true and demonstrated science, because, like Picasso, they have lying before them problematic principles, and modern Sexuality are the clue to the discovery of the artworks in themselves. By means of nuclear fusion, Picasso stands in need of, in view of these considerations, natural causes of Art; certainly, the artworks in space and time, for these reasons, abstract from all content of knowledge. (Our sense receptions, however, can be treated like the Ideal of beautiful reason, and the Categories of Art (and the reader should be careful to observe that this is the case) have lying before them our faculties.)
By means of sabotage, I assert that the ideal Artwork is the mere result of the power of formal logic, a blind but indispensable function of the soul; with the sole exception of the discipline of practical reason, our ideas of Art are the clue to the discovery of our ideas of Art. By means of analysis, the reader should be careful to observe that, then, the Antinomies of Art can be treated like modern Sexuality.
On this matter, what has been said already should in any case suffice by itself. Since knowledge of the Antinomies of Art is a posteriori, it must not be supposed that our ideas of Art would thereby be made to contradict, thus, the paralogisms; thus, Picasso is the mere result of the power of our understanding of art, a blind but indispensable function of the soul. Since knowledge of natural causes of Art is a priori, the ideal Artwork, indeed, is what first gives rise to our faculties.
Kasper König tells us that the noumena of Art, when thus treated as the Antinomies of Art, would be falsified. As we have already seen, the Art-Space can thereby determine in its totality the Categories of Art. (Since knowledge of the phenomena of Art is a posteriori, the Gallery can thereby determine in its totality the discipline of sarcastical reason.) By means of sabotage, our ideas of Art are a representation of, in the study of transcendental logic, the infinite Art-Process; by means of the ideal Artwork, our art experience, in the study of the Museum, abstracts from all content of knowledge. Natural causes of Art occupy part of the sphere of the discipline of pure reason concerning the existence of the artworks in space and time in general.
The divisions are thus provided; all that is required is to fill them. ore them problematic principles, and modern Sexuality are the clue to the discovery of the artworks in themselves. By means of nuclear fusion, Picasso stands in need of, in view of these considerations, natural causes of Art; certainly, the artworks in space and time, for these reasons, abstract from all content of knowledge. (Our sense receptions, however, can be treated like the Ideal of beautiful reason, and the Categories of Art (and the reader should be careful to observe that this is the case) have lying before them our faculties.)
Kasper König tells us that the noumena of Art, when thus treated as the Antinomies of Art, would be falsified. As we have already seen, the Art-Space can thereby determine in its totality the Categories of Art. (Since knowledge of the phenomena of Art is a posteriori, the Gallery can thereby determine in its totality the discipline of sarcastical reason.) By means of sabotage, our ideas of Art are a representation of, in the study of transcendental logic, the infinite Art-Process; by means of the ideal Artwork, our art experience, in the study of the Museum, abstracts from all content of knowledge. Natural causes of Art occupy part of the sphere of the discipline of pure reason concerning the existence of the artworks in space and time in general. The divisions are
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© The Thing Frankfurt 1996
This text was written with a modified version of Mark Pilgrims Kant Generator.
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Former FBI Director James Comey revealed in Senate testimony Thursday that then-Attorney General Loretta Lynch directed him to describe the Hillary Clinton email probe as a "matter" and not an "investigation."
He also said that the directive, combined with Lynch's unusual Arizona tarmac meeting with former President Bill Clinton, led him to make his independent announcement regarding the Clinton email probe last July.
In his closely watched Senate Intelligence Committee testimony otherwise devoted to discussing the circumstances of his firing, Comey said that tarmac meeting was a "deciding factor" in his decision to act alone to update the public on the Clinton probe -- and protect the bureau's reputation.
"There were other things, significant items," he added, citing how "the Attorney General directed me not to call it an investigation and call it a matter—which confused me."
Fox News' Catherine Herridge and Jennifer Bowman contributed to this report.


This cocktail takes advantage of the peach's summer sweetness and balances it with tartness, while the gin keeps it grounded and instantly reminds you this is an adult beverage. It does not taste like a sweet fruit juice. Don't worry – this cocktail isn't actually fuzzy! The peach gets peeled before it gets muddled.
Put the peach slices and lemon juice in a cocktail shaker. Sprinkle the sugar on top and muddle well, so the peach is completely broken up. Add one shot of gin to the shaker and swirl gently. Pour over ice and add lemon-lime soda to fill the glass; stir very gently. Personally, I like the peach goo, but if you don't, you can either strain the liquid (you'll need a coarse rather than fine strainer so the liquid can still pass through), or pour everything in the glass and serve it with a straw (the peach goo floats, with the help of the soda's carbonation). If you want to get fancy, lay a half-slice of lemon and a thin wedge of fresh peach on top.