Excel Builders is proud to announce that Trent Newville, general contractor and Excel Builders owner, recently completed and passed the certification course with the National Association of the Remodeling Industry (NARI) to become a Certified Remodeler (CR).
NARI certification is a challenging process, requiring extensive knowledge of the industry, sound business practices, and a commitment to professional conduct.
Deciding to remodel your home is a big decision. Knowing that the remodeling contractor you choose is a full-time, dedicated remodeling professional gives you peace of mind.
Any time you hire a NARI certified remodeling contractor, you are hiring an individual who has made a commitment to the professionalism of the remodeling industry. These contractors have poured years into developing the invaluable experience and skills that can only be gained through extensive hands-on practice.
Congratulations to Trent! This certification is evidence of what we already knew -- Excel Builders is an accomplished Twin Cities remodeling company committed to outstanding work.
Ready to remodel? Need a design layout or ready for an estimate? Contact us at Excel Builders, serving homes in Minneapolis, the West Metro, and throughout the Twin Cities.


2 Why now for the online gambling / DFS hearing?
3 Will we see action on DFS and online gambling in 2016?
A key Pennsylvania committee will hold a hearing next week on online gambling and daily fantasy sports, in what is a crucial period for legislation in the Keystone State.
The public hearing will be in the House Gaming Oversight Committee on Tuesday, September 27, at 9 a.m. The topic? A "review of states which currently have fantasy sports and/or I-Gaming," according to the committee's website.
The online gambling part of that review will not have changed at all since the last time the PA legislature considered it. The list remains short, with just Nevada, New Jersey and Delaware having regulated online poker and/or gambling. All three have had it since 2013.
The DFS side of the equation would seem likely to be more of the focus of the hearing. It's noteworthy, of course, that most major DFS operators, including DraftKings and FanDuel, serve the PA market already, in an unregulated fashion.
Why now for the online gambling / DFS hearing?
The House has already passed a bill that included online gambling. This summer, the legislature and the governor agreed to a budget that would include $100 million in revenue from a gambling expansion package, with online gambling generating most of that money.
So why is The House holding a hearing, and not the Senate?
The statehouse has been in recess for much of the summer, and it is up to the Senate to act on the gambling expansion and online gambling. However, it has a very short window to do so this fall, with just nine days in its active calendar. The Senate is back in session starting on Monday.
The hearing comes from committee chair, Rep. John Payne, who is retiring after the November elections. He has championed online gambling regulation and wants to see it get to the finish line.
Rep. Rosita Youngblood, the sponsor of the legislation, has been pushing for the Senate to act.
Will we see action on DFS and online gambling in 2016?
When the budget was slated to be funded with online gambling revenue, it looked like almost a certainty that regulation was coming to PA.
But, like anything in government and politics, promises are only about as good as the paper they are written on. It's not clear that the Senate has made or will make any progress toward a final gambling bill.
That makes the possibility of the issue getting punted to 2017 a very real one. And if that happens, all bets might be off.
After the elections, finding that extra $100 million from a new tax, unrelated to gambling, could be more palatable than it was prior to the elections.
It seems like the House is doing its best to get the upper house to take action now. Whether it has the ability to generate momentum in that body remains unknown.


text:
Carlo M. Cipolla (15 August 1922 – 5 September 2000) was an Italian economic historian. He was a member of both the American Academy of Arts and Sciences and the American Philosophical Society.

Biography

As a young man, Cipolla wanted to teach history and philosophy in an Italian high school, and therefore enrolled at the political science faculty at the University of Pavia. While a student there, thanks to professor Franco Borlandi, a specialist in medieval economic history, he discovered his passion for economic history. He graduated from Pavia in 1944. Subsequently, he studied at the University of Paris and the London School of Economics.

Cipolla obtained his first teaching post in economic history in Catania at the age of 27. This was to be the first stop in a long academic career in Italy (Venice, Turin, Pavia, Scuola Normale Superiore di Pisa and Fiesole) and abroad. In 1953 Cipolla left for the United States as a Fulbright fellow and in 1957 became a visiting professor at the University of California, Berkeley. Two years later he obtained a full professorship.

Essays
Cipolla produced two non-technical, popular essays that circulated in English among friends in 1973 and 1976, and then were published in 1988, first in Italian, under the title Allegro, ma non troppo ("Forward, but not too fast" or "Happy, but not too much", from the musical phrase meaning "Quickly, but not too quick").

The first essay, "The Role of Spices (and Black Pepper in Particular) in Medieval Economic Development" ("Il ruolo delle spezie (e del pepe nero in particolare) nello sviluppo economico del Medioevo", 1973), traces the curious correlations between spice import and population expansion in the late Middle Ages, postulating a causation due to a supposed aphrodisiac effect of black pepper.

"The Basic Laws of Human Stupidity" (1976)

The second essay, "The Basic Laws of Human Stupidity" ("Le leggi fondamentali della stupidità umana", 1976), explores the controversial subject of stupidity. Stupid people are seen as a group, more powerful by far than major organizations such as the Mafia and the military-industrial complex, which without regulations, leaders, or manifesto nonetheless manages to operate to great effect and with incredible coordination.

These are Cipolla's five fundamental laws of stupidity:
 Always and inevitably, everyone underestimates the number of stupid individuals in circulation.
 The probability that a certain person (will) be stupid is independent of any other characteristic of that person.
 A stupid person is a person who causes losses to another person or to a group of persons while himself deriving no gain and even possibly incurring losses.
 Non-stupid people always underestimate the damaging power of stupid individuals. In particular, non-stupid people constantly forget that at all times and places, and under any circumstances, to deal and/or associate with stupid people always turns out to be a costly mistake.
 A stupid person is the most dangerous type of person.
Corollary: a stupid person is more dangerous than a pillager.

As is evident from the third law, Cipolla identifies two factors to consider when exploring human behavior:
 Benefits and losses that an individual causes to themself.
 Benefits and losses that an individual causes to others.

Cipolla further refines his definition of "bandits" and "naïve people" by noting that members of these groups can either add to or detract from the general welfare, depending on the relative gains (or losses) that they cause themselves and society. A bandit may enrich himself more or less than he impoverishes society, and a naïve person may enrich society more or less than he impoverishes himself and/or allows himself to be impoverished.

Graphically, this idea is represented by a line of slope -1, which bisects the second and fourth quadrants and intersects the y-axis at the origin. The naive people to the left of this line are thus "semi-stupid" because their conduct creates/allows a net drain of societal welfare; some bandits may fit this description as well, although many bandits such as sociopaths, psychopaths, and non-pathological "jerks" and amoralists may act with full knowledge of the net negative consequences to a society that they neither identify with nor care about.

Books

Cipolla's list of books includes:
 Studi di Storia della Moneta (1948)
 Mouvements monétaires dans l'Etat de Milan (1951)
 Money, Prices and Civilization (1956)
 Le avventure della lira (1958)
 Storia dell'economia italiana: Saggi di storia economica (1959)
 Economic History of World Population (1962)
 Guns, Sails, and Empires: Technological Innovation and the Early Phases of European Expansion, 1400–1700 (1965)
 Clocks and Culture, 1300–1700 (1967), reissued 2003, with an introduction by Anthony Grafton
 Literacy and Development in the West (1969)
 The economic decline of empires (1970)
 European culture and overseas expansion (1970)
 Economic History of Europe (1973)
 Faith, Reason, and the Plague in Seventeenth-Century Tuscany (1977)
 The technology of man: A visual history (1980)
 Fighting the Plague in Seventeenth Century Italy (1981)
 The Monetary Policy of Fourteenth Century Florence (1982)
 Allegro ma non troppo (1988)
 Between Two Cultures: An Introduction to Economic History (1992)
 Before the Industrial Revolution: European Society and Economy, 1000–1700 (1994)

References

External links

 UC's obituary

1922 births
2000 deaths
Economic historians
Academic staff of the European University Institute
20th-century Italian historians
Academic staff of the Scuola Normale Superiore di Pisa
Members of the American Philosophical Society

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Tyson Fresh Meats Inc., of Dakota City, Nebraska, is recalling approximately 40,948 pounds of ground beef products that may be contaminated with E. coli O157:H7, the U.S. Department of Agriculture's (USDA) Food Safety and Inspection Service (FSIS) just announced. The recall has been designated a Class I by the FSIS, its most serious, and represents a health hazard situation in which there exists a reasonable probability that use of the recalled product will cause serious, adverse health consequences or death.
Tyson's 10-pound chubs of "CHUCK FINE GROUND BEEF 80/20," are subject to the recall. The recalled Tyson's meat is packed in cases containing eight chubs and have a "BEST BEFORE OR FREEZE BY" date of "11/13/11″ and "EST. 245C" on the box label. The products were shipped to institutions and distributors in Alabama, California, Florida, Georgia, Illinois, Indiana, Kentucky, Louisiana, Mississippi, New York, North Carolina, Ohio, South Carolina, Tennessee, West Virginia, and Wisconsin.
The problem was discovered through routine FSIS monitoring, which confirmed a positive result for E. coli O157:H7. No reports of illnesses linked to these problems have been received by either the FSIS or Tyson. It is important to note that it can take some time from ingestion of a contaminated product for symptoms to manifest. Symptoms generally appear three-four days after exposure, but can take as long as nine days to manifest.
E. coli are a group of bacteria found in animal intestines and feces. Some strains are needed for digestion; some are harmful, deadly, toxin producing, and may cause severe diarrhea, stomach cramps, and bloody stool. Most seriously, kidney failure and death may occur.
The infection sometimes causes hemolytic uremic syndrome (HUS), a serious disease in which red blood cells are destroyed and the kidneys fail. Infants, children, pregnant women, the elderly, and those with compromised immune systems are especially at risk. FSIS routinely conducts recall effectiveness checks to verify recalling firms notify their customers of the recall and that steps are taken to make certain that the product is no longer available to consumers.
FSIS advises all consumers to safely prepare their raw meat products—fresh and frozen—and to only consume ground beef cooked to an internal temperature of 160 degrees Fahrenheit. The only way to confirm that ground beef is cooked to a temperature high enough to kill harmful bacteria is to use a food thermometer that measures the internal temperature of the meat.
Tyson can be reached, toll-free, at 1.866.328.3156. Consumers with food safety questions can "Ask Karen," the FSIS virtual representative, which is available 24 hours a day at AskKaren.gov. The toll-free USDA Meat and Poultry Hotline 1.888.MPHotline (1.888.674.6854) is available in English and Spanish and can be reached from l0:00 a.m. to 4:00 p.m. (Eastern Time) Monday through Friday. Recorded food safety messages are available 24 hours a day.


You're right in the middle of drafting an important email when you see it: a pesky pop-up asking you to update your software. Such updates always seem to happen at the most inopportune times, and more often than not, you end up postponing the update. Undoubtedly, it's the most convenient thing to do; however, we often don't realize the danger this procrastination can create.
How crucial are the software updates we ignore?
Software updates keep you safe from known vulnerabilities while squashing bugs and providing you with a better user experience. When software updates are released, the vulnerabilities they address become public knowledge, making your application all the more susceptible, as cybercriminals can grasp this opportunity to exploit your endpoints. So, it's vital that end users keep their software updated.
Desktop Central supports over 1,000 Windows templates. A template is a predefined format used to create software packages. When you create packages using templates, the software binary will be automatically downloaded from the vendor's website.
For instance, let's say you want to install Google Chrome on all your computers. Using Google Chrome template, you can create a package that contains the installable for Google Chrome. You can deploy this package to all your computers simultaneously by scheduling the installation and defining the targets.
The best part is that these Windows templates can be updated automatically when the latest versions are released. For every template update, a package will be created automatically. All you have to do is schedule the installation, define the targets, and deploy the package.
A few applications might be user-specific, and the user might need them for a stipulated time period. As a hands-off administrator, you want to empower your users to install and uninstall software at their convenience. In such cases, updates will be reflected in the end user's self-service portal, where the latest version can be installed.
Desktop Central lets you automate package creation using templates, and now, template updates can be automated as well. Desktop Central has loads of other features that come in handy. Experience 30 free days of unparalleled unified endpoint management.


text:
Q: How to customize the look and feel of the UI controls in WinForms? I'd like to customize the standard user controls look (buttons, dgv, txtboxs ... etc) and the layout of my forms to a state of art modern interface like any decently built application. How can I do that?. What to look for? any articles, books .. etc that might be of help!

A: Your question is a little vague in terms of what exactly you want to achieve. However, you can customize the look of most controls simply by handling painting them on your own.
There are also some 3rd-party Winforms control libraries which are easily skinnable.
Also, if it's an option, WPF provides a very powerful style system to change the look of anything you want.

A: To customize the look of a control, you will need to override the OnPaint method and perform the paint yourself.  There are numerous examples out there showing many ways to create and modify custom controls.
A google search http://www.google.com/search?hl=en&q=dotnet+custom+textbox&aq=f&aqi=&aql=&oq=&gs_rfai= for a custom textbox.
Do not forget the this.DrawMode = DrawMode.OwnerDrawFixed; otherwise the OnPaint will not be called.

A: it will be a whole lot easier to customise the appearance of controls if you can use WPF instead of WinForms. But if you must use WinForms, you will need to familiarise yourself with painting using the GDI+ functions, accessed through the Graphics object.
Here are some links for customising Windows Froms controls

A: DevExpress is such library that will provide you with multiple GUI styles. Otherwise, overriding the Paint() event is the way to go.

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The Advancement or Professional Development - Jobs-Network.net - Search for jobs. The largest Jobs Network.
I completed at school, a great school There is so satisfied with me as a person. I present my resume after resume and nothing will encounter by all. There's not something to be hopeful and positive speculation help me with something. I begin with a deliberate course in the field in which I and work. After some time and land the position for which I had put before CV. A long time passes by nor did, he doesn't expense anything more, you're all the same. How? fair.
In any case, monstrous word characterizes truth. You don't need to get stuck, I need to have boldness, to get sore from all that is not what my condition fulfills me completely proficient are still extremely youthful. It's a solid motivation to attempt to overcome what we have accomplished as such. I have power and work are excited to learn new and fascinating things.
Do some preparation, your manager might demonstrate progressively and welcoming me! I made another step going before. Certainly, it was justified, despite all the trouble and it's praised, yet not as a matter of course employment that can accomplish more.
At last, in the event that you need to take over my case to know something, be straightforward. Other than obviously needing to manage without the will can't do anything, you need to be reasonable to you that you can be and others. Try not to lie, be steady and dedicated, exhibits that you needn't bother with scoundrels or bargain. The main trade off you and you do only that. What's more, perk up in light of the fact that you just need to do. Something else, recall that in life you need to advance all the time you learn something, you have to continually develop.


text:
Q: Counting & Filling errors on Python grid I'm making this program for a class and when it runs with this file the corner of the grid won't fully fill in:

I can't figure out where my problem is. My other problem is counting the number of "chambers" of color, the counter keeps giving numbers greater than the total number of squares. Here are the two functions that I'm having issues with. Any ideas would be appreciated.
def fill(cave, row, col, color):
    """Fill a chamber of the cave with water, starting
    at row, col. Water can spread in all four cardinal
    directions, but cannot penetrate stone.  No effect
    if row or col are not inside the cave.

    Attempting to pour water where there is already WATER or STONE
    has no effect.  Attempting to pour water outside the cavern has
    no effect.  Attempting to pour water in a cell containing AIR
    not only places colored water in that cell, but also spreads it
    in all directions by causing it to be poured in the cell to the
    left and right and above and below.

    Args:
        cave: A matrix (list of lists) representing the cavern. Each
            cell in the cave may hold AIR, STONE, or WATER.
        row: Starting row of the grid cell where we pour water
        col: Starting column of the grid cell where we pour water
        color: color of the water we try to pour in.
    """
    if cave[row][col] == AIR :
        cave[row][col] = WATER
        if row > len(cave) or col > len(cave):
            grid.fill_cell(row, col, color)
            return
        if row < 0 or col < 0:
            grid.fill_cell(row, col, color)
            return
        grid.fill_cell(row, col, color)
        fill(cave, row+1, col, color)
        fill(cave, row-1, col, color)
        fill(cave, row, col+1, color)
        fill(cave, row, col-1, color)

def main():
    """Reads a cave from a specified configuration file,
    displays it, and fills each chamber with a different color
    of water.

    Args (from command line):
        Cave description file, example, "cave.txt"

    Usage: python3 cavern.py cave.txt
    """
    desc = sys.argv[1]
    cave = read_cave(desc)
    dump_cave(cave)  ## May be useful for debugging
    display(cave)
    chambers = 0
    for row in range( len(cave)) :
        for col in range( len(cave[0])):
            print("Testing row ", row, "col", col, " Found: ", cave[row][col])
            color = grid.get_cur_color()
            fill(cave, row, col, color)
            if cave[row][col] == STONE:
                chambers += 1
                grid.get_next_color()
    print(chambers, " chambers in cavern")
    input("Press enter to close display")

A: I'm not 100% sure what grid is, or what it's initialized to, but this really looks like a bounds problem:
if row > len(cave) or col > len(cave):
    grid.fill_cell(row, col, color)
    return
if row < 0 or col < 0:
    grid.fill_cell(row, col, color)
    return

First off, you're filling the cell even if it's out of bounds?  Why?  Even if that doesn't throw some error, which apparently it's not, wouldn't that give you more squares than in your grid?
Also, okay, I can see a row or column less than 0 being out of the grid, but let's look at your len(cave)... I'm also going to assume that len(cave) is the number of cells along the side of a grid, since cave is a list of lists.  It'd map nicely.  So if len(cave) is 8, we have an 8 by 8 grid.  But you're using a 0 based two dimensional array.  So your max cell number should be len(cave)-1.
Fixing those two problems should remedy the situation.  But that aside, cool program.  Please add an update later showing what a working grid looks like :)
EDIT:
One more thing I see wrong.
if row > len(cave) or col > len(cave):

Needs to be:
if row > len(cave) or col > len(cave[0]):


CANCUN, Mexico (June 11, 2016) – American ski racing fans are in for another exciting season with the global alpine ski racing tour making four stops in the U.S. in 2016-17, culminating with the Audi FIS Ski World Cup Finals at Colorado's Aspen Snowmass resort. The final schedule was confirmed at the annual International Ski Federation (FIS) Congress on Friday, June 10, with 16 alpine tour starts being awarded to the USA. Killington Resort, Beaver Creek Resort and Squaw Valley will each host World Cup stops before the season ends at the Audi FIS Ski World Cup Finals in Aspen. After successfully hosting the FIS Alpine World Ski Championships in 2015, the U.S. Ski and Snowboard Association (USSA), in conjunction with its resort partners and the FIS, continues to help grow the visibility of alpine ski racing in America.
The World Cup Finals, taking place March 15-19 in Aspen, will feature the top 25 men and women in eight tech and speed events as well as a mixed gender team competition – the newest Olympic event. Aspen is the first U.S. resort to host World Cup Finals since 1997. Aspen, which has been an iconic stop on the tour since 1968, has invested heavily into bringing the season finale event to America, showcasing the sport in one of its most popular venues.
Bringing the World Cup back to the east for the first time since 1991, Vermont's Killington Resort will host women's slalom and giant slalom races in November. Beaver Creek, site of the 2015 Word Championships, will once again host the iconic Birds of Prey men's races in December. The women will return stateside in March to race at Squaw Valley, the resort's first World Cup since 1969.
The 16 alpine starts are part of a total 30 World Cup events across alpine, freeskiing, freestyle and snowboarding in the USA. The USSA and NBC Sports are teaming up once again to put together an extensive TV and live streaming schedule for all of the alpine World Cups. A complete TV schedule for 2016-17 will be announced in this summer.
The Audi FIS Ski World Cup Finals in Aspen will highlight a total of 16 U.S. World Cup events in the 2016-17 season. Nine starts will be on the calendar for the Aspen Finals.
It is the second highest number of U.S. alpine World Cup events ever (19 events in the 1996-97 season).
In November, Killington will host women's slalom and giant slalom races. It is Killington's first time hosting a World Cup and the first time the east coast has hosted a World Cup since 1991.
Beaver Creek will host the famed Birds of Prey men's races in December.
In March, Squaw Valley will host its first alpine World Cup event since 1969 with women's slalom and giant slalom races.
The 50th World Cup season will conclude in March with the 2017 Audi FIS Ski World Cup Finals in Aspen. It is the first time a U.S. resort has hosted World Cup Finals since 1997.
The Aspen races will include the return of America's Downhill.
Coverage of all the races will be broadcast on NBC and NBCSN. A complete TV schedule will be announced this summer.
The Audi FIS Ski World Cup debuted in the U.S. in December 1967 in Franconia, NH. Aspen has been a consistent stop on the tour for many years beginning in 1968.
Aspen has been a remarkable partner in a very large scale project to bring the best ski racers in the world to the USA for an end of season festival of the sport. It's an important part of our initiative to increase awareness of ski racing in America.
Our resort partners continue to be extremely supportive in showcasing alpine ski racing back on home snow. Killington, Beaver Creek, Squaw Valley and Aspen are world-class resorts that will put on fantastic events. Many of our athletes grew up training and racing on these hills and they're excited to have this many opportunities to ski in front of a hometown crowd.
With these four sites, we are taking a huge step in helping to raise the profile of alpine ski racing in America. The engagement we saw in 2015 with the World Championships in Beaver Creek was unlike anything we'd ever seen and we expect to reach and engage with an even bigger audience this season. It's a great time to be a ski racing fan.
Aspen is one of the world's iconic ski resorts and a popular stop on the World Cup tour since its inception in 1968. The Audi FIS Ski World Cup Finals is a major focus for Aspen Snowmass and our entire community. We're proud to bring the world's best ski racers to town in celebration of athletic achievement, and treat racing's global fans to an amazing week on and off the slopes in Aspen, Colorado.
Killington is an ideal venue for World Cup skiing's return to the east coast. To be considered for this event is a tremendous honor and opportunity for Killington and the surrounding community. We plan to hold the race on our Superstar trail, located adjacent to the K-1 Express Gondola and base area. Snowmaking infrastructure on this trail received significant upgrades this summer and this November race will allow us to showcase our world-class snowmaking system. Killington is thrilled to represent the entire state of Vermont to the international ski market.
As a mountain community, we are hosting this event to inspire the next generation of ski racers. There is nothing like watching a group of young athletes standing there in the finish corral looking up and truly being motivated by the best athletes in the world. With 1,500 kids in our race program and countless others in the region, this is the stage we must set for them to achieve their goals, in ski racing or otherwise.
We always look forward, as an organizer and a community, to the annual Birds of Prey in Beaver Creek. Our recent World Championships in Vail/Beaver Creek in 2015 was an opportunity to dramatically raise the profile of alpine ski racing with record spectators and broadcast audiences. The Vail Valley Foundation and Beaver Creek Resort are proud to be a part of the Audi FIS Ski World Cup and to be kicking off an exceptional World Cup calendar with Birds of Prey this year.
We'll have great, exciting races at Aspen. It has been a classic downhill during the spring tour in the past. It will be good to see the men race on that hill again. In Aspen we will experience something very exciting for the sport and very memorable in terms of the event program they're going to produce.
Everyone's really excited about Killington. There is very active race environment in the east and why the industry has been pushing hard for years to have a World Cup race in this part of America. Squaw is probably going to be the most difficult GS on the tour next year for the ladies. It is a very technical and difficult hill, which we're excited about. It seems to be a really keen organizing committee which is very proactive and trying to now develop something memorable for everybody.
World Cup Finals is always a highlight of the year and, with all four events and men and women at the same location, the best showcase of the sport. Having World Cup Finals in Aspen on home soil is awesome. Having friends and family there for support should add to getting that little edge on the competition.
These past few years have been huge for ski racing in the U.S. with World Champs in Vail and our World Cup in Aspen. It's great to have Killington and Squaw coming up. I am really excited about having another World Cup weekend in the U.S. It's no small task to host these events, but I'm so psyched that resorts are taking interest in spreading the word about our awesome sport and drumming up more excitement!
Decisions of FIS Council in Cancun (MEX) The FIS Council held its spring Meetings during the FIS Congress Week in Cancun (MEX) from 6 th-11th June. The tasks of the Council before the Congress Meeting itself included going through the agenda for the FIS Congress, reviewing reports and matters arising from the Organising Committees of the FIS World Championships and Olympic Winter Games, as well as dealing with proposals from the FIS Technical Committees in relation to World Cup calendars, the appointment of technical officials, adaptation to various rules, approval of technical courses and allocate financial support for special projects. In addition, status updates from a number of other FIS activities were addressed including AntiDoping matters, marketing and communication projects, the Bring Children to the Snow campaign and business reports from the FIS companies FIS Marketing AG and FIS Travel Service.
A number of adaptions to the technical rules were made, details of which have been published under the discipline committee reports. These include: Cross-Country Skiing – The reduction of quotas for World Cup competitions. The maximum number of athletes per nation is reduced to 15 (from 22) and for the FIS Tour de Ski maximum 10. – In order to preserve classic technique, the Jury may ban the use of specific techniques on marked sections of the course.
Sochi 2014 – Allegations of manipulation to doping samples at the laboratory In regard to the allegations about manipulation to the samples at the Anti-Doping laboratory used during the Sochi 2014 Olympic Winter Games, FIS awaits the outcome of the WADA Investigation led by Richard McLaren, before evaluating and liaising with WADA and IOC as to whether there is further action required by FIS. In any case FIS is cooperating fully with the WADA Investigation.
Creation of ISS Database The Council approved the installation of a specific database with SAP as part of the Injury Surveillance System to record injury data in all FIS disciplines for research and evaluation of injury status.
Election of the FIS Vice Presidents, Treasurer, Doping Panel Chairman Vice-Presidents: Sverre Seeberg (NOR), Janez Kocijancic (KOR), Dexter Paine (USA), Aki Murasato (JPN) Chairman of the Finance Commission and Treasurer: Sverre Seeberg (NOR) Chairman of the FIS Doping Panel: Patrick Smith (CAN) Nomination of Committee Members and new Committees The members of the FIS Committees were appointed for the period 2016 – 2018. The complete list of members will be published on the FIS Website in the coming days.
FIS Council Member Dean Gosper (AUS) has been appointed chairman of the combined Snowboard Freestyle Freeski Committee. In view of the restructuring of Freestyle Skiing and Snowboard, the members of the main Committee and the four new Sub-Committees mentioned above under the Committee Decisions will be proposed by the National Ski Associations in the coming months and appointed by the Council at the next Meeting in November 2016.
FIS Calendar Conference 2017 (Technical Committees and FIS Council Meeting) Portoroz (SLO) will host the FIS Calendar Conference and the FIS Council Meeting from 24th -28th May 2017. * * * About FIS FIS is the governing body for international skiing and snowboarding, founded in 1924 during the first Olympic Games in Chamonix, France. Recognized by the International Olympic Committee (IOC), FIS manages the Olympic disciplines of Alpine Skiing, Cross-Country Skiing, Ski Jumping, Nordic Combined, Freestyle Skiing and Snowboarding, including setting the international competition rules. Through its 128 member nations, more than '500 FIS ski and snowboard competitions are staged annually. Specific initiatives are undertaken by FIS to promote snow activities as a healthy leisure recreation, notably for the young. For more information, please visit www.fis-ski.com.
Last fall the Rocky Mountain Ski Racing Officials (RMSRO) Board of Directors passed a resolution to start an advisory committee composed of representatives from clubs and ski areas with race programs to assist with developing programs in an effort to recruit, train and retain volunteers to support ski racing in the Rocky Mountain Region. The goal is to conduct bi-annual conference calls with the club representatives to identify these programs.
Minutes and an outline of the Fall Advisory Committee call is available at RMSRO.ORG. For additional information or to provide suggestions on club volunteer programs feel free to contact Ken Gay at ken.gay@hotmail.com.
The late Bob Dart has been honored with this year's Julius Blegen Award, USSA's highest honor, presented to a USSA member who contributed his or her outstanding service to the sports of skiing or snowboarding in the United States. As both a volunteer and a ski area professional, Bob was the quintessential USSA supporter, dedicating much of his life to serving athletes as a competition official, mountain manager, committee leader and technical delegate based out of Colorado's Winter Park Competition Center.
More than 900 delegates representing 82 Member National Ski Associations of the International Ski Federation are scheduled to participate in the 50th International Ski Congress in Cancun (MEX) from 5th-11th June 2016.
As part of the Congress Week, the FIS Council as well as the FIS Technical Committees, Sub-Committees and Working Groups will meet from Monday 6th to Wednesday 8th June whilst the FIS Congress (General Assembly) itself takes place on Friday 10th June. Click here for an overview of the main Committee topics.
The Organisers of the FIS Ski Flying World Championships 2020 and the FIS Alpine, Nordic, Freestyle Ski and Snowboard World Championships 2021 will be elected by the FIS Council on Thursday 9th June. The Candidates will show their concepts to all Congress participants from display stands and will have a final opportunity to present to the Council on Tuesday 7th June. The announcement of the elected Organisers will take place at the Grand Fiesta Americana Hotel on 9th June at approximately 19:00 local time (01:00 CET). A live stream from the announcement will be available on the FIS website.
Representing the highest decision-making authority within FIS, the FIS Congress will take place on Friday, 10th June. It will review the business reports of the Council, the accounts and reports of the auditors, approve the budget, elect the 16 FIS Council Members for a two-year period as well as decide on the proposals submitted by the Member Associations and the Council. 18 candidates are running for election to the FIS Council (see here). In addition the Council is proposing to the Congress that the representative of the Athletes Commission, who is elected by the athletes themselves, becomes an ordinary Council Member position, instead of an observer as is presently the case, introduced in 2014. For detailed Congress documentation, click here.
The items on the agenda of the FIS Council in the days prior to the Congress include the final approval of the FIS World Cup calendars for the 2016/17 season as well as reviewing proposals submitted by the Technical Committees following their meetings. Additionally, items that will be addressed by the Council include developments with technology and marketing activities, the WADA investigation in regard to the alleged breaches at the doping laboratory at Sochi 2014 and updating the FIS Rules on the Prevention of Manipulation of Competitions. A key focus of the Council will be on the Congress Agenda and submitting its opinion on the various proposals to submit to the delegates.
The 49th International Ski Congress took place in Barcelona (ESP). The 51st International Ski Congress will be held in Greece in May 2018.


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Hitsville is live-blogging the hearings here.
Irving Azoff, the supermanager and CEO of Ticketmaster, and Michael Rapino, for now capo di tutti capi of Live Nation, will be in attendance.
tmaster-logo.png Following, a few issues the senators should address; any I missed?
(Hitsville's complete coverage of the merger is here.)
1) A few questions about Ticketmaster. A typical $100 rock show might carry with it a collection of service fees reaching $20 or $30 or more. Where does the money go? How much, typically, goes back to the artist? How much to the promoter? How much to the venues? If you can't generalize, give me specifics from one or two recent tours.
2) Now, aside from routing back specific fees from specific shows to a venue, how much a year does Ticketmaster spend arranging long-term deals with venues? How are they generally configured? Is it a lump sum, or an annual fee? Are there other considerations? What is a typical payment to, say, a basketball arena?
3) Now, don't these long-term deals restrict competition? In other words, aren't you in effect forcing people to pay money for fees, which you then use to tie up venues, which prevents competitors entering the business and helping to lower those fees?
4) By which I mean, far from letting you merge with an even more powerful company, shouldn't we break up the monopoly you already seem to be guarding so jealously?
5) How much does it cost to actually sell a concert ticket? By which I mean, leaving aside the payments to venues, promoters and artists, what is your company's net cost per ticket sold? Give me an estimate: Cost of the ticketing system, add on the personnel on the phones, divide by number of tickets you sold last year.
6) I note at venues that the folks at the gate now have electronic readers that scan the tickets. Are those proprietary? By which I mean, if I'm a competitor to you, will those scanners work with my tickets? Who owns the scanners? The venue or Ticketmaster?
7) How much a year, total, does your company pay back to artists, promoters and venues? Hard to estimate? You're the CEO of Ticketmaster, right? You collect x number of dollars, right? And you know what your revenue is. The difference would be how much you pay back to artists, promoters and venues, right? Give me a rough estimate.
8 ) Mr. Azoff, you're traditionally the biggest manager in the music industry, and you now run the biggest ticket-selling operation, which kicks back a lot of its fees to the artists. Whose interests do you put first?
9) Another question for you, Mr. Azoff; you're now the "executive chairman" of this new company, which controls some 150 major venues and hence a large part of the United States concert promotion industry. You're going to be cutting tour deals with some of the artists you represent, won't you? Won't you be at war with yourself? Who will win? In a recent interview in the Wall Street Journal, you said, "The artist's interests always come first." Now, if I'm a Live Nation shareholder, doesn't that disqualify you from looking after the best interests of the company?
10) That's all well and good to say you run a "decentralized operation." In Fredric Dannen's book "Hit Men," you're described as "one of the most despised men in the record business." It says here your "tantrums were extraordinary." That doesn't sound like someone who runs a decentralized operation. So please tell me again, whose interests comes first? You are legally bound to look after your shareholders, aren't you? If I'm one of your artists, how do I reconcile that with my own interests? And given your, ah, colorful reputation, if I challenge your decisions, don't I now risk offending the most powerful tour promoter in the country? If I leave your company's management stable, don't I risk finding it difficult to tour?
11) And just you personally, Mr. Azoff, what are you personal income streams? When the Eagles tour, do you get a percentage of the tour income or does it go solely to Front Line? If the group gets a kickback—excuse me, "part of the service fees returned," from Ticketmaster, do you get a percentage of that? Does Front Line?
12) With the merger, isn't your company essentially going to be routing those fees back to itself?
13) Now, you personally aside, let's talk about your former management company, Front Line. What are your top 20 acts—the ones that have grossed the most from live performances? It's hard to remember? Again, forgive me for quoting "Hit Men" again, but one person quoted there saying "He had total retention on every level." Another is quoted as saying "Irving is as fast mentally as it gets."
14) How many of your artists were in Billboard's top ten concert tours last year? The year before that? Now much did the last Eagles tour gross? The last Jimmy Buffett tour? The last Neil Diamond tour?
15) Mr. Azoff, how do the artists you manage handle their tour merchandise? On a typical tour, what is the average per person expenditure for T shirts and the like? It varies? How about on the last Eagles tour, the last Jimmy Buffett tour, and the last Neil Diamond tour?
16) Does your company handle tour merchandise for your acts? How many of them? How many of your biggest acts? What is the typical "cut" your company takes? In other words, you probably advance an artist a set amount of money against the merchandise sales for an upcoming tour. How much does the artist get back from, say, a typical T-shirt sale at a concert? And forgive me for getting so granular, but do you or does Front Line get a percentage of that from the artists, as their manager, as well? Is there a conflict of interest there? I mean, as their manager, do you recommend to them that they use your merchandising company?
17) Now, forgive me, but as I understand it, the venues typically take a cut of the merchandise sales at a typical concert as well. Is that true? If Live Nation is managing the venue, what is the typical percentage the venue gets from the merchandise sales at a concert? It varies? How about at the last Eagles tour, the last Jimmy Buffet tour, and the last Neil Diamond tour?
18) Finally, on merchandise, break it down for me. A T-shirt might cost $30, these days, at a concert. After the merger, what dollar amount of that $30 will Live Nation, as tour promoter, venue manager, merchandise company and artists manager, get?
19) OK, let's go back to Ticketmaster. Mr. Rapino, you're the head of Live Nation, which recently cut a deal with a company to compete with Ticketmaster. I understand you will be dismantling that agreement. In what way did Live Nation and Ticketmaster just agree not to compete in the industry of ticket sales?
20) You have been known for the so-called "360 deals" with artists like Jay-Z, U2, and Madonna. Front Line Management is the biggest artist management agency, and it's now controlled by Ticketmaster. In what way did Live Nation and Ticketmaster just agree not to compete in the industry of artists management?
21) Tell me how your resale operation works. It's called TicketsNow, right? You are selling a ticket, for, say $100. You collect another $20 per ticket from your Ticketmaster arm. That's $120. Now, in theory, anyone who buys one of those tickets can thereupon put it up to scalp—I'm sorry, "re-sell"—on TicketsNow. How do you make money from that service? What is the typical fee? Where does that money go? Does any of it go back to the artist?
22) Sometimes, I notice, tickets are going for an awful lot of money there … hundreds of dollars. Do you, your company, or anyone associated with any part of your company put up for sale there tickets that have not yet been sold through the normal channels? In other words, do you ever scalp your own tickets?
23) I mean, let's imagine what could happen. The Eagles are a big band. A ticket in the front row I notice, might cost $200 when the tickets go on sale, but could easily be sold for several times that, correct?
24) Do artists sell tickets through Tickets Now? How does that process work? If the Eagles, say, are playing a concert here in DC at the Verizon Center down the street, as part of the tour deal does the band get some segment of the tickets for itself? Are they allowed to resell them on Tickets Now? Mr. Azoff, as the biggest artists manager in the business, have you or anyone at your management company facilitated such dealings?
25) Who is in charge of the merged company? Releases have said that Mr. Azoff is the "executive chairman" of the new operation. What does that mean? Which of you reports to the other?
26) Mr. Azoff, as you know from your long years as an artist manager, the record labels make it routinely difficult to get full information on the number of CDs they are selling, and most artists lawyers will tell you that underpayment of royalties is common. Most, in fact, say it's de rigueur. As the record industry shifts to a model in which a company like Live Nation will be the conduit of an artist's income, do you support regulations that will make your company handle that money more transparently?
Labels: dailyswarm.com

redpajama_set_name: RedPajamaCommonCrawl


Any questions write here with mark "Speedcubing" / По любым вопросам пишите сюда с пометкой "Спидкубинг"
For more info please see the tabs.
Дополнительная информация смотрите во вкладках.
The base registration fee for this competition is 50 ₽ (Russian Ruble).
You have to send your application for this competition and wait until your name shows up in Competitors list. If your name hasn't showed up within 3-4 days then it means there is some problem with your application. In this case please check your e-mail where is a letter from organisation team. There is written how to change your application that it will be accepted. Please keep your id document (certificate of birth, passport or driver license) with yourself to prove your identity.
50 RUB (one event) + 50 RUB (for any extra event). For example, if you compete only in 3x3 then you have to pay 50 RUB.
If you compete in 3 events then you have to 50 x 3 = 150 RUB.
You have to pay at the venue on day of competition.
50 рублей (1 любая дисциплина) + 50 рублей (за каждую дополнительную дисциплину). Например, если вы участвуете только в 3х3 Cube, то оплачиваете 50 рублей.
Если же вы собираете 3 дисциплины, то 50 x 3 = 150 рублей.
Оплатить происходит наличными на месте соревнования.
You are viewing the schedule for the venue Main hall.
С Ж/д вокзала и автовокзала можно добраться автобусами № 5а, 8, 18, 101 до остановки "Детская поликлиника".
гос. "Югус" по адресу: пр. 50 лет Комсомола,16; гостиница "Робинзон" по адресу: ул. Весенняя, 24.
Места питания: Бар "Атлантик", ул. Весенняя,3; кофейня Coffee Story, пр. Коммунистический,18.
From the railway and bus stations you can reach the venue on the buses #5a, #8, #18 or #101. You need the bus stop "Detskaya poliklinika".
Hotel "Robinzon" (street Vesennyaya, 24).
Cafe "Coffee Story" (prospekt Kommunisticheskiy, 18).


Action to save the enigmatic Scottish wildcat from extinction received a major boost this week with the news that more than 100 cats have been trapped during a recent neutering and vaccinating campaign.
Scottish Wildcat Action's far-reaching Trap Neuter Vaccinate Return (TNVR) programme was carried out in its priority areas, including Morvern, Strathpeffer, Strathbogie, Northern Strathspey and the Angus Glens.
These areas represent a total of 676 square miles (1750 square kilometres) of wildcat habitat.
Feral cats present a threat to wildcats by hybridising with them and diluting the gene pool. Since November last year three wildcat project officers, contractors and dozens of local volunteers helped to catch a total 115 cats.
Of these, 82 were taken to a veterinary surgeon for treatment and later returned, 12 feral kittens were rehomed, seven cats were either pet cats or had been neutered previously and so were all released and two were possible wildcats that were released without neutering. The remaining 12 feral cats sadly tested positive for disease or were in such poor condition and had to be put to sleep on welfare grounds.
Scottish Wildcat Action is a national project supported by the Heritage Lottery Fund, which aims to halt the decline of this native species by 2020. It is led by Scottish Natural Heritage (SNH) and is a partnership of 20 organisations. The species' conservation is an important feature of the Scottish Government's 2020 Biodiversity Challenge.
SWA, working alongside the Scottish Society for the Prevention of Cruelty to Animals (SSPCA), caught 26 farm cats in just one location. Wild-living feral cats are considered the greatest risk to wildcats as they are more likely to live alongside wildcats, breeding with them and potentially transmitting diseases. But they are also the most difficult to catch and most of the effort by SWA staff and volunteers went towards catching these cats.
Roo Campbell, priority areas manager for Scottish Wildcat Action said: "Cross-breeding is diluting the wildcat gene pool and, as a result, they are losing their distinct adaptations to the harsh Scottish environment.
Neutered domestic cats are released rather than culled because this may help wildcat populations recover in the long-term.
The project has been taking a break from TNVR over the spring and summer to avoid catching pregnant or nursing mothers. However, Scottish Wildcat Action is still calling on cat owners to help turn their pet cats into 'supercats' by having them neutered, vaccinated and micro-chipped.


Mechanical machine. Pressing, cutting and knife cleaning are carried out using levers.
To allow the machine to operate correctly and above all to ensure a long service life, we recommend regular cleaning, both inside and out (see operation manual, chapter/ paragraph on cleaning). The stainless steel parts, painted coatings, PE500 polyethylene and PETG plates can be cleaned simply using water and soap or a neutral detergent, then rinsed thoroughly and dried with a soft cloth.
Coating in painted steel or stainless steel.
Ring in aluminium with chemical nickel-plating.
All machines are provided standard for an operating voltage of 400 Volt 50 Hz 3-phase. Other voltages can be provided on request.
All machines are in conformity with EC regulations and are manufactured in Italy.


January 2016 was cold and blustery, but full of hope as we finally began the process of moving into the new Women In Need Advocacy Center & Anna's House. With the continued support of the community, we have since furnished and decorated our new space to provide clients a comfortable and supportive environment.
While our 2015-2016 fiscal year has been full of changes and new opportunities, we have continued to provide essential services, assisting a total of 1,820 victims of domestic and sexual violence and their families.


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B&N Week 65: Copyright Time
Steven Forbes | March 20, 2012	| 15 Comments
Hello, and welcome to another glorious Tuesday! I've a lot to cover this week, so no flowery intro's. This week, it's all about the Copyright, so let's get into the Bolts & Nuts of that.
Yes, this may be boring to most of you, but it is also important. Make sure you have your listening caps on.
For today's discussion, I'm going to assume one thing, and one thing only: you're creating in the United States. If you're creating in a different country, none of this is going to apply to you. [Maybe if you're part of a treaty nation, but your mileage may vary.]
When it comes to copyright, your ideas are protected as soon as you put them into a fixed form. Let's take Pen-Man. You've been thinking about him for a long time, but don't have anything on paper or in a computer. It's all in your head. Then, someone else comes along and publishes Pen-Man. Know what? As soon as they put pen to paper [or fingers to keyboard], they were protected, and you're out of the concept of Pen-Man. It now belongs to them.
The "fixed form" is very important. You cannot copyright an idea. It has to be in a fixed form—tangible. Someone else needs to be able to see it. So you either write it down, or you put it in a computer. You're protected automatically, without telling anyone at all.
[Le huh? How's that possible? What about filing for the copyright notice?] Yeah, it makes little sense. I won't lie. But US law specifically allows for it. Now, you could submit the fixed-form idea for registration [paying a fee of about $35], which will allow you to use a type of notation we'll get into later.
Copyright is all about protecting the author's original work. According to the US Copyright Office, this covers "literary, dramatic, musical, artistic, and certain intellectual works."
Copyrights generally last for the life of the author, plus 70 years, unless it is passed to someone such as an heir. [There is a thought that the extension is due to the Disney corporation not wanting Mickey Mouse to go into the public domain. The length of the copyright used to be about 20 years after the author's death. Walt Disney died in 1966, and under the current law, Mickey isn't due to hit the public domain until 2036. If it gets extended again before then, then you'll have your answer.]
Anyway, a lot of you are copyright infringers. A lot of you. Yes, you. I'm looking right at ya. (Why?) Because you want to include lyrics to songs you love or are popular in your comic scripts, and you didn't get permission. Permission is given in one of two ways: the original author either says yes [which could be easy if they're not that big/popular], or you have to pay a fee for a license [which happens much more often]. Every time you put song lyrics that you didn't write into a script and you don't have permission, you're opening yourself up to be sued. Don't get sued. Stop infringing.
The same goes for artists. Every time you create and sell a print/sketch of a character you don't own and for which you don't have permission, you're infringing.
The big news about this is Gary Friedrich, the creator of Ghost Rider. He sued Marvel over the movie and lost, and Marvel sued him for creating reproductions of their licensed character, and won to the tune of $17k. Now, Joe Quesada [Chief Creative Officer of Marvel] and Dan Buckley [Publisher of Marvel] have publicly said they are not in the business of suing artists for selling depictions of their characters in Artist Alley, but Marvel is now owned by Disney, and you don't often see artists selling depictions of Mickey, because Disney is sue-happy. [First, generally, you'll get a Cease and Desist letter first. Ignore it to your peril.]
So, if things are protected by copyright as soon as they're in a fixed form, how do magazines, newspapers, and others get away with using copyrighted characters? No, they don't have licenses, and they don't have permission.
What they have are exceptions.
There are protections for the protections of copyright. They are fair use, freedom of speech, market failure, education, and equality of access.
You're not going to be concerned overmuch with most of that. The one you're going to be most concerned with is Fair Use. Fair Use includes commentary, criticism, news reporting, research, teaching, library archiving, and scholarship. Fair Use generally also covers parody [poking fun of the thing itself] but not satire [using the thing to comment/poke fun of something else]. Notice I said "generally." The courts can always start covering satire, but in general, they haven't yet.
Now, parody is coverable basically only once. Think of it as a one-time "get out of jail free" card. If you keep going back to one particular well, you're going to be infringing, and will open yourself up to a suit.
So, since you can claim a copyright as soon as you have your ideas in a fixed form, you can use a symbol to show you claim copyright. That symbol, for most things, will be the letter "c" in a circle, like this ©. If you decide to send it in to the Copyright Office and pay the fee to register it [it's a little more involved than that, but that's the gist], you can then use a different symbol, the letter "R" in a circle, like this ®.
For comics, you'd put this info in the minutia you find on either the first page, or the credits page. That small print that you never read? That's where it would go, along with the year. As an example, this site would read something like ComixTribe © 2011-2012.
Do you know everything you need to know about copyrights? No, not at all. You know just enough to be dangerous. There are a few things I want you to take away from this, though.
In the United States, your work is protected as soon as you put it in a fixed form.
Unless you have permission [and explicit "yes" from the copyright holder or paid a fee for a license], you will be infringing if you put song lyrics you didn't write in your comic.
There are exceptions to copyright, and the one that will be of concern to most of you is Fair Use, with the parody subset. [Don't forget scholarship, either. That can be powerful, as well.]
You do not need to register in order to claim copyright [but registering helps].
Now, here are the most important things I want you to know about this entire article: you can always go to the US Copyright Office to get information. It will always be there for you. The second thing is that copyright is always being contested and revised. People are always doing something that calls into question copyright law. The biggest revisions were in music [rap music, to be exact, because of sampling].
One more word about copyright before I let you go.
There's a method called the Poor Man's Copyright that was being used to try to establish a timeline that something had been in someone's possession for a certain amount of time. It works like this: you create the visual form of Pen-Man, but you don't have the money for the fee in order to register it. Instead of sending it in to be registered, you then mail the sheet of paper to yourself, and you NEVER OPEN THE ENVELOPE.
The act of mailing puts a government stamp and date on the envelope, and as long as you never open the envelope, the theory goes, you won't have any problems in proving you had the idea first, and therefore, you have the copyright.
This method may not hold up in a court of law today. A lot of it will depend upon the judge. [A judge that is not versed in copyright law may allow it—one that is may laugh you out of court.] The reasoning is simple.
Let's say you mailed the visual of Pen-Man to yourself. There are various ways to unseal the envelope without it looking like the seal was broken. [A quick, simple method is to steam it open, or you could put the envelope in the freezer for an hour or so.] That's if you want to go the long way around. The easy way? Just mail the unsealed envelope to yourself. Then you can stuff it with whatever you want, created whenever necessary, and then seal the envelope.
Because the methods of defeating the Poor Man's Copyright are easy and well-known, I do not recommend using this method to try to protect yourself. If the judge allows it, consider yourself lucky. More than likely, you're going to be out of luck with it.
That's all I have for this week. Homework: go to the US Copyright Office and poke around. Do your own learning. Download the Copyright Basics pdf and read it. Stop infringing on other's work by putting song lyrics in your scripts.
See you in seven!
Review: Drones #1
Review: The Almighties #1
B&N Week 43: Self-Publishing Pt 1
Review: The Brutal Blade of Bruno the Bandit
Tags: copyright, gary friedrich, parody, poor man's copyright, satire, us copyright office
Yannick Morin says:
For us Canadians, copyright law is much the same: copyright is granted the moment a work is created, whether it's published or not, as per the Copyright Act (http://laws-lois.justice.gc.ca/PDF/C-42.pdf). You can also register your copyright with the Canadian Intellectual Property Office to better enforce it (http://www.cipo.ic.gc.ca/eic/site/cipointernet-internetopic.nsf/eng/home) but it's not mandatory. That costs 50 bucks (Canadian, of course).
One difference of note is that Canadian copyright extends no more than 50 years after the holder's death, as opposed to the United States' 70 years.
Another difference I've noted is the idea of "moral righs". "The concept of moral rights refers to the idea that an author has a separate right over their works, in addition to copyright. Despite any assignment or sale of copyright, the author retains their moral rights, a form of personal attachment to the works. Moral rights can only be waived. There are three attributes of moral rights: attribution, integrity and association. […] Moral rights allows the author of the work to determine how the work is being used and what the work is being associated to." (http://en.wikipedia.org/wiki/Copyright_law_of_Canada#Moral_Rights)
Now we just need Liam or John to tell us about UK law to make this article complete!
Just to add to Yannick's. In Canada, we are not protected by parody.
However, Bill C-11 introduced on September 29th 2011 will allow it if gets voted in.
Don Pankievicz says:
Get permission to use song lyrics. People think I'm crazy but it MUST be done! Will you have to jump thru hoops? WIll you have to pay some fees? Yes, but those hoops and those fees are better now then when you have a hugely popular series and Bon Jovi on your doorstep asking for his money.
I've got a cool project going on right now that deals with lyric usage. Anybody wants more info, hit me up.
That reminds me: the first comic script I've ever written was a straight-up adaptation of Leonard Cohen's Famous Blue Raincoat. The lyrics literally were the captions throughout the whole comic.
Needless to say I won't EVER get this published. 😉
Why not? Who owns the publishing rights on the lyrics? I'll check it out. The licenses can get pretty pricey but for some songs it's worth it.
My project is up on Kickstarter. If it's successful I'm going to do a Volume #2. I'm going to keep returning Noel's favor by finding new artists and writers to work on it. The only writing stipulations are that all dialog and captions be lyrics and imagery has to be inspired by the song.
I'd like to see your script, Yannick, maybe it would fit in one of our volumes.
I don't know if Steven will get upset at this but here is the link to my site and the Kickstarter to learn more about the project.
http://www.itslikethatstudios.com See the In The Works page
http://www.kickstarter.com/projects/1983201915/mix-tape-volume-1-love-on-the-run
He did just tell us all to hustle, though, so anyone else who reads this, check it out and tell your friends. Tweet it, Tumblr it, tell your Facespace friends!
If I can return the favor, ask.
It'll take more than this to make me upset.
And now, to emails!
Liam Hayes says:
Make use of women/woman incorrectly. That'll make Steven weep tears of pure contempt. (It's his Kryptonite.)
Either that or he'll come down on you with the wrath of Beelzebub in full claw gnashing, bone gnawing, red font of doom flinging fury. (I know from experience. And yes, I do still hear the screams.)
Keep in mind that I wrote this WAY before I found my way out of the rain and into Comixtribe. This script is DREADFUL.
The core is good though and it might pull through with some major surgery.
I'll try and find it for you.
Hope some of you guys check this out, cause I'd love to hear other opinions beyond my own.
I've run into my first ever copyright issue… without even knowing it. I concocted a simple premiss. A group of preteen boys calling them selves 'The Midnight Alliance', investigate strange happenings and such. The things they investigate would largely be based off of urban legends and campfire stories.
The first of these planned stories was based off of the internet urban legend, 'Candle Cove'. I've spent a lot of time plotting out the story, writing short character sketches, and researching myths (Not to mention I spent hours writing a fictional theme song). Then I came across this:
http://krisstraub.com/2010/11/27/regarding-candle-cove-2/#idc-container
And it pretty much halted my work completely. Now I'm trying to figure out if I can tell the same story without it looking like 'Candle Cove', but I'm not sure I can completely, and I will have to probably begin from scratch with a different story to be the focus.
The thing is, I don't believe that anyone can own something like 'Candle Cove'. Yes, we can trace the story to the author, but the nature of the story has grown to the point that its now far beyond ownership. He has created a campfire story for the internet, a stock joke to be told to children. What do you think? Is their certain things that can not be owned?
You're in a quagmire, Conner.
You know that the Candle Cove has an owner, so it isn't an urban legend. It's a story, made out of whole cloth.
What you're trying to do is justify not scrapping the work you've put in, so you can continue to do what you want to do. That would make you a damned dirty thief. Do you want to be a damned dirty thief? Of course not.
Ask the author for permission. He said he isn't an ogre. Just let him know what you want to do, get permission, and continue to march. If he says no, then you do the work to rework the story.
Don't be a coward (not asking for permission), don't be a thief (doing it without permission), and don't be lazy (doing it anyway because you don't want to put in the work to make changes). You're better than that.
I've taken the time to rework it. I looked at what I had and said, "Whats really important?" 'Candle Cove' and the urban legends are not what the stories are about, they're about the characters. And the pieces of 'character' intended for 'Candle Cove' can be adapted into another story.
The only real loss is the time I spent on the project, and some of imagery that 'Candle Cove' provided. But neither of that is truly a loss, since any practice writing is worth the time, and 'Candle Cove' has set a bench mark for the level of creepyness I want to obtain.
Sean Rutan says:
Hmm, I just happened to find this article and now I'm confused. I'll talk to a lawyer about my story directly but, in the meantime, you have years of practical experience and maybe you can help me to better understand.
About a month ago, I asked a published comic writer if we needed to get permission to use catchphrases and references to pop culture in our scripts. His answer was a simple "No." The question had occurred to me when I read the term "Jump the Shark" in a Captain America graphic novel.
Is there a definitive difference between song lyrics and catchphrases from commercials, TV shows, and movies? Also, if we use a works cited and give credit for the references, does that mean anything in regards to infringement (i.e. paying homage and giving credit vs blatant stealing)??
Hello, Sean!
First, let me start out by saying that I'm not a lawyer, so you're on the right track in seeking one out. However, make sure you're looking to the right kind of lawyer for advice. A child advocacy lawyer or a tax lawyer will have no clue about copyrights. Entertainment lawyer. Got it? Good.
Now, with that said, the simple answer is "no." And here's the reason why.
If something has entered the national lexicon, meaning everyone says it or knows where it comes from, then it can be used under "fair use." Darth Vader saying, "Luke, I am your father!" is a perfect example. National lexicon, but everyone says it. Or, even better: "You complete me."
Now, song lyrics are different. They are written down and printed, and cannot be re-printed without permission. Usually, that permission has to come from the record company (not the songwriter), because the record labels are these big, monolithic entities that want money for every little thing. (In the 80s, when everyone had a boom box or a Walkman, cassette tapes were all the rage: easy to record music from the radio onto them, and then take that music with you anywhere you wanted to go. However, that is technically copyright infringement. The same thing with CD's. The same thing with ripping music. In Canada, there is an extra tax on blank tapes and CD's because they know what you're going to be using the tapes and cd's for, and that extra tax money goes to the Canadian music industry.)
Now, the American music industry is not afraid to sue you. As a matter of fact, they'll sue you for copyright infringement for some exorbitant amount that you can never pay, and then want that amount to be paid for every unit of your comic sold. Or, if it's online, for every time the page was accessed.
Let me put it like this: for a file hosting company (where you can also download songs for free, which is copyright infringement), the American music industry wanted to sue for the infringement of a few hundred songs. They wanted hundreds of thousands of dollars for each song, for each time the song was downloaded. They would have ended up with hundreds of trillions of dollars.
Let me say that again.
Hundreds of trillions of dollars. This is more than all the money produced by all the nations on the planet combined.
The only ways to use songs in your music is to get permission from the appropriate company, or create the music yourself.
Those are your choices. Citing the works is of no help: it says you know exactly where you stole it from, and decided not to pay, anyway.
My advice: leave music alone, unless you want to create it yourself. It's expensive.
Yes, that definitely clarifies. I'm talking with an IP lawyer to help iron this stuff out, but there is something I wanted to do with my book that's meant to be interactive. Essentially, it's littered with pop culture references, each one of them being intentional Easter Eggs for the reader to find. After each issue comes out, the readers can send in a list of what they found….and whoever finds the most wins something. That is where the citing the references would come into play.
I don't do song lyrics, but I'm still placing pop culture references in my writing. That is why I've been researching it. If I reference a catchphrase, a film quote, or a real-life person (Bernie Goetz, Charlie Mack, Charles Bronson, etc), I want to be sure that it's smooth sailing.
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Brent oil futures closed about 2 percent higher near $91 a barrel on Friday as it rebounded on bargain hunting after prices earlier fell to an 18-month low and U.S. crude futures rose in reaction to a potential storm in the Gulf of Mexico that could disrupt production.
An action by the European Central Bank to ease collateral requirements -- a move designed with Spain's woes in mind, caused the euro to rally against the U.S. dollar, supporting crude oil futures.
After falling about 4 percent on Thursday oil futures regained some composure as some buyers returned after the market had come under oversold conditions, analysts said.
Oil prices jumped back as "people were speculating that prices fell too far and they now represent a bargain," said Tim Evans, energy analyst at Citi Futures Perspective in New York.
In London, August Brent crude settled at $90.98 a barrel, gaining $2.75 to end a four-day losing streak. Earlier it slipped to a session low of $88.49, the lowest since December 2010, and then hit a session high of $91.70.
However, Brent crude fell for the week by $6.63, or 6.79 percent, the biggest weekly loss since the week to June 1.
U.S. August crude settled at $79.76, gaining $1.56, after rising to a session high of $80.37. It's low of $77.56 was the lowest since Oct. 5, 2011, after dropping 4 percent on Thursday.
For the week, front-month U.S. crude fell $4.27, or 5.08 percent, also the biggest weekly loss since the week to June 1.
"The ECB's action will add liquidity to the system, and that is helping push up Brent futures. The oil markets are rebounding from oversold conditions, though investors are cautions because the market is well supplied," said Phil Flynn, an analyst at Price Futures Group in Chicago.
At the day's lows, Brent had fallen nearly $40 from the year's high of $128.40 hit in March. U.S crude had dropped $33 from its 2012 of $110.55 also struck in March.
In the Gulf of Mexico, the largest U.S. offshore oil port and Murphy Oil Corp. began evacuating non-essential personnel from their operations, ahead of a potential cyclone. The news sparked more short-covering in late Friday trading.
The U.S. National Hurricane Center said a low pressure system in the Gulf, home to 20 percent of U.S. oil production and 6 percent of natural gas output, had a 70 percent chance of developing into a tropical cyclone over the next two days.
The Relative Strength Index, a closely watched technical signal, showed crude futures were oversold -- usually a sign that a rebound may be coming. For Brent, the index was near 25, after hitting 14 on Thursday. U.S. crude's RSI was at 31, after posting at 22 on Thursday. The 30 level is the threshold that indicates the onset of oversold conditions, which both contracts last began hitting in late May.
Reflecting investor caution, volumes were subdued, with Brent trading 4.2 percent below its 30-day average and U.S. crude down 10.4 percent also from its 30-day average.
Early on Friday, oil and other commodities and global equities came under pressure after the ratings agency Moody's downgraded the credit ratings of 15 of the world's biggest banks to reflect potential losses from volatile capital markets.
On Thursday, oil futures tumbled as data showed U.S. factory output grew at its slowest pace in 11 months in June, business activity across the euro zone shrank for a fifth straight month and Chinese manufacturing contracted for an eighth month.
While oil demand prospects are dimming, supply of oil remains ample. The Organization of the Petroleum Exporting Countries is pumping about 1.6 million barrels per day (bpd) more than the demand for its oil and its own supply target, OPEC figures show.
Much of the extra oil has come from top exporter Saudi Arabia, as well as from an export capacity expansion in Iraq and a recovery in Libyan output.
At its meeting last week, OPEC agreed to keep its oil output limit at 30 million bpd, with several members urging the Saudis to cut back supplies to reach the target.
"We are heading for a weak third and fourth quarter, so prices could go a lot weaker," said Leo Drollas, chief economist at the Centre for Global Energy Studies. "The Saudis at the end of the day will have to cut back themselves."
Amid the festering euro zone debt crisis, the leaders of Germany, France, Italy and Spain agreed on Friday on a 130 billion euros ($156 billion) package in a bid to revive economic growth in Europe. However, they differed on whether to use euro bonds to ease the region's debt troubles.


DEAR JOAN: For many weeks, I had a rat nesting in the shed surrounding my PGE box. Not my favorite rodent, but it looked very peaceful.
Imagine my surprise one day to see that "Ratty" had been replaced by an opossum. A few days later, there were two opossums, snuggled up together.
I gather that opossums are opportunistic, taking advantage of a ready made home.
I really like my new neighbors.
DEAR ANNE: An opossum does sound like a better neighbor than a rat, although I don't want to malign pet rats; folks tell me they make wonderful companions.
Opossums are indeed opportunistic, moving in to empty burrows or finding homes in tree hollows, rocks and other places that afford them warmth, protection from the rain and safety.
Safety is key for them, so they often move dens every few days. But as the weather gets colder, a female with offspring often hunker down for longer periods of time.
From your photo, it appears that you may have a mother with one offspring. The opossums are born just 12 days after conception and they then spend a couple of months in their mother's pouch.
By the time they are 4 months old, they are ready to make it on their own. I'd say your young opossum has yet to make a complete break, but should soon.
DEAR JOAN: What is the official rule on killing rodents in the Bay Area, specifically squirrels?
One person told me that they cannot be killed and another told that they can be killed by a pest control company. My local garden supply sells poison and traps, but they could not answer the question either. What is the actual rule state?
DEAR RON: Let me first recommend finding other ways of dealing with squirrels before turning to lethal measures. Controlling them will be far easier than killing, plus squirrels are a valuable part of nature.
State game laws say if Eastern fox squirrels are causing damage, you can trap and kill them any time on your own property. The Eastern squirrels are non-native and experts consider them the bigger pest in the home garden.
The native Western gray squirrels have some protections. You can only kill them during hunting season, and you must have a hunting license.
Hunting season for Western gray squirrels runs from September to January, and there are restrictions on how many you can take in a day.
If you want to go lethal on the squirrels, you'll first have to determine what ones you have and then take steps to make sure you don't kill the wrong one. Failure to do so could earn you a fine.
The state also mandates how squirrels can be killed. You cannot legally use poisons. Not only do they cause a lot of pain and suffering in the poisoned animal, if another creature — a raptor, a dog, a cat — should eat the dead or dying animal, the poison is transmitted and another creature is killed.
Doesn't it sound a whole lot easier to try other methods for controlling them? If you'll tell me specifically the damage they're causing, I can offer some ideas that might at least make things better.


Sneakers are part of culture. Sneakers are art on feet. They show expression no matter the gender, race and financial background. They are part of our culture. I have mixed feelings on the cost of sneakers these days moreover limited pairs only being given to those of privilege, who end up selling pairs for outrageous prices. By the way, the Nike Air Yeezy 2 "Solar Red" reselling for $5,000 and still being purchased is mind-boggling. The design of the sneaker is a work of art. Is there really value in a sneaker? I don't believe so, but I know there is design, expression and history. My first sneaker of the month is the Air Jordan VI "Carmine" for May.
Originally designed by the legendary Tinker Hatfield for Michael Jordan, the Air Jordan VI is a shoe of many firsts. The iconic silhouette (Infrared color way) was on Michael's feet as he captured the first of six titles and features design elements previously not seen on any basketball sneaker before it. The Carmine color way is one of the best ever created for the greatest of all-time in MJ. They have only been retroed once and MJ only played in them for a couple of months, but the shoe gives off a unique quality.


Abstract: This paper considers a Principal–Agent model with hidden action in which the Principal can monitor the Agent by acquiring independent signals conditional on effort at a constant marginal cost. The Principal aims to implement a target effort level at minimal cost. The main result of the paper is that the optimal information-acquisition strategy is a two-threshold policy and, consequently, the equilibrium contract specifies two possible wages for the Agent. This result provides a rationale for the frequently observed single-bonus wage contracts.


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Thai League 1 2022/2023 - live score, results, fixtures
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Thai FA Cup
Flashscore.in Thai League 1 2022/2023 page offers the latest scores from Thai League 1 2022/2023, fixtures and standings/play-off draws. Besides Thai League 1 2022/2023 you can follow more than 1000 football competitions on Flashscore.in: Asian AFC leagues (e.g. ISL, I-League, K-League, A-League), European UEFA leagues and cups (e.g. Champions League, EPL, FA Cup, La Liga, Serie A), American and African football competitions.
Flashscore.in offers live scores, final results, standings and play-off draws. See also Thai League 1 match details with lineups, H2H stats, odds comparison, goal scorers, red and yellow cards.


NS-26 Double Amber/Purple is the more intense version of NS-13 Amber/Purple. It produces the most exciting metallic purples and vermilions.
It behaves similarly in the flame as regular Amber/Purple but because of its greater intensity more care has to be taken to prevent reduction. Double Amber/Purple can be stretched further and can be blown relatively thin without losing the vibrant purple strike.
Be sure to try layering Double Amber/Purple over NS-81 Blue Caramel.
I use Double Amber Purple #38 for inside work. You can really pull the purples out if you hit it with a lot of heat or just take it easy on the piece and you'll leave it amber. Also, it's one of the transparents that melts in real easy.


JaMychal Green has officially been ruled out of Monday's game vs. the Nuggets due to left knee soreness.
This opens up more opportunities for Jaren Jackson Jr. to shine. There should be some frontcourt minutes in the works for Ivan Rabb and Bruno Caboclo, should they go small.


It's impolite to go to a friend's party without bringing a gift.
Thank the waitress for serving your food.
You can upset your boss by arriving very late at an important meeting.
Say good-bye to everyone before leaving.
It's polite to say please after asking for a favor.
Don't change the TV channel while watching a movie with your family.


text:
Attack the Block 2: Joe Cornish will take the Aliens/Terminator 2 approach with a sequel
Joe Cornish wants to take an Aliens/Terminator 2 approach with Attack the Block 2 and says they are very excited about the story.
Attack block 2 is official, and if Joe Cornish gets his way, the long-awaited project will follow in the footsteps of sequels like Foreigners and Terminator 2.
Joe Cornish will write and direct Attack the block sequel, which will also see John Boyega reprise his role as Moses, and as he talks on Fangoria's The Kingcast podcast, Joe Cornish provided an update on Attack block 2. "So we do our due diligence in building the script and take the same care that we took with the first,Cornish said,but we are very, very quietly confident and excited about what we have. We think about it Alien and Foreigners and Terminator and Terminator 2and we will try to do our version of what people did for [those movies]."Both Foreigners and Terminator 2 are those rare sequels that are beloved by fans, perhaps even more than their predecessors. They also took what people loved about the first film and gave it an unexpected spin, so maybe we should expect something similar with Attack block 2.
Movies to watch before No
The director added, "We have a very detailed treatment and a story that we are very, very excited about – and when I say 'we' I mean me and John Boyega, who [I'm co-producing the film with] and consult very closely with – and we do all the research to make sure we get it right."
The first Attack the block followed a gang of teenagers in south London (led by a young John Boyega) as they were forced to defend their block against an alien invasion. It took some time successor to materialize, but it is finally happening. "It's been a decade since Attack The Block was released and so much has changed since then,John Boyega said in a statement when the project was made official. "I'm excited to see this amped-up story return to the streets of London. Moses has remained one of my favorite characters to play and it's a huge honor to bring him back.Joe Cornish added, "I'm thrilled to officially announce our return to the world of Attack The Block on the tenth anniversary of the film's release. I can't wait to work with John again and give the audience an even bigger slice of inner city life."
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University of Sciences retrofitted the lights in the Athletic/Recreation Center with GE's Albeo LED high bay fixtures. The results are a win-win.
GE's Albeo™ ABHX-Series LED high bay lighting fixtures were installed in the large and small gyms, enabling the university to adopt cutting-edge technology while reducing maintenance costs and increasing energy efficiency with improved illumination.


Personal Hotspot was introduced many years ago as a way to turn your iPhone (and later iPad) into a conduit between a cellular data connection and one or more computers or other devices.... 18/07/2013�� My iphone 5 can't connect to wifi even after entering the right password. The thing is it keeps displaying incorrect password for every different wifi I tried to enter.
18/07/2013�� My iphone 5 can't connect to wifi even after entering the right password. The thing is it keeps displaying incorrect password for every different wifi I tried to enter.... You may wish to learn how to connect your iPhone X to Wifi if you own an Apple iPhone. Sometimes you may experience that the Apple iPhone is not staying connected to WiFI and later changes to the phone�s data instead.
Personal Hotspot was introduced many years ago as a way to turn your iPhone (and later iPad) into a conduit between a cellular data connection and one or more computers or other devices.... You may wish to learn how to connect your iPhone X to Wifi if you own an Apple iPhone. Sometimes you may experience that the Apple iPhone is not staying connected to WiFI and later changes to the phone�s data instead.
iPhone 8 Plus Not Connecting To WiFi? The Real Fix!
Step 1: Unlock your iPhone 7 Screen. Search for the Settings icon ( Like the one you see on the below image ) Step 2: Beneath Settings, you will find the option that reads WiFi.
You may wish to learn how to connect your iPhone X to Wifi if you own an Apple iPhone. Sometimes you may experience that the Apple iPhone is not staying connected to WiFI and later changes to the phone�s data instead.
There are two main options for you to connect to the Internet with your new iPhone 8 Plus handset. You can activate either Cellular Data or Wi-Fi connectivity feature on your device and then go online.
Method 4: How to connect iPhone to PC over Wi-Fi These methods will now be discussed with a clear view and wording so that the user can understand. It will also ensure that if there is a next time the implementation becomes too easy for the user.


Top 25 Gospel Praise Songs 2017 Edition boasts 25 of the most popular praise & worship songs being sung in churches across the country this year produced with Gospel music stylings by 2x Stellar Award winning artist and producer Phillip Carter and performed by leading voices in the Gospel Music Workshop Of America (GMWA).
The Top 25 franchise has sold nearly 2 million units since its inception and this brand extension will continue the best-selling tradition. 2017's double CD bows with much fanfare and includes unforgettable Gospel songs of praise & worship.
Top 25 Gospel Praise Songs 2017 Edition includes new recordings of songs originally written and recorded by artists and writers such as Anthony Brown Andrae' Crouch Travis Greene Israel Houghton Donnie McClurkin William McDowell Hezekiah Walker and many more! This double set is a must-have for every Gospel fan!
Top 25 Gospel Praise Songs 2017 2CD by Maranatha was published by Capitol CMG in October 2016 and is our 1212th best seller. The ISBN for Top 25 Gospel Praise Songs 2017 2CD is 0738597240720.
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Got a question? No problem! Just click here to ask us about Top 25 Gospel Praise Songs 2017 2CD.


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