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How Billy Bragg Persuaded MySpace to Change Its Tune on Ownership
Stephanie Vie. The Business of Entertainment. Editor: Robert C Sickels. Volume 2. Westport, CT: Praeger, 2009.
Who Owns the Music, MTV or Me?
When one voice rules the nation/Just because they're top of the pile/Doesn't mean their vision is the clearest. ~ Billy Bragg, "Ideology"
English musician Billy Bragg has long championed the underdog, the disenfranchised, and the downtrodden. The lyrics of his songs speak for the generations of individuals who have stood strong in the face of injustice, and he himself is no stranger to controversy, having championed the socialist party in England for many years. His music, a blend of traditional folk and punk rock, often features eloquently worded protests—against the futility of war, against the fascist party, against homophobic sentiment. These songs are "infused with genuine insight and humour, as well as a sustained and personal commitment to political and humanitarian issues." Born in 1957, Bragg has thus had a long, though not particularly profitable, career as a musician, punctuated by his work at political rallies, his one-time championship of socialism, and the release of his 2006 book The Progressive Patriot, which continues Bragg's unflinching cry for British nationalism.
In early May 2006, Bragg once again drew headlines, this time not for his political polemicism but instead for the sudden removal of all of his music from the popular online social networking site MySpace.com. Originally the singer had joined the site to promote his music, presumably to an audience of individuals likely not familiar with Bragg's music—that is, the majority of MySpace.com users, who largely fall between 13 to 25 years old. Like all online sites that house user-generated content and data, MySpace has particular terms and conditions; the site offers free (ad-supported) server space for musicians to upload songs, music videos, and images. A concerned friend, however, pointed out to Bragg that MySpace's terms and conditions seemed to imply that the site had "a nonexclusive, fully paid and royalty-free worldwide license" to any songs uploaded. The full text of the original terms and conditions noted that:
by displaying or publishing … any Content … on or through the Services, you hereby grant to http://MySpace.com , a non-exclusive, fully-paid and royalty-free, worldwide license (with the right to sublicense through unlimited levels of sublicensees) to use, copy, modify, adapt, translate, publicly perform, publicly display, store, reproduce, transmit, and distribute such Content on and through the Services. This license will terminate at the time you remove such Content from the Services. Notwithstanding the foregoing, a back-up or residual copy of the Content posted by you may remain on the MySpace.com servers after you have removed the Content from the Services, and MySpace.com retains the rights to those copies.
Bragg withdrew his entire catalog of music from MySpace in protest. About a month later, in the face of Bragg's repeated complaints in the media regarding these terms and conditions, MySpace changed them to specifically reassure users that they—not the site—continued to own the rights to their materials.
Afterward, in a Guardian article "Who Owns the Music, MTV or Me?" Bragg posed a question central to the debate regarding intellectual property ownership in online social networking sites that I believe offers us insight into one of the essential concerns that have emerged from the widespread use of social networking sites to promote music:
The demand that users waive all moral rights to their material in order to join a service brings into question the role of social networking sites. Will they usher in a revolution in the music industry by allowing self-promoted artists to circumvent the major record companies who have stood as gatekeepers of public taste for so long? Or will they simply be the means by which the industry keeps its monopoly on copyright ownership and earnings through the silent harvesting of intellectual property rights?
Bragg's campaign for artists' rights provides an opportunity for academics to enter into a conversation regarding digital intellectual property rights as applied to media posted in online social networking sites. His experiences with MySpace.com illustrate the difficulties even professional musicians face in understanding the legalities of copyright law as they exist in online spaces. Although traditional copyright of physical materials is often convoluted, placing works in an online realm introduces new challenges to copyright, namely how intangible digital materials should be addressed with regard to ownership and fair use. Because changes in digital copyright law are slow-going, outright resistance and protest such as Bragg's are the most efficient and necessary way to enact revolutions.
A Historical Overview of Copyright Law
Intellectual property constitutes one of the most pressing and broad-ranging concerns of our times.
This song is Copyrighted in U.S., under Seal of Copyright # 154085, for a period of 28 years, and anybody caught singin it without our permission, will be mighty good friends of ourn, cause we don't give a dern. Publish it. Write it. Sing it. Swing to it. Yodel it. We wrote it, that's all we wanted to do.—Woody Guthrie6
Ownership, authorship, and copyright will never be issues that we will be able to simply write into law and then walk away from. However, by examining the various shifts in intellectual property and copyright law throughout the ages, we can see a pattern emerge, one that takes creative freedom away from artists and places oftentimes unnecessary restrictions on the use of media in our culture. Even today, many aspects of intellectual property law are being hotly debated, such as music sampling, fair-use guidelines, and parody, to name a few. We have come, it seems, to a crossroads: Shall we radically revise our notions of copyright, authorship, and property in the wake of a digital age, or shall we attempt to hold on to previous, perhaps outdated, notions of ownership?
Certainly intellectual property and copyright law has been challenged with the propagation of peer-to-peer file-sharing programs such as Kazaa and Napster and court cases such as the 2005 MGMv. Grokster Supreme Court decision. Conclusions regarding the fate of copyright in our culture will not be easily reached, but the rocky transition may be eased by carefully examining the past, for debates over copyright law and intellectual property are surely nothing new. Just as new technologies of reproduction in the nineteenth and twentieth centuries were followed by major upheavals in copyright law, we seem poised on the verge of a similar paradigm shift in the twenty-first century as the ramifications of the Internet and digital media reproduction force additional revisions of copyright and intellectual property law.
The emergence of the concepts of authorship and ownership of works occurred in sixteenth-century Britain with the London Stationers' Company's monopoly over printed works.7 It was not until the early eighteenth century that authors began to truly assert ownership of their works. One of the most notable cases of copyright law infringement was a case in 1774, Donaldson v. Becket, in which Thomas Becket had purchased a book copyright from an estate and then challenged Andrew Donaldson, who argued that statutory copyright gave him the rights to reprint the book in question: "Becket and his partners had paid £505 at Millar's estate auction in 1769; had they bought anything?" At the center of this case was the idea of property as an intangible rather than tangible good. Becket had purchased an idea, the rights to a book that he did not originally author. Could he then legally lay claim to this "property" in court? Copyright law currently differentiates between ideas, which cannot be copyrighted, and their expression, which can be copyrighted; furthermore, the law states that only material objects can be protected. As a result, these differences "raise difficulties for the definition of 'music' (and reflect copyright's origins in the protection of literary works)."
Donaldson v. Becket was the beginning of a long chain of legal and social struggles to understand ownership of intangible property, of an author's ideas, a struggle that continues today as we puzzle out the complexities of the changing nature of technology, reproduction, and ownership. One of the things that makes intellectual property such a complicated concept is its high fluidity compared to physical property. Intellectual property can be copied, shared, and distributed without diminishing its value at all. In fact, the worth of intellectual property, "measured economically, culturally, politically, and/or socially, is often dramatically enhanced by the extent to which it circulates." Today, marketing terms such as "buzz" and "the tipping point" highlight the fact that advertisers want and may even need to offer substantial samples of goods to generate interest and guarantee sales of goods.
Consider the case of pop star Britney Spears, whose October 2007 album release, Blackout, has been promoted almost as much by the accounts of her personal turmoil in the gossip rags as the likely purposefully leaked singles disseminated online to anxious fans. Blackout peaked in second place on the Billboard Hot 100 music charts, and Spears' recent single "Gimme More" climbed the charts as well to reach number three. Spears' success is not unusual; she is the only female artist in the United States to claim four Billboard Top 100 Number One albums in a row. However, Blackout was successful not so much because the album generated interest on its own, but because fans were intrigued by the media portrait portrayed of the troubled singer. After her divorce, custody of her two young boys was taken away after she was declared an unfit mother, and she was ridiculed mercilessly in the press after her failed attempt at a comeback on the 2007 MTV Video Music Awards show. During 2007 and 2008, Spears has been in and out of rehab as well as hospitalized and held for psychiatric evaluation. Despite Spears' personal life falling apart around her, marketing buzz was still able to provide her with more-than-adequate sales of her fifth album.
Along with the ill-defined marketing term buzz, Malcolm Gladwell's The Tipping Point offers a satisfying metaphor for advertising success. The tipping point of an idea or product is the moment at which a critical mass of participants or purchasers has been reached; it is difficult to predict how or why a tipping point will be reached, and quite often it seems to be the result of luck and timing above all. Gladwell's The Tipping Point and Blink both discuss social change and reasons why individuals make decisions or perform certain actions, focusing in part on how "connectors" and "mavens" help promote social change. In social networking sites in particular, new ideas are spread via charismatic individuals or those who simply reach a wide group of users, an easy accomplishment as social networking sites aggressively promote the formation of both strong and weak ties. In fact, MySpace itself is a perfect example of the power of buzz. The site's popularity spread mainly based on word-of-mouth promotion and the aggressive marketing efforts of its cocreators, two connectors/mavens who had an idea for a particular kind of networking site they wanted to see take off.
Though early British copyright law was muddled and difficult to understand, it clearly placed the foundation of an author's claim to copyright in the registration of his claim to the work. The law was radically transformed in 1911 such that an author's claim to the copyright of his work was the term of his life plus 50 years. With the reformation of copyright law in 1911, an author's rights began at the creation of his work, whether it was music, sculpture, a painting, or a book. All were given equal treatment under the new law, which both simplified the matter as well as placed control back into the hands of the author. Over the years, however, there is "no doubt that there has been a gradual extension of copyright regulation. The period of copyright has gradually been extended, there is no longer the need to renew copyright and the scope of material has extended to cover derivative works. Much infringement has been criminalized and technical protection devices recognized."
In 1998, the U.S. Supreme Court upheld the Copyright Term Extension Act, which lengthened the copyright term to the life of the author plus 70 years, 20 years beyond the earlier 1911 copyright law. Commonly referred to as "the Bono Act," after Sonny Bono, who championed the law, the Copyright Term Extension Act:
was passed by Congress after intense lobbying from companies like Disney (the copyright for Steamboat Willie, the first cartoon appearance of Mickey Mouse, was due to expire in 2004). It also extended copyright protection for valuable songs like "Happy Birthday to You" and "This Land Is Your Land." These two songs ironically emerged from a folk tradition that emphasized the borrowing of lyrics and melodies, and which saw culture as a common resource to be shared, not privately owned. Both songs were built on preexisting melodies that date back to the nineteenth century.
As McLeod points out, there is a certain delicious irony in the fact that the copyright protections of two folk songs were extended despite the fact that "the folk song is, by definition, and as far as we can tell, by reality, entirely a product of plagiarism." The irony also extends to Bragg's fight against MySpace's terms and conditions, as several of the songs he pulled from the site were songs based on unrecorded Woody Guthrie lyrics used with permission from Nora Guthrie, his daughter; Guthrie is perhaps most famous for recording one of the songs protected by the extended copyright act, "This Land Is Your Land."
As a result of the Bono Act, even commonplace songs such as "Happy Birthday to You" remain protected under copyright law and can cost several thousands of dollars in royalty payments when used in public performance. "Happy Birthday," originally composed in 1893 and copyrighted in 1935, is not scheduled to expire from copyright until 2030 in the United States. Its use in film and public performance can command around $5,000 to $20,000 for a single instance of the song. "Happy Birthday to You" is one of the clearest examples of how current copyright law in the United States often goes too far in its protection of long-dead artists' copyrights. Over these many years, then, copyright law has been fundamentally transformed as a result of the influence of emergent technologies.
What is most crucial in a historical account of these legal changes is an explanation of why they occurred, "partly because of new forms of unfair competition, partly because of pressure on the patent system, but largely because of new developments in what we now call 'the media.'" In the nineteenth century, the phonograph allowed for the easy reproduction of music; in the twenty-first century, digital reproduction of music and film was made both affordable and easy via the use of CD and DVD burning software and hardware. And, with the emergence of the World Wide Web, the transmission of digitally reproduced files through peer-to-peer networks became a simplified process with complex ramifications. As Simon Frith points out in his article "Copyright and the Music Business," "the details of musical copyright are themselves a somewhat incoherent response to changing circumstance." As intimated earlier, one of the major changes in U.S. copyright law is the emergence of online social networking sites and other spaces where digital media can be swapped and shared. Social networking sites shed interesting light on the gray area of copyright law in the United States. In particular, the case of Billy Bragg vs. MySpace.com shows that even professional artists can often be unaware of the intricacies of our convoluted copyright laws.
Online Social Networks and Digital Copyright Issues
Although online community-oriented social gathering spaces have been around almost as long as the Internet itself, online social networking sites represent a significant shift in our understandings of what it means to connect with others on the World Wide Web. In the early eighties, Howard Rheingold waxed rhapsodically about the Whole Earth 'Lectronic Link (the WELL), a virtual community where individuals could share materials, post their thoughts, and band together. Today, though the WELL is still around, its popularity has been far eclipsed by online social networking sites, which have captured the attention of hundreds of millions of individuals across the globe.
Social networking sites are "virtual digital places that occupy neither space nor time. They are inherently discursive spaces where people actively convene to commune with others."19 Such computer-mediated environments allow users to move beyond the confines of actual physical space; participants can thus convene from any place, at any time, in many different ways. Social networking sites build upon many of the features that previous computermediated environments such as MOOs and chat rooms offered, but one major difference is that most current social networking sites such as MySpace, Friendster, and Facebook offer more than just the opportunity for users to chat, converse, and interact verbally. These sites provide a space for users to portray themselves in a particular light—their online self-identity—and forge connections with others who have similar interests by networking. These sites attempt to link individual users via degrees of interest, affiliation with a group, or social connections; individual users are like nodes, which are then connected via social ties, forming interwoven networks of participants.
On MySpace, for example, users are said to be "friends" or "in your extended network" if they are a friend of a friend. MySpace in particular offers features that were not possible in earlier computer-mediated environments, such as the ability to upload profile photos, upload music and music videos, write blogs where others can comment, and so on. The combination of these features allows for many different ways participants can approach the social networking aspect of the site. Because of their rich variety of features and, in particular, the ease of sharing multimedia compositions with others, online social networking sites have captivated millions of users and are quickly becoming ubiquitous on college campuses in particular but also throughout the world.
These networking sites focus on the interests and activities of the individual while allowing them to use basic HTML along with embedded multimedia clips, such as music videos, to jazz up their profile pages and share them with friends. Much of the media shared on these sites contributes to what Lawrence Lessig has termed the "remix culture," works that rely heavily on sampling already-published material. Thus, online social networking sites—because of their large membership numbers and easy-to-use communication tools—are rapidly becoming repositories of this user-created content. To more easily share materials among individuals, their sites can be linked together by declaring a friendship bond between the two users; larger connections can then be made by establishing links among many different possible friends available in a network. To some extent, collaborative elements are built into the site design, along with features that allow for more traditional individualistic expression; the combination of the two combined with word-of-mouth promotion has pushed MySpace into headlines and the collective consciousness of many twentieth-century individuals.
It is important to consider the impetus for the social networking site MySpace before assessing its effect on copyright and intellectual property. Cofounder Tom Anderson weathered several failed attempts to promote his band. Instead, he created a site where he envisioned bands could easily network and connect with each other for free. MySpace therefore has aggressively worked to promote itself as a site to share one's own music as well as discover new bands. The founders of MySpace, Tom Anderson and Chris DeWolfe, designed the site by borrowing the most attractive features displayed in other incarnations of networking sites and blogging sites, compiling these features in one easy-to-use Web site. Their site included photos, blogs, personal profile spaces, and so on—all successful aspects of earlier sites that capitalized on the establishment of social networks. However, to pitch MySpace as a unique addition to the social networking universe, Anderson and DeWolfe added an additional layer to the site: music promotion. Bands began to use MySpace as a space to advertise concerts and music, and the site was quickly picked up in various media, highlighted as a new opportunity for musicians interested in self-promotion. MySpace became immensely profitable for Anderson and DeWolfe, who sold the site to Rupert Murdoch's News Corporation in July 2006 for $580 million.
Interestingly, many users have begun utilizing MySpace as a free dating site and are thus moving away from for-profit sites such as Match.com and eHarmony. Some business owners promote themselves via their MySpace profiles, and a small portion of users have emerged as "MySpace celebrities," individuals who have aggressively pursued fame through MySpace. Tila Tequila, one such MySpace celebrity, is a former Playboy model who wanted to move into acting and singing. As the front woman for her band, Jealousy, she was featured on the first MySpace music compilation. Tila is infamous for her MySpace networking—at last look, she had almost two million "friends" on the site. The immense popularity of the site helps users to successfully tailor the site to their needs for promotion and marketing, such as Tila Tequila's rapid rise to fame through MySpace. What prompted MySpace to take off so fast, and so far—a feat which was largely accomplished without spending money on advertising—was a lucky combination of kairotic timing, word-of-mouth, and appealing design.
Anderson noted in an interview with Forbes that the site provided features and freedoms that other social networking sites didn't, thus offering users a site that built on the success of other online community sites, but with a twist:
A lot of the early growth … had to do with the features and what our competitors were not allowing people to do. We recognized from the beginning that we could create profiles for the bands and allow people to use the site any way they wanted to. We didn't stop people from promoting whatever they wanted to promote on MySpace.
Because of his experience as a musician in a band that failed to take off, Anderson believed that a networking site such as MySpace would allow smaller bands to succeed in a society that, until recent years, has favored artists who sign on with large corporations that invest huge amounts of money in promoting the artists. Though artists often receive an initial advance, this money is usually pitted against the amount of the parent company's promotion; an artist or group who doesn't make the cut and sell enough units can end up bankrupt rather quickly. But the technological advancements in recent years have shifted the means by which bands are promoted. No longer must artists rely on the protective backing of large corporate interests or else go the more difficult route of aggressive self-marketing through their own label. Today, artists can hype themselves as a product in social networking sites such as MySpace and reach their target audiences quickly and easily.
However, MySpace was acquired by Rupert Murdoch's News Corporation when that company bought MySpace's parent company, Intermix Media Inc. for $580 million. In large part, Bragg's decision to remove his music from MySpace was prompted by the fact that the site was now owned by a large media conglomerate; originally, he could not necessarily be reassured that his work would not be used without his consent for other purposes. Ironically, Murdoch chose to acquire Intermix and MySpace because of the possibilities that media convergence in these spaces offered, such as the ability of MySpace to provide unedited, unfettered access to content and news to users. In an interview with the BBC News, Murdoch railed against the idea of newspapers "editing content into a one-size-fits-all package to be consumed without question by the reader:"
Young people "don't want to rely on a God-like figure from above to tell them what's important," Mr. Murdoch said. "And to carry the religion analogy a bit further, they certainly don't want news presented as gospel. Instead, they want their news on demand, when it works for them. They want control over their media, instead of being controlled by it. They want to question, to probe, to offer a different angle.
Ironically, Murdoch's assertion that people "want control over the media, instead of being controlled by it" was encapsulated quite clearly in Bragg's response to MySpace's terms and conditions. Rather than being controlled by the site's peculiarly stringent intellectual property clause, Bragg chose instead to resist this media and protest against it. His concern was for the generations of young musicians who might, like him, not carefully read the terms and conditions and, as a result, might sign their rights away for the privilege of allowing MySpace to promote their songs. Though Bragg had been careful over the years to retain most of the copyrights to his songs, licensing them to the record companies that have released his albums over the years, his concern was for "the generation of people who are coming to the industry, literally, from their bedrooms."
Indeed, many young adults growing up in the wake of constant technological access are growing up less critical of media, unable to analyze at a deep level just what it means to be a participant in a certain technology. These so-called digital natives are unlikely to read the terms and conditions of a Web site before clicking through and agreeing. Bragg's origins are in the resistance movements of early British punk and folk music, with the "underlying philosophy among some practitioners … of a communal effort where commoditization of the product was undesirable or even unavailable." As such, he has long been steeped in the idea of protest, of a (perhaps cynical) distrust of big business and media conglomerations. For Bragg, fighting the restrictive terms and conditions of a social networking site is another step in a long tradition of opposition against fascism, homophobia, religion, and so on. Can we necessarily assume the same of today's digital natives, who have grown up accepting the ubiquity of technology in their lives? Not necessarily.
Bragg's protest, thus, is a clear case of the necessity of encouraging all users of technology to approach cautiously, to think about the impacts of terms and conditions on their rights, and to think above all of what they may be giving away and receiving in return. After all, Bragg almost gave away his rights for the ability to promote his songs that epitomized the fight against the relentless encroachment of capitalism; it would have been a disappointing quirk of fate if MySpace had in fact retained control of Bragg's music without his explicit, informed consent. The site did change its terms and conditions eventually, though it did not explain any connection between Bragg's protests and the revised terms and conditions, which included the words, "The license you grant to MySpace.com is nonexclusive (meaning you are free to license your content to anyone else in addition to MySpace.com)." After being interviewed about the changes, Bragg noted that he found the possibilities of social networking sites both exhilarating and disturbing:
"Social networking sites are a revolutionary tool for new artists who utilise [sic] them in order to gain a following," said Bragg. "Any ambiguity about the ownership of rights could have serious implications not only for artists but for the sites themselves. If this new medium is to attain its full potential, it is crucial that artists are able to post content secure in the knowledge that doing so will not hinder their future career and earning potential."
In order to benefit from their intellectual property, copyright owners have to be able to administer their rights.
Changes in intellectual property and copyright laws are often the result of change that is forced by the emergence of particular technologies. With the creation of Gutenberg's movable type printing press and the shift from priceless hand-lettered books to books distributed on a much larger scale, notions of intellectual property surfaced that aimed to protect the monetary rights of the author. Once books could be bought and sold for a profit, then individuals wanted to assure their ability to turn that profit. Similarly, when technologies such as the phonograph, the cassette tape, and the compact disk allowed for simplified copying of music recordings, intellectual property law shifted to once again restrict the ability for individuals other than the record company and, to a lesser extent, the artist to make money off of their music.
Now with the growing popularity of peer-to-peer file-swapping and online social networking technologies, we are likely to see a resultant shift once again in the dominant paradigm of intellectual property law. Indeed, the Digital Millennium Copyright Act of 1998 has made it illegal for individuals to circumvent copyright protection measures on digital media such as compact disks and digital music downloads. The DMCA in fact makes it illegal to even post information that would allow an individual to potentially circumvent such measures—one does not even have to follow through to be in violation of the act. Each iteration of change to intellectual property law has resulted in laws becoming stricter; their approach is quite simply punitive in most cases. Rather than championing the complexity and sophistication of movie trailer remix projects such as "Shining" and "Office Space Horror," for example, movie studios are instead forcing these remixes—which are often protected at some level as parodies of the original—to be removed from sites such as YouTube and MySpace. The documentary film Eyes on the Prize was delayed in its re-release for quite some time because of copyright issues stemming from the use of archival footage (including the use of the "Happy Birthday" song) that cost significant amounts of money to clear. Even educational fair-use guidelines in school settings are becoming increasingly difficult for instructors to navigate, particularly those unschooled in legal doctrines.
Without those who, like Bragg, stand up and raise their voices in protest of the escalating severity of U.S. intellectual property and copyright law, we may soon face a world in which our abilities to compose multimodal works is severely limited. In such a world, we might face the daunting task of gaining approval from copyright holders before using even brief materials for classroom use. We might face a world where parodies of popular songs and images are no longer protected. Chillingly, what we face is a world where creativity is in fact restricted by the very laws that aimed to protect that creativity in the first place. Bragg's tale offers us a chance to think about the moment where we are poised, a moment where we can decide to raise our voices and protest that we will not give away our rights only for a song.
This entry was posted in Uncategorized on 09/07/2015 by Admin.
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HOLLISTER, CA – Ridgemark Golf and Country Club has achieved designation as a "Certified Audubon Cooperative Sanctuary" through the Audubon Cooperative Sanctuary Program for Golf Courses, an Audubon International program. The Ridgemark staff has worked diligently to obtain sanctuary status on this course and is being recognized for Environmental Stewardship by Audubon International. Ridgemark Golf Club and Resort is the 59th course in California and the 794th in the world to receive the honor.
"Ridgemark Golf Club and resort has shown a strong commitment to its environmental program. They are to be commended for their efforts to provide a sanctuary for wildlife on the golf course property," said Jim Sluiter, Staff Ecologist for the Audubon Cooperative Sanctuary Programs.
The good news arrived from Audubon International in November 2010. The certification process has taken a total of three years and will be on going. The program has given us the opportunity to learn more about our golf course facility and the wild life that surrounds it. The tools that we have gained through the certification process have helped fine tune our Integrated Pest Management Programs and become better environmental stewards. We look forward to continuing our practices and outreach programs within the community through the assistance of the Audubon Sanctuary Program.


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LAKE WANAKA, New Zealand (August 9, 2007) — Day two of the fifth Burton NZ Open and the action turned to the Slopestyle course for the men's and women's qualifiers. Over 20 women and 80 men took on Snow Park NZ's challenging course that was geared towards top end riding. Some were daunted by the size of the features but others really pushed their limits, stepping up and trying jumps they hadn't attempted before.
As with yesterday's halfpipe competition, there was a wide variety of riding in the men's event, but the top 15 places were fiercely fought for. "The top riders exhibited incredible amounts of control on the rails and they were going ballistic on the jumps, said assistant head judge, Ste'en Webster. "They've been practicing them for a few days now and are all tuned into them. Seven's and nine's were standard on the jumps and when these guys meet the pro riders in tomorrow's semi-finals the riding is going to be pretty amazing.
Webster was also impressed with the level of the girls' riding with the top three really attacking the rails and boosting off the jumps.
Sixteen-year-old Valerie Reynolds of Idaho, USA is competing in her first Burton Global Open Series event and was thrilled to be one of just eight women to make it through to tomorrow's semi-finals in third place.
"It was quite windy and the light was a bit flat but the snow was great. There were some chicks spinning fives but they'd fall on landing — that's the key to success, don't fall, she said. "With the pros coming out tomorrow, it's going to be really fun competing with them. It's totally different experience here in New Zealand compared to the US. The park's really nice with heaps of variety of jumps and rails and there are so many good people here!
The Burton NZ Open continues tomorrow (Friday) with the Slopestyle semi-finals and finals, with the women's semi-finals starting at 9.15am. Tomorrow night sees the Invitational Quarterpipe Jam under floodlights and accompanied by tunes from top Kiwi DJs. Spectators will watch for free from a grandstand built of snow — over 2,000 attended last year's event.
The Burton Global Open Series is part of the Ticket To Ride (TTR) World Snowboard Tour, the largest group of independent freestyle snowboard events in the world. TTR ranks riders based on their results at participating competitions and crowns a TTR World Champion at the US Open. For more information, visit www.ttrworldtour.


2014 is our 10th anniversary. In honor of our resilience and, especially for your listening enjoyment, we present our latest album of "hard to describe, easy to love" tunes — "Still Standing".
Six tunes are new and original and, as always, all over the musical map — ska-inspired, rap inspired, balkan/jazz/rock/folk inspired. Four tunes are favorites that we felt deserved to be re-recorded as they have morphed considerably from when we first recorded them. And we couldn't resist including the Rumba Tziganeasca which we love to play live but had never recorded. All in all, it is another mad, musical voyage.
Listen to the tunes right here. We've cued up "Not yet, Not Now".
Recorded, mixed and mastered by Wally Sound, Oakland, California. Thank you, Wally!
Music in the Blood — a quirky sing-along in honor of large brass, with hints of polka. Go, Johny!
Pica Pica Polka — southwest inspired polka with a long tail.
Making Way — ska instrumental propelling us forward.
The Just Plain Folks Awards 2017 honored "Still Standing with two nominations!


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Media Facts: This video was uploaded on Thursday, January 03, 2013 @ 7:37 am. It has been viewed 86 times in April and 408 times since it was first posted. This item is ranked 194 / 20,189.


Okay, so you've spent hours finding your perfect real Christmas tree and now you want to make sure it's still looking brilliant up until the twelfth night. Our Nordman Fir low drop real Christmas trees have been harvested as late as possible & we immediately remove the nets on arrival, this allows the air to circulate-when they are kept compact in the net -they start to compost straightaway -leading to needle drop. So we've helped you find a brilliant tree-now it's up to you! Our best advice is to treat your Christmas tree like a So here's our top tips for making sure or your Christmas tree looks fabulous over the entire festive period.
Cut off the bottom inch or inch and a half of the tree (about 4cm) - we can do this for you, if you like, just ask a member of our team. Immediately place it in a bucket of water. Then remove the netting.
Leave your tree out in the cold, for as long as possible, until you are ready to bring it in and decorate it.
Try to find a cool spot in the house for your tree, preferably not over the top of a radiator- always the cooler the better.
Place the tree in a Christmas tree stand, not only is this the easiest way of putting your tree up safely but more importantly it allows you to keep your tree watered. A real tree can use up to 5 litres of water a day so try to make sure you keep it topped up.
Your tree should look fantastic right up until the twelfth night - when you can then get your tree recycled.


Camping is one of the best outdoor activities to keep in touch with the beauty of nature and spend some quality time with your family, friends, someone special or just yourself. Age cannot wrap us in a room with LED or race of the high-rises, we all need some relaxation from cell phone and email notifications. To enjoy a camping within your budget you may need buy best cheap tents for camping.
This is super light in weight, easy to carry, weather proof and include plenty of space Love this tent all of backpackers as it is also best cheap tents for camping.
It cost is cheap and includes all the features required for a strong shelter to keep you safe.
If you want to spend some quality time with yourself, then this is the cheap and best tent you can get for a single person.
Planning for outing with the family and friends? This will be the best to buy and it includes enough space to comfortably sleep eight campers.
Coleman Red Canyon 8 Person tent cost is cheap & perfect on Amazon and includes enough space for comfortable journey.
It is easy to set up and keeps the campers dry. Best way of sharing happiness and keeping togetherness.
This one is for 2 person tent, who can enjoy the time together. And perfect tent for couple who are newly married because of comfortable.
This tent price is manageable, available on Amazon and has great strength.
You can become more close to someone special by camping in this comfortable tent with beauty of nature.
Mountainsmith has been designing rugged, versatile tents for more than 30 years.
Mountainsmith Morrison 2 Person 3 Season Tent price is affordable and it includes limited lifetime manufacturer's warranty.
It contains the killer value and deal award. It is best for 2 people.
It includes tent stakes and pole packet unrolls with tent. Most affordable tent in your budget price.
This tent is popular for price range and enjoys camping with your complete family with comfortable space for 10 people.
If you are dedicated to enjoy your camping withing your budget price with your family or friends, don't hesitate to buy this tent.
For a perpetual ongoing life we need some relaxation and you can get it by making a right choice of tent, which include the stand up elements and also stand against the time. So hurry up to make a choice from Amazon now. We hope this article will help you to find out your best cheap tents for camping in single or camping with your family within your budget. Don't forget to write your experience ater the camping.


Holy Saturday, April 20th: Easter Vigil Service and Mass at 8pm. There is no Reconciliation or 5:30pm Mass.
June 17-21: 9:30 a.m. to Noon.
Registrations are due May 17th.
Check back here for our Online Registration soon!
Please Register your children for Sunday School, The Catch-Up Class, Wednesday Evening Religious Education, and Teen Life Ministry by clicking on the link below.
NOTE: We have raised fees this year because our costs for books and supplies have increased.
Payment can be made through PayPal using an Online Check, Credit/Debit Card, or a PayPal Account.
Wednesday Religious Education Begins September 11th, 2019.
Sunday School Begins September 15th, 2019.
TLM (High School Students) Begins September 11th, 2019.
In the book of Revelation, St. John the Evangelist gives us a glorious glimpse of the Heavenly Tabernacle and the perpetual sacrifice of the Heavenly Mass that exists outside of time and space.
This is a 11-week session on Tuesday Nights at 7:00 pm. in Room #2 downstairs in our Education Center.
Visit our Facebook Page for a list of events also.
Coming June 8, 2019, experience your faith as you've never seen it before - in a vibrant, joy-filled, one-day Catholic party we call ArchOmaha Unite. Over 15,000 Catholics from every corner of the archdiocese will rally together to celebrate hope, family, community and ALL the things that make us 'who we are' in the Archdiocese of Omaha.
Broadway-style theater performance? Unite's got that. Side-splitting comedy? We're on it. Music, food, and Pentecost Mass celebrated in a stadium-sized arena with 15,000 of your brothers and sisters in Christ? Check, check and check. ArchOmaha Unite is about YOU and celebrating what makes you a unique and irreplaceable part of the Catholic Church in Northeastern Nebraska.
Unite Intro Parish Resource from Archdiocese of Omaha on Vimeo.
For all the details download the brochure and registration form below.


There's a lot of interest in understanding software design as an activity. But what happens to the outcome of this activity? At one extreme, what happens on the whiteboard stays on the whiteboard (design is never explicitly captured). At the other extreme, design information is meticulously captured and archived, and then invalidated by the first decent refactoring. So without explicit effort, design knowledge just disappears. The consequence is that without design information developers will have to perform ignorant surgery. The temptation for ignorant surgery has to be related to the cost of maintaining accessible design information. When a particular design is expensive to describe and maintain, its description and rationale is at risk of being lost, no matter how awesome the underlying design ideas are.
So why don't we explicitly consider how expensive a particular design decision will be to capture and maintain consistent with the code, before adopting it?
There exist quality models for software design. They include attributes like reusability, flexibility, understandability. But, as far as I can tell we don't yet have an attribute that captures how cost-effective it is to describe a set of design decisions over time. That attribute is what I would call sustainability.
Modularity can contribute to design sustainability when design decisions map to code organization concerns. Unfortunately many design decisions don't have much to do with modular decomposition. There's also the issue that many concerns cannot easily be modularized.
The relation between documentation and sustainable design is paradoxical. On one hand, good documentation can help sustain a design over time. On the other, documentation is expensive, which is a direct factor of unsustainability. The idea of fully self-documenting systems is appealing, but impractical. Parnas and Clements compared it to the Philosopher's Stone.
Programming language constructs are another tool to manage sustainability. For example assert statements are a cheap and relatively user-friendly way to capture simple designs rules and assumptions. There's also research to develop language support for stating and verifying more complex design-level properties, such as immutability. The related challenge for design sustainability is that that language-supported specifiable properties form a closed set of low-level concerns, whereas the set of possible design decisions is open and ranges over different abstraction levels.
Design patterns offer a natural map between parts of a system and a set of design rules and even their rationale. The major limitation here is that by definition, patterns are solutions to common problems, whereas there are many idiosyncratic design problems in software projects.
So, how to we move towards sustainable design? Maybe we can draw a lesson from gardening. At this point in our history we have the technology to grow anything anywhere. But the best way for a garden to stay alive with minimum effort is to select plants that are a good match for a specific environment. Likewise with design decisions. Different projects and systems have characteristics that are the equivalent of different types of soil, luminosity conditions, humidity. So we have to figure out how to select and nurture the design decisions that will thrive in these conditions.
M. P. Robillard. Sustainable Software Design. Visions and Reflections paper. In Proceedings of the 24th ACM SIGSOFT International Symposium on the Foundations of Software Engineering, pages 920-923, November 2016.
M. Petre and A. van der Hoek. 2013. Software Designers in Action: A Human-Centric Look at Design Work (1st ed.). Chapman & Hall/CRC.
D. L. Parnas. 1994. Software aging. In Proceedings of the 16th international conference on Software engineering (ICSE '94). IEEE Computer Society Press, Los Alamitos, CA, USA, 279-287.
J. Bansiya and C. G. Davis. A hierarchical model for object-oriented design quality assessment. In IEEE Transactions on Software Engineering, vol. 28, no. 1, pp. 4-17, Jan 2002.
P. Tarr, H. Ossher, W. Harrison, and S. M. Sutton, Jr.. 1999. N degrees of separation: multi-dimensional separation of concerns. In Proceedings of the 21st international conference on Software engineering (ICSE '99). ACM, New York, NY, USA, 107-119.
D. L. Parnas and P. C. Clements. 1986. A rational design process: How and why to fake it. IEEE Trans. Softw. Eng. 12, 2 (February 1986), 251-257.
A. Birka and M. D. Ernst. 2004. A practical type system and language for reference immutability. In Proceedings of the 19th annual ACM SIGPLAN conference on Object-oriented programming, systems, languages, and applications (OOPSLA '04). ACM, New York, NY, USA, 35-49.


text:
Q: Matlab R2015a COM connection (actxserver) with MS Excel 2013 Platform: Win 7 64 bit, Matlab R2015a, MS Office Professional Plus 2013
Problem: Matlab R2015a - COM connection (actxserver) with MS Excel 2013.
The same code that was working before with Excel 2007 or Excel 2010 is now giving me the following error. Any help to solve this problem is appreciated.
Error using Interface.000208DB_0000_0000_C000_000000000046/Open
Invoke Error, Dispatch Exception:
Source: Microsoft Excel
Description: Open method of Workbooks class failed
Help File: xlmain11.chm
Help Context ID: 0

Error in funWriteExcelAllResults (line 174)
Workbook = Excel.Workbooks.Open(excelOutputFileName);

A: After analyzing my code I think I have found the reason:
//% Reference to Image Analyst: http://www.mathworks.com/matlabcentral/answers
//% /87487-i-have-excel-2003-and-2010-
//% installed-but-xlsread-fails-to-import-a-simple-xlsx-file

excelVersion = str2double(Excel.Version)
if excelVersion < 12
    excelExtension = '.xls';
else
    excelExtension = '.xlsx';
end
% Determine the proper format to save the files in.
% It depends on the extension (Excel version).
switch excelExtension
    case '.xls' %xlExcel8 or xlWorkbookNormal
        xlFormat = -4143;
    case '.xlsb' %xlExcel12
        xlFormat = 50;
    case '.xlsx' %xlOpenXMLWorkbook
        xlFormat = 51;
    case '.xlsm' %xlOpenXMLWorkbookMacroEnabled
        xlFormat = 52;
    otherwise
        xlFormat = -4143;
end

% File='C:\YourFileFolder\FileName';
File = excelOutputFileName
if ~exist(File,'file')
    Workbook = Excel.Workbooks.Add;
    Workbook.SaveAs(File, xlFormat);
    Workbook.Close(false);
end

Workbook = Excel.Workbooks.Open(excelOutputFileName);

The last part was trying reopen the workbook that was already open, and was causing the error. I changed that into:
if ~exist(File,'file')
    Workbook = Excel.Workbooks.Add;
    Workbook.SaveAs(File, xlFormat);

else
    Workbook = Excel.Workbooks.Open(File);
    Workbook.Save
end

and the problem seems to be solved. Without the Save, I was getting the following error:
Error: The object invoked has disconnected from its clients.
Worksheet = Workbook.Worksheets;

I wonder why the previous versions of Excel were not giving me an error?

redpajama_set_name: RedPajamaStackExchange


text:
Q: nginclude not able to load respective html snippets <!DOCTYPE html>

    <link rel="stylesheet" href = "http://maxcdn.bootstrapcdn.com/bootstrap/3.2.0/css/bootstrap.min.css">

I have the two files 'myUserList.html' and 'myUsersForm.html' in the same folder as this index file. It is still not loading the two 'html pages' one below other. I am getting a blank page. Is anything missing???

A: And also don't miss to initialize model.
angular.module('MyApp', []);


i love the john hughes movies, all of which gave my pre-teen self a fascinating window into the lives of the older girls and boys. of course, not only did things change by the time i reached a similar age in the mid 90s, but these were american, not british experiences.
can't buy me love, starring patrick dempsey aka dr mcdreamy and long lost actress amanda peterson, wasn't a john hughes creation, but it was perhaps the best of the genre. if the stereotypes the other films had drilled home were true, ronald miller was too cute to be considered a real geek and cindy mancini was too nice to be a real cheerleader but it just worked. they were believable as a couple.
the whole movie is exactly as i remember 1987 or at least, what i aspired to. a pastel coloured bedroom, curly hair, the cheerleader/high school prom experience. its almost as though i didn't see the sulky uk teenagers smoking fags outside circle k and realise that was what was really in store for most of us.
i know the rumours about a pretty in pink sequel have been doing the rounds for years, but patrick dempsey has said this is the only sequel he would consider. amanda must need the cash by now surely?


I've been looking through the Quest Tutorial, and as of yet, I have found no way to implement anything like skills, attributes, or classes like what you would see in Fallout, TES, or basically any other D&D inspired CRPG. Perhaps I'm looking in the wrong place, or there is no way to implement such mechanics.
Does anyone have any ideas about how to do this, or what part of the tutorial I should look in? Also, I would like to know if there is a way to use a RNG for things like combat and character interaction?
I've been going through the Lone Wolf series via a cellphone app, and have been inspired to make a similar thing but with more complicated D&D style mechanics. Actually several if I can manage it. So many ideas......so little time.
There are no predefined attributes like in TES or Fallout engines, but it is possible to implement them, it just requires some work.
In this repository you can see my very incomplete (and still ongoing) work to implement d&d style RPG system.
The main idea is to have base types with numeric properties like "strength" or "agility" and have NPCs and player inherit from those types.
"Hi, welcome to my game, I hope you enjoy it"
game.intro = "Hi, welcome to my game, I hope you enjoy it"
ERROR: there is no 4th item!
StringListItem (example_object.color_list, "3") ===> ERROR! there is no 4th item!
string_variable = string_variable + ", my name is HK."
// Hi, my name is HK.
string_variable = string_variable + " What is your name?"
// Hi, my name is HK. What is your name?


text:
/*
 * @test
 * @bug      6786688
 * @summary  HTML tables should have table summary, caption and table headers.
 * @author   Bhavesh Patel
 * @library  ../lib/
 * @build    JavadocTester
 * @build    TestHtmlTableTags
 * @run main TestHtmlTableTags
 */

public class TestHtmlTableTags extends JavadocTester {

    //Test information.
    private static final String BUG_ID = "6786688";

    //Javadoc arguments.
    private static final String[] ARGS = new String[] {
        "-d", BUG_ID, "-sourcepath", SRC_DIR, "-use", "pkg1", "pkg2"
    };

    //Input for string tests for HTML table tags.
    private static final String[][] TABLE_TAGS_TEST = {
        /*
         * Test for validating summary for HTML tables
         */

        //Package summary
        {BUG_ID + FS + "pkg1" + FS + "package-summary.html",
            "
"
        },
        {BUG_ID + FS + "pkg1" + FS + "package-summary.html",
            "
"
        },
        {BUG_ID + FS + "pkg2" + FS + "package-summary.html",
            "
"
        },
        {BUG_ID + FS + "pkg2" + FS + "package-summary.html",
            "
"
        },
        // Class documentation
        {BUG_ID + FS + "pkg1" + FS + "C1.html",
            "
"
        },
        {BUG_ID + FS + "pkg1" + FS + "C1.html",
            "
"
        },
        {BUG_ID + FS + "pkg2" + FS + "C2.html",
            "
"
        },
        {BUG_ID + FS + "pkg2" + FS + "C2.html",
            "
"
        },
        {BUG_ID + FS + "pkg2" + FS + "C2.ModalExclusionType.html",
            "
"
        },
        {BUG_ID + FS + "pkg2" + FS + "C3.html",
            "
"
        },
        {BUG_ID + FS + "pkg2" + FS + "C4.html",
            "
"
        },
        // Class use documentation
        {BUG_ID + FS + "pkg1" + FS + "class-use" + FS + "I1.html",
            "
"
        },
        {BUG_ID + FS + "pkg1" + FS + "class-use" + FS + "C1.html",
            "
"
        },
        {BUG_ID + FS + "pkg1" + FS + "class-use" + FS + "C1.html",
            "
"
        },
        {BUG_ID + FS + "pkg2" + FS + "class-use" + FS + "C2.html",
            "
"
        },
        {BUG_ID + FS + "pkg2" + FS + "class-use" + FS + "C2.html",
            "
"
        },
        {BUG_ID + FS + "pkg2" + FS + "class-use" + FS + "C2.ModalExclusionType.html",
            "
"
        },
        {BUG_ID + FS + "pkg2" + FS + "class-use" + FS + "C2.ModalExclusionType.html",
            "
"
        },
        // Package use documentation
        {BUG_ID + FS + "pkg1" + FS + "package-use.html",
            "
"
        },
        {BUG_ID + FS + "pkg1" + FS + "package-use.html",
            "
"
        },
        {BUG_ID + FS + "pkg2" + FS + "package-use.html",
            "
"
        },
        {BUG_ID + FS + "pkg2" + FS + "package-use.html",
            "
"
        },
        // Deprecated
        {BUG_ID + FS + "deprecated-list.html",
            "
"
        },
        {BUG_ID + FS + "deprecated-list.html",
            "
"
        },
        // Constant values
        {BUG_ID + FS + "constant-values.html",
            "
"
        },
        // Overview Summary
        {BUG_ID + FS + "overview-summary.html",
            "
"
        },

        /*
         * Test for validating caption for HTML tables
         */

        //Package summary
        {BUG_ID + FS + "pkg1" + FS + "package-summary.html",
            "
Class Summary" +
            "
"
        },
        {BUG_ID + FS + "pkg1" + FS + "package-summary.html",
            "
Interface Summary" +
            "
"
        },
        {BUG_ID + FS + "pkg2" + FS + "package-summary.html",
            "
Enum Summary" +
            "
"
        },
        {BUG_ID + FS + "pkg2" + FS + "package-summary.html",
            "
Annotation Types Summary" +
            "
"
        },
        // Class documentation
        {BUG_ID + FS + "pkg1" + FS + "C1.html",
            "
Fields
"
        },
        {BUG_ID + FS + "pkg1" + FS + "C1.html",
            "
Methods
"
        },
        {BUG_ID + FS + "pkg2" + FS + "C2.html",
            "
Nested Classes
"
        },
        {BUG_ID + FS + "pkg2" + FS + "C2.html",
            "
Constructors
"
        },
        {BUG_ID + FS + "pkg2" + FS + "C2.ModalExclusionType.html",
            "
Enum Constants
"
        },
        {BUG_ID + FS + "pkg2" + FS + "C3.html",
            "
Required Elements " +
            "
"
        },
        {BUG_ID + FS + "pkg2" + FS + "C4.html",
            "
Optional Elements " +
            "
"
        },
        // Class use documentation
        {BUG_ID + FS + "pkg1" + FS + "class-use" + FS + "I1.html",
            "
Packages that use I1" +
            "
"
        },
        {BUG_ID + FS + "pkg1" + FS + "class-use" + FS + "C1.html",
            "
Fields in " +
            "pkg2 declared as C1 " +
            "
"
        },
        {BUG_ID + FS + "pkg1" + FS + "class-use" + FS + "C1.html",
            "
Methods in " +
            "pkg2 that return C1" +
            "
"
        },
        {BUG_ID + FS + "pkg2" + FS + "class-use" + FS + "C2.html",
            "
Fields in " +
            "pkg1 declared as C2" +
            "
"
        },
        {BUG_ID + FS + "pkg2" + FS + "class-use" + FS + "C2.html",
            "
Methods in " +
            "pkg1 that return C2" +
            "
"
        },
        {BUG_ID + FS + "pkg2" + FS + "class-use" + FS + "C2.ModalExclusionType.html",
            "
Methods in " +
            "pkg2 that return C2.ModalExclusionType" +
            "
"
        },
        // Package use documentation
        {BUG_ID + FS + "pkg1" + FS + "package-use.html",
            "
Packages that use " +
            "pkg1
"
        },
        {BUG_ID + FS + "pkg1" + FS + "package-use.html",
            "
Classes in " +
            "pkg1 used by pkg1" +
            "
"
        },
        {BUG_ID + FS + "pkg2" + FS + "package-use.html",
            "
Packages that use " +
            "pkg2
"
        },
        {BUG_ID + FS + "pkg2" + FS + "package-use.html",
            "
Classes in " +
            "pkg2 used by pkg1" +
            "
"
        },
        // Deprecated
        {BUG_ID + FS + "deprecated-list.html",
            "
Deprecated Fields" +
            "
"
        },
        {BUG_ID + FS + "deprecated-list.html",
            "
Deprecated Methods" +
            "
"
        },
        // Constant values
        {BUG_ID + FS + "constant-values.html",
            "
pkg1." +
            "C1
"
        },
        // Overview Summary
        {BUG_ID + FS + "overview-summary.html",
            "
Packages
"
        },

        /*
         * Test for validating headers for HTML tables
         */

        //Package summary
        {BUG_ID + FS + "pkg1" + FS + "package-summary.html",
            "" +
            "Class	" + NL + "Description	"
        },
        {BUG_ID + FS + "pkg1" + FS + "package-summary.html",
            "" +
            "Interface	" + NL + "Description	"
        },
        {BUG_ID + FS + "pkg2" + FS + "package-summary.html",
            "" +
            "Enum	" + NL + "Description	"
        },
        {BUG_ID + FS + "pkg2" + FS + "package-summary.html",
            "" +
            "Annotation Type	" + NL + "Description	"
        },
        // Class documentation
        {BUG_ID + FS + "pkg1" + FS + "C1.html",
            "Modifier and Type	" + NL +
            "Field and Description	"
        },
        {BUG_ID + FS + "pkg1" + FS + "C1.html",
            "Modifier and Type	" + NL +
            "Method and Description	"
        },
        {BUG_ID + FS + "pkg2" + FS + "C2.html",
            "Modifier and Type	" + NL +
            "Class and Description	"
        },
        {BUG_ID + FS + "pkg2" + FS + "C2.html",
            "Constructor and Description	"
        },
        {BUG_ID + FS + "pkg2" + FS + "C2.ModalExclusionType.html",
            "Enum Constant and Description	"
        },
        {BUG_ID + FS + "pkg2" + FS + "C3.html",
            "Modifier and Type	" + NL +
            "Required Element and Description	"
        },
        {BUG_ID + FS + "pkg2" + FS + "C4.html",
            "Modifier and Type	" + NL +
            "Optional Element and Description	"
        },
        // Class use documentation
        {BUG_ID + FS + "pkg1" + FS + "class-use" + FS + "I1.html",
            "Package	" + NL +
            "Description	"
        },
        {BUG_ID + FS + "pkg1" + FS + "class-use" + FS + "C1.html",
            "Modifier and Type	" + NL +
            "Field and Description	"
        },
        {BUG_ID + FS + "pkg1" + FS + "class-use" + FS + "C1.html",
            "Modifier and Type	" + NL +
            "Method and Description	"
        },
        {BUG_ID + FS + "pkg2" + FS + "class-use" + FS + "C2.html",
            "Modifier and Type	" + NL +
            "Field and Description	"
        },
        {BUG_ID + FS + "pkg2" + FS + "class-use" + FS + "C2.html",
            "Modifier and Type	" + NL +
            "Method and Description	"
        },
        {BUG_ID + FS + "pkg2" + FS + "class-use" + FS + "C2.ModalExclusionType.html",
            "Package	" + NL +
            "Description	"
        },
        {BUG_ID + FS + "pkg2" + FS + "class-use" + FS + "C2.ModalExclusionType.html",
            "Modifier and Type	" + NL +
            "Method and Description	"
        },
        // Package use documentation
        {BUG_ID + FS + "pkg1" + FS + "package-use.html",
            "Package	" + NL +
            "Description	"
        },
        {BUG_ID + FS + "pkg1" + FS + "package-use.html",
            "Class and Description	"
        },
        {BUG_ID + FS + "pkg2" + FS + "package-use.html",
            "Package	" + NL +
            "Description	"
        },
        {BUG_ID + FS + "pkg2" + FS + "package-use.html",
            "Class and Description	"
        },
        // Deprecated
        {BUG_ID + FS + "deprecated-list.html",
            "Field and Description	"
        },
        {BUG_ID + FS + "deprecated-list.html",
            "Method and Description	"
        },
        // Constant values
        {BUG_ID + FS + "constant-values.html",
            "" +
            "Modifier and Type	" + NL + "Constant Field	" + NL +
            "Value	"
        },
        // Overview Summary
        {BUG_ID + FS + "overview-summary.html",
            "" +
            "Package	" + NL + "Description	"
        }
    };
    private static final String[][] NEGATED_TEST = NO_TEST;

    /**
     * The entry point of the test.
     * @param args the array of command line arguments.
     */
    public static void main(String[] args) {
        TestHtmlTableTags tester = new TestHtmlTableTags();
        run(tester, ARGS, TABLE_TAGS_TEST, NEGATED_TEST);
        tester.printSummary();
    }

    /**
     * {@inheritDoc}
     */
    public String getBugId() {
        return BUG_ID;
    }

    /**
     * {@inheritDoc}
     */
    public String getBugName() {
        return getClass().getName();
    }
}

redpajama_set_name: RedPajamaGithub


text:
Open Section Book 10
Hebrew Bible 1
Open Section Education 3
Education Policy & Politics 1
Teacher Education 1
Contemporary History 1
Open Section Jewish Studies 1
Religion in Antiquity 1
Open Section Theology and World Christianity 1
Biblical Theology 1
Open Section Biology 1
Not Yet Published 10
Out Of Print 10
Brill | Sense 3
mentis 1
Global Oriental 1
x Brill (3)
Status (Books): Out Of Print x
Status (Books): Not Yet Published x
Moral Conflicts of Organ Retrieval: A Case for Constructive Pluralism
Second Revised and Expanded Edition
Series: Value Inquiry Book Series and Values in Bioethics
Author: Charles C. Hinkley II
In this revised edition of Moral Conflicts of Organ Retrieval: A Case for Constructive Pluralism , Charles Hinkley elaborates on his moral philosophy of constructive pluralism and updates the literature on organ retrieval strategies. Hinkley challenges a deeply entrenched moral triad: 1) moral values are comparable; 2) the weighing metaphor helps us conceptualize decisions regarding conflicting values; and 3) there is a single best discoverable response to a moral decision. This book offers an alternative—cases of incomparability, a constructing or making metaphor, and multiple permissible responses to some moral questions. Constructive pluralism has important implications for organ transplantation, health, and ethics.
The Silk Road: Key Papers (2 Vols)
Part I: The Pre-Islamic Period
Series: Key Papers, Volume: 4
Editor: Valerie Hansen
This is the first of two collections by top scholars working on the history of the Silk Road. This collection's main focus is the first millennium CE when the Silk Road trade was at its height. Most of the entries are organized chronologically and geographically, concentrating on the sites (like Niya and Loulan) which flourished in the third and fourth centuries, then Turfan and Samarkand (500-800), and closes with the period after 800, when Tang China withdrew its troops from the region and the local peoples reverted to a largely barter economy. Coverage ends in 1000, when the first cities on the western edge of the Taklamakan converted to Islam. Introductory texts provide general overviews of the trade (including classic pre- and post-war studies), followed by a brief survey of the ancient trade routes. Of particular interest in this collection are the Silk Road's most famous group of travellers, the Sogdians, a people from the region of Samarkand (in today's Uzbekistan) thanks to Chinese archaeologists who have recently uncovered several tombs that allow us to see how the Sogdians gradually adjusted to Chinese culture, decorating their tombs with detailed scenes of everyday life.
Rethinking Education with ICT
New Directions for Effective Practices
Volume Editors: Nicola Yelland, Greg A. Neal, and Eva Dakich
This book brings together a number of academics who have conducted research and written about effective practices and pedagogies that incorporate the use of information and communications technologies (ICT). The book is intended for graduate and undergraduate students in Teacher Education programmes, as well as teachers and those who are interested in contemporary educational issues. The authors in this book have been engaged in rethinking education with ICT. Implicit in this, is the view that we need to reconceptualise our pedagogies and practices in order to make schools relevant to the lives of the young people who inhabit them. The chapters in this book are based on empirically grounded research work. The chapters illustrate the various dimensions of innovative practices with ICT that can extend teachers' pedagogies and engage learners so that they are able to extend their potential for knowledge building in new and dynamic ways.
Enhancing Human Performance via Simulation-based Training and Aiding
Polities, Politics, Performances
Series: Modeling and Simulation for Learning and Instruction, Volume: 3
Author: Douglas M. Towne
This volume presents an object-oriented approach for developing interactive graphical device models and for delivering instruction and performance aiding with such models. The volume attempts to illustrate, via a series of examples, why and how the particular design given satisfies relatively intensive and diverse instructional and performance-aiding demands with surprising ease.
The early chapters focus on the fundamental design concepts upon which all applications stand, including a consistent design of the basic elements - objects - from which all models are produced; a clear separation between the model of the target domain and the instructional processes; and, wherever possible, automatic generation of user interactions, based on the structure and content of the model.
Each of the later chapters focus on one particular application area, including explication of complex system functions, diagnostic instruction and guidance, procedural guidance, scenario-based instruction, and simulation-based technical documentation.
The volume is intended to serve instructional designers, curriculum developers, and software implementers, an ambitious scope that is hopefully achieved via the early presentation of critical "nuts-and-bolts", followed by discussions of specific training and aiding environments that can be more selectively considered. The more complex examples presented in the volume are available for active operation and analysis in a Web site developed for the reader's use.
The Lost Dream of Equality
Critical Essays on Education and Social Class
Series: Educational Futures, Volume: 5
Authors: Alan Scott and John Freeman-Moir
This book examines the international hopes for equality in education over the past 60 years by looking at the current evidence and theory on social class and schooling. For more than half a century the relation between social class and education has been the subject of intense debate and political struggle, as well as the focus for the aspirations of millions of citizens and their children in Western democracies. This book will be relevant to teachers, advanced undergraduates and graduate students in the areas of the history, sociology and politics of education as well as policy analysis and applied social theory.
Pines, 2nd revised edition
Drawings and Descriptions of the Genus Pinus
Author: Aljos Farjon
There has been a steady demand for the first edition of the conifer book PINES, which sold out in 2002. Therefore, a second edition, which is a modest update, was written. The book PINES was never an attempt at monograph in the taxonomic sense. Rather it was an overview with line drawings of the commonly known species of pines, giving concise but essential information on identification, distribution and ecology. Introductory texts explained botanical characteristics of pines and a chapter on classification, one on phylogeny and biogeography, and a glossary, index and short bibliography completed the book. This scope and structure have been maintained in the second edition. It was necessary to make several taxonomic changes, to add or omit a few species, present a new chapter on phylogeny and classification and amend or correct, even expand, some of the information given in the first edition, especially in the species accounts. Conservation aspects have been added to species accounts in a concise format, following IUCN evaluations. The author has maintained the original drawings and made amendments only to correct errors; drawings for additional species have been added in the same style. The book contains a total of 92 drawings and 103 distribution maps. With these amendments the information should have been updated to a satisfactory level, without altering the original format and scope.
EUR €99.00USD $120.00
The Psalms in Form
The Hebrew Psalter in its Poetic Shape
Series: Tools for Biblical Study, Volume: 4
Author: Jan P. Fokkelman
A formidable and invaluable working tool for those working with the text of Psalms or with Hebrew poetry.
The Hebrew text of the Psalms is here set out in a unique way – generally one psalm to each large-format (A4) page – to show their poetic shape and structure, in couplets, triptychs and strophes. The visual impact of the layout tells its own striking story, demonstrating at a glance the skill and artistry with which the Psalms have been composed. With its introduction and notes in English, this book will be a standard tool for students, and it will have significant consequences for the scholarly interpretation of the Psalms.
The Contextualization of Rationality
Problems, Concepts and Theories of Rationality
Series: Perspektiven der Analytischen Philosophie
Editors: Gerhard Preyer and Georg Peter
Judaism in Late Antiquity 3. Where we Stand: Issues and Debates in Ancient Judaism
Volume Two
Series: Handbook of Oriental Studies. Section 1 The Near and Middle East, Volume: 41
Editors: Jacob Neusner and Alan Avery-Peck
This collection of systematic Auseinandersetzungen articulates difference and spells out what is at issue. Learning atrophies when political consensus substitutes for criticism, and when other than broadly-accepted viewpoints, approaches, and readings find a hearing only with difficulty, if at all. The editors therefore have invited colleagues systematically to outline their views in an Auseinandersetzung with contrary ones. The several participants explain how, in broad and sweeping terms, they see the state of learning in their areas of special interest. The editors invited leading players in the USA, Europe, and the State of Israel, in the study of ancient Judaism, both in Second Temple Times and after 70 C.E.
The work commences with a thoroughly fresh perspective of a theoretical question: what, in a religion so concerned with social norms and public policy, can we possibly mean by "law" when we speak of law in Judaism. It then proceeds with two chapters on Second Temple Judaism, and two on the special subject of the Dead Sea library. The two papers in the present part provide an overview of matters and a systematic, critical account of the fading consensus, respectively. The next set of papers ought to stand as the definitive account of the diverse viewpoints on a basic question of method. Because of the willingness of contending parties to meet one another in a single frame of discourse, the work is able to portray with considerable breadth the presently-contending viewpoints concerning the use of Rabbinic literature for historical purposes. Then proceed a number of other accounts of how matters look from the perspective of major participants in scholarly debate. At the same time as the requirements of historical-critical reading of the Rabbinic literature precipitated sustained and vigorous debate, other problems have attracted attention. Among these a critical issue emerges in the hermeneutics to govern the reading of the documents for the purposes of other-than-historical study, feminist interests, for example.
JT Wilson and the Fraternity of Duckmaloi
Series: Clio Medica Online, Volume: 42 and Clio Medica, Volume: 42
Author: Patricia Morison
In the 1890s four young scientists at Sydney University - two Scots, a Londoner and an Australian - began sustained research into Australian native fauna for which each was awarded the FRS. They all went on to pursue notable careers in the biological sciences, concluding in London 46-8 and Cambridge.
This book follows their careers and enduring friendship exploring in detail the life of its senior member, J.T. Wilson (1861-1945), who was professor of anatomy at Sydney University (1890-1920) and Cambridge (1920-1933) and had abiding interests in science, philosophy, education and military affairs.
The narrative is mainly concerned with issues of historical interest to scientists and medical educationists though some, like Empire relations and the contribution of Scots to Australia's development, will interest a wider readership. Many of the preoccupations of Wilson and his colleagues remain topical: the debate between biological science and religion; the struggle to interpret Darwin's theory without placing Homo sapiens at the top of an evolutionary tree; pure versus applied science; vocationalism versusscholarship in university education.

redpajama_set_name: RedPajamaCommonCrawl


In November 2018, G&G will host a three-day experience in Charleston, South Carolina, to showcase these innovative artisans and their craft. Join us this year for a Kickoff Concert with Amanda Shires and Aaron Lee Tasjan, a Made in the South Marketplace with award winners and finalists at G&G's headquarters, and a special Made in the South Awards Dinner with chef Asha Gomez, and a Sunday brunch and shopping with G&G at the Dewberry.
Looking for a hotel for the weekend?
See here for our list of local hotel partners.
In partnership with Volvo Car USA.
G&G kicks off Made in the South Weekend with musical performances by Amanda Shires and Aaron Lee Tasjan at the Charleston Music Hall in downtown Charleston.
Before the show, join us for a VIP meet-and-greet experience with G&G editor in chief David DiBenedetto at the private home of G&G CEO Rebecca Darwin.
Join us at the G&G offices as we host our 2018 Made in the South finalists and their award-winning products. Enjoy Southern fare and cocktails, peruse the Made in the South Marketplace, and listen to conversations from the South's top tastemakers.
Made in the South Awards 2018 winners are honored at a festive dinner at the historic Aiken-Rhett House, featuring a globally inspired meal by acclaimed Southern chef Asha Gomez, along with great cocktails by mixologist Miles Macquarrie and live music.
To finish off the Made in the South Weekend, join us at The Dewberry for a Garden & Gun Club Sunday brunch at Henrietta's.
Enjoy Southern fare by G&G Club chef Ann Kim, then stop by the living room to explore the G&G Fieldshop.


text:
class Gws::Notice
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  include Gws::Addon::ReadableSetting
  include Gws::Addon::GroupPermission
  include Gws::Addon::History

  seqid :id
  field :name, type: String
  field :severity, type: String

  permit_params :name, :severity

  validates :name, presence: true, length: { maximum: 80 }

  default_scope -> {
    order_by released: -1
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  scope :search, ->(params) {
    criteria = where({})
    return criteria if params.blank?

    criteria = criteria.keyword_in params[:keyword], :name, :html if params[:keyword].present?
    criteria
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  def severity_options
    [
      [I18n.t('gws.options.severity.high'), 'high'],
    ]
  end
end


We've brought back our favourite design, in a brand new colour! The Papaya Pleated Midi Dress is the the perfect black dress for every woman's wardrobe. Pair it with some statement heels for the ultimate night out, or with some summer wedges for an effortlessly casual look.


text:
Top 25 Videos of 2011
Com Truise
Evelyn Evelyn
Manchester Orchestra
Miles Fischer
OK Go
Polinski
UNKLE
Valder
Warm Ghost
Cosstaff
December 8, 2011 | 12:00am ET
Music videos accomplish what has never been done before in the history of media: They make experimentation a commercial enterprise. They afford musicians, filmmakers, and multimedia artists the chance to have their craziest ideas not only produced, but shown to a large audience. What's more, in the age of Internet video, indie productions are now on equal footing with million-dollar productions. There's no visual medium more diverse or creative than music videos. Thirty years after the launch of MTV, the format is not only alive and well, but it's matured, expanded, and become a part of our global culture. When The Beatles, and later Mike Nesmith, laid the foundation for what we'd come to know as a music video, could they possibly have known how big this concept would become?
The prevalence of online video has changed the way we watch movies, television… everything really. It's not just the revolution that's televised, but cute animals, skate tricks, accidents, celebrations, millions of memes in the making, and amidst all this chaos, brilliant, fun, and mind-altering visual art. On 1/11/11, we unveiled Cluster 1, a sister site to Consequence of Sound dedicated to filtering out the schlock and giving you only the best short films, animation, docs, and since we're CoS, a ton of amazing music videos. In just under a year, we've posted over 1,000 of them, all handpicked.
Now, it comes to the task of choosing 25 of the best videos we've seen all year. These aren't just the ones that moved us, blew our minds, or made us lol, but a selection embodying the year in videos. Fancy dancin' Thom Yorke memed his way across the internet, Beyoncé changed outfits like a kerjillion times, Gaga became a man and a fish and then checked into a fashionable mental institution, and while those mega-stars shook the world at large, countless others were wowing the small screen, trending through Tumblr, and becoming secret sensations. We've got indie sci-fi from Russia, the most awe-inspiring NSFW video you've ever seen, demonic puppets, '90s sitcom parodies, and so, so, so much more. This was a good year.
Each and every one of these videos is incredible. We hope you're prepared. Just click forward. An audiovisual onslaught awaits you.
-Cap Blackard
Art Director/Executive Producer, Cluster 1
25. Gentlemen Drivers – "Valdor"
Catchy songs aren't a problem for French electropop collective Gentlemen Drivers; party-thumping single "Valdor" certainly fits into that category. Its video, however, is a different breed beast. Think Peter Gabriel's "Sledgehammer", only set within a fake sitcom and featuring a Thanksgiving turkey that mutilates humans. Over the years, the Internet has stripped "bizarre" of its power. But sometimes, and this is rare, its true meaning bleeds through – literally and metaphorically, come to think of it. Here's one such example. -Ted Maider
Director: Allen Cordell
24. Battles feat. Gary Numan – "My Machines"
The Creators Project is a high-concept art initiative that's been turning heads in the industry. So, when they decided to take on the music video for Battles' "My Machines" and include guest vocalist Gary Numan, it was guaranteed to be an event. They didn't disappoint. The video takes a thoughtless everyday activity (a man heads up an escalator with groceries) and combines it with an all-too-human fear of machines. Just what happens when an on/off switch doesn't work? Who or what are we at the mercy of? As the horrific eye candy proceeds, the electronically driven rock of Battles adds to the impact and drama. With its slick look and clinical, high-contrast shooting style, "My Machines" leaves the viewer with a sense of unease and one incorrigible thought: Perhaps machines have more of an upper hand than we'd like to give them credit for. Creepy. -Karina Halle
Director: Daniels
23. Skrillex – "First of the Year (Equinox)"
There's a skill in building up and destroying atmospheres. For Skrillex, it's commonplace. In the Tony Truand-directed video for "First of the Year (Equinox)", a similar feat is accomplished. What starts out as a creepy snapshot of pedophilia ends with something else entirely. As the dubstep artist shakes up the track, the music video does the same, reversing everything you thought might happen in seconds. In a word: sinister. In two words: very fitting. -Joe Marvilli
Director: Tony Truand
22. Com Truise – "Brokendate"
Will Joines directs this Blade Runner-esque film for Com Truise's "Brokendate", setting Seth Haley's relentless, pulsating analog synths into Joines's dystopian futurescape. This clip is dripping in nostalgia. In five minutes, Joines references a number of cinematic legacies from decades past—80s trench coat heroes, TRON-like retro-futurism, and VHS aesthetics—in his own neon-soaked noir, which casts the New Jersey producer as a shades-wearing, cigar-smoking, villainous mastermind. Cyber babes in dark lipstick wielding (quasi) threatening laser guns, glowing, wireframe pyramids on massive mainframes, dead bodies left to rot on the sidewalk—seems like the perfect visual corollary to Com Truise's hazy synth odyssey. -Lainna Fader
Director: Will Joines
21. Rammstein – "Mein Land"
Industrial metal isn't exactly a genre known for its sense of humor. Rammstein is the rare exception. For the release of their greatest hits LP, Made in Germany 1995-2011, the band members shuffled their cards once again, showing their playful side in "Mein Land". The party kicks off in 1964 with the group engaging in a hilarious Beach Boys parody. There's surfing, dancing, and even a Baywatch moment for singer Till Lindemann. Hands down the best juxtaposition of the year. -Joe Marvilli
Director: Jonas Ã…kerlund
20. Biting Elbows – "The Stampede"
Music videos don't always have to be rich with meaning (or girls with large posteriors). Sometimes, they can be silly and meaningless and still make an impact. Biting Elbows' clip for "The Stampede", simply titled "Insane Office Escape", gained global attention for its minimalistic, yet genius, plot: Dude steals something from work, kicks heaps of ass to get out of said office, and finally makes his escape by, drumroll, magic. It's stocked with over-the-top action, bad karate, and tongue-in-cheek humor galore. It's the kind of fun, goofball clip that undoubtedly got some of us into music videos in the first place. Plus, who wouldn't want to dropkick their boss in the neck some day? -Chris Coplan
Director: Ilya Naishuller
19. Polinski feat. Big Black Delta – "Stitches"
65daysofstatic's Paul Wolinski knows how to make a splash with a solo record. As Polinski, his first solo record, Labyrinths, was preempted by one hell of a video for "Stitches". Directed by Caspar and Josiah Newbolt with pixel art by John DeLucca, "Stitches" is an homage to the text-based video game adventures of yore… with a little bit of David Lynch thrown in, maybe even some Cronenberg. It's a sci-fi detective story told in moody pixelated images and scrolling text. But "Stitches" doesn't just take you into an old-school computer game; it takes you into the living room with Polinski. The entire video is framed in a television set, and the entire time, oh so very subtly, you can see Polinski playing the game in the reflection of the screen. It doesn't get much cooler than this; it was our pleasure to unleash this video on the world. -Cap Blackard
Directors: Caspar Newbolt and Josiah Newbolt
18. Kate Bush – "Deeper Understanding"
At first glance, Kate Bush's video for "Deeper Understanding" is rather off-putting. Why would someone with her profound wit shoot a near-literal interpretation of the track's lyrics? Simple, to ease the viewer in. Bush directs this intimate, voyeuristic affair, working with sly camera work and quasi-realistic tones that offer this artificial, detached aesthetic. Themes of loneliness and connectivity run rampant here, focusing directly on the crossroads of technology and social interaction. Perhaps this video is so affecting because there's so much to empathize with here. Pretty timely stuff. -Chris Coplan
Director: Kate Bush
17. Radiohead – "Lotus Flower"
People expect any new Radiohead album to be a game changer. We are to listen and contemplate Radiohead; we must understand the music. Yet, in the video for "Lotus Flower", Thom Yorke reminds us that rock music is Dionysian rather than Apollonian, that he wants us to dance to his music. No longer the introverted auteur, Yorke shows a different side in a wild, unbridled, completely un-self-conscious celebration of the body. To all the young and hip kids who stand at a rock club leg-locked, take Yorke's advice: It's OK to dance. "Lotus Flower" also reinforces a frequent criticism of The King of Limbs: It sounds too much like a Yorke solo album. There is no band in this video. But Yorke has clearly amassed enough cultural capital to make a black-and-white video of him dancing in a warehouse, and it's one of the year's best. -Jake Cohen
Director: Garth Jennings
16. Miles Fisher – "New Romance"
If you grew up in the early '90s, the first few seconds of Miles Fishers' "New Romance" will be a delight. Its sublime parody of Saved by the Bell almost warrants a spot on this list by itself. But the fun doesn't end there. While the fashion and styles may be retro, there's a sick sense of dark humor underneath the bright colors. Directed by Dave Green, the whole thing feels like the next Final Destination entry, only seen through the eyes of John Waters (Pink Flamingos, Hairspray). Not exactly your average afternoon special, but who doesn't love chaos? Plenty here. -Joe Marvilli
Director: Dave Green
15. Is Tropical – "The Greeks"
Kids say the darndest things. These days they also do the darndest things. Is Tropical's video for "The Greeks" takes this idea to another level. In this Tarantino-esque clip, a neighborhood game of cops and robbers goes awry. Drug trafficking, torture, and terrorism follow, and it becomes apparent that the video is posing an important question for us to answer: What is the world preparing our youth for? "You only get what you give away," as the song's mantra goes. So true. While altogether a darkly comical video on the corruption of youth, it's also a brilliant display of the power of imagination. Yikes. What does that say about us? -Summer Dunsmore
Director: Megaforce
14. Evelyn Evelyn – "Have You Seen My Sister Evelyn"
Despite a 100-year-long history of differing techniques, animation is still one of the most innovative fields in film today. The latest example is director Hoku Uchiyama's groundbreaking video for Evelyn Evelyn. A cartoon image is drawn by the duo into a fogged-up glass window. From there, the visuals come alive and move through the panes, creating the story provided by the song's lyrics. While it looks like the work could have been done on a laptop, the condensation is real. It took a few trials to get the lighting right, but the result is well worth any trouble. Innovative, outside the box, and just a little bit weird? Sounds like Evelyn Evelyn to us. -Joe Marvilli
Director: Hoku Uchiyama
13. Manchester Orchestra – "Simple Math"
They say life flashes before your eyes when you're about to die, and this autumn car accident depicted here may be the best representation of that. A tumultuous past spinning in and out of reality with just enough time to recollect moments that matter. These loopy camera shots and mumble-core (tumble-core?) lip-synching add a unique and memorable flair to this heartfelt trip through Andy Hull's past. -Jeremy D. Larson
12. UNKLE feat. Nick Cave – "Money and Run"
Rich men behave badly in UNKLE's "Money and Run" video. Director Tom Haines mixes scenes of humor with horror in this short study of upper-class umbrage, from a tennis game gone wrong to vicious beatings in the street. Of all the violent vignettes, none is more strangely terrifying than the scene where a bare-assed man torments a cowering girl while wearing a Margaret Thatcher mask. Unsettling as they may be, they're disturbingly perfect visuals for Nick Cave's urgent guest vocals. -Austin Trunick
Director: Tom Haines
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text:
Q: How to estimate mixed logit (or random parameter) discrete choice models in R I have designed a discrete choice experiment to estimate WTP figures for a non-market good within a group where I think preference is heterogeneous. But I am currently struggling to estimate the model.
I have read Train's "DCE Methods with Simulation", but I am unable to implement the programming techniques he proposed for estimation of model parameters. I don't have a programming background, but I can read and implement R or Stata command syntax. I have tried to read around but it's not helping. Most of the resources I found were on multinomial logit.
I would be glad if someone can recommend a go-to R-Package for mixed logit models and a book or set of videos that gives a step-by-step guide on how to do this practically.

A: there are several packages that you can use in R for mixed logit estimation. Some use frequentists approaches based on simulated ML, others Bayesian approaches based on Markov Chains.
**** R packages based on S-ML
1) mlogit
2) gmnl
**** R packages based on Bayesian estimation
1) RSGHB
https://github.com/RSGInc/RSGHB_Examples
https://cran.r-project.org/web/packages/RSGHB/vignettes/RSGHB_HowTo.pdf
https://cran.r-project.org/web/packages/RSGHB/RSGHB.pdf
http://help.statwizards.com/data-wizard/statistics_programs/r_-_rsghb_package.htm
2) RStan based:
https://rawgit.com/rtrangucci/class_20170809/master/multinomial-logit/multinomial-logit-regression.html
there was also a code based on mlogit by Daniel Guhl posted somewhere, which I found easy to implement at the time, but cannot find at the minute.
************ Stata the major players here are
1) Hong Il Yoo (Durham Business School for packages lclogit and lclogitml) and
2) especially Arne Hole (Sheffield for packages mixedlogit and mixedlogitwtp to get models in WTP-space as per Scarpa, Thiene and Train AJAE 2008, Train & Weeks 2005). Look them up on the web.
Good luck