text:
Nicholas Cristo Creative
Nicholas Cristo Pasqualetti
Design is a state of Mind
User Experience Design Case Studies
Company: CDK GLOBAL
Project Date: November 2012 - February 2019
STAR Associate Recognition Program
A platform to recognize and reward associates for going above and beyond the expectations of their roles.
STAR version 3.0
Red-carpet recognition for those that go above and beyond
The STAR Program was started in 2013 as a means of recognizing the extraordinary accomplishments of associates within the Services group of CDK and built around the premise of associates nominating other associates for special recognition when they go above and beyond.
I was personally invited into the project by the VP of Services and served as a founding committee member in the planning and development of the program. I also pitched, designed, and developed a web application to innovate on the nomination and voting processes, executing on an ambitious user experience plan as principal product designer and engineer, and also designed all logos, program branding, and collateral design materials. I was a key figure in the program for the duration of its lifecycle until it was sunset in 2019 and was the only individual apart from the VP of Services to be involved continuously from beginning to end.
Front-end Engineering
Creating a platform where associates can be recognized for extraordinary achievements. Easy nominations, easy follow-up.
In order for the program to be successful the web interface needed to make the nomination process as simple and intuitive as possible to promote user engagement. A poor user experience would deter people from submitting nominations, therefore the key requirements for a great user experience were:
Allow associates to easily look up the person they wish to nominate via search
Allow associates to submit a text nomination targeting the selected associate for a qualifying action or event
Allow administrators to review, filter, and modify all submitted nominations in a back-end CMS
Allow administrators to collect nominations into a ballot and send to registered committee members through an automated workflow
Allow a committee to privately vote on ballots to determine winning nominations with votes and results tracked securely in a back-end database
Display winning nominations and results of voting campaigns on front-end UI for associate review
Allow associates to view all past winners and nominations
Early version 1 design
Administrative back-end settings, v.1
Interactive ballot design, v.3
The STAR web application was presented as a hub for all STAR-related activity, with voting results and associate profile pages accessible on the front-end. The homepage served as a dashboard displaying the results of the most recent awards broken down by the Monthly, Quarterly, and Annual award tiers.
The application also served as an archive of past STAR activity, with sections displaying all past winners as well as all nominees, in addition to the current roster of STAR Committee members and executive leaders. A photo gallery was created to host photos and videos from the various STAR events, such as the monthly award presentations and the prestigious annual event, a year-end red carpet dinner ceremony where the overall annual winner was presented.
The Nomination Process
As the cornerstone of the STAR Program, the nomination process needed to be minimal, straight-forward, and intuitive. A prominent call-to-action button in the header of the web application led to an intake form where the associate could author their nomination after performing a live autocomplete search via Active Directory for the associate they wanted to nominate. This step was key to not only simplifying the nomination process, but for automating it as well. Helper text accompanying the nomination form guided associates through the process, asking for a short description of the qualifying event in which the nominee exceeded expectations in a remarkable way. Nominations were saved to a database upon submission, which could then be viewed, edited, and approved through a back-end admin-only portal.
The application was built using PHP for dynamic content, leveraging baked in LDAP functions to allow connectivity to the company's instance of Active Directory. This allowed for the creation of custom functions that would retrieve and display associate details, which were then fed into a search function to filter for the associate that the submitter wanted to nominate.
STAR nomination process
The STAR Program web application was a very satisfying project to work on. It was particularly interesting because it was not a customer-facing product nor a tool that directly affected our services or products, but an entirely internal application aimed at the amplification of the associate experience. The Program elevated the company culture and significantly affected associate performance and their drive to go above and beyond, injecting a new energy into their day to day routine.
Additional STAR collateral
Official website of Nicholas Cristo Pasqualetti. "Response" theme.
© 2022 Content cannot be duplicated or reproduced. All rights reserved. ISSN: 2160-5416


text:
require File.expand_path(File.dirname(__FILE__) + '/spec_helper')

describe "SmokeRack" do
  include Rack::Test::Methods

  def app
    Rack::Smoke.new
  end

  it "renders the index" do
    get '/smoke'
    last_response.should be_ok
  end

  it "should list the sources" do
    get '/smoke'
    last_response.body.should include "github"
  end

  describe "github source" do
    it "should be okay" do
      get '/smoke/github'
      last_response.should be_ok
    end

    describe "formats" do
      %w(json yaml xml).each do |format|
        it "should be okay serving #{format}" do
          get "/smoke/github.#{format}"
          last_response.should be_ok
        end

        it "should serve using the correct content_type" do
          get "/smoke/github.#{format}"
          last_response.content_type.should include(format)
        end

        it "should have an etag set" do
          get "/smoke/github.#{format}"
          last_response.headers.should have_key("ETag")
        end
      end
    end
  end

  describe "source requirements" do
    it "should render a 400 when requirements are not met" do
      get '/smoke/twitter.xml'
      last_response.status.should == 400
    end

    it "should be successful with requirements" do
      get '/smoke/twitter.xml', {:username => "benschwarz"}
      last_response.should be_ok
    end
  end

  it "should not be successful with a bung format" do
    get '/smoke/github.xyz'
    last_response.status.should == 400
  end
end

redpajama_set_name: RedPajamaGithub


text:
Home > Cultivation > Experience Sharing Conferences
Canada: 2014 Experience-Sharing Fa Conference Held in Vancouver
July 04, 2014 | By Wang Mei, a Minghui correspondent in Vancouver
(Minghui.org) The 2014 Experience-Sharing Conference in Vancouver was held on June 28, and nearly 20 practitioners shared their stories. They exchanged understandings on their cultivation and how to tell the facts to people influenced by the Chinese Communist Party (CCP).
Looking Within Is Critical
Ms. Qiu, who works in the news media, shared how she followed the principles of Truthfulness-Compassion-Forbearance in her work. "I was always anxious to interview celebrities and sometimes forgot to do it professionally," she said. As she gained experience her ego grew, and she tended to disrespect others and pursue productivity while ignoring details. "It was through regular Fa-study and help from other practitioners that I gradually rectified myself and overcame various difficulties."
Mr. Zhou, a successful real estate agent, had similar experiences. When encountering conflicts in the past, he always picked on others and thought he could see through their problems clearly. Later he changed. When he noticed others' shortcomings, he began to consider if he had similar issues. Very often the answer was yes, and he then began to find out which attachment(s) caused those issues. That enabled him to make breakthroughs in his cultivation.
Looking inward is not easy. This is especially the case when one examines oneself but fails to find anything inappropriate. One example is Ms. Guo, who had conflicts with another practitioner on a project they were working on together. She talked with him openly and sincerely, but the conflict remained unresolved and she did not know what to do.
Recalling those days, Ms. Guo said she was very upset. "But I did not give up and thought about it again later. By then I realized that I expected perfection when I did anything and often expected the same of others. Because of this, I got impatient with them and even looked down on them." After noticing these hidden attachments, she felt relieved and that that capacity of her heart had enlarged. The conflict with the other practitioner also diminished.
Believe in Teacher and the Fa
Cultivation is serious, and many practitioners shared their experience of how they relied on the Fa when encountering accidents.
When Ms. Yin, a sales representative, went to meet her clients three months after she learned to drive, she bumped into two other cars on the side of the road. She was told that, although the first car had some minor scratches, the second car and her own car would be totaled. What made it worse was that her insurance had expired four days earlier.
"I did not have much money and I was really worried," said Ms. Yin. Her mother, also a practitioner, reminded her to check if there were any loopholes in her cultivation. She followed her advice and found many omissions. She also asked Teacher for help.
The situation immediately improved after Ms. Yin changed her mindset. The garage was able to repair the second car at a reasonable cost. Her own car was also fixed and runs well, and her insurance premium did not go up. "I am very grateful for Teacher's compassion and help. He not only saved my life, but also kept the expense to minimum."
Ms. Wang shared her story of traveling with three other practitioners to attend the New York Experience-Sharing Fa Conference in May, 2014. Their connecting flight was canceled because of bad weather, and they were told that the earliest arrival time would be 3 p.m. on the day of the conference.
Surprised, the four quickly calmed down. They knew how important it was to be on time to a Fa conference, and they also realized such a delay did not happen by accident. They thus not only looked inward to check their cultivation status, but also sent forth righteous thoughts to eliminate any interference.
"In the end, we were able to switch to another flight and get to the Fa conference on time," Ms. Wang said. "We were all moved to tears."
Falun Dafa Is Extraordinary
Mr. He had some interesting experiences when he started to practice. As he read Zhuan Falun for the first time, he fell asleep many times, day after day. He eventually had to stand to read the book, forcing himself not to sleep.
Reading Zhuan Falun for the second time, he had an acute stomachache. He had never been in such pain. The pain lasted two hours and then stopped. When he read Zhuan Falun the third time, however, the pain came back, also lasting two hours.
These unusual experiences made Mr. He believe Falun Dafa was special. Through reading the books, he knew Teacher was purifying his body. And it was indeed the case. He has never again needed to take medicine or see a doctor since.
"Your Group Is the Best in the World"
Ms. Wang, 75, has been going to the Chinese consulate and Chinatown for many years to tell Chinese people the facts of Falun Gong. "Those Chinese were deceived by CCP propaganda and turned against the principles of Truthfulness-Compassion-Forbearance. I need to tell them the true story," she said.
It was a not an easy task. Many Chinese were initially very hostile. They did not listen to practitioners and treated them very badly. As time went on, they began to learn the facts and changed. "One of them is an older gentleman who owns a store." She said, "He is almost a different person now [compared to how he used to be in the past]. He often greets practitioners with a smile and says, 'Your group is the best in the world.'"
Karen, 20, came from China to study in Canada. She makes phone calls to China to tell them the real story of Falun Gong. "This is important for them; without knowing the truth, they may continue do bad things with the CCP and put their future in danger," she said.
Making phones calls was also a test of her cultivation status. "Sometimes many people quit the CCP after I explained things to them, and I was overjoyed. At other times when very few people quit the CCP, I got upset," Karen said. "I am doing much better now."
Ms. Zhao, who was visiting from Toronto, shared how they told people the facts about Falun Gong in front of Toronto City Hall. "When it was very cold in the winter, we had to wear two winter coats. It was not easy, but we know we are doing something very important."
Angela, an immigrant from Hong Kong, does not speak Chinese. "It took a long time for me to get to where I am today. After studying Buddhism and Taoism, I finally found that only Falun Dafa could help me return to my original self."
That is why Angela was also eager to let Chinese people know the truth instead of being fooled by the CCP. She started a student organization at school to introduce Falun Dafa and sent over 1000 letters and emails to Chinese students, teachers, and staff members.
"Some of them wrote back to me and thanked me," she said. "I am really happy for them."
Category: Experience Sharing Conferences
"Cultural Festival in Frankfurt: People Line up to Sign Petitions"
"Jinan Residents Harassed with Bulk Text Messages from "Above""

redpajama_set_name: RedPajamaCommonCrawl


text:
Technical concerns delay launch of ULA Atlas V with GPS IIF-12
Archive Photo Credit: Michael Seeley / SpaceFlight Insider
CAPE CANAVERAL, Fla. — The launch of a United Launch Alliance (ULA) Atlas V 401 rocket and its payload of the last Block IIF Global Positioning Satellite has been delayed by at least 24 hours. The launch is now slated to take place no-earlier-than Feb. 4, 2016. According to ULA, the cause for this slip were "concerns over the integrity of electrical connectors on the Atlas V booster."
The GPS IIF 12 satellite has not been mated to the Atlas booster yet. That particular milestone is currently pending assessment of the launch vehicle's status.
The launch of the final satellite of the GPS IIF constellation has a 19-minute launch window, which was supposed to open at 8:49 a.m. EST (13:49 GMT) on Feb. 3 from Cape Canaveral Air Force Station's Space Launch Complex 41 in Florida.
Tagged: Atlas V Cape Canaveral Air Force Station GPS IIF-12 The Range United Launch Alliance


text:
Scoreboard | Sports
College men: Chaminade vs. Hawaii (exhibition, 7 p.m., at SimpliFi Arena at Stan Sheriff Center.
College women: Pac-12 Preview, all day, at Kailua-Kona.
OIA West girls: Waianae at Leilehua, Campbell at Aiea, Pearl City at Waipahu, Nanakuli at Waialua, Kapolei at Mililani; matches begin at 7 p.m.
OIA East: 5 p.m., at K-Bay.
ILH girls Division II: Championship Tournament, first-round—Hanalani at Le Jardin, 5 p.m.; St. Andrew's at Damien, 6 p.m.; University at Hawaii Baptist, 6 p.m.; Sacred Hearts at Maryknoll, 6 p.m.
OIA East girls: Moanalua at Roosevelt, Kalani at Castle, Kalaheo at Kailua, Kaiser at Kaimuki, Anuenue at McKinley, Farrington at Kahuku; matches begin at 7 p.m.
Please log in to comment.
Television and radio - Nov. 1, 2021
University of Hawaii men's basketball newcomers bring D-I experience
More Scoreboard


text:
Danny Grossman Dance Company fonds, 10 results 10
Lloyd Mackenzie fonds, 8 results 8
John D. Harbron family fonds, 6 results 6
Donald Stovel Macdonald fonds, 5 results 5
Toronto Telegram fonds, 5 results 5
Clara Thomas Archives collection, 1 results 1
Toronto Telegram, 5 results 5
Mountain Fund (Hamilton, Ont.), 1 results 1
Adams, Ellen C., 1925-1982, 1 results 1
Beer (family), 1 results 1
Allan, James R., d. 1916, 1 results 1
Beer, Vivien, 1 results 1
Shore (family), 1 results 1
Tucker, Albert, 1 results 1
Music Gallery, 1 results 1
Trudeau, Pierre Elliott, 2 results 2
Canada. Department of National Defence, 1 results 1
Canada. Department of Finance, 1 results 1
Canadian Pacific Railway, 1 results 1
Labatt's Brewing Company, 1 results 1
Purdy, Al, 1918-2000, 1 results 1
Royal Ontario Museum, 1 results 1
St. Mark's Coptic Orthodox Church, 1 results 1
Kingston, 3 results 3
London, 3 results 3
Pickering, 2 results 2
Rosedale, 2 results 2
Niagara Falls, 2 results 2
Documentary photography, 4 results 4
Airports, 2 results 2
Religion, 2 results 2
Jazz, 2 results 2
Toronto Telegram photographic prints
Part of Toronto Telegram fonds
Series consists of approximately 466, 500 photographic prints created or accumulated by staff at the Toronto Telegram. The largest volume of prints are under the subjects "United States" (ca. 7.2 metres of prints), "Ships) (ca. 5 metres), "England" (ca. 4 metres) and "Canada" (ca. 3.6 metres). Certain subjects have been arranged outside the general subject organization of the prints such as "Personalities" (15 metres); "Personalities/politicians" (ca. 4 metres); "Armed forces personnel" (ca. 8 metres) largely of the World War II era, provably used in reports of missing/wounded/killed in action. As well, there are photographs of groups of servicemen, again largely World War II era. Finally, there is a group of photographs of personalities who were associated with the Toronto Telegram, predominantly from the period after Bassett bought the newspaper (post 1952). The series also includes many photographic images purchased from wire services for the purposes of illustrating national and international stories.
Toronto Telegram
2008-012/002(4)
Part of Lloyd Mackenzie fonds
File consists of photograph album documenting Mackenzie's trips to Kingston, Miami and the Thousand Islands, a cruise of the Caribbean as well as his life in Toronto.
Part of Danny Grossman Dance Company fonds
Mrs. Allende's Conf. in Toronto. Nov 27/73
Airport inquiry board
Part of Donald Stovel Macdonald fonds
Macdonald, Donald S., 1932-
Photo album of travels in Canada and the United States
File consists of a photograph album documenting Mackenzie's travels within Canada and the United States, including Ontario (North Bay, Waubashene River, Manover, Niagara Falls), British Columbia (Vancouver, Vancouver Island), Alberta (Banff, Calgary), Nova Scotia, P.E.I., Quebec and the United States (Chicago, Tulsa, Dallas, San Antonio, New Orleans).
File consists of a photograph album documenting Mackenzie's travels to Spain and Morocco as well as his life in Toronto.
File consists of a photograph album documenting Mackenzie's trips to Agawa Canyon, Manitoulin Island, Georgian Bay as well as his life in Toronto.
Photo album of Lloyd Mackenzie at home in Toronto
File consists of small photograph album of candid shots of Mackenzie in Toronto.
Alissa York fonds
Fonds consists of drafts, manuscripts, notes, research material, edits, and character sketches created by Alissa York as part of her process creating her short story collection, Any Given Power (1999), and her novels: Mercy (2003), Effigy (2007), Fauna (2010), and The Naturalist (2016).
York, Alissa
Archie Alleyne fonds
Accession consists of material documenting the career of Archie Alleyne as a musician, philanthropist, and influential figure in the Toronto jazz music scene. Material includes collected material on other Toronto-based jazz musicians; posters, photographs, and other memorabilia from performances and events; correspondence; material related to the Archie Alleyne Scholarship Fund; notebooks; and drafts and research material for his memoir, Colour Me Jazz: The Archie Alleyne Story (2015). Audio-visual material includes recordings of jazz-related programming broadcast on television, audio interviews with jazz musicians, and released and unreleased music performances
Alleyne, Archie
President of Portugual + P.M. Trudeau : Toronto Dinner : 17 April 84
Inez Elliston fonds
Fonds consists of research materials, committee records, community advocacy documentation and government policy correspondence, curriculum materials, surveys, reports and other textual material related to the professional, volunteer and community activities of Inez Elliston. Material relates to her professional interest in educational curriculum development, particularly in relation to multicultural policies developed at the federal and provincial levels, and how such policies were implemented in local school boards. Other material relates to Elliston's involvement in local, municipal, provincial, national and international organizations and committees involved in social issues related to women's rights, (particularly immigrant women, ethnic and cultural minorities, women of of colour and aboriginal women, issues of gender in urban communities, domestic violence, safety and accessibility), immigrant school children (particularly in the area of assessment, anti-racist, cultural interrelation, vocational training, and children's rights), adult learners (particularly in the areas of vocational training, anti-racist programming and policies for adult immigrant learners) and citizenship (in particular areas of multiculturalism, inter-cultural dialogue, tolerance, anti-Hate Group community efforts, political organization and celebration of diversity).
Elliston, Inez N., 1930-
Luigi Nasato fonds
Fonds consists of records pertaining to the personal and professional life of Italian-Canadian artist Luigi Nasato. These records, dating from 1931 to 2015, document Nasato's early life and education in Istrana, Italy, as well as his emigration to first Argentina and then Toronto, Ontario. The records primarily pertain to Nasato's artistic output and include several hundred drawings, sketches, paintings, and preliminary studies created over the course of his career, as well as a number of awards granted to Nasato on the basis of his artistic contributions. Many of the artistic works included in the fonds relate to projects completed in Toronto and environs, particularly to mosaic projects created by Nasato at a number of churches in the region. Fonds also includes notes on art history and artistic technique created by Nasato as both a student and professional artist, as well as miscellaneous textual and financial records pertaining to the practicalities of his artistic career. Also included in the fonds is an extensive collection of photographs and clippings, compiled by Nasato over the course of his life, most of which document works of art created by Nasato and others.
Nasato, Luigi, 1924-2014
Kingston : March 1997
Vancouver, London, New Brunswick
Moving North : Northern Ontario and Manitoulan Island
Toronto outreach
Beer family fonds
Fonds consists of correspondence between Captain James R. Allan and Vivien Beer of Strathroy, Ontario before Captain Allan, was killed; press clippings and photographs of Captain Allan and Private Walter Beer while serving in World War I and scenes of various members of the Beer family.
Beer (family)
Toronto Telegram personality index (negatives)
Series consists of negatives of individuals or groups, arranged alphabetically by last name. Negatives of Toronto Telegram staff are grouped alphabetically at the end of the series.
Toronto Telegram personality prints
Series consists of a series of photographic prints, news clippings and printed illustrations of individuals whose likeness was published in the Toronto Telegram. This could include birth, death, marriage, graduation announcements, as well as individuals documented by the newspaper at local events, celebrations, and political, social and organizational activities. Individuals can be ordinary citizens, celebrities, politicians, criminals, socialites, scientists, military personnel, nurses and medical staff, social workers, members of fraternal organizations, clergy and religious, social activists, protesters and others.
Toronto Telegram scrapbooks and clippings
Series consists of scrapbooks, newspaper clippings, and printed materials. The scrapbooks are of three types. The fist is a collection of large scrapbooks, approximately 220 in total, that consists of copies of the Toronto Telegram and it's predecessor, The Evening Telegram. These scrapbooks are divided into several categories of material: "Advertising and promotion", "Circulation and Carriers", "Clubs", "Contests", "Events", "Daily and Weekly Features" (such as "schooner Days by C.H.J. Snider); "General Clippings", "News Features" (which include royal visits); "Outdoor Activities"; photo albums of high profile personalities such as royalty and politicians; "Sports", "Theatre and Opera", as wella s feature columns and programs run by the The Globe and Mail and The Toronto Star.
The second group is a collection of scrapbooks and editorials and contests of the Telegram and its rivals, The Toronto Star and The Toronto Globe and Mail. The scrapbooks consists of Toronto Telegram editorians (1962-1967), Globe & Mail editorials (1961-1970) and Toronto Star editorials (1940-1968). There are also indexes to Star editorials, scrapbooks concerning the Star's Santa Claus Fund (1923-1960) and the Star's Fresh Air Fund.
Finally, there are two moderately sized collections of scrapbooks. The first consists of four books, covering the Toronto Transit Commission (1950-1970), and the second covers the canals of the St.Lawrence River (1910-1939).
The newspaper clippings are divided into two broad areas: Personalities, and Subjects. These consists of clippings from the Telegram arranged alphabetically by personality name, including such people as Winston Churchill, Henry Fort, Mitchell Hepburn, and Nellie McClung; and subjects, ranging from Abortion to Medicine and Australia to Japan. Both groups of files are complete only to the letter "M" (the remaining files do not appear to have been transferred to the archives).
The printed material consists of accompanying material removed from the files of photoprints from the 1987-001 accession. It contains information about the subjects of the photos they were separated from and are cross-referenced with those print files.
File consists of Donald S. Macdonald's reports to the electors of Rosedale, and photographs of Macdonald attending events in the riding.
Minister's visit to Toronto, March 3, 1971
Canadian Pacific Railway : North Toronto sub-division
Mountain Fund fonds
Fonds consists of records of the Mountain Fund pertaining to its activities, helping Vietnamese refugees in coming to Hamilton, Ontario. The fonds includes minutes of the Board of Directors, correspondence, financial records, publications and photographic materials.
Mountain Fund (Hamilton, Ont.)
File consists of a bound album containing photographs documenting the activities, friendships and extended family of the Mackenzies in Toronto, Long Branch and New Toronto.
File consists of a photograph album documenting Mackenzie's travels in Latin America (Puerto Rico), the U.S. Virgin Islands (St. Thomas), Canada (Halifax, Niagara Falls) and the United States (Florida). Also includes photographs of Mackenzie's life in Toronto.
John Harbron WM O'Neil, Pres. St Lawrence Seaway Toronto July 9/84 : Spanish late 16th + 17th century organ music - including a batalla
Trudeau in China : Fotos : Oct 1973 : 2 : China Exhibit ROM Toronto
File contains newspaper clipping, press release, and photographs of objects in the ROM's "The Chinese Exhibition : The Exhibition of Archaeological Finds of the People's Republic of China".
Lynn Crosbie fonds
Fonds consists of records documenting Lynn Crosbie's work as a writer, journalist and teacher, including manuscripts, draft articles and poems, published copies of her articles and poems, correspondence, videocassettes, audio cassettes, photographs, notebooks, day planners, lecture notes, research materials, course materials and student assignments. Also included in the fonds are personal photographs, correspondence, ephemera, memorabilia, notebooks and sketchbooks.
Crosbie, Lynn, 1963-
Significant shows and milestones : miscellaneous flyers and programs : Brussels 1982, San Francisco 1986, Ottawa National Arts Centre Canadian Dance Spectacular, Y.P.T. 1981, Philadelphia 1999, London Ontario Holocaust Awareness 2005, Brown Rhode Island 2001, Mexico and South America 1984, P.D.T. 1993-1994, Cuba 1984, Jacobs Pillow 1993
South Ontario
Proposed international airport for Toronto centred region (Pickering) : statements, comments and facts
Toronto Telegram photographic negatives
Series consists of approximately 833,500 photographic negatives, the majority of which are black and white 35mm.
The negatives are arranged by subject heading, although there are more subject headings here than in the print series, and tend to be local in nature. Negatives for photographs of personalities have been separated out of the main arrangement.
File consists of a photograph album documenting Mackenzie's travels to Morocco, Stratford, New Orleans, a Caribbean cruise as well as his life in Toronto.
Shore family fonds
The fonds consists primarily of approximately 50 letters written to Mrs. Thomas Shore, and one to Jennie Shore. Most of the letters were written by Mrs. Shore's son Charles W. Shore, and about thirteen of these were sent to Mrs. Shore by her cousin, Andy Bach. There are also about a dozen letters of recommendations for Ivan Bradshaw Miles Barr.
Shore (family)
Letter to William Martin
Part of Clara Thomas Archives collection
File consists of a handwritten letter written from a brother and sister to their father in Kent, England, describing their decision to leave Hamilton, Upper Canada, due to unrest in the colony and to escape British tyranny, and to move to Rochester in the state of New York.
Arnold Hoffman fonds
Fonds consists of the records created and accumulated by Arnold Hoffman as a prospector and stockholder, relating to gold mining operations in Ontario, Quebec, and the Northwest Territories. Records relating to the gold mines at Wright-Rouyn, Arrowhead, and Thompson-Lundmark include: maps and sketches, photographs, geological studies, reports, and assay reports. Files also contain records pertaining to Stadacona Rouyn, Sunset Yellowknife, Junior Frood, Coniaurum, Algood, Pershon, Resenor, Michipicoten, Croydon Rouyn, and El Canada mines, including geological reports, and correspondence. Records related to Hoffman's stocks and business operations as Secretary of Gold Operators (Canada) Ltd. include stockholder lists, securities lists, annual reports, meeting minutes, correspondence, newspaper clippings, cheques, and contracts.
Hoffman, Arnold
Music Gallery fonds
The fonds consists of two series, the CCMC concert series (1973-199-?) of twice-weekly public performances by members who have included Peter Anson, Paul Dutton, John Kamevaar, Nobuo Kubotu, Allen Mattes, John Oswald, Michael Snow, Casey Sokol, Jack Vorvis. The Music Gallery Concert Series (1978-1993) comprises sound recordings of approximately 65 concerts per year and has involved a wide variety of local and international performers/composers, including all varieties of new music, electroacoustics, world, and jazz. Supporting documentation includes program information, posters, reviews, and photographs. The fonds consists also of financial statements, season reports, contracts, sales reports, publicity material including press release, programs, media contact lists, clippings, photographs and other material related to the activities and the performances of The Music Gallery.
London, Ontario : January 1997
Moving North : Northern Ontario : itineraries


text:
All About Library Music: Part 1
Composing / Arranging / Songwriting
Mixing / Production
By Dan Graham
Production music is rarely glamorous, but it can be very lucrative. In the first of a major new series, we explain how to get your foot in the door.
My name is Dan Graham, possibly best known to SOS readers as the co-owner of the Kontakt-based software company Gothic Instruments, who make the Dronar series. However, I'm also the writer of over 20 library music albums for major companies, and have founded six library music labels with offices in the UK and in LA. I have 13 years' experience in the industry, and in this series of in-depth articles, I'm going to spill the beans on how it all works, explaining how you can make a good, stable, full- or part-time living out of it. I hope that existing library composers will also find much of interest, to help expand their knowledge and inspire them to try new avenues. In this first instalment, I'll explain what library music is and offer some advice on how to get started.
What Is Library Music?
Dan Graham is a successful composer and publisher of library music.Library music, also known as 'production music', is created mainly for video professionals working on TV shows, movie trailers, advertising and more. It's not written for specific visuals but, instead, to (hopefully inspiring) album concepts, and distributed around the world where it can end up being be used in random ways. For example, for many years my highest-earning track was a five-second boom sound buried in a French Polynesian news theme, while my artistic opuses made peanuts.
Library music has a long and proud history that stretches all the way back to 1927, when the British company De Wolfe began making 78rpm albums for radio use. It was dominated by major labels until about the year 2000, but thanks to cheaper recording gear and the explosion of video content production, it has become more democratic, and there are now more composers, publishers and end users than ever — not to mention more high-quality music. Most of this is now accessed through online platforms used by millions of video-makers.
Networking is invaluable, so get out there to industry events and meet other composers and publishers.Composing library music is unlikely to make you famous, but it might make you rich. If you were to spend six to eight years writing 50 or more high-quality tracks per year for good-quality labels, you could build up a royalty income of more than £100,000 per year, which would keep going long after you stopped writing. Even if you only compose library music as a sideline, it can also be a great way to add a stable new income stream, or be a stepping stone to becoming a full-time composer.
Compared with many music-industry roles, library music is easier to get into and provides a more stable way to make a living. There is also usually more musical freedom than you would have writing film or TV scores for directors with vivid imaginations but terrible communication skills, and arguably more still than being in a band where managers, record labels, band members and fans will conspire to pollute your genius with baffling demands for hits.
The PRS web site is a great starting point for researching library music publishers.Downsides include the difficulty of finding work and choosing the right companies to write for, the requirement to produce a large amount of excellent music, and an epic three-year delay while you wait for your money, which can invite pessimism and doubt from yourself and others. But that's what this series is all about: how to overcome these obstacles.
My Library Music Story
Today, I run six UK-based library music labels, making music for Hollywood movie trailers, TV and advertising around the world. Recent credits include a Star Wars: Rogue One trailer. It wasn't always like that.
Back in 2004 I was on the dole in a terrible low-rent flat. Our band had been dropped by our label, and I was wondering if I'd have to get a real job. Despite my benefits adviser wanting me to be more realistic, as one last roll of the dice I Googled "How do you make money out of music?" and sent off literally thousands of emails with an album's worth of solo piano music to every library publisher I could find.
Thanks to good demos and scattershot statistics I was offered three placements: one for a large UK library, one for a royalty-free library and one for a Czech library. This landed me in a couple of pickles. One was having to create another two albums to keep them all happy (I wrote 24 new tracks that week). The other was that without exactly lying, I used Steinberg's The Grand while somewhat implying that it was a real grand piano, and nearly came unstuck when the major UK publisher asked me to fix "a loose bit of metal" that they could hear. Thankfully, a software update removed that pesky twang!
All major library music publishers will have web sites of their own, which are perfect both for checking out what they already have, and for finding contact details.From there, one job led to another and I happily scraped a small living from advances until a magical thing began to appear: royalties. I was in my mid-'30s, had always been a poor songwriter writing for the love of music, and was now earning, as I saw it, 10 grand a year for nothing. I was pretty pleased with my lot. By 2008 the royalties grew, and I managed to afford a holiday. In 2010, with over 20 albums released, I earned over £100,000 and felt like a confused peasant who'd won the lottery with no idea what to do with it all.
At that point I had six years' experience of the world library music system, so took a chance at funding some albums with live strings and choir and started my own movie trailer music company, named after my most successful track, 'Gothic Storm'. With some detective work, I then put together a first-class worldwide agent network, and reinvested rising earnings into new niche labels until here we are today with six labels, 130 albums, sales offices in the UK and LA, and a great team trying to keep pace with the rapid expansion.
Why Am I Telling You This?
The point of the story is to demonstrate that if you're a good composer and producer, and you are patient and hard-working, you can make a great living from library music, with a lot of artistic freedom. If you've hit a career dead-end or you're just looking for a stable long-term income stream to offset uncertainty in your other work, this could be the solution to your problems.
In these articles I will give you a guide that I believe anyone who is good can follow to find success, so read on to learn more about a thriving music industry backwater that may well forever save you from your anti-music nemesis: a real job.
Finding Good Work
I know from first-hand experience that library music can eventually earn you royalties of £100k+ per year. However, to achieve this, you need to find quality companies to write for. The worst companies are black holes that will take your music and give nothing back. Even the majority will only make you a small living, so you need to go on a treasure hunt for the golden geese — not because you are greedy, but because you might as well earn more than less for the same piece of music. A good place to start is this list of MCPS-registered UK libraries: www.prsformusic.com/users/productionmusic/libraries/pages/default.aspx.
From there, follow these tips to help you find the best labels:
Start with large companies. They are hard to get work from, but can earn well, so are well worth trying. They include EMI Production Music (whose group includes KPM, Music House, Juce and Ded Good), Universal, Sony/Extreme, Sony/ATV, Bruton, West One Music Group, Warner/Chappell, Audio Network and BMG Zomba. However, be aware that some apparently large companies don't do as well as others, while many smaller companies like mine also have good per-album sales.
Look at their international networks. You'll usually find information about overseas agents and offices on label web sites. If the labels have their own worldwide offices, they're big. If they have good international agents (also known as 'sub-publishers') representing them, they are probably doing well — major labels such as Universal, Sony, EMI, Warner/Chappell and BMG all represent smaller labels in various territories. Successful independent agents include APM in the US, Upright Music in Scandinavia, Nichion Inc in Japan, Media Cube in South Korea, and Beatbox Music and Big Bang & Fuzz, both in Australia. In turn, the web sites of those agents are gold mines for further research, so make sure you also investigate the worldwide labels that they represent, the agents of those labels, the labels of those agents and so on, until you have a thorough knowledge of the world's best labels and a large contact list.
Ask successful library composers. Some are cagey but many will be happy to help if they can see you are serious. Find composers on forums such as the Sound On Sound forum, in Facebook groups and at events hosted by organisations like BASCA and PRS. After a few free drinks, composers will blab about the saints and sinners. Ignore failures, who will tell you it's all luck or a swindle, or even successful but paranoid composers who will try to put you off to discourage the competition. It happens — composers are nuts, as you know.
Look at publishers' web sites and listen to the amount and quality of the music, and the standard of the sleeve art. If the sites are well designed with lots of great music and impressive recent placements that's reassuring, although tips from experienced writers are better.
Consider their business model. Often, large libraries are 'exclusive', meaning they will want exclusive rights to your tracks; often, they will do better for you than non-exclusive, royalty-free libraries, but this definitely isn't always the case, so again, seek tips from other writers. A later article in this series will go into detail about the rival business models out there and how they affect you.
How To Approach Publishers
Having read this far, let's assume you now you have a list of the best companies and some excellent music to play them. Now it's time to make your all-important first approaches. Most composers approach companies badly, so get a head-start by following these dos and don'ts:
Do: Use Google and publishers' web sites to find a personal email address, and address your emails by name. Show that you've done research by referring to their releases, sub-labels or writers. Briefly name-drop your most impressive clients or achievements to establish credibility. Be polite, complimentary, brief and professional. Include a streaming link to 10-12 tracks that sound fantastic (as good and as professionally mastered as anything out there) and which would fit on their catalogues. If the tracks aren't available for them, explain that they are previous examples and you would like to write new material for them.
Don't: Write rambling emails explaining how great you are, or take a superior tone. Don't write a bitter reply if you're rejected. Don't tell them if the music you're sending was rejected by someone else — no one wants rejects. Don't try to be funny — it usually sounds weird. Above all, never send crap music. If it's badly played, written, recorded, mixed or mastered, with disembodied guitar solos and cheesy, fake-sounding samples, they'll never forget.
If you get no response, send a polite reminder every two weeks until they reply. Many will at least say 'no thanks'. If they do this, courteously ask why, learn from it and send them something new a couple of months later. Politely persist where others quit.
The 'Finished Album' Trick
The ideal thing to send to prospective publishers is a complete album of 12 brilliant finished tracks united by a genre or concept that would fit in their catalogue, ready to be signed over: Emotional Atmospheres, perhaps, or the can't-fail Happy Plinky Plonky Whistling Banjos. This move (the finished album, not the banjos) worked for me, and has been successful for many writers submitting to my labels, because you are saving publishers the time and risk of developing an album concept of their own, and removing any doubt about whether you will do a good job or waste their time with endless rewrite requests. Submitting a fantastic, ready-to-go album, therefore, takes you straight to the front of the queue ahead of their favourite writers.
Getting your foot in the door is not just about having brilliant music to offer, but putting in the hard work to contact as many publishers as possible.If several companies accept your album, choose one and apologise to the others, explaining that it is now taken but you'd love to develop a similar album to offer them.
How Does Library Music Make Money?
The production music business can seem a bit opaque, so if you're curious about how much money can be made, when it will arrive and where from, here's a guide.
As to how much you can expect to earn, there are so many variables in play that you could be forgiven for falling for the myth that it's a lottery — as some unsuccessful composers will have you believe. Just a few of the factors affecting income include: how clear the album concept is; how good the track titles are; what reputation the company has; how good their sales and marketing are; how good their international agent (sub-publishing) network is; how good the metadata is (the track descriptions created by the publisher to help with search engines); the position of the track in the track list (early tracks earn more); how well the world economy is doing; whether the genre of the album is in demand; luck (maybe your track will end up as a hit TV show theme tune); the state of the library music industry; the business model of the company and the terms of the deal you have. At times you might wonder whether the quality of your music even has an influence, but trust me, it does: good music earns more, and if you make bad music, your opportunities will soon dry up.
If all goes according to plan, you can expect your career earnings to follow this sort of trajectory.However, while all of these things have a huge and unpredictable influence on the success of any given track, the more tracks you make, the more consistent the overall picture will be. Do enough great tracks for great companies, and you'll see the uncertainty evaporate and clear earnings-per-album statistics emerge. In fact, you should expect an average of £5000 per year per album in combined broadcast (PRS) and sync/mech income. And for each album, you should expect this to hit its stride in three years and dwindle after 10 years. So that's £50,000 in total per album. Write 20 of those beauties and you've made your future self a million quid. 'Cheers, old self,' you'll say, gloating in your 2027 driverless swimming pool.
When Will I Get Paid?
Gratification for the library music composer tends to be very delayed indeed. A 'three year rule' means you typically need to wait this long for income to filter through the international royalty system. Delays include: your publisher sitting on your music before release, their sub-publishers sitting on it, everyone being slow to register tracks with performing rights organisations, clients being slow to audition it and warm to it, clients being slow to fill out cue sheets, a delay between the music being used and the show being broadcast, foreign sub-publishers sitting on the money for months before paying your publisher, your publisher sitting on it before paying you, foreign performing rights societies sitting on the money before paying PRS and them sitting on it before paying you. So, it's a three-year chain between you finishing your mixes and being paid, linked by a lot of money-sitting and slow-pokes.
The upsides of this lengthy delay include earnings filtering through for a long time after you finish each album, and impatient rival composers giving up and doing other things while you smartly keep on writing new music in the meantime. The graph shows how your earnings should build over 15 years assuming typical income, four excellent albums of 12 tracks per year for good labels, and a three-year income delay.
Where Does The Money Come From?
"My first PRS cheque — and a telegram from the Queen, on the same day!"As with commercial music, there are two main sources of income: synchronisation/mechanical income on one side and performance (broadcast) income on the other. A full explanation is outside the scope of this article, but a simplified version is that synch/mech money is made when a video producer pays to license your music for a project, whereas performance (broadcast) income is paid when your track is aired on TV and paid by the TV network to the performing rights organisation (PRS in the UK). Your publisher usually pays you your share of sync/mech income twice yearly, in March and September, and PRS pays you four times a year: usually larger amounts in April and October and smaller amounts in July and December.
The relative amounts of the two income streams depend on many things, including the type of music — for example, Hollywood trailer music earns more sync and less broadcast than more TV-friendly music — and your publishing deal; if you're on a 50-percent split of sync/mech income, you'll get twice as much as if you were on a 25-percent split. From my experience as a writer and publisher, a good rule of thumb is that performance (PRS) income will be roughly equal to synch/mech income if you're on a 50-percent split.
Other sources of income include advances and fees: a publisher may offer you an advance on your future mech/sync income, though this is much less common now than it used to be. In the US, it's more common to get a 'buyout' fee in return for giving up your share of sync/mech income. A later article will go into more depth about the types of deals on offer, but an important takeaway for now is that working for a company who gives you a small or zero share of sync/mech income (not uncommon) is only a good idea if they make up for it by providing great performance income — the bigger and more successful companies will do this, so definitely don't rule those deals out.
Happy Plinky Plonky Whistling Banjos: works every time.In this article, I've deliberately emphasised the positives. You've heard that great money can be made and that library music can be a flexible and artistically fulfilling area to work in.
However, it isn't for everyone. Your music has to be excellent to persuade experienced publishers to keep giving you work. Even successful writers get a lot of rejections and have their emails ignored when they write to new publishers. You need to find the time to create an enormous amount of quality music for years before you start to make a decent living. To sustain that, you need alternative sources of income or a willingness to work in poverty, and a very optimistic attitude in the face of naysayers who will exacerbate your own doubts about your chances of getting to the point where you have hundreds of great tracks placed with great publishers, at which point income becomes high and stable.
All of these obstacles are regularly overcome by thousands of library music writers — so rather than be put off, you should be encouraged that it's not for everyone, because that means that the industry isn't swamped with brilliant competitors, and there are still plenty of new opportunities for talented composers.
Next month, I'll explain all about business models, deals and the international scene. Until then, time to get to it — and don't stop until you've sent out thousands of emails with amazing music links!
All About Library Music: Part 1 Getting Started
All About Library Music: Part 2 The Business
All About Library Music: Part 3 The Composer
All About Library Music: Part 4 The Client
Library Music Get-Rich-Slow Plan
Compile 10-12 excellent previous tracks or new submissions on a streaming service such as SoundCloud.
Research great companies and send them links with well-written, personalised emails.
Write four albums of approximately 12 tracks each per year.
After three years, watch the cash start to trickle in.
After 10 years, bitch about the pressures of wealth and start to feel angry about tax.
Words Of Encouragement
Ehren EbbagePhoto: Dmitri von Klein"Writing library music allows me to work from home and watch my daughter grow, which is something many music professionals sacrifice. I can live wherever I choose. After so much time spent pursuing other music career paths, I feel like I've found a dream situation." Ehren Ebbage (Vanacore, Warner/Chappell, Marmoset Music)
Marie-Anne Fischer"Every new brief brings with it an extension of new skills. Even after writing many tracks I still feel the excitement when I receive the live string parts back from the recording studio." Marie-Anne Fischer (Library Of The Human Soul, Gothic Storm, Synctracks)
Clive Lukover"I find with production music I have greater creative freedom to write exactly the kind of music which inspires me. The royalties that come through do eventually become a sustainable income." Clive Lukover (Sony/ATV, Intervox, No Sheet Music)
"Doing library music early in your career is a fantastic way to commit to output a lot of music, which is the best way to hone your skills." Mike Rubino (X-Ray Dog)
Mike Rubino"Learning to immerse yourself in a brief or a concept for an album is hugely helpful for creativity." Kyle Kniceley (Gothic Storm, Position Music, Dos Brains, Theta Sound Music, Cypher TM)
Kyle Kniceley"As well as a stream of regular income and a series of fresh, interesting and challenging briefs, library music has given me the opportunity to work with some fantastic people — to collaborate on writing and production, provide employment for session-musician friends, and even record several times a year with 40-50 piece orchestras across Europe. Being nominated for a Production Music Award this year was an unexpected bonus, and that led to me making many new friends and commissions for several companies I hadn't worked for before." Jamie Salisbury (EMI/Cavendish, KPM, Library Of The Human Soul)
Jamie Salisbury"I didn't believe I could earn a credible income from library music until my first four-figure PRS statement. More inspired than ever to continue my pace of writing 40-50 tracks a year." Oliver Sadie (Library Of The Human Soul, Gothic Storm)
Oliver Sadie AudioAndroid."Library is hard work and can take years to get rolling, but in the long play it's a great way for a composer to build a solid foundation of copyrighted works. If well written and signed to the right publisher/library, these tracks should go on to earn you an income over their life of copyright, which should be a minimum of 20 years. Whilst your work is out there earning for you, you are free to focus on other things... Like, for instance, taking over the world with your new robot army!" AudioAndroid (various major publishers)
Gabriel Brosteanu"Just have patience, lots and lots of patience. I think it's the most important thing, and it also helps you to not give up too early! Otherwise, writing library music is really great, diverse and also offers some creative musical freedom! It can also help switch a career pathway entirely, as it did in my case going from playing in bands to making a living from writing music." Gabriel Brosteanu (Library Of The Human Soul)
Buy PDF version
Published May 2017
All About Library Music: Part 10
Session Notes: Recording Status Quo January 2020
Oliver Heldens: DJ & Producer January 2020
!llmind - From Raw Vocal To Killer Track In ONE HOUR January 2020
Inside Track: Tones And I 'Dance Monkey' January 2020
Mixing Virtual Drums January 2020
Apps & Other Computers/OS
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A permit is required to sell "Safe and Sane" fireworks in the City of Fresno. Applications for non-profit organizations, which meet the requirements of the Fresno Fire Department Standards, can be obtained by an approved fireworks vendor.
In late 2010 the Fresno City Council passed an ordinance allowing the use or discharge of "Use and Discharge of Safe and Sane fireworks: In late 2010 the Fresno City Council passed an ordinance allowing the use of Safe and Sane fireworks, in the City of Fresno, 365 days a year between the hours of 7:00 a.m. and 10:00 p.m. except for period of June 28th to July 6th when use and discharge will be allowed between the hours of 7:00 a.m. and 12:00 a.m.
Only purchase and use "Safe and Sane" fireworks. If the item does not have this State of California Fire Marshal (SFM) seal, it is considered illegal.
NEVER PURCHASE ILLEGAL FIREWORKS AND NEVER MISUSE OR ALTER LEGAL FIREWORKS.
On the first Wednesday in March, at 10:00 a.m., a lottery-type drawing will take place to select 30 new non-profit organizations who will receive a two-year permit to sell "Safe and Sane" fireworks in the City of Fresno (provided they meet all of the requirements). For more information, contact your local fireworks vendor.
The sale of "Safe and Sane" fireworks shall commence not earlier than 12:00 p.m. on June 28, and shall terminate at noon on July 6. The hours for sales at each fireworks stand shall be from 9:00 a.m. to 10:00 p.m.
It is unlawful for any person to sell "Safe and Sane" fireworks within the City of Fresno without a permit issued by the Fire Chief or designee. If an organization is selling "Safe and Sane" fireworks without a permit, the individual or organization could face a fine of up to four times the standard permit amount, which is two thousand five hundred four dollars ($2,504.00), and face possible criminal charges.
In late 2010 the Fresno City Council passed an ordinance allowing the use or discharge of "Safe and Sane" fireworks, in the City of Fresno, 365 days a year between the hours of 7:00 a.m. and 10:00 p.m. except for period of June 28th to July 6th when use and discharge will be allowed between the hours of 7:00 a.m. and 12:00 a.m.
Snap Caps and Party Poppers are classified by the SFM as a "pyrotechnic device" in accordance with State fireworks laws and regulations.
Q. How do I know if I qualify to obtain a fireworks permit to sell "Safe and Sane" fireworks?
Q. What is a 501(c)(3)-(19)?
A. A tax exemption issued by the IRS regarding non-profit status and exemption from federal income tax. See the IRS website for more information.
Q. How do I get an application to sell "Safe and Sane" fireworks?
A. Contact your locally approved fireworks vendor.
Q. When are the applications due?
A. Applications are due on the third Wednesday in February. The fireworks vendor you have selected will turn in the application to the Fresno Fire Department.
Q. What is the lottery drawing?
A. The lottery drawing is a drawing in which all qualifying applicants are entered into in order to select the new participants for the fireworks season.
A. The lottery drawing is the first Wednesday of March.
Q. How can I get my organization placed into the lottery drawing?
A. Review the Fresno Fire Standards to make sure you meet all of the qualifications. Contact your locally approved fireworks vendor for assistance in filling out an application for the lottery drawing.
Q. How will I be notified if I am drawn in the lottery?
A. Your fireworks vendor will contact you or you may attend the lottery drawing.
Q. What is the supplemental paperwork?
A. Once you have been chosen in the lottery, the supplemental paperwork is additional paperwork which needs to be completed by your organization and your fireworks vendor.
Q. Where can I store my fireworks when my fireworks stand is not open for sales?
A. Onsite storage of fireworks is permitted in approved metal cargo-style containers only (i.e., sea-train, ISO conex, or something similar), at a distance of no less than thirty five feet (35') from the fireworks stand. Storage of fireworks in the fireworks stand, trucks, or vans will be permitted only when there will be 24-hour security or a responsible party onsite 24 hours a day, or your fireworks may be stored at a pre-approved fireworks vendor location.
Q. When will my fireworks stand be inspected?
A. Each stand will be inspected prior to the start of the sale period. Your vendor will have the inspection appointment information. A permit will be issued once the initial inspection has been completed successfully. Your fireworks stand will be inspected randomly after the initial inspection.
Q. What can I expect when my fireworks stand is inspected?
A. See Appendix D of the Fresno Fire Department's Prevention Division Standards for inspection details. This appendix provides a list of the items being checked during fireworks stand inspections.
Q. What if I cannot be there for my fireworks stand initial inspection?
A. If you cannot be present at the pre-scheduled fireworks stand inspection appointment, someone else from your organization, or your fireworks vendor, should be present at the stand to meet the Fire Department.
Q. What will happen if no one from my organization, nor my fireworks vendor, is present when the Fire Department shows up for my previously scheduled initial inspection?
A. Your organization will be responsible for bringing a fee of $81.00 to Fire Department Headquarters and rescheduling the initial inspection appointment within the parameters of the Standard.
Q. What if I have not received my product by the time my initial inspection is scheduled for my fireworks stand?
A. It is very important you stay in close contact with your fireworks vendor. If your product has not arrived at the time of your initial inspection, we will not be able to conduct your initial inspection and you will not receive your permit. You could be subject to a re-inspection fee of $81.00.
Q. What if I need to reschedule or change my initial inspection appointment?
A. You will need to come to the Fire Department Headquarters to pay a fee of $61.00. The appointment will only be rescheduled if there is an inspector available at the date and time needed and the appointment is still within the parameters of the Standard.
Q. What will happen if I start selling fireworks from my stand before I receive my permit?
A. If you sell fireworks without first receiving your fireworks permit from the Fresno Fire Prevention and Investigation Division, the individual or organization could face a fine of up to four (4) times the Standard permit amount, $2,504.00; face possible criminal charges; as well as be responsible for cost recovery fees.
Q. Can I give my permit to another organization because I am unable to run my fireworks stand this year?
A. NO. Permits are non-transferable.
Q. How old do you have to be to work in a fireworks stand?
A. All persons involved in the sale of "Safe and Sane" fireworks shall be at least 18 years of age. Proof must be shown at any time when requested by Fire officials. Failure to produce valid picture identification upon request may result in revocation of your fireworks sales permit for the remainder of the daily sales period and/or a one thousand dollar ($1,000.00) fine. Any person 16 or 17 years old, who is affiliated with the organization, may help stock and work in the fireworks stand but not handle the money or sell "Safe and Sane" fireworks.
Q. Once I have received my fireworks permit, when can I start selling fireworks?
A. The sale of "Safe and Sane" fireworks shall begin no earlier than noon on June 28th and shall not continue after noon on July 6th of the same year. The sale of "Safe and Sane" fireworks shall be permitted only from 9:00 a.m. to 10:00 p.m. daily. Exceptions to this regulation are on June 28th, when the hours shall be 12:00 p.m. to 10:00 p.m.; and July 6th, when the hours shall be 9:00 a.m. to noon.
Q. How old do you have to be to buy fireworks?
A. You have to be at least 16 years old to buy "Safe and Sane" fireworks in the City of Fresno.
Q. When do I have to stop selling fireworks?
A. You cannot sell fireworks after July 6th at noon.
Q. When can I use "Safe and Sane" fireworks in the City of Fresno?
A. "Safe and Sane" fireworks can be used or discharged in the City of Fresno 365 days a year between the hours of 7:00 a.m. and 10:00 p.m. Exception to this regulation will be for the period of June 28th to July 6th when use and discharge will be allowed between the hours of 7:00 a.m. and 12:00 a.m.
Q. What shall I do if I have illegal fireworks I want to get rid of but don't want to get in trouble?
A. Any illegal fireworks can be turned into your local fire station without penalty.
Q. What shall I do if someone tries to sell me illegal fireworks?
A. Call Fire Department Headquarters at 559-621-4181 during normal business hours to report anyone who tries to sell you illegal fireworks, or is not selling fireworks from an approved fireworks stand, or anyone you know who is in possession of illegal fireworks.
Q. What will happen if I discharge illegal fireworks or have illegal fireworks in my possession?
A. You will be issued a citation for illegal fireworks in the amount of $1,000.00 with a $250.00 disposal fee.
Q. What should I do if I receive an illegal fireworks citation?
A. Pay the fine within 30 days to the organization on the citation where it states "Submit Payment To". Payments can be by check, cash, or money order made payable to the organization where the citation states "Make Checks Payable To".
For additional information regarding fireworks stand inspections, call (559) 621-4181.
For additional information regarding illegal fireworks and investigation, call (559) 621-4444.


In coding world, data structures and for loop practice are very important. If you have a good commands in loop and arrays than you can master any logics.
In this section there are some basic array questions which commonly asked in interview. I am using PHP to show the logics. I will update this post regularly. If you have any array or loop questions than post in comment i will update that question to this post.


text:
Voter suppression, not fraud, looms large in U.S. elections
Vanessa Williamson Tuesday, November 8, 2016
For months, Donald Trump has repeatedly raised the specter of a "rigged election" costing him the presidency. It is an obsession that can really only be understood as a case of projection. To the extent that there is a systematic effort to distort the election results this November, it is coming from the Republican Party.
As on other subjects, Trump's "rigged election" rhetoric is merely the unvarnished version of ideas that have long been flourishing in conservative circles. For years, Republicans have used the non-issue of in-person voter fraud to promote laws that systematically disenfranchise minorities, young people, and the poor.
Twenty states have passed new restrictive voting laws since 2010, and fourteen states had such laws come into effect for the first time this year. Voter ID laws are only one of several practices that add up to a widespread effort at election discrimination. Others include purges of the voting rolls, reductions in early voting opportunities, and the closing of polling stations.
That these laws are intentionally discriminatory is beyond question. Lawmakers and election officials from North Carolina to Wisconsin have been caught explicitly admitting as much. And these anecdotes are part of a broader pattern. Republicans have supported voter ID laws in electorally competitive states where the party, with a declining electoral coalition, is struggling to maintain their control. The passage of voter ID laws is "highly partisan, strategic, and racialized."
What will these laws mean when the votes are counted tonight? Some studies have shown that these discriminatory rules are having their intended impact, but at the same time, a few of the most egregious laws have been subject to legal appeal. There is also evidence that concerted campaigns can help offset the new rules and get qualified voters to the polls. But these competing efforts may confuse voters, which could itself have a dampening effect on turnout. The bottom line is: we do not yet know how much voter suppression will affect aggregate vote totals.
But these laws are a problem even if they do not demonstrably influence this year's overall electoral outcomes.
Tax cuts: The gift that keeps not giving
Vanessa Williamson and Jackson Gode
Race for the Senate 2016: Key issues in Pennsylvania
Bruce E. Caswell
Trump in 2018: Could a Democratic victory in Alabama open the doors to increased voter suppression?
Nicol Turner Lee
The voter purges in North Carolina have been described as "like something that was put together in 1901." It was in that year that North Carolina Representative George Henry White, the last black congressman elected before the Civil Rights era, last sat in Congress. The year before, a state poll tax and literacy test had decisively turned back the progress of Reconstruction and once again disenfranchised black voters. Similar measures disenfranchised not just blacks, but many poor whites, across the South throughout the Jim Crow era.
Before returning home, Representative White went before Congress to say that,
"This, Mr. Chairman, is perhaps the Negroes' temporary farewell to the American Congress… but let me say, Phoenix-like he will rise up someday and come again."
Brookings Big Ideas for America
Edited by Michael E. O'Hanlon
Redefining Urban and Suburban America
Edited by Bruce Katz
By Sarah A. Binder
The history of the franchise in the United States has not been a steady but slow curve towards universal suffrage. Instead, the country's progress has been marked by long periods of defeat and reaction. The persistence of voter suppression in the 21st Century represents marks a step backwards, another failure to overcome America's long history of racist disenfranchisement. It is a sad irony that the party that elected Representative White to Congress, the Republican Party, today stands on the wrong side of that long history.
Vanessa Williamson
Senior Fellow - Urban-Brookings Tax Policy Center
Twitter v_williamson
117th U.S. Congress
Campaigns & Elections
More on U.S. Politics & Government
The vaccine mandate cases, polarization, and jurisprudential norms
Richard Lempert
Biden's nominees would bring diversity to the Fed—if they're confirmed
Sarah A. Binder and Mark Spindel


Novell today announced it is shipping a Web-based application that taps into social networking methodologies to enhance enterprise configuration management database (CMDB) usability, accessibility and accuracy. myCMDB, a part of Novell's recent acquisition of Managed Objects, employs a community-based architecture, similar to social networking applications, to provide a single view of federated data center resources across any physical or virtual environment.
A CMDB helps by serving as a repository of information for all the components that are part of a data center or an IT infrastructure, as well as the relationships across each. However, maintaining CMDBs that accurately map to the current state of data centers is frequently a challenge, Richard Whitehead, director of marketing, data center solutions for Novell, tells 5 Minute Briefing. "Large data centers are typically a complicated mixture of hardware, operating systems, workloads and IT resources," he says. "They have typically implemented a CMDB to assist in the management and control from frequent demands for both business and technical changes."
Using the principles of social networking, myCMDB delivers role-based "communities" where users can more easily and effectively update, view and interact with CMDB data and users. myCMDB users can quickly extract IT configuration and workload information in near real-time, model changes to the IT infrastructure, and generate reports that graphically show how proposed IT changes will affect not only the IT production environment, but also the business services it supports as well. "Using social networking principles, myCMDB is the only solution that allows organizations to significantly enhance CMDB usability, accessibility and accuracy," Whitehead says.
By delivering critical capabilities that make CMDB visualization, navigation, search, analysis and reporting measurably easier and more intuitive, myCMDB serves to make CMDBs more valuable, user-friendly tools. This drives greater usage and contributions, enabling the CMDB to become a more accurate representation of the actual IT infrastructure-much in the same way end users drive data accuracy in repositories such as Wikipedia.
"myCMDB positions internal IT organizations and service providers alike with the capability to tackle today's complex configuration management demands-one perfect example is the cloud computing infrastructure," says Joe Wagner, senior vice president and general manager of Systems and Resource Management at Novell. "With myCMDB, organizations have the power to effectively manage cloud-based configurations and answer critical infrastructure questions such as 'where and on what is my workload running?' This effectively lowers the risks inherent in changing these complex environments while at the same time offering greater transparency."
myCMDB integrates with all commercially available CMDBs, including Novell's CMDB360. Key features of myCMDB include a community-based architecture to provide meaningful role-based views of CMDB data. An additional feature includes role-based user profiles to personalize the community experience with tailored homepages, a community update feed and reports. Another feature includes an intelligent and intuitive Google-like context-based search to easily retrieve data on CI name, class, attribute, relationships and flags. For more information, visit the Novell website.


Satisfy your junk food cravings while respecting your dietary preferences with these delicious BOCA Original Vegan Veggie Burgers. A Delicious and Vegan Alternative These juicy BOCA vegan veggie burgers contain 13 grams of protein per serving. The package includes four soy protein burgers, so you can enjoy them together with friends and family or keep some extras in the freezer for the next time a craving strikes. Each burger contains 70 calories.


Day in and day out you pack your lunch kit. It's like your 10 years old again except this time, Mom isn't throwing in a wagon wheel as a treat for you. It's all about YOU! And man, going out for lunch with a girlfriend or attending a business lunch would be WAY easier but you and I both know, more food than needed will be enjoyed there!
Don't get me wrong I love a lunch date. I suggest trying to limit them to once a week if possible.
If not then let's be proactive here!
Ask to see what restaurant you are meeting at or if it's catered, ask what will be served. Here you will gain a GAME PLAN on how to eat healthy when the menu or the buffet rolls out. If you're going to a restaurant, check the menu out before hand and get excited about the healthy choice you have made. Reinforce to yourself the intentional choice you are making and how PROUD you are of yourself to commit to it! If it's catered, there's no harm in snooping the buffet table before hand and making a quick game plan on what to fill your plate with!
Drink water before you go out for lunch and before you eat lunch. Drinking as little as 8 ounces 30 minutes before a meal has been proven to support better food choices and less over eating.
Enjoy yourself! Socially eating is a great way to experience food. Enjoy the company and the energy around you while you eat healthy. No one cares if you have a burger or a salad with chicken. They care about the conversations and the atmosphere. ENJOY IT!
I hope some of these ideas will work for your children and for you!
First off we need snacks!
Apple, again simple and great! Personally I love reaching for an apple in the afternoon because apples provide you with a boost of energy from the carbohydrates present in them. Research has said an apple equals a cup of coffee in energy expenditure.
Let's dive into lunch ideas!
With the humus that you may or may not have had for snack time, you can use it for lunch time! Spread it onto a pita and add lettuce, tomatoes, cucumbers, if you want add a slice of chicken breast and have a Greek style pita.
Soups and chili's are great to take in the winter months. Try to pack a side of carbohydrates (mashed potatoe, or sweet potatoe or rice or a whole grain bun) if your soup is broth based and not a hearty soup. My friend Steph, with confessions of a Meal Plan Addict made this awesome "Instant Mason Jar Soup"!!!! Check it out here With your Chili make sure to load it full of beans and veggies, giving you lots of fiber and protein!
If you already have the pita's why not pre-make a couple pita pizzas for your lunch. Pile your pizza with veggies, chicken, meat, and more! The great thing with making your own pizza, you can limit or change up your cheese and you can pile it high with what you want on it!
I personally love turkey salad sandwiches, egg salad sandwiches, and chicken salad sandwiches. I know in most recipes those sandwiches requires a LARGE amount of mayonnaise. There are a couple options here, cut the mayo in half. Or replace the mayo with half an avocado. It will give you the same consistency and add healthy fats to your sandwich! Load that sandwich with tomatoes, lettuce and all your fixings!
Left overs!!!!!! I LOVE LEFT OVERS!!! Make once and eat 2-5 times, YES PLEASE!
And who said oatmeal has to be for breakfast only! Take it to the office or to school for lunch. Another kid winner with apples in it or blueberries!
You know those lunch-ables that your kids probably always ask for... well time to make them YOUR WAY! Grab your own crackers, you own cheese, your own deli meat, your own (healthy) cookie or snack and make them! I make them and my kids get excited about what their snack is going to be.
The main thing I want to stress here is eating should be stress free. Eating should be enjoyable and an experience you are proud of and appreciate. Once you start stressing about what to eat and where to eat and how to eat, you loose the connection on the food that you are eating.
Being intentional with food is a great way to start.
Everything that you ingest has a job, either its the coffee in the morning to wake you up or the steak at dinner time with the family, it all has a role. And it's role is to nourish you and provide for you. Allow it to that, the best way it can!!!
When to reach for that "Gatorade"?


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A team of software developers has been awarded $250,000 for creating technology that could potentially help detect and remove slave labor from major supply chains, reported The Wall Street Journal. The award was presented by Humanity United and U.S. government agencies.
Trace Register and Sustainability Incubator worked together to create software that will allow seafood companies to more properly vet suppliers by determining the levels of risk for slave labor within their operations. The tech works by administering an online survey about sustainability and quality control, explained the source. These questions include things such as number of migrant workers in supply chains, recruiting practices etc.
Based on these answers, the software assesses different parts of the supply chain and the level of threat. It can even cross-reference information with other existing resources such as public data and non-profit research.
Unfortunately, slavery in supply chains is no new topic in the seafood industry. Late last year we reported on an AP investigation that uncovered just how deep slavery runs in the seafood industry. Huge names like Wal-Mart and Red Lobster were connected to forced labor via their shrimp suppliers.
According to the report, Thailand is a major contributor to this problem. Despite continued promises of reform, the country is plagued by unethical and low-cost labor. This very environment has led Thailand to become one of the biggest shrimp providers on the globe. The report interviewed former workers who claimed they peeled up to 175 pounds of shrimp daily for as little as $4 per day.
Not only did this report bring the supply chain slavery epidemic into the spotlight but it ended up winning a Pulitzer this year for public service.
This new technology is one of the many moves toward supply chain transparency due to an increased pressure from consumers, activists and governments alike, explained The Wall Street Journal. Effectively monitoring these supply chain relationships is no easy task, however. The global nature of business today means that supply chains are often complex webs with varying levels of oversight.
"The presence of forced labor in corporate supply chains is a systemic problem that has been difficult to address," said Director of Investments for Humanity United Catherine Chen. "It is our hope that these technologies will give business, workers, and governments helpful tools for greater transparency and visibility."
According to figures from the International Labor Organization, reported on by WSJ, there are an estimated 19 million victims of forced labor across the globe. This labor creates $150 billion in illegal profits annually.
Leaders across every spectrum of organizations will need to actively work to increase supply chain management and transparency to end the slavery epidemic. Technology such as the software created by Trace Register and Sustainability Incubator helps businesses everywhere move one step closer to this goal.


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Home3D PrintingSME and Wi3DP team up to advance workforce diversity in 3D printing
SME and Wi3DP team up to advance workforce diversity in 3D printing
SME and Women in 3D Printing (Wi3DP) have announced a partnership to build a more diverse and inclusive future additive manufacturing workforce.
The partners will combine their respective experience, programs, and networks to conduct four initiatives to close skill gaps within the industry and attract new talent to choose a career in 3D printing.
"SME has been enabling the development and growth of the additive manufacturing industry since the late 1980s and we continue to be inspired by its people and technology," said Robert Willig, CEO of SME.
"Collaboration is crucial, and we are excited to embark on this strategic partnership with Wi3DP, an organization that shares our passion for promoting and advancing additive manufacturing and creating a more inclusive industry for everyone."
Combining two equality powerhouses
SME has been operating for over a century as a non-profit association with the mission to advance North America's manufacturing industry. In recent decades, the organization has worked to grow and develop the 3D printing industry, forming the standards committee F-42 with ASTM in 2008, playing a key role in the launch of America Makes in 2012, and joining forces with Rapid News Group to expand the US' leading additive manufacturing trade show, RAPID + TCT.
The organization's more recent milestones include releasing its 2018 medical additive manufacturing report and launching its ITEAM online evaluation platform to help manufacturers determine if 3D printing is right for them. Alongside America Makes, SME's strategic partners in the 3D printing industry include the Additive Manufacturing Users Group (AMUG), TCT, and now Wi3DP.
Since its founding in 2014, Wi3DP has championed gender equality in 3D printing and worked tirelessly to drive greater female involvement in the sector. Through its reports on diversity in 3D printing, Wi3DP has investigated the industry's gender pay gap and how it can be addressed, and in 2021 the organization launched its TIPE 3D printing conference to provide a platform on which women can share their experiences, expertise, and visions for the sector.
Wi3DP's all-female keynote speaker lineup for TIPE 2022. Image via Wi3DP.
Building a next-gen diverse AM workforce
Through their combined expertise and resources, SME and Wi3DP are seeking to attract and develop the next generation of additive manufacturing employees with diversity and inclusion at its core. The partnership will benefit from SME's manufacturing resources and reach built up over 90 years alongside Wi3DP's network and programs to promote the benefits of a career in additive manufacturing and close skills gaps within the sector.
Four initiatives form the basis of the partnership. First, the organizations will co-produce the next iteration of Wi3DP's TIPE conference, TIPE 2023. Through this, the associations hope to deliver on their shared goal of offering 3D printing engagement and education year-round, including through digital platforms.
Hot on the heels of the conclusion of this year's show, SME and Wi3DP will launch the Wi3DP Showcase at RAPID + TCT 2023 in a bid to extend the value of TIPE with an in-person experience. Additionally, the organizations are launching a joint NextGen Mentorship Pilot program, expanding on Wi3DP's existing initiative, focused on building a diverse, next-generation additive manufacturing workforce.
The fourth element of the partnership will see the organizations co-author an annual Diversity for Additive Manufacturing report, with the first iteration planned for 2023. The report aims to provide an annual measure of diversity, equity, and inclusion within the 3D printing sector. In addition to observing how organizations are expanding and developing their workforce, the report will provide resources for companies to better access, understand, and action diversity, equity, and inclusion within their workforce.
"It is important that the additive manufacturing industry is reflective of the real world, and we want to send a clear message that it is for everyone," said Nora Toure, Founder of Wi3DP. "We were looking for a partner to help us access even more people in the additive community in more ways, and we are proud to join SME, with its decades of expertise, on this important mission."
SME Talent and Workforce reports. Photo by Michael Petch.
Addressing the AM skills gap
3D printing, alongside the manufacturing sector in general, has experienced an employee skills gap and issues regarding long-term workforce development, representation, and diversity for some time. In addition to SME and Wi3DP, others in the 3D printing sector are increasingly looking to tackle these concerns through various education initiatives and programs.
For instance, after publishing the results of its first study into existing skill gaps across the 3D printing workforce in 2020, the SAM consortium launched its European Roadmap for Additive Manufacturing which proposed strategic objectives and initiatives to address the challenges of the sector's critical skills shortage.
Elsewhere, PBF 3D printer manufacturer EOS has launched its student scholarship program, EOS Affirms, with the aim of opening up STEM education programs to minority groups and people of color, while the like of PrintLab and the CREATE Education Project have provided 3D printing licenses to schools and opened primary education 3D printing hubs.
Subscribe to the 3D Printing Industry newsletter for the latest news in additive manufacturing. You can also stay connected by following us on Twitter and liking us on Facebook.
Looking for a career in additive manufacturing? Visit 3D Printing Jobs for a selection of roles in the industry.
Subscribe to our YouTube channel for the latest 3D printing video shorts, reviews, and webinar replays.
Featured image shows a 3D printed Women in 3D Printing logo. Photo via Women in 3D Printing.
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Project Wingman
Project Wingman looks like Ace Combat 7 but with full VR support
By Fraser Brown 2019-02-04T16:32:45Z
You can play the free alpha demo now.
I wouldn't want to take Project Wingman for a spin after a heavy lunch, or simply with a normal stomach that isn't made of iron. It's an arcade dogfighter, not unlike the recently released Ace Combat 7, with jet fuel pumping through its arteries. Unlike Bandai Namco's aerial shooter, however, it's got full VR support and is available for some of the best VR headsets. Watch the nauseating battle above.
Project Wingman is an in-development Unreal Engine 4 dogfighter set in an alternate timeline where a multinational order, the Federation, controls one of the most valuable resources on the planet. A coup d'etat and rebellion have kicked off over its exploitation of said resources, with players sliding into the jet of a mercenary hired to fight in this civil war.
Multiple modes are planned, including a Free-Flight mode that just lets you enjoy a leisurely flight across the map, and the more in-depth Conquest mode. Pilots will need to fight bosses and ace squadrons in tricky territory capture battles inspired by roguelikes and RPGs, not just dogfighters. With cash earned from victories, new jets can be purchased, and pilots can even establish their own mercenary army.
VR support is planned across Story and Conquest mode, and if you can't hop into a digital jet without bringing your flight stick along with you, Project Wingman will have customisable controls fully compatible with HOTAS peripherals.
A free Project Wingman alpha demo is available on Itch.io.
Fraser Brown
Fraser is the sole inhabitant of PC Gamer's mythical Scottish office, conveniently located in his flat. He spends most of his time wrangling the news, but sometimes he sneaks off to write lots of words about strategy games.


Looking for a new L16 6v Access battery or suitable equivalent? New batteries in our Pegasus range have arrived for UK & EU markets. The GB6380 and the GB6420 are highly efficient and cost effective batteries for access platforms and scissor lifts. View the Pegasus deep cycle range for access here.


We have nothing but gratitude and appreciation for Aaron and his team. From the outset we were made to feel like we were priority clients #1; upon talking with other customers this feeling was obviously not unique to us. All our questions, queries and opinions were treated with consideration and respect which is all we could ask for.
We started the design process with some ideas of how we wanted the house to look and function and then Aaron took our ideas to the next level and made them a reality. He had the ability to create space where we could not and turn our simple squares into unique architectural flair. He often came up with multiple solutions to issues and helped us evaluate which alternative best suited our needs. We believe that Aaron's design process resulted in the perfect balance of individuality without compromising functionality.
Once the design was finalised Aaron has the contacts and expertise to turn drawings into construction. He has knowledge of local builders, tradespeople and suppliers that gave us choices and options of which we would otherwise have been unaware. Throughout the build Aaron and the team were available to reassure us and answer any questions we had.
The single biggest learning that we took away from the building process was that people who are recommended by others rarely let you down. Consequently we would not hesitate in recommending Aaron and his team to anybody considering building a home.
Aaron was the obvious choice for us to design our new home, as we have seen and loved a number of homes previously designed by him!
What we have really valued is Aaron's obvious design flair & passion for creating beautiful architecture. This, along with his attention to detail & commitment to helping us realise our dreams, was apparent from the outset!
Aaron and the team at LAD Architecture design beautiful homes! Driving through our local Cambridge area the LAD designs are distinctive as being well constructed, innovative and enviable homes. Cambridge Building is proud to have been involved with a number of projects designed by Aaron with the support of his LAD team.
We came to fully appreciate the LAD team's culture of excellence when we (Cambridge Building) became personal clients for the design of a St Kilda home in 2014. Aaron made detailed notes during our initial concept meeting and within a short time period, had a concept plan that covered our wish list and more. We found he had excellent ideas that enhanced our own and a competent team who were able to move the concept ideas into a full set of plans seamlessly. Once the home was being constructed, the design flair was apparent and the home's well thought out floor plan was complemented by many.
When I purchased my salon it was in desperate need of a major makeover, I had some ideas of my own but wanted some professional advice as I was stuck on the actual layout of the salon and what I wanted to achieve with it. I had heard great comments about LAD so gave them a go. Aaron and the team were fantastic, once I had explained to them what I wanted to achieve they said "not a problem leave it with us", Within a few days I had a floor plan.
LAD created our amazing salon - Lou Lou's Hair Studio Ltd. We love our new salon, it is so easy to work in and the clients love the design, atmosphere and modern look. We have been in it now for 8 months and love coming to work as the salon looks and feels fabulous.
Working with Aaron & the team at LAD was great. Their vision turned a house that was fit for demolition into a fantastic family home that ticks all the boxes we had in our 'dream home'. We would definitely use LAD again.


An economist says it will take much more than a ban on foreign buyers to fix New Zealand's housing market.
Housing Minister Phil Twyford said when Australia banned investors buying existing homes, $30 billion was poured into new housing.
He said he hoped the same would happen here, as the new regulations would still allow investment in new homes.
The new rules were expected to be in place by February.
The economist Shamabeel Eaquab said in Australia similar legislation helped create a building boom in Melbourne that had cooled the market.
"For New Zealand I think it makes sense for us to follow because we simply can't keep up with population growth and demand growth, and taking away a little bit of demand at the margin will help, but this is not going to be the panacea."
Estimates suggest only a small number of foreigners buy houses here, Mr Eaquab said.
Housing Minister Phil Twyford hopes the ban on foreign investors buying existing homes will be in place around February.


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