text:
Good Tuesday morning to Everyone. I have been absent from the Blogging scene for a few days and it feels good to be back.
Today our creative Inkin' Krew has some lovely projects to share with you, so, lets Hop!
My card uses my favorites: Leaflets framelits, Copper and Vintage Leaves stamps. I also chose to use my new Ranger Distress Oxide inks.
Using about six of the Distress Oxide inks, I just smeared them around on my craft mat, spritzed a LITTLE water and dragged my 8-1/2″ x 11″ sheet of Very Vanilla through it. I heat dried it, and repeated the process twice more, then touched up some bare spots with my Stampin' Sponge and Pumpkin Pie ink.
From this sheet I cut my front panel and dry embossed it with the Layered Leaves 3D Dynamic Textured Impressions Embossing Folder, making sure my painted side was the DE-bossed side. The debossing does show up in the photo. I just love this embossing folder, but then if it has leaves or trees, I like it! I also really like these fall colors.
This whole card was an experiment. The oak leaves were die cut using the Leaflets framelits after I stamped them using the Vintage Leaves stamps. Each one is different. Two of the leaves are cut from Wood Textures DSP, two different woods. One is stamped with Versamark and heat embossed using Copper Embossing Powder. The other one is stamped with Fossilized Amber Distress Oxide ink. One of the things I like about the oxide inks is that you can use a light color on dark paper and it shows. This is the leaf at the right side of the bunch.
The third leaf is stamped with Fired Brick Distress Oxide Ink on the previously inked Very Vanilla card stock. Remember, I did the WHOLE sheet? This allowed me to choose where to cut the leaf. I dry arranged these 3 leaves then liquid glued them to one another.
Next, using the acorn and leaf stamp from Count My Blessings stamp set, I stamped them in Versamark ink on a third piece of Wood Textures DSP and heat embossed them, also in Copper. There is no die for these, so I fussy cut them.
I tied them together by the stems using a length of Copper Trim and tied it in a bow. I took another length of the Copper Trim and spread it out to make a mesh, which I Tear & Taped to the painted, dry embossed panel, wrapping it around to the back and taping it securely.
This panel was adhered to an Always Artichoke mat with Stampin' Dimensionals. This was then liquid glued to the Crushed Curry card base.
For the sentiment, I chose the one from Paisleys and Posies stamp set, inked it in Versamark on a Wood Textures DSP and heat embossed it in Copper. Using my Paper Snips Scissors, I cut a flag end at the end of the sentiment, liquid glued it to a Crushed Curry mat and trimmed it, also with the Paper Snips. Stampin' Dimensionals adhered it to the painted panel, over the Copper mesh.
To the left of the sentiment, I used more Stampin' Dimensionals to adhere my grouping of oak leaves and acorns to the card front. There is an Amish general store not far from me, where I frequently shop. They have everything from books and boots to fabric and zippers, as well as bulk groceries. It was here that I found the little metallic leaf brads that I used, both on the front sentiment and on the inside.
On the inside, I used my Always Artichoke Stampin' Write marker to draw a border on my Very Vanilla insert, criss-crossing it at the corners. Then, I cut another leaf from the previously painted sheet of Very Vanilla and liquid glued it to the liner.
Again, with Versamark ink and Copper Embossing powder, I added the sentiment. This one is from an autumn themed Gina K stamp set. Another copper metallic brad finishes the inside, which is liquid glued to an Always Artichoke mat and into the Crushed Curry card base.
I have not done an envelope for this card as I am undecided as to how I want it to look.
Card Cuts: Crushed Curry: 7″ x 10″ scored at 5″, front sentiment mat 1-1/2″ x 3-1/2″; Always Artichoke: (cut 2) inside mat and outside mat 4-3/4″ x 6-3/4″, Wood Textures DSP: use 2 different 6″ x 6″ sheets for leaves, acorns and sentiment label; Very Vanilla: One 8-1/2″ x 11″ sheet for painting, inside sentiment liner 4-1/4″ x 6-1/4″
If you care to shop with me, just click on the Shop Online button at right. Otherwise, go on with the hop and visit Mary, or go back to Jaimie's page. If you get lost, the list is below.
Julie Johnston You are Here


text:
Headhunters (Hodejegerne): a professional headhunter, and art thief, risks everything he has to steal a Peter Paul Rubens painting from an ex-mercenary. The central story is absolutely brilliant, and it feels surprisingly fresh given the setup. It's plot and character driven in equal measures and it doesn't stop once it gets rolling. The film's punctuated with brutal graphic violence, although it's most often used as comedy (!!) to break the unbearable tension built up in pivotal chase / confrontational scenes; I never thought I'd laugh at a smashed up skull, dog abuse, or poop – but if you didn't laugh, you'd break down. Askel Hennie (a Christopher Walken lookalike) leads a great bunch of actors, and memorable but believable characters. Other than above, you can't really mention much more without risking spoilers. The film didn't need the quirky voiceover setup and wrap up – flat-out drama / thriller would have been sufficient – and some parts start to flirt with surrealism, but those are very minor niggles. Headhunters is well-directed, well acted, well written, funny, serious and dramatic crime caper… you couldn't ask for anything more. It's an absolute must see; European cinema at its best, and film of the year so far.
Score: 9/10

subset: commoncrawl


text:
Lightning Round 13: Once Upon a Time Bosses Answer Your Burning Questions
Will Emma get her powers back? Is Zelena gone for good?
With the Once Upon a Time finale upon us, TVGuide.com decided it's time for our 13th Lightning Round with the brain trust behind ABC's fairy-tale drama, executive producers Adam Horowitz and Edward Kitsis.
Lightning Round 12: Once Upon a Time bosses answer your burning questions
We grabbed your fan questions off Twitter and hit up Horowitz and Kitsis for a special finale edition of Lightning Round, in which the producers had the option to answer, "Yes," "No" or "Can't answer." Some of their answers, and possible non-answers, are pretty telling. Check them out below:
Will we ever find out why Zelena (Rebecca Mader) needed Regina's (Lana Parrilla) blood?
Edward Kitsis: I believe it was to confirm it was her sister and to deal with the blood lock.
Adam Horowitz: That may be a case of something that we answered, but we didn't answer it clearly enough for people to get.
Will we see more of the missing year?
Kitsis: No, we are done with the missing year at least for this year.
Will we see how Hook (Colin O'Donoghue) found Emma (Jennifer Morrison)?
Kitsis: We will find out how Hook found Emma.
Horowitz: We have not forgotten that little tidbit. That area of the missing year is explored-
Kitsis: Without us flashing back to it.
Horowitz: It'll make more sense when you see the finale.
Will Emma get her powers back?
Horowitz: Can't say.
Kitsis: Oh boy, watch live!
Was Rumple's (Robert Carlyle) proposal to Belle (Emilie de Ravin) just a distraction?
Kitsis: No.
Horowitz: It was genuine.
With Maurice (Eric Keenleyside) returning in the finale, will we learn any new information about Belle's mom?
Horowitz: Not this year.
Once Upon a Time bosses on shocking death and what's next
The lights flickered when Snow (Ginnifer Goodwin) and Charming's (Josh Dallas) new baby was born. Will that be explored?
Kitsis and Horowitz: Perhaps.
Love the redemption arc, but is Regina totally off the hook for all the things she has done?
Horowitz: No.
Kitsis: Of course not. Every day, we have to strive to be better people. Some days we give into weakness and sometimes we give into strength.
Will there be more death in the finale?
Kitsis: Yes, there will be death. It's just a matter of whether or not you'll care. It could be a major character or it could be Henchman No. 4, but death will be had.
Is there more to Dorothy (Matreya Scarrwener) than what we saw?
Kitsis and Horowitz: Perhaps.
Will the silver slippers come back into play?
Kitsis: Perhaps.
Can we expect more Robin Hood (Sean Maguire) next season?
Horowitz: Can't say.
Will we see any new realms next season?
Kitsis: Absolutely.
With Jared Gilmore quickly aging, will there be another time jump for next season?
Horowitz: We have him in cryogenic freeze right now and we're just going to be waking him up for filming.
Kitsis: Jared is pretty much what his age is in real life on this show, so we haven't really stopped his growth.
Horowitz: We did a time jump of a year this year that got us into the ballpark of where he is.
Kitsis: Actually, Jared is 47. The first show he was on was Mary Tyler Moore, so he's a pro.
Will we see Henry and Roland (Raphael Alejandro) bonding?
Horowitz: Not this year.
Kitsis: Oh! Actually, we might see some.
Will we see more of Sherwood Forest?
Kitsis: We will not see more of Sherwood Forest this season.
Horowitz: But maybe down the line.
Wonderland's Michael Socha to join Once Upon a Time next season
Is there a Charming and Robin Hood friendship in the cards?
Kitsis: They seem like they're on good terms. They had that nice bonding in the Rapunzel episode. I can't see them not being friends.
Horowitz: I don't think we're doing a guys' night out episode any time soon.
Kitsis: I don't know if they're going to bro out.
Horowitz: But I think they get along OK.
Might we see the Knave (Michael Socha) in the finale?
Horowitz and Kitsis: No.
Any chance Mulan (Jamie Chung) could return?
Horowitz: Not this year, but yes in the future.
Is there a chance of seeing more of Rebecca Mader after this season?
Horowitz and Kitsis: Yes.
Has anyone read the whole fairy-tale book and possibly knows the future?
Kitsis: Wow, can't say.
Be sure to check out our previous installments (Round 1, Round 2, Round 3, Round 4, Round 5, Round 6, Round 7, Round 8, Round 9, Round 10, Round 11 and Round 12).
Once Upon a Time's two-hour season finale airs Sunday at 8/7c on ABC.
View original Lightning Round 13: Once Upon a Time Bosses Answer Your Burning Questions at TVGuide.com
Related Articles on TVGuide.com
- Once Upon a Time bosses on shocking death and what's next
- Lightning Round 12: Once Upon a Time bosses answer your burning questions
- Wonderland's Michael Socha to join Once Upon a Time next season
Other Links From TVGuide.com


text:
Police work to link Sinn Fein leader to 1972 killing
BELFAST, Northern Ireland (AP) — Northern Ireland police are casting a wide net in their efforts to prove that Sinn Fein leader Gerry Adams once commanded the outlawed Irish Republican Army and ordered the 1972 killing of a Belfast mother of 10, said party colleagues and retired militants.
Details of an expanding trawl for evidence emerged yesterday as detectives spent a fourth day questioning Adams about the IRA's abduction, killing and secret burial of Jean McConville 42 years ago — an investigation that has infuriated his IRA-linked party.
Adams had been scheduled to be charged or released by Friday night but a judge granted police a 48-hour extension of his detention. Adams, 65, took part in the court hearing via a video link from the police interrogation center west of Belfast.
Sinn Fein's deputy leader, Martin McGuinness, said he had been told by Adams' legal team that detectives were questioning him about many of his speeches, writings and public appearances going back to the 1970s, when he was interned without trial as an IRA suspect and wrote a newspaper column from prison using the pen name "Brownie."
McGuinness, a former IRA commander who today is the senior Catholic in Northern Ireland's unity government, told a street rally in Catholic west Belfast that police would fail to prove IRA membership claims against Adams, as last happened in 1978, when Adams was arrested in the wake of a hotel firebomb that burned 12 Protestants to death.
"That case was based on hearsay, gossip and newspaper articles. It failed then, and it will fail now," McGuinness said in front of a newly painted mural of a smiling Adams beside the words, "Peacemaker Leader Visionary." Supporters at the rally — which took place across the road from the site of McConville's abduction — held signs showing Adams meeting Nelson Mandela in South Africa.
Aides to Adams and McGuinness said Catholic west Belfast residents with IRA affiliations had been approached by police recently, asking them to make statements about their knowledge of Adams' IRA activities.
And 200 miles to the south, in the Republic of Ireland, an IRA veteran who served 31 years in prison for murdering a policeman said a Northern Ireland detective knocked on his door seeking a witness statement. Peter Rogers, 69, said he refused.
Last month Rogers told the BBC he met both Adams and McGuinness in Dublin in 1980 to discuss their plans to smuggle stolen mining explosives from the Irish Republic to England for use in the IRA's bombing campaign on London. Rogers said Adams was annoyed because he had failed to deliver them by ferry across the Irish Sea.
Rogers said he told Adams and McGuinness that the explosives were unstable and could detonate while being transported. He said Adams rejected his concerns.
"Gerry said: 'Look Peter, we can't replace that explosive. You will have to go with what you have, and as soon as you can get it across, the better.' ... I was given a direct order," Rogers told the BBC.
Rogers, who in 1972 had escaped from a Royal Navy ship in Belfast used as a temporary prison to hold IRA suspects, was trying to move the explosives in October 1980 when two policemen stopped his van. He fatally shot one of the officers.
Before his Wednesday arrest, Adams rejected Rogers' claims as false. Adams has always maintained he was never an IRA member. According to every credible history of the modern Sinn Fein-IRA movement, he joined the outlawed group in 1966 and rose quickly through the ranks, becoming its Belfast commander in 1972, when he took part in the IRA's first face-to-face truce negotiations with British government leaders in London.
British authorities have struggled to convict senior IRA figures of membership in an outlawed organization, a charge that carries a maximum five-year sentence. To be successful, prosecutions of IRA members usually require forensic evidence or witness testimony. Commanders plan attacks but do not handle weaponry themselves to avoid creating forensic links. And people willing to testify against the IRA are rare, given the likelihood they will face death threats and be forced to flee their homes.
Sinn Fein said most of the detectives' questions being posed to Adams concerned allegations made by IRA veterans in a Boston College-commissioned oral history project. Northern Ireland police successfully sued in U.S. courts to get those audiotaped accounts for use against Adams and others allegedly involved in the McConville slaying, which the IRA long denied but finally claimed in 1999. Her remains were found in 2003.
Reflecting grass-roots Sinn Fein anger at police use of the Boston College tapes, graffiti appeared yesterday in Catholic west Belfast denouncing those IRA veterans who talked on tape as "touts" and "informers" — accusations that typically mean an IRA death sentence.
McGuinness has warned that Sinn Fein could reconsider its support for Northern Ireland's police force — a key 2007 commitment that enabled Sinn Fein to form a power-sharing government alongside Protestant leaders — if Adams is charged with a crime.
Should Sinn Fein withdraw support for law and order, Protestant leaders could end cooperation with Sinn Fein, unraveling a central accomplishment of the region's 1998 peace accord.


text:
Onarga Theater
101 W. Seminary Avenue,
2 people favorited this theater
Related Websites
Onarga Theater (Official)
Additional Info
Previously operated by: Kerasotes Theatres
Functions: Movies (First Run)
Styles: Streamline Moderne
Previous Names: Modernistic Theatre, Modern Theatre, Mode Theatre
Phone Numbers:
Box Office:
Nearby Theaters
News About This Theater
- Nov 16, 2013 — Onarga Theater saved
- Sep 8, 2012 — More theaters closing; unable to make the jump to digital
- Jun 28, 2010 — Onarga Theater update
Built in 1894 as a hardware & furniture store. By 1914 one part of the building had become a movie theatre. Opened in 1937 as the Modernistic Theatre, this movie house was built in Art Moderne style on Seminary Avenue. A few years after it opened, the theatre's name was shortened to the Modern Theatre. In the late-1940's, it was acquired by the Kerasotes chain, which renamed the theatre by shortening its name once again, as the Mode Theatre.
In the late-1990's, the theater was taken over by the same people who operate the Harvest Moon Drive-In in Gibson City. It is now known as the Onarga Theater.
Recent comments (view all 5 comments)
Recent photos of this theatre are HERE
Here is the theater's website:
There is a view of the Onarga on this site:
Article from News-Gazette (IL) 7/22/12
Onarga Theater owner Randy Lizzio needs $65,000 to buy a digital projection system to keep his movie house going. But he wouldn't think of asking a bank for a loan.
After all, the Onarga Theater, which shows first-run movies, barely breaks even.
So like the owner of the Harvest Moon Twin Drive-In Movie Theatre in Gibson City, Lizzio has turned to raising money for a digital fund.
So far, he has brought in $7,700, with about $2,500 of that coming from a taco dinner and a silent auction of donated and new items at the community center in Onarga.
"We've got a long way to go. We're hoping in the process prices will come down a little bit, and hopefully, we'll be able to meet our goal," Lizzio said.
Mike Harroun, owner of the Harvest Moon, needs to raise even more, roughly $165,000, for digital projection systems for his two screens as the film industry moves permanently from film to all-digital releases.
So far, his digital fund is about $7,000 — and nearly $80 of that came from three Bloomington girls who gave Harvest Moon the profits from the lemonade stands they put up twice in their town.
"They wanted to keep the drive-in there because they really love coming there," Harroun said.
Sanford Hess, operator of the Art Theater in Champaign, which turns a profit, but not a big one, knew he couldn't afford an $80,000 digital projection system. (The costs of the systems vary according to the size of the theater, distance from the screen to projection booth and other factors.)
So last year, he recommended that a community cooperative form and take over the Art. An interim board of directors was established and set a goal of raising $100,000.
The elected co-op board recently reported that it has unofficially reached its goal — unofficial because shares ($68 each) purchased since July 4 have not yet been counted. The board is now taking applicants for a manager and expects to take over the theater in mid-August, four months earlier than expected.
The Art is among a few smaller indie theaters that apparently have survived the digital tsunami. Others haven't been so lucky.
"It's like a train that's been rolling down the tracks for six years," Hess said. "Everybody saw it coming, and finally it's here. A lot of theaters will close. It's unfortunate."
Indeed, the National Association of Theatre Owners predicts that 20 percent of North American theaters, representing some 10,000 screens, will not convert to digital and will likely disappear from the American landscape.
Already, two area movie houses have shut down: the double-screen Gem in Villa Grove last year and Hoopeston's Lorraine Theatre in April. Both buildings are for sale.
Soon after the closing of the Lorraine — an art-deco house built in the 1920s for stage events and movies — a Hoopeston resident named Scooter (his legal name) established the Friends of the Historic Lorraine Theatre Facebook page, mainly to gather ideas from the "Cornjerker Nation" on how to preserve it.
'Unacceptable loss'
Why does saving small-town and indie movie houses matter? Michael Hurley, an owner of two independent theaters in Maine that have already undergone digital conversion, gave an answer to that in a commentary he wrote for Indiewire, published in February:
"I think of the millions of dreams and careers that have taken flight in a movie theater. I know that the economic development power of movie theaters has been profound. People want to live where there are theaters. For the same reasons that every successful city center, mall and downtown works to attract and keep a movie theater, small towns all over the world stand to lose a foundation that has kept them connected to the world. I believe the loss is unacceptable."
And contrary to what some believe, the U.S. government, unlike some other countries, does not offer grants to help movie houses with digital conversion. Historic theaters in the United States don't even qualify for tax credits for purchasing digital projection equipment, Hurley wrote.
Hess said people on both coasts are making the decisions that hurt small-town movie houses and drive-ins, mainly by arranging digital-projection system financing agreements that are available to only certain types of theaters.
The Art, Onarga and Harvest Moon do not qualify.
Via the agreements, Hess said, a third party basically buys the digital equipment on behalf of the theater. The third party is paid back by the movie studios over a period of time. The agreements don't always finance all the costs of digital conversion and carry restrictions and requirements.
So Harroun, Lizzio and Hess have been forced to be creative to try to continue to provide services they feel are important to their communities.
Harroun, for example, believes there is nothing more American than going to a drive-in movie. So far, though, only six of the nearly 400 drive-ins nationwide have been able to convert to digital, he said.
"A lot of mom-and-pop ones — they're going to close," he said. "They can't afford to convert; the money's not there. I have a tremendous business and can't afford it."
Angels needed
While Hess tells people to go to Harvest Moon now because it might not be around much longer, Harroun believes he will raise the money for the digital conversion at the theater he has owned for 23 years.
"I'm positive I'll keep the drive-in open. I just got to keep everybody on course," said Harroun, who also owns Angel Services, an automotive repair and sales shop in Onarga, where he lives.
For its digital fund, the Harvest Moon so far has sold T-shirts, and purses and wallets made of film. Harroun also plans a family-friendly concert with various acts, including a headliner, on Sept. 8 at his drive-in 30 miles north of Champaign.
He's selling $10 chances to win a 1967 Mustang he donated to the cause. The name of the winner will be drawn at the September event.
Like the Onarga and Art, Harvest Moon shows first-run movies seven nights a week. Admission is $6 a head with kids younger than 4 admitted free.
All three theaters also pride themselves on selling concessions at lower prices than the multiplexes; the Onarga Theater even sells fresh, homemade caramel corn.
Lizzio, who with his wife, Cheryl, bought the 215-seat Onarga four years ago, has been taking cues from the JEM Theatre in Harmony, Minn., when it comes to raising money for digital conversion.
The JEM turned to the community; it responded, donating more than $40,000 to the theater's digital fund.
Lizzio points out that Harmony and Onarga are around the same size. Harmony has 1,020 residents; Onarga, 1,368.
"They're like a success story; they were trying to raise the money, and they actually did it," he said. "It's very possible to do this because it's been done by other places. Even in this economy."
However, Lizzio realizes he and others in the same ship are running out of time. Though he's upgraded his movie house, including the addition of digital-ready sound, he needs a digital projection system. Fox Movies has said it will not produce any 35mm films in 2013 and beyond; theater owners believe other movie studios are roughly on the same track.
So Lizzio, who also owns a sign shop in Onarga and recently started a promotional go-kart business, plans to step up fund-raising efforts in September. One will be the screening of the 1949 Gene Autry movie "Loaded Pistols."
The single-screen Onarga Theater, which shows first-run movies seven days a week and charges $5 admission with kids 3 and younger admitted free, also sells T-shirts and on-screen advertising. All the profits from those sales go into the theater's digital fund.
Lizzio said the majority of his fund-raising efforts will continue to be geared toward giving people something for their money, though the theater has received some no-strings-attached donations.
"I'm still positive," he said. "I guess you have to go out, you can't just sit back and wait and hope that people will donate. You have to be constantly out there to make more people aware of what you're trying to do and educate them on what's going on. A lot of people don't know."
The theater building was constructed sometime before 1894 as a hardware and furniture store. Between 1907 and 1914, the western half became a theater. It's possible that this operated until a 1937 remodel replaced the facade and expanded the theater into both sides of the building.
Just login to your account and subscribe to this theater.


text:
No matter what sort of basketball uniform or jersey you are in search of, Gag Wears has the right collection for all your needs and requirements. Clinching in the market professional excellence in the entire process of uniform production and processing, we have nailed the odds in the market competition. Google for the leading basketball team uniforms manufacturers in El-salvador, and you shall mark our presence in that list.
Fit-knit material speaks for our product quality and efficacy. We emphasise on producing an extra comfortable fabric which works out the best for your level of comfort. You can go through our catalogue for the product specifications about the latest arrivals of basketball team uniforms in El-salvador. Our sense of original merging imparts the leading supremacy for your basketball skills and potency in the tournament.
Establishing ourselves as the prominent basketball team uniform suppliers in El-salvador, we owe our stringent market grip to the valuable contributions from our professional experts. With a wide array of designs, patterns, colours, you have the complete liberty to customise your basketball team uniforms as per your needs and requirements.


text:
(for users/customers residing in the European Union)
Data Privacy Overview
Our Privacy Notice was last updated on 7 April 2020
1. Overview contents
Data Privacy Law and our approach towards protecting your personal information
Your personal information and the Purposes for which we use your personal information
International transfers
Accessing correcting or updating your personal information
Your Legal Rights
Note: TVB News is a service provided by Television Broadcasts Limited (a company incorporated in Hong Kong).
Contact Us and further information
Data Privacy Law and our approach towards protecting your personal information
The Privacy Law protects your privacy and ensures that the personal information that we hold about you is processed fairly and lawfully.
Personal information is data that can identify you, such as your name, address, and contractual details. It does not include data where the identity has been removed (anonymous data). We are obliged to observe the six Data Privacy Law principles when we collect use disclose transfer and store your personal information to ensure the data shall be:
- processed lawfully, fairly and transparently;
- collected for specified, explicit and legitimate purposes and not further processed in a manner that is incompatible with the initial purposes;
- adequate, relevant and not excessive;
- accurate and kept up to date;
- kept in a form which permits identification of the individual for no longer than is necessary;
- processed in a manner that ensures appropriate security of the personal data.
2. Your personal information and the Purposes for which we use your personal information
We may collect, use, store and transfer the following different kinds of personal data about you: Identity Data, Contact Data, Technical Data, Usage Data, Marketing and Communications Data.
We explain these categories of data in Section B (The information use collect about you) of our Full Privacy Notice.
We use different methods to collect data about you, which are explained in Section C (How is your personal data collected) of the Full Privacy Notice.
We will only use your personal information when the law allows us to. Personal information which you provide to us or we collect from you or from a third party will be kept securely and will be used for purposes stated when the information is collected. For examples, we will use your personal information in the following circumstances:
- Where we need to perform the contract we are about to enter into or have entered into with you.
- Where we need to progress financial transactions, if any.
- To allow statistical analysis of information so we can plan the provision of Service:
we will retain and evaluate information on your recent visits to our app and how you move around different web pages (and how you use our Service) for analytic purposes to understand how you use our app and Service so that we can make the app (and Service) more intuitive.
we will keep a record of content that you have clicked on via the Service, watched, or subscribed and use that information to target advertising to you that is relevant to your interests, which we have identified based on such information.
- Where it is necessary for our legitimate interests (or those of a third party) and that your interests and fundamental rights do not override those interests. Please see the table below paragraph 1.4 of Section D (How we use your personal data) to learn more about what we mean by legitimate interests and when we process your data for our legitimate interests.
- Where we need to comply with a legal or regulatory obligation.
Please visit paragraph 1.4 Section D of the Full Privacy Notice to learn more about the 'purposes' for which we may use your personal information when we process your data.
Generally, we do not rely on consent as a legal basis for processing your personal data other than in relation to sending third party direct marketing communications to you. Please see paragraph 2, Section D (how we use your personal data) of the Full Privacy Notice for further details.
Where we need to collect personal information by law, or under the terms of a contract we have with you and you decline to provide that data when requested, we may not be able to perform the contract we have or are trying to enter into with you (for example, to provide you with goods or services). In such event, we may have to cancel a product or service you have with us but we will notify you if this is the case at the time.
For a description of the purposes we plan to use your personal information, and which of the legal bases we rely on to do so, and what our lawful basis/legitimate interests are where appropriate are set out in the table below paragraph 1.4, Section D (how we use your personal data) of the Privacy Notice.
Third-party links
Our app and Service may include links to third-party websites, plug-ins and applications. Clicking on those links or enabling those connections may allow third parties to collect or share data about you. We do not control these third-party websites and are not responsible for their privacy statements. When you leave our app or Service, we encourage you to read the privacy policy of every website you visit.
3. International transfers
We may transfer, store and process your personal data outside the EU/European Economic Area. More detail can be found in Section F of our Full Privacy Notice.
4. Accessing, correcting or updating your personal information
You can access correct delete modify or update your personal information and marketing preferences by:
Emailing our Data Privacy Team at firstname.lastname@example.com
5. Your Legal Rights
Under certain circumstances, you have rights under data privacy laws in relation to your personal data including the right to receive a copy of the personal data we hold about you and the right to make a complaint at any time to the relevant competent 'supervisory authority' in the EU for data protection issues under the General Data Protection Regulation (EU) 2016/679 (Data Privacy Law). We would, however, appreciate the chance to deal with your concerns by contacting us (firstname.lastname@example.com) before you approach the supervisory authority so please contact us in the first instance.
You are entitled to:
- Find out what personal information we hold about you,
- Ask for out of date or inaccurate data to be updated, corrected, erased, or destroyed,
- Request that we do not use personal information to send you marketing information,
- Request that decisions about you are not made solely by an automated process,
- Request that we provide a copy of personal data you have provided to us and in a format which will allow you to transfer the data to another data controller,
- Request that we cease to process (or suspend processing) your data if you believe that the processing will cause you harm or distress
More details can be found in Section I (Your legal rights) of our Full Privacy Notice.
6. Contact Us and further information
If you wish to exercise your legal rights in respect of the personal information we hold about you, please contact us by email at firstname.lastname@example.com or write to the Data Privacy Team, TVB News at Television Broadcasts Limited, TVB City, 77 Chun Choi Street, Tseung Kwan O Industrial Estate, Tseung Kwan O, Kowloon, Hong Kong. For your protection, we may need to verify your identity before implementing your request.
Please contact us immediately should you have reason to believe that the security of any of your account with us might have been compromised.For more information on how we process your personal data including on data security, data retention and lawful processing bases, please access and see Sections G (Data Security) and H (Data Retention) of our Full Privacy Notice.


text:
Yahoo pays CEO $1.1M bonus for five months of work
Yahoo CEO Marissa Mayer received a $1.1 million bonus for her first five-and-half months running the Internet company.
The award disclosed Wednesday supplements Mayer's annual salary of $1 million and $56 million in long-term stock compensations that she received after Yahoo Inc. lured her away from Google Inc. to become its CEO last July. The amount included $14 million in stock to offset the loss of money that she would have received had she remained at Google.
The 37-year-old Mayer is eligible for an annual bonus of up to $2 million. Yahoo adjusted last year's bonus to reflect that Mayer spent less than half the year as CEO.
Yahoo shareholders are unlikely to quibble with Mayer's bonus. The company's stock has risen by 46 percent since Mayer became the boss.
Copyright 2013 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.


text:
Our top of the line Raiden Plus top-entry mixer offers extreme durability and increased mixing power from most other agitators. Designed for applications over 1,000 gallons and a wide range of viscosities, the Raiden Series provides a low maintenance and long lasting mixer solution to your process. The Raiden Plus mixer is equipped with a 1 horsepower Totally Enclosed Fan Cooled (TEFC) electric motor. The motors are IP55 rated enclosures that protect against water spray and dust ingress. Raiden Plus motors are rated and badged for 230/460V, 3 Phase 60Hz or 200/400V, 3 Phase 50Hz operation. These motors are also inverter rated and can be safely wired into a variable speed control system. All Raiden Plus mixers utilize a helical gearbox to provide high torque in even the most challenging applications. The wetted materials are constructed of 316 or 304 grade stainless steel for high corrosion and abrasion resistance. This Raiden Plus mixer attaches easily and securely to a bridge or plate attachment on a vessel. Select your desired mixing shaft length and two appropriately sized hydrofoil impellers will be matched to your mixer.
- Item Number RDNPLUS010P-80
- Enclosure type IP55
- Gearbox ratio 24.97:1
- Horsepower 1 HP
- Impeller attachment Keyed with set screws
- Impeller diameter 34 in.
- Impeller material 316SS
- Impeller type Hydrofoil
- Lead time 20 Business Days
- Motor type TEFC Electric
- Mount Plate
- Mount dimension 12x12x3/8
- Number of impellers 2
- Phase 3 Ph.
- Rpm 70
- Shaft diameter 1.5 in.
- Shaft length 80 in.
- Shaft material 316SS
- Voltage 230/460V
- Weight 235 lbs.
What shipping methods do you offer?
UPS Package, FedEx Package, FedEx Freight
What are your payment options?
Credit Card and Pay Pal
Where are you shipping from?
All products are shipped from our plant in Jeffersonville, Indiana.
What time zone are you in?
Eastern Standard Time (NY)
How do I purchase with a PO?
Contact our sales team at email@example.com
What does lead time mean?
Lead time is the average number of business days until the product ships, it does not include shipping days.


text:
In an editorial in its weekend edition, The Wall Street Journal, picking up where editorial writer Stephen Moore left off five weeks earlier in his piece touting a report by the Republican staff of the Joint Economic Committee, compares the powerful 1983-84 recovery from the 1981-82 recession with the anemic recovery since 2009 from the 2007-09 downturn. And guess what? The Journal finds the present recovery wanting.
No surprise there. Everyone knows that this recovery is feeble and that, in a very real sense, the Little Depression is ongoing. But the Journal, of course, wants to teach us a deeper lesson by comparing these two recoveries. The 1983-84 recovery was presided over by none other than the Journal's hero, Ronald Reagan, in the full bloom of supply-side economics while the current recovery is the product of the detested doctrines of Keynesian economics embraced by the misguided Barack Obama.
This tale of two recoveries is an object lesson in economic policy. Taking office in 2009, President Obama embarked on one of the greatest reflation bets in history. He deployed the entire arsenal of neo-Keynesian policies to lift domestic demand, much as former White House economist Larry Summers still instructs at Harvard and most of the media still recommend.
So Congress deployed nearly a $1 trillion in stimulus, plus a battalion of temporary and targeted programs: cash for clunkers, cash for caulkers, tax credits for home buyers, 99 weeks of jobless benefits, "clean energy" grants, subsidies to states, and so much more. We were told that every $1 of this spending would conjure $1.50 in new economic output. The Federal Reserve has also more than cooperated by keeping interest rates near-zero for 31 months.
The Journal tells a good story, but the actual data tell a different one. The revised national income accounts data show that measured as a percentage of GDP, federal spending increased from 20.6 percent of GDP in the fourth quarter of 2007 when the downturn began to 25.4 percent of GDP in the second quarter of 2009 less than six months after Mr. Obama took office. Since then federal spending has held steady at about 25.5% of GDP. So most of the increase in federal spending relative to GDP was already in place by the time Mr. Obama took office, reflecting not a significant amount of new spending but rather the contraction of the economy. A relatively constant amount of spending increases as a share of GDP when GDP shrinks.
[Added 8/1/11 8:35PM. I should acknowledge that I overstated my caee here, as one of my commenters noted below. Federal spending did increase by almost 9% in real terms in the second quarter of 2009. GDP in the second quarter was just about flat, so it was the increse in spending that accounted for the increasing share of federal spending in GDP. Of course, without increased federal spending, GDP would likely have been even less than it was. In addition, since real federal spending during the 1981-82 recession was increasing under Reagan, it is plausible to assume that a substantial portion of the increase in federal spending in the second quarter of 2009 would have taken place even without Obama's stimulus program. So the correct statement is that even without Obama's Keynesian fiscal policy, the share of federal spending in GDP would have risen to between 24 and 24.5% rather than 25.5%.]
The patterns in the 1981-82 recession and the 1983-84 recovery are instructive in both their similarities and their differences. In the third quarter of the 1981, the last quarter before the downturn, federal spending as a share of GDP was 21.6%. When the downturn hit bottom in the fourth quarter of 1982, federal spending as a percentage of GDP was 24.1%. If the economy had continued to contract, federal spending relative to GDP would undoubtedly have continued to increase. When the economy did begin to expand, federal spending relative to GDP declined only slightly under President Reagan, staying over 22% until the last year of his second term, while tax revenues actually declined relative GDP, going down from 19.9% to just over 18%, where they stayed for most of his two terms.
In the 1981-82 recession, the decline in real GDP was about 2.7%; in the 2007-09 downturn, the decline was about 5.1%, nearly twice as much. In 1981-82 spending as a share of GDP increased about 2.5%, in 2007-09 federal spending relative to GDP increased about 5%, twice as much. So the Journal has it almost exactly backwards; the rise in federal spending since the downturn in 2007 reflects, for the most part, the depth of the downturn. It was not, as the Journal bizarrely alleges, a reflation bet made by Obama, much less "one of the greatest in history."
So how does the Journal explain the exceptionally slow pace of this recovery? The Obama administration has frightened businesses and consumers.
An economy recovering from financial duress [sic] needs incentives to invest again, not threats of higher taxes. It needs encouragement to rebuild [sic] animal spirits, not rants against "millionaires and billionaires" and banker baiting. It needs careful monetary management, not endless easing that leads to commodity bubbles and $4 gasoline.
Such an economy also needs consistent and restrained government policy, not the frenetic rewriting of the entire health-care (ObamaCare), financial (Dodd-Frank), and energy (29 major EPA rule-makings) industries.
This is beyond pathetic. Profits and stock prices have recovered smartly since the economy hit bottom in the second quarter of 2009. What reason is there to suppose that, if businesses saw profitable opportunities to expand output and employment, they would forego those opportunities because they are afraid that the Obama administration would say unkind things about them? "Millionaires and billionaires" are always easy targets for politicians, and we have little reason to suspect that they are, as a class, easily intimidated or deterred from doing what they can to further enrich themselves by an occasional unkind remark by a politician, even if he happens to be President of the United States. And it is simply preposterous to suppose that if businesses thought they could make more profit by increasing output and expanding employment than by streamlining their operations, that they would not choose to make the larger profit, whatever the politicians might be saying. Does the Journal believe that the business climate is now worse than it was in 1971-72, when Richard Nixon imposed wage and price controls on the entire US economy, railed against the obscene profits of oil companies, and coerced Arthur Burns to open the monetary spigots to fuel a short-lived boom, albeit long-enough lasting to ensure his landslide re-election?
In 1971-72, rapid monetary expansion was unnecessary for recovery, but effective in achieving the goal for which it was implemented. In 2011, however, though necessary for recovery, monetary expansion has, appearances to the contrary notwithstanding, not been implemented, banks having been induced by an interest rate almost double that on 6-month Treasury bills to hold all the newly created reserves idle in their accounts with the Fed.
The Journal accuses Obama's economic advisers of being unable to explain the failure of their economic policy advice. Perhaps they are. But some of us, especially Scott Sumner and, before his untimely passing a year ago, Earl Thompson, have been arguing all along that it was tight monetary policy that got us into this mess, and that monetary policy, despite appearances, had remained tight making recovery impossible. The malign effects of paying interest on reserves were identified almost immediately, and warnings that the policy would undermine the effectiveness of quantitative easing were issued from the get-go. Everything that has happened since has confirmed the validity and prescience of the initial analysis of the downturn and of the warnings about how paying interest on reserves would undercut monetary policy to promote recovery.
The Journal would do well to consider the possibility that there may be other explanations for the Little Depression of the past three years than the simplistic "us vs.them," "supply-side vs. Keynesian" view of the world seemingly governing the pronouncements of its editorial page. Sophomoric outbursts like the one in last weekend's edition bring no credit to a once venerable journalistic enterprise.


text:
On 15/6/12 @11.40 am, I had a private meeting with Foreign Affairs and Law Minister Mr Shanmugam in his office. It lasted for about an hour. Only the Minister, myself and one of his trusted grassroots assistants Henry were present.
The meeting was arranged by Henry. He dropped me an email dated 1st May. Subsequently, the PA was able to fix it on 15 June which was my off day. I arrived there much earlier at about 11.15am. I had to clear three security barriers – the main entrance to The Treasury building, scanned all my personal belongings and walked through the metal detector, exchanged a security pass, passed through another set of security gate to the lift. Even on the floor of his office, I had to pass through yet another security gate before meeting the police security officer outside his office. Henry came later and we introduced ourselves. We chatted briefly whilst waiting for the Minister who was having a meeting in his office.
Henry told me that he is working in the finance sector. He is a volunteer and help out in the Minister's ward. His area of responsibility includes the new social media where he monitors and reports to the Minister. He declares that he is a fan of my blog. I took an immediate liking to him cuz he is so humble and friendly even though he is CEO of an investment company.
When the PA summoned us to the Minister's office, I was shown to the comfortable chairs at the corner of his spacious office. He was wearing a simple long sleeve shirt with a dark colored sweater and we sat down. He looks serious but friendly with his hair clearly thinning and exposing his shining pate. He shook hands with me and thanked me for coming to see him.
I briefly introduced myself to him. He then told me that he read my little article and he wanted to find out more of it. He also read some other articles on my blog. He just wanted to discuss with me some of the current issues. From the word go, we started an amicable discussion of current issues ranging from housing affordability, ever popular immigration issues, social welfare spending such as medical, CPF, defence expenditure, jobs etc. There were many more issues which we did not even mention due to lack of time. The one hour allocated to our meeting just whisked pass in a moment.
Minister Shanmugan seemed to be very concerned about housing affordability mentioned on my blog here. He explained to me about HDB pricing policy. According to him, all state land is under reserves. If a piece of land is needed to build a block of HDB flats, the government will have to pay for this piece of land into the reserves. It is the same for private development or other uses. He promised to talk about housing again when we next meet.
Minister Shanmugan assures me that every Singapore citizen will definitely have a flat provided he has a job. No citizens should be deprived of his ability to get a HDB flat as a first timer newly married couple. He says the government gurantees that everyone will get a flat at an affordable price. Of course, if you sell off your flat and then spend all the money from the sale of the flat, it's a different story he says. When I mention about divorce cases etc, the Minister says that the government will still help on a case by case basis. He then asked me to provide details on TO Zaidi Blond's case so that the Minister can understand the facts better. I agreed to provide details. He also said that even where people are on a very low income, government gives a lot of subsidies, to help them buy a flat.
When I told the Minister that train drivers in UK are earning about 50,000 pounds per year, he said that figure needs to be checked. Minister Shanmugan says that assuming it's correct, the position of a British train driver and a Singaporean one will have to be considered after the different taxes in Britain and Singapore, and the fact that the Singaporean will get subsidized housing and children will in general get better education. He promised to go through the data with me the next time we meet. He also agreed with me that salaries should be looked at again, as we go forward.
I then told him that in UK or many European countries, basic items do not have GST. In Singapore, though our GST is only 7% compared to theirs ranging from 20% to 25%, I would still prefer their system. He then made a number of points. The difference between paying 7% and 20% is very big, and people will feel it. Second, most of the GST is paid by the top 20% of the population, and foreigners. The lower income gets GST offsets, and other payment including rebates. The GST was in effect a system of transferring money from the wealthy to the less well off. The government will have to spend lots of money and resources to maintain a mechanism to monitor the so many loopholes resulting in lesser GST collected and spending more with the net result of less revenue. A friend of his shared a real-life example: a traveller was buying a piece of painting having to pay about 3000 pounds of GST. When the shop owner sensed his reluctance to pay the extra 3000 pounds in GST, he offered to classify it under "educational aid" to avoid paying the GST. These loopholes will benefit the rich more than the poor, and reduce the amount the government gets to spend on the less well off.
It's better that Singapore enforces a flat rate of 7% GST on everything. The GST collected is then used to help the people with lower income, and GST rebates are given as well. Our approach is to have everyone pay GST but target the support to the lower income. This is more efficient. He promised to show me some figures the next time we meet.
According to Minister Shanmugam the top 20% income earners, companies, and non-Singaporeans pay 84% of the total taxes in Singapore to finance our $52 billion government budget expenditure. The rest pay only 16% of the total taxes. In other words, we are really depending on the top 20%, companies and foreigners to sustain an important part of our budget and government expenditure. This is rather shocking to me.
Still I pointed to him that the influx of immigrants is really sore point. Citizens are unhappy over the large number of immigrants. It is a fact that the government cannot ignore. I cited figures of nearly 1.8 million (include PRs) out of our 5.2 million population yet the government still wants to bring in despite the current figures. Minister Shanmugam clarified that this figure of 1.8 million includes people who work as househelp and construction workers. These are jobs that Singaporeans don't want to do. There are many other jobs that Singaporeans don't want to do, and we have no choice but to have foreigners come and do these jobs.
Minister Shanmugan acknowledged the widespread unhappiness over new citizens and immigrants. But he warns that a massive grey tsunami is coming to Singapore in another 15-20 yrs time where only 2 to 3 Singaporeans will be working for every senior citizen who will not be working. We need those immigrants in their prime to boost up the economy and support an aging population. I countered that with so many immigrants; we are diluting our identity and creating social problems. He agreed that there are problems but asked me to consider what will happen without some immigration. We will suffer serious decline in the future. He said that if the government was simply populist, the easiest thing to do will be to completely close off immigration. But that will affect our young people most by increasing their tax burden in the future, and seriously affect our economy, our jobs and livelihoods. He said that the government will have to explain these issues better. An aging population, and a declining birth rate will impose severe costs on Singapore. If we don't deal with it now, it will be too late. He said that this is one of the most serious challenges facing Singapore, and we need to discuss these issues, seriously and carefully, as a country.
When I commented that bringing in more immigrants to compete for jobs with locals, he said that bring in foreign workers is to increase the economy so that our workers will get better jobs and better pay. He said that the statistics show that in the years when more foreign workers came, the salaries of Singapore workers grew more, because the economy grew well. Our employment rate is at below 3% and that is lower than many countries. We have tightened up on the flow of foreign workers, but as a result many companies are now facing difficulties and are very unhappy. He was concerned that if many companies are unable to carry on their business, then our workers will start losing their jobs as is happening in many places in the wrold. He also said that though companies bring in foreign workers, MOM has set up a unit to look into unfair practices. If Singaporeans are discriminated against, MOM will deal with it. I then quoted two of my Indian colleagues' wives who could not get a job with NTUC cuz they preferred Chinese. NUTC recently went to China to mass recruit workers. Minister Shanmugan straightaway asked me for the full details of the two quoted cases. He would want to investigate. He again added that complaints on unfair practices can be made to MOM and MOM will look into these issues.
One of my colleagues came from HDB parking enforcement section. Many of us are aware that HDB shut down its car park operations and then outsourced to a sister company. The same car park enforcement officer is still performing the same job but this time under different management in the sister company with reduced pay and benefits. This is clear cut cost cutting measure tantamount to exploitation which he agreed. I told him that should not be the way. It's an easy option out. It is also happening in other places such as airport SATs services etc. He said that he would send my feedback to his colleagues.
The Minister seemed taken aback when I told him that many Singaporeans are going over to JB to buy the exact medicine which is about a third of what it costs here. In fact, some doctors even encourage patients to procure their medicine supply from JB. He replied that he would look into it.
To my next question on why the government or CPF charges an "admin fee" when I use my own CPF to pay for my medical fees in polyclinic and hospital? Do I get charged for using my own money in the bank to pay for purchases? He will pass my message onto the relevant agency. He seemed to understand my point, and I won on that.
Minister Shanmugam's PA kept reminding him of his 1.00 pm lunch appointment. With that, when it was late, he had to leave. I thanked him and told him that I will blog about this meeting.
I had prepared many questions but didn't have the time to seek his enlightenment. Questions such as "Why Singapore could not produce world class brands or enterprises like Ikea, Samsung, LG, Assus or HTC?" Instead our economy is controlled mostly by GLCs and NTUC enterprises? Why do we only have SPH who is always headed by an ex-PAP Minister? These are persistent questions that need to be addressed by the government if it is sincere and genuine in the long-term interests of our country. Like what Minister Shanmugam says it will take him more time to answer them at another time till we meet again.
"The opinions expressed here are my own and do not reflect the official policies, practices or opinions of SMRT or any organisation with which I may be affiliated."


text:
This week we get into more summer music, politics or the lack there of, and Slim This comments on other peoples business. Check it out.
Tag: entertainment
11th Draft: It's A Man Thing
This week we talk about Faith Evans and the unspeakable, your President Donald Trump, and we get a bit heavy with the extra syrup.
10th Draft: Stay Petty & Focused! Feat. Durag Fest Creators Lica Mishelle, DJ Fannie Mae, and Dammit Wesley
Always keeping our finger on the pulse, this week we chat with the creators of The Durag Fest!
9th Draft: The Struggle for Black Excellence
The struggle for black excellence is real. The Carters are goals and XXXTentacion vs. The Internet.
8th Draft: Love and Scandals
This week got a little deep when we asked the question, what would you prefer, Love or Compatibility?
7th Draft: What's Beef?
What's Beef? Drake and Pusha T seem to have the same question…Yikes.
6th Draft: The Slayage Continues…
Listen As We Share Our Thoughts On The Slayage That Is #Beychella, Avengers: Infinity Wars, And So Much More.
5th Draft: Bag Secured!!
Prison Bae secures the bag, Cardi B says Be careful and SZA gives us a look into Camp CTRL. Join us this week as we discuss how everyone's securing the bag, except us, and how F-A-B-O-L-O-U-S has lost his damn mind.
4th Draft: Woke-ish…
To catch up on our missed week we doubled back to give you guys the next installment of Nabish Pancake! In episode #4 we discuss: Hannah might be Woke-ish, Michael is NOT here for Fat Drake, and A Wrinkle in Time.
3rd Draft: The Takeover
The 3rd installment of Nabish Pancake is back people. Join us as we talk about black film makers taking over and what else, oh yeah Beyonce's Back!!!!


text:
Pa. governor to sue NCAA over Penn State sanctions
Harrisburg, PA – Pennsylvania governor Tom Corbett said he is suing the NCAA over sanctions the organization levied against Penn State last summer in the wake of the Jerry Sandusky child sexual abuse scandal.
A four-year football postseason ban, five years probation and a vacation of all wins dating to 1998 were among the significant penalties revealed by NCAA president Mark Emmert last July.
Corbett, in a news conference Wednesday, called the NCAA's actions "overreaching and unlawful." He said the penalties would result in "irreparable economic damage to the university, the commonwealth and its citizens."
Penn State was also slapped with a $60 million fine that the NCAA said was to go toward an endowment for "external programs preventing child sexual abuse or assisting victims."
Corbett said the lawsuit, filed Wednesday in U.S. District Court in the state capital of Harrisburg, will ask for all sanctions, including the fine, to be thrown out.
In response, the NCAA issued a statement and said the lawsuit appears "to be without merit" and "is an affront to all of the victims in this tragedy."
The university was punished for its collective failure to report Sandusky, a former assistant football coach who was convicted on 45 counts of sexual abuse against 10 boys over a 15-year period, to the proper authorities.
"While what occurred at Penn State was both criminal and heinous," Corbett said, "the conduct for which Penn State was sanctioned consisted of alleged failures to report criminal activity on campus that did not impact fairness or integrity on the playing field."
Penn State was penalized without the usual lengthy NCAA investigation. Instead, the NCAA relied heavily on the Freeh Report, the findings of an investigation commissioned by Penn State's board of trustees and conducted by former FBI director Louis Freeh.
The Freeh Report accused many Penn State senior officials, including the late Joe Paterno, school president Graham Spanier and athletic director Tim Curley, of concealing "critical facts relating to Sandusky's child abuse from the authorities, the board of trustees, Penn State community, and the public at large."
Corbett said the NCAA forced Penn State into the sanctions, threatening the university with the "death penalty," a complete shut down of the football program for four years, if the school fought the issue.
"These sanctions did not punish Sandusky for his despicable and criminal action," Corbett concluded. "Nor did they punish the others who have been charged criminally. Rather, they punished the past, present and future students, current and former student-athletes, faculty members, local businesses and the citizens of Pennsylvania who have come to cherish this great university."
The NCAA's response added that Penn State has "accepted the consequences for its role and the role of its employees and is moving forward. Today's announcement by the governor is a setback to the university's efforts."
Paterno was fired as Penn State's head coach in November 2011, just days after Sandusky's arrest, and died of lung cancer last January.
Penn State, under first-year coach Bill O'Brien, had a successful season with a record of 8-4.


text:
This site is intended solely for use by IHS Markit authorized users. Use of this site is subject to the Legal Notices, Terms for Use and Privacy Statement located on this site. Use of the site by customers and partners, if authorized, is also subject to the terms of your contract(s) with IHS Markit. Use of this site by IHS Markit employees is also subject to company policies, including the Code of Conduct. Unauthorized access or breach of these terms may result in termination of your authorization to use this site and/or civil and criminal penalties.
DMA® is a registered service mark of The Nielsen Company (US), LLC, and is used pursuant to a license from The Nielsen Company (US), LLC. All rights reserved.
©2006-2020 TomTom International B.V. All rights reserved.
IHS Automotive Product Help Desk please call 1.800.876.5526


text:
Hello every one,
I am going to spare you all the usual explanations as to why I have been so absent in blog world, except to say we are all good here and I have been having fun planning a trip, but more on that later. Whilst I haven't been blogging much I have been busy with miniatures. I actually finished all the textile aspects of the Twins room and am now working on the furniture, hopefully I'll be finished in time for a nice Christmas post....fingers crossed. So without too much waffle and quite a few pictures I will show what I've been up to.
Now the top photo is there because you all know I love a sneak peak, it's also gives the best view of the blind I made to go under the sheer curtain, which I might add was made from a piece of my favourite beach dress that I happen to tare.
I used the same fabric which is a cotton voile for the blue bed cover and chose a quilting fabric with a tiny blue rose for the coverlet on the bed and the canopy. The rose fabric was a pure white but I decided I wanted to break the starkness of all the white by antiquing it so I tea dipped it all before sewing. I like the white and cream together and I think it brings out the antique rose on the fabric of the wing backed chair which you can see in a later photo.
For the valance I used a cotton voile napkin that had a lovely edging that sat so beautifully and covered the underneath of the bed, a great place for the twins to hide sweet treats they are not supposed to sneak from the kitchen....; )
A close up of the rose fabric cushion trimmed in lace and the contrasting fabric I lined the canopy with.
A close up of the chair fabric and inside of the canopy.
The bed on the other side
Close ups of the coverlets
A peak through the window because you know I like them!
A view of the room as a whole which I'm a bit disappointed in because it doesn't show it's depth, it really is a large room.
The lace trimmed pillow
A close up of the rose curtain tie
This one just because I like it!
And this because I haven't even begun to show you some of the sweet little items I have collected for the room, that might have to wait till Christmas....; )
Well, I hope you all enjoyed, I have bombarded you with photos but I wanted to cover everything, overall I did a bit of research on girls bedrooms of the 1930s and 40s and this type of traditional floral on floral theme seemed to be the style of the time, whilst it wasn't what I had pictured when I first imagined decorating the house it has certainly evolved into something I love and as time goes on I realise how similar it is to painting, it's all about telling a story and I hope you see one emerging here.
Much love to you all and a very warm welcome to my new followers.
Fi XXXX


text:
|Andere Sprachen: English - Nederlands - Deutsch - Ελληνικά - Español - Français
Note that Canada extended copyright non-retroactively to 70 years p.m.a. starting in 2023 for people who died in 1972 and later, so information on this site is STILL BEING UPDATED and information found elsewhere may be outdated.
'Public Domain' means a work is no longer protected by copyright and can be freely distributed.
For an Introduction to copyright and the public domain, see: Copyright Made Simple
IMSLP follows Canadian copyright laws because the main IMSLP servers are physically hosted in Canada.
To simplify, Canadian copyright expired 50 years after the death of the composer or other author for authors who died in 1971 and earlier, and will expire 70 years after death for those who died in 1972 and later. Only works first published in countries that are members of the WTO or Berne Convention are subject to copyright in Canada. In most cases this applies retrospectively, unless the work was already public domain in the country where it was first published when either treaty was signed.
Works published before 1928 are public domain in the US, but may not be in Canada and other countries. These US-only public domain works are hosted separately by IMSLP-US, but are searchable from this site. Users cannot upload these files through the normal upload forms as as all normal uploads are uploaded to the main servers (located in Canada). To add a file to the US server, switch to the Classic Skin (link at the bottom of the page if you are using the Modern Skin), go to upload a file on the work page and follow the link in the expanded explanatory text to get the US upload form.
The copyright expiration year depends on the death year of "last surviving contributor" (composer, arranger, editor, author of text, etc.).
Some groups will re-print public domain editions with no new editing and write "copyright 20XX" even though the work does not qualify for copyright protection. This is known as copy-fraud, and despite the claim, the work is in the public domain. The copyright claim can usually be found on the bottom of the first page of a score.
While works in the Canadian public domain that remain protected in the US are allowed for inclusion in the archive, it is possible that scanning and uploading such a work could constitute a violation of the US law for those who reside in the US.
The following tables apply to 2023. The term "author" refers to either the composer, an orchestrator or arranger, an editor of a non-urtext edition, or an author of text which was set to music by the composer. Under nearly all life-plus XX years statutes, this refers to the last surviving author.
|Author's death
|life+50 countries
|United States
|EU, Russia,
life+70 countries
|Template to be used on IMSLP
|< 1953
| None: always public domain
|> 1972
|Author's death
|life+50 countries
|United States
|EU, Russia,
life+70 countries
|Template to be used on IMSLP
|< 1953
unless proof of non-renewal is provided for US-published works‡
| Template:WorkNonPD-US
|> 1972
|Year Published
life+50 countries
|United States
|EU, Russia,
life+70 countries
|Template to be used on IMSLP
|before 1928
|None: always public domain
|File: Template:FileNonPD-US
|File: Template:FileNonPD-USandEU
|> 1972
|File: Template:FilenotPD
|Author's death
life+50 countries
|United States
|EU, Russia,
life+70 countries
|< 1953
| Possible Editio princeps claims
(25 years from 1st publication)
|**Canada considers any "performance, recording, or delivery" as the equivalent of publication for works of authors who died between 1948 and 1963. Works which have never been performed, recorded or delivered are eligible for a term of first publication plus 50 years.
|> 1972
There is no copyright in Canada purely in the act of publication itself. Thus any non-edited reprint or re-engraving of a public domain edition is also public domain. The term "edition" or the credit "edited by" has been liberally applied by publishers for items ranging from serious re-arrangements and re-orchestrations of the original work to completely unaltered reprints of older, public domain scores.
Insignificant editorial contributions have no copyright in themselves. Significant ones often do. The editor's contribution to the work must be of a significant and original nature, meeting a "threshold of originality," to qualify for copyright protection. Some examples:
Collections can count as original compilations in Canada (Life + 50) and the EU (Life + 70) from the complier (usually an editor) of the edition. Because these are selected by the complier of the works that are republished or published in a new edition from a composer or various composers, the "intent" of the complier to compile these works together can be original (usually in a selected manner but the works themselves are not original to the collection) and adds another layer of copyright on top of the existing claims of the composers of the works (if the works are still under copyright themselves).
In the USA, there have been a few cases where fingerings came under scrutiny, where the courts ruled that "mere 'editing', 'fingering' or 'phrasing' are not provided for in the Copyright Act.". Cases cited in Los Angeles Copyright Society: Copyright and Related Topics: A Choice of Articles (page 10). University of California Press, 1964.
The EU, and others, have special provisions for a limited copyright term (generally 25 years) for scholarly editions, including critical, urtext, or "scientific" editions (Bärenreiter, etc). It is unlikely that this type of edition, apart from text passages, contains sufficient original material to qualify for copyright status in Canada. However, as a courtesy, IMSLP voluntarily prohibits the posting of critical or urtext editions first published less than 25 years ago (i.e., in 1998 and later), with the exception of those issued by government entities.
In some, but not all countries, works created by officers of the government are not subject to copyright. This is notably the case in the United States; works created by the US Federal Government (but not most state governments) are in the public domain. This applies for instance to the works of United States Military musicians created in the course of their official government employment.
Works first published after the death of the composer, and before or after the composer's copyright term had expired are known as "posthumous works" and have a limited copyright term in most countries. In the case of long-dead composers, a public performance might count as the first publication for the purpose of determining which works qualify for editio princeps in some countries.
*The works of composers who died before December 31, 1998 which were "performed or delivered" during a composer's lifetime or later counts as being "published" upon the date of the first performance or delivery.
Before the 1999 reform of the [Copyright] Act, works that were published after the death of the author were protected by copyright for 50 years after publication, thus granting perpetual copyright to any work not yet published. This was revised so that protection is limited as follows:
|Where a Composer/Author dies...
|with an unpublished work
that is posthumously published...
|Term of copyright
|Relevant copyright law
|before December 31, 1998
|before December 31, 1998
|50 years from date of publication
|Section 7 (Subsection 1 and 2)
|before 1949
|after December 31, 1998
|protected until December 31, 2003
|Section 7 (Subsection 4)
|protected until December 31, 2048
|Section 7 (Subsection 3)
|after December 31, 1998
|protected until 50 years after the end of the year of death
European Union
Reprint editions of publications that are in public domain are not subject to copyright in Canada, the USA, the EU, and most (if not all) of the world. No copyright can be claimed on the scanning of a public domain work regardless of whether the original scanned is in printed or manuscript form.
In Berne signatory countries
This rule basically states that if a work is in the public domain in the country of origin, it is also public domain in any country that signed the Berne Convention. This rule has not been adopted by the USA or Canada.
The European Union applies the Rule of the Shorter Term for works whose country of origin is outside the EU. Thus, a work by an American composer which entered the public domain in the USA, is public domain in the EU. Under the Berne treaty, the Country of Origin is defined as the country of first publication of a given work.
In NAFTA Parties (U.S.A, Canada, Mexico)
North American Free Trade Agreement: Article 1703: National Treatment
Any work published in the lifetime of an author who died in 1954 or earlier, is out of copyright. The term for authors who died in 1955 or later is 70 years.
European Union
The 93/98/EC Copyright Directive, consolidated in the 2006/11/EC Directive, harmonized copyright terms for EU countries at life-plus-70 years. It also restored copyright status for works which had entered the public domain in member countries with life-plus-50 terms at the time.
Czech Republic
All Czech government publications are in the public domain. This notably affects Artia/Orbis/SNKLHU/Supraphon, which was a government organization from 1948 to 1989. See the Czech Republic copyright act (file hosted by WIPO; see also OSA, Czech author's rights organization).
As from January 1, 1995, the basic copyright has a duration of life of the last surviving author +70 years. Anonymous editions enjoy a copyright of 70 years after publication, or if not published, 70 years after creation. Under a provision entitled Prorogations de guerre there is 30-year extension of term for authors who 'died in action' (like Jehan Alain). In addition, posthumous works are copyrighted 25 years from the year of publication. However, protection of musical works enjoys special time extension compensating for the war period (WWI and WWII). For composers who died before January 1, 1995, the time protection after death is 78 years and 120 days for works published between January 1, 1921 and December 31, 1947 and 84 years and 272 days for works published until December 31, 1920. This is why none of Ravel's work is Public Domain in France in 2009 while it is so in many European countries.
The basic copyright has a duration of life of the last surviving author +70 years. Anonymous editions enjoy a copyright of 70 years after publication, or if not published, 70 years after creation. Posthumous first-time publications are protected for only 25 years after publication.
As per Article 70 of the German Urheberrechtsgesetz (copyright law), scientific editions, which is to say editions which are produced as a result of scientific analysis (i.e. scholarly or critical editions and urtext), have a copyright length of only publication + 25 years, meaning that all such scientific editions published in Germany before 1994 are in the public domain there. However, arrangements, transcriptions, orchestrations, continuo realizations, and interpretative editions enjoy a full term of protection of life-plus-70 years.
Portugal's basic copyright term is only 50 years after death of the last surviving author (even in the case of posthumously published works), or 50 years after publication if no author is identified. Portuguese copyright law reserves a separate article for Translation, arrangement, instrumentation, dramatization, filming and, in general, any transformation of a work but does not clearly specify a copyright protection for these works. (Law text at WIPO)
Russia / USSR
Russian Copyright Laws are fairly complicated and confusing. Basically, works of authors who died before 1943 are in public domain, whereas authors died 1943 or later are protected for life plus 70 years. This is the present interpretation found at Wikipedia. According to the Wikipedia article on the Russian Federation Copyright Law as amended in 2004, the change of term from 50pma to 70pma was not retroactive. The Russian Federation enacted the first post-Soviet copyright law in 1993, establishing a term of life-plus-50 years of the last surviving author, which established protection for authors who died in 1943 and later. The 2004 revisions, which came into force in 2006, were retroactive to the enactment of the original law (1993), making the 1943 date correct. To make matters more confusing, there is another provision of the law (article 1256) which holds that any works published before the November 7, 1917 in the Russian Republic of the Russian Empire and not republished within 30 days of the revolution are not subject to copyright protection. It is not known if works by authors who died later than 1942 which were published before 11/7/1917 are considered to be in this category.
The Copyright Law of Tsarist Russia was very similar to that of Germany, where works were granted a copyright term of life plus 50 years. However, Russia was not a signatory to the Berne Copyright Treaty (1888) and works of Russian composers were protected in Europe only via co-publication agreements between Russian publishers like Jurgenson and Bessel with firms in the West like D. Rahter, Bote & Bock, and Breitkopf & Härtel. With the communist revolution of 1917, this situation changed drastically. Individual copyright was initially abolished along with all other forms of property ownership. This change was disastrous for the copyright status of Russian composers - even those living in the West like Prokofiev, Rachmaninoff, and Stravinsky. Since all works - whether Soviet or foreign - effectively became the property of the state in the USSR, all Soviet works were held to be public domain in Western countries, even those of expatriate Soviet citizens. In order to comply with treaties to secure Western copyright status for works of Soviet authors, the Soviet goverment finally introduced a limited term of life plus 25 years in 1928, amended to life plus 15 years in 1961. However, the Soviet state (USSR) completely controlled publication of all works of living or deceased persons on which the state claimed copyright. Although the original works of Soviet composers have been given copyright status elsewhere thanks to several treaties, editions of public domain works issued by Muzyka, the Soviet state music publishing agency, are generally considered to be in the public domain, as they were prepared by state employees working for a government agency, and the copyright owner (the USSR) ceased to exist in late 1991.
United Kingdom
The basic copyright has a duration of life of the last surviving author +70 years. Anonymous editions enjoy a copyright of 70 years after publication, or if not published, 70 years after creation.
The UK has a special law regarding "typographical arrangement" ("typographical arrangement" essentially means re-engraving). A "typographical arrangement" is only copyrighted for the length of publication + 25 years.[4] This would affect many of the originally German publishers who relocated to the UK (ex. Eulenburg).
United States
Here is a very good chartflow from Cornell University on the statuses of the when a work would expire in the USA.
Currently, the only way to ascertain renewal status for works published before 1950 is to conduct a formal search of the US Copyright Office records in person or pay for a formal search by the copyright office itself. Later records are available online at the US copyright office website. This database indexes only records from 1978, which include the renewals for works first published in 1950. Non-music records from 1928-1977 are indexed at Project Gutenberg.
Restoration for Foreign Works published 1928-1978 Some foreign works from this period that were formerly public domain due to failure to comply with notice and renewal provisions of the US law have been restored to copyright status due to the provisions of the GATT/TRIPS amendments (effective Jan. 1, 1996) provided the work in question was not already public domain in its country of origin. Works that were public domain in their country of origin as of 1 January 1996, are not eligible for restoration of U.S. copyright.
Copyright in recordings consists of two levels:
A sound recording copyright lasts for 70 years after lawful release (or 70 years from fixation if not published).
A sound recording copyright lasts for 70 years after lawful release (or 70 years from fixation if not published).
Recordings were not covered by US Federal Copyright law until 1972. All recordings made before that date - even those published before 1923 - are potentially under copyright until February 15, 2067. This is due to the fact that such recordings might be protected under the common-law copyright and trade statutes of individual states. Recordings published without the required notice between February 15, 1972 and March 1, 1989 are possibly public domain, especially those issued between 1972 and 1977. After January 1, 1978, a notice omission or error was correctable if application was made to the copyright office within 5 years of the omission or error. The status of sound recordings in the various states is quite complicated, with contradictory court decisions. California and New York explicitly include sound recordings in state laws, with California even specifying protection until 2047.
On October 11th, 2018, the Classics Act or Compensating Legacy Artists for their Songs, Service, and Important Contributions to Society Act (H.R. 3301), was consolidated into the Music Modernization Act (H.R. 5447) but renamed as the Orrin G. Hatch Music Modernization Act, was signed into law by U.S. Former President Donald J. Trump. This legislation was designed to clarify the end date on when a sound recording goes into the public domain and add more federal protection (the recordings are still covered by copyright by the state however and are still partially covered federally) for early recordings made before 1972. The terms below are not a copyright term but a "performance right". Additional time periods were added on as a clever way to designate a "performance right" of all these recordings even though the copyright in the recording itself might not exist, depending upon the state in which one resides where the recording was done. IMSLP will be following the terms set forth by the additional time the performance rights that were given that are established below. These terms are as follows (see the copyright.gov website for more details):
The recordings recorded from 1957-1972 uploaded on IMSLP, will end its protection on January 1st, 2067.
Some works, such as those found on other websites, may be marked as "dedicated to the public domain." These files, when explicitly dedicated to the public domain by their author or (would-be) copyright holder, may indeed be in the public domain but possibly not in all jurisdictions (unless released under Creative Commons Zero or a similar dedication with a backup waiver of rights and public licence). In part due to the fact that this tag is often used with reengravings of works that are in the public domain, the topics of threshold of originality will be covered here as well.


text:
Library Working Group Minutes
26 February 2012
Tompkins Square Park
[Today's meeting was relocated from 60 Wall St to Tompkins Square Park due to the Occupy Town Square]
present: Chantal, James, Germ, Charlie, Darah, Esther, Jaime, Hristo, Betsy, Frances
Town Square has been awesome, way to go Library! We got lots of new donations and many books for Tucson. Our next event for Operation Book B0mb is Thursday March, 1 at Word Up with Chris Hedges: 176th & Broadway: be there. Deliveries are still coming into SIS for Tucson—don't stamp them, we're sending them right out.
Illuminator on Saturday, should be cool. We need to pull about 6 boxes of books to load up for Friday.
DA updates: Jaime sent a long email about F29, everybody should read it (POI some of us are homeless & don't check email frequently).
Tuesday F28: 4pm at Union Square = Don't suppress OWS march to Liberty Park
Wednesday F29: Bryant Park ALEC action with + brigades 9am-12pm. Pop-up occupation begins at 9 am. Non-arrestable? stay at the pop-up. From 11 am, marches leave from the steps of NYPL → BofA (yellow). BofA HQ (red). Also on Wednesday at 10: Tudor City → Pfizer.
If anyone's doing anything, tell Jaime.
Upcoming court dates: Zach on 3/7 Germ on 3/9 at 100 Centre Street
3/17: EXPECT SOMETHING maybe. it's our 6 month-iversary.
3/19: Foreclosure auction in the Bronx—occupyhomes actions, eviction prevention
4/15 and 17: stuff going on (cryptic, right?)
beginning in early March there will be weekly marches from the Park at the closing bell. *upsparkles*
+brigades meetings are awesome—go if you can
5/1 Jaime's birthday she expects cake
5/3 Betsy's birthday, no cake expected
5/9 BofA in Charlotte, NC if anyone's up for a road trip
5/18-21 Chicago NATO/G8
and looking ahead, 8/27 RNC in Tampa, 9/3 DNC in Charlotte
F29: we've got to get to SIS the night before—Tuesday night. who's down?
Carts—our tires got slashed in SIS. we need new carts. shopping carts have artistic merit.
Carmine is looking awesome. un-oppressive but impressive. let's have a party when it's done.
we need shopping carts, shallow shelves and some paint.
end of a quick meeting. thanks everybody!