text:
April 6, 2006
Statement of June Cross
Assistant Professor of Journalism
Columbia University
Documentary Journalist
Before the
Committee on the Judiciary
Subcommittee on Intellectual Property
United States Senate
"Orphan Works: Proposals for a Legislative Solution"
Washington, DC
April 6, 2006
Chairman Hatch, Ranking Member Leahy and Members of the Subcommittee, my name is June Cross. I am an Assistant Professor of Journalism at Columbia University and a documentary journalist. For nine years I worked as a reporter and correspondent for the NewsHour and have also worked for CBS News and Frontline. I worked with Blackside, the makers of Eyes on the Prize, on their last project, entitled "This Far by Faith: African-American Spiritual Journeys." I am also well-known for an autobiographical documentary about my own life called "Secret Daughter." I thank the Subcommittee for inviting me to testify on the issue of orphan works. 1
My comments today represent the view of a wide variety of independent and documentary film and independent media organizations, including: Association of Independent Video and Filmmakers; Doculink; Film Arts Foundation; FIND (Film Independent); International Documentary Association; IFP (Independent Feature Project); National Alliance for Media Arts and Culture; National Video Resources; and Public Knowledge. Together, these organizations represent hundreds of thousands of independent and documentary filmmakers, video artists, production facilities, community technology centers, film festivals, media distributors, film archives, after-school programs, community-access television stations and individuals working in the field of film and media arts.
We rely on our copyrights to protect our vision and allow us to monetize a labor of love, and believe in strong and clear copyright protection. At the same time, artists and supporting organizations are affected by the uncertainty surrounding the use of copyrighted works for which the owner cannot be found.
I think the best way to put the orphan works debate into perspective is by telling stories - stories about how the inability to find copyright holders has affected my and my fellow filmmakers' work.
A friend of mine was trying to clear rights recently to use footage of Martin Luther King accepting the Nobel Peace Prize. As King enters the auditorium, trumpets play a celebratory fanfare.
The composer who was identified had died; the work was not registered on either BMI or ASCAP. Further research revealed that the fanfare is derived from a traditional Nordic song. The song has no composer. The composer who arranged the fanfare had never registered it, although other works appear under his name. It was the filmmaker's opinion that the composer had never meant to copyright this work.
Whether or not he'd be allowed to get away with this depends on the outlet. PBS uses an exemption for music that allows filmmakers to pay into an escrow account. Most commercial networks and all cable channels would force the filmmaker to delete the music from the scene. It may seem like a small thing, but it has a chilling effect on a filmmaker's ability to create mood and nuance, and to tell a true story - the very things that make television so compelling.
Ten years ago I made a film about my own multi-racial family, a family that lived in New York and split apart during the 1950s. I did not even meet my biological father until I was nearly thirty. As part of the research, I acquired hours of footage of the streets of Harlem from one of the various archive houses that sells it, but doesn't claim to own the underlying rights. In one of the reels and reels of tape, I stumbled across a picture of my own father holding me when I was barely six months old. After weeks and weeks of searching, I was able to find the owner of that footage, an elderly home movie buff who had sold all his raw material to an archive house. I was able to spend those weeks searching because the film was for PBS. Under the time frame most commercial networks work, it would have been impossible to find the owner before air. I shudder to consider what might have happened had I not found him - a key piece of my own puzzle would have gone missing.
I have had to deal with the problem of orphaned works on two other occasions: once when trying to find footage of Billie Holiday singing; again when trying to find footage that documents the Black Panther Party during the sixties. The best footage of Billie Holiday singing comes from an unknown TV show that is thought to be in the public domain. However, no one is sure, and that is why so few outside of the world of archivists have ever seen it.
One piece that has escaped scrutiny is the often seen footage of the Black Panther Party going through their paces in Oakland during the sixties. Associates of mine have spent months trying to find the person who shot that footage, to no avail. We have no idea where it came from. When we use it, we claim it is public domain, cross our fingers, and hope for the best. We try not to use too much of it, lest the grandchild of the person who shot it comes after us.
Filmmakers sit around and talk about archived material that will never be seen because we can't document its origination. These are jewels of our culture; pieces of our history that are lost; hidden from view as surely as if we were censured. The need to document the source, obtain the rights, and assume the risk of liability when we cannot find the source, has the affect of limiting our First Amendment right to free speech.
This subcommittee, and the Congress, have before them a tremendous opportunity to inject new vitality into our culture and our democracy by ensuring that forgotten orphan works find new audiences, and that those artists seeking to use such works are able to do so without the fear of great monetary liability. For independent and documentary filmmakers in particular, a solution to the orphan works problem is critical.
Particularly for works that do not lie within established archives, finding the true copyright owner is a labor fraught with difficulty. When a filmmaker cannot clear an orphaned work, she is left with two choices under the present system: 1) proceed, using the work, with the knowledge that unknown liability costs--or even an injunction--may lie ahead; or 2) refrain from using the work. Without a large institution to help spread the monetary risk, with the knowledge that she will have to compete aggressively to sell her film to often risk-averse distributors, indemnify them, and obtain insurance, and with the possibility of an injunction that could squelch her film forever, she simply cannot use the orphaned work. As such, the creative work that she has conceived and would like to present to the public is compromised, and the orphaned work languishes in obscurity.
This very same problem affects all artists, big and small, publishers, libraries, museums and many others. That is why so many of these individuals, companies and organizations have agreed that Congress must act to give protection for those users of orphan works who make a good faith effort to find the copyright holder. For filmmakers, that protection can best be achieved with a cap on damages should the copyright holder appear - this would make the extent of the risk known to those who must insure us, and to those who force us to indemnify them, and would give them a measure of certainty about orphan works that will permit the creative process to move forward.
The Copyright Office Report The filmmakers that I represent here today wish to express their deepest appreciation to Chairman Hatch, Ranking Member Leahy and your counterparts in the House, Representatives Smith and Berman, for asking the Copyright Office to address the issue of orphan works. We believe that the Copyright Office undertook the task you gave them with great seriousness and respect for the views of parties across the spectrum of users and copyright holders. The result is a thoughtful and comprehensive report that evidences great understanding of the problems faced by individual artists seeking to make use of copyrighted works for which the author cannot be found.
What has made this process and this Report so rare is that there is much agreement both about the need for a solution to the orphan works problem and about what that solution should be. Like many of the large and small copyright holders and users who have participated in this process, we agree with many of the Report's findings and suggestions.
First and foremost, we support the requirement of a good faith, reasonably diligent search and agree that standards of diligence should be flexible and not rigidly defined by statute. As copyright holders ourselves, we believe strongly that no copyright holder should be deprived of full remedies because a follow-on user does not undertake a reasonable search; as users of works, we understand that a reasonable search differs from medium to medium and from industry to industry.
However, we are concerned about the Report's recommendations in three main areas:
1. Remedies. Providing remedies of "reasonable compensation" without setting a statutory limit is unlikely to provide much certainty to distributors and insurers about the potential financial risks of a film that includes an orphaned work. This lack of certainty will prove too great a disincentive for independent artists, and they will continue, as is the case today, to avoid using orphaned works. A clear statutory cap on damages will provide certainty for all parties, and is superior to a "reasonable compensation" scheme.
2. Safe Harbor. Millions of small individual artists may make uses of orphan works, but because that is how they make their living, those uses will have a "commercial purpose." Under the Copyright Office's proposal, those artists would not have the benefit of the safe harbor which permits them to cease a use in order to avoid paying monetary damages. The necessity of a safe harbor for individual artists is critical, particularly if Congress adopts a "reasonable compensation" standard rather than a cap on damages.
3. Injunctive Relief. We are concerned that the proposed Section 514(b) (2), which exempts qualified works from injunctive relief, is ambiguous, and may be interpreted in a way that would unduly limit the intended protection. We applaud the Copyright Office's effort to clarify this language, but we believe that clarification should be codified. A clear, broad definition of a follow-on work that qualifies for this protection is crucial to filmmakers and other media artists.
In addition, we seek three other clarifications and changes, including:
1) clarification as to when it should be appropriate for a limitation on remedies when a user relies on the results of a previous third-party search; 2) clear, unambiguous requirements for what constitutes a legitimate attribution; and 3) elimination of the proposed sunset provision.
A Cap on Damages is Essential to Ensuring Certainty for Orphan Works Users
The Report best frames the heart of the challenge in fashioning an effective orphan works solution: how can orphan works owners' rights be preserved while encouraging the use of culturally valuable materials? From our point of view, the answer to this question is to: 1) award compensation to recompense owners; and 2) be as clear as possible about setting limits on the compensation so that users know their potential liability in advance.
Thus, we agree with the Report and the vast majority of proposals that a meaningful solution to the orphan works problem calls for "clear limitations on the statutory damages and attorneys' fees remedies in cases involving orphan works."2
However, the Report's proposed general remedy of "reasonable compensation" would not provide the necessary level of certainty or clarity to many orphan works users.
In order to give independent filmmakers the needed certainty to use orphan works, a statutory damages cap is imperative. The Report recognizes that the prospect of a large monetary award for an infringement claim, regardless of its likelihood, is a substantial deterrent for any user of orphan works. It is understandable that "reasonable compensation" may be a meaningful option for some users, particularly those with the institutional ability to spread risk. For most independent artists, however, spreading risk across a larger organization or a multitude of projects is not an option, and neither is budgeting for the potential financial costs of adjudicating a claim. This greater risk is exacerbated by the fact that independent filmmakers and other small artists operate in a market where cost is relative and difficult to ascertain in advance. As such, greater certainty of potential financial risk is critical to their ability to use a work. Overall, the small filmmaker needs to be confident that her decision to make use of an orphan work will not lead to unanticipated costs that could derail her project. Without the certainty provided by a cap, many users simply could not properly measure their potential exposure, preventing them from using orphan works Importantly, a statutory damages cap will benefit both users and owners. A cap facilitates the transaction between orphan works owners and users by eliminating the need for costly litigation. When a user can properly budget for an orphan works' use, she will be in a better position to pay an emerging owner. Both the user and owner can avoid the costs and uncertainties of litigation, ensuring a monetary return to the owner. Indeed, under the "reasonable compensation" standard proposed by the Copyright Office, which looks to other comparable marketplace transactions, it is possible that the owner will receive little or no payment. Moreover, if litigation is necessary, it is possible, if not likely, that the owners' legal costs will far exceed what "reasonable compensation" he receives. The certainty of a cap provides clear incentives for owners to emerge to collect their awards (and reduces the number of orphan works overall). It also invites users to create with advance knowledge of what the cost of use will be. This is critically important for independent filmmakers and other media artists, who operate under very tight budget constraints.
We understand that there is some concern that a cap does not allow for situations where a copyright holder appears and can only recover an amount that is substantially less than she would have gotten through an arms-length license negotiation. However, this situation is likely to be exceedingly rare, as the follow-on user has already searched for the copyright holder and not found her. Though such instances may rarely occur, and would be unfortunate, the fact that independent users would otherwise not have the certainty to use any orphaned work seems the far greater harm. Additionally, the fact that the proposed limitation on remedies extends only to one use allows a copyright holder to extract value from his copyright (including any value added by attention to the follow-on user's work) beyond the limited remedies. It bears notice that filmmakers and other artists are copyright holders, and certainly do not want to undermine the rights of those who wish to exploit their copyrights. But an orphan works scheme that is unusable for large numbers of artists would extract a far dearer price from our cultural heritage than one that, in rare situations, may not fully compensate a surfacing copyright holder.
We also understand concerns that a damages cap--or other remedy limitation--could cause some users to refuse to make any payment because the user would know that the costs of pursuing a damages award by the owner would greatly exceed the amount of the capped damages. One way to address this concern is to provide for an exception to the limitation of remedies in cases where a user refuses "to negotiate in good faith." This was suggested by Associate Register for Copyrights Jule Sigall at the March 8, 2006 Oversight Hearing on orphan works before the House Subcommittee on Courts, the Internet and Intellectual Property. Assuming that such an exception would be reserved only for cases of bad faith, we would support the idea.3
Regardless of the form the remedies limitation takes, an exception to that limitation would solve this economic incentive problem by preserving the right of an owner to claim attorneys' fees, actual, and statutory damages against individuals who act in bad faith. Coupled with a statutory cap, a "bad faith" exception would encourage the user to negotiate in good faith and pay compensation in the form of capped damages, while at the same time providing a level of certainty essential to orphan works legislation.
Certainty regarding potential future costs is fundamentally important to filmmakers' and other independent media artists' ability to use orphaned works. With a cap in place, neither party would have the ambiguity and expense associated with litigation. Further, clarity creates the added benefit of generally limiting the costs and burdens to the judicial system.
Should Congress Adopt a "Reasonable Compensation" Standard, it Must Define that Standard in the Law
All three of the Copyright Office's goals for an orphan works solution are facilitated by the certainty of a cap: reducing the number of orphan works; permitting use of existing orphan works; and reducing costs and burdens on all stakeholders dealing with an orphan works scenario. Although we strongly believe that a statutory cap is essential to a workable orphan works solution for many independent artists, should Congress nonetheless adopt a "reasonable compensation" remedy, there are important clarifications that can be made to the Report's definition of "reasonable compensation" that would provide some needed comfort to an independent filmmaker or other artist using an orphan work. Most notably, we support the addition of statutory language that makes clear how "reasonable compensation" is determined.
Although the Copyright Office's recommended statutory language does not define the term "reasonable compensation," the Report provides noteworthy guidance on its parameters.4 The Report's explanation that, "the burden is on the copyright owner to demonstrate that his work had fair market value," and that, "he must have evidence that he or similarly situated copyright owners have actually licensed similar uses for such amount" should be incorporated into the statute. Similarly, the Report states that, "it should be clear that 'reasonable compensation' may, in appropriate circumstances, be found to be zero, or a royalty-free license, if the comparable transactions in the marketplace support such a finding." We urge that the best way to ensure a clear standard is to include corresponding language in the statute. We support the addition of statutory language proposed by Maria Pallante-Hyun of the Solomon R. Guggenheim Foundation in her testimony before the House Subcommittee on Courts, the Internet and Intellectual Property:
The copyright owner has the burden of establishing by competent evidence what a reasonable willing buyer and a reasonable willing seller in the positions of the owner and the infringing user would have agreed with respect to the infringing use of the work immediately prior to the commencement of the infringement.5
In addition, the legislative history of orphan works legislation should include examples of what might constitute reasonable compensation. Particular attention should be paid there to independent artists and filmmakers and other non-institutional follow-on users, who will rely heavily on clear limitations on remedies in order to move forward with the use of an orphaned work. For example, it should be unmistakably clear that an independent filmmaker's "reasonable compensation" to a surfacing owner of an orphan work should not be compared to what major motion picture studios pay owners of highly managed works. An illuminative legislative history, demonstrating that it is often the practice of independent filmmakers to negotiate royalty-free or significantly discounted royalty rates, is crucial for independent artists and creators to confidently use orphan works.
The "Safe Harbor" Should Be Available Both for Commercial and Noncommercial Uses
The Copyright Office's proposed legislation (§ 514 (b)(1)) grants users the option to cease use, where possible, rather than pay reasonable compensation when the use is "without any purpose of direct or indirect commercial advantage." These users are fortunate: they have a measure of control over what compensation they pay to the copyright holder, and can decide on the best option in the context of their particular project. While we do not advocate for this "safe harbor" as an overall solution to the orphan works problem, we believe that it becomes increasingly important if the monetary risk to follow-on users is more uncertain. Filmmakers and other users, regardless of whether the purpose of the use is commercial or non-commercial, should benefit from the option to "take down" an infringing work, particularly if the less-certain "reasonable compensation" payment is their only other option.
By limiting the safe harbor to non-commercial uses, the Copyright Office excludes the millions of small artists, including independent film and media artists, who are by no means rich, but whose art is their livelihood. Not every commercial user is a large movie studio or rich author. Smaller artists need the option to cease an infringing use rather than pay monetary damages because they are least likely to have institutional funds to pay damages or defray risk.
Moreover, differentiating between uses that have "any purpose of direct or indirect commercial advantage," as the Report attempts to do, and those that do not, is challenging and problematic. This is reflected in the Report's explanation and was captured at the Summer 2005 roundtables, as well.6 A bright line is elusive, especially so in the context of media created by individuals who lack institutionally "non-profit" status, but who operate without a pure profit motive. For instance, what would be made of a film project undertaken by a filmmaker and submitted to a school-run film festival that goes on to garner awards at national festivals? There are simply too many areas that are technically commercial, but operate with such limited budgets and for the public good that the distinction fails. Likewise, there are not-for-profit organizations that are so large and successful that their ability to respond to damages and undertake risk mirrors their commercial counterparts. The option to cease infringement should not be based on such a murky distinction.
In many cases, of course, it is impossible for a filmmaker to cease a use in a film that has already been finished, but in some cases, "takedown" may be a better choice for the filmmaker. Since independent filmmakers have such sensitive budgets and work on projects where the fair market value for a particular use might be hard to know in advance, the option of taking down the work is critical. This is especially important in the case of experimental and avant-garde films or other new types of art, where there are few useful market transaction guidelines. For other types of artists, such as artists whose canvas is the World Wide Web or those working in other multi-media platforms, the option to take down may be even more important.
To be effective, a safe harbor provision should require that owners meet certain evidentiary thresholds to make a valid notice of infringement. This would guard against fictitious claims. Orphan works owners should bear the burden of substantiating their ownership before a user is expected to comply with the notice in an "expeditious" manner. We agree with proposal put forth by Ms. Pallante-Hyun of the Guggenheim Museum, which calls for the user to be held to a reasonable standard and cease the infringement "as expeditiously as is possible under the circumstances after receiving notice of the claim for infringement."7
Injunctive Relief Should Be Limited
So long as there is a broad threat of an injunction, artists will be forced to shun the use of orphan works. As the Report acknowledges, one of the worst nightmares for any filmmaker is a last-minute injunction brought right before the release of a film.8
Although takedown may in some cases be the best option in the face of a lawsuit to determine reasonable compensation, it will always be a second-best option for a filmmaker or other follow-on creator who has incorporated orphan works into new creations. As such, a meaningful limitation on injunctive relief is critical for filmmakers.
An orphan work may represent a small or large part of a new creation, and may be impossible to remove from the overall work. We greatly appreciate the Report's recognition that the fear of such a crippling injunction brought by a surfacing orphan works owner "provides enough uncertainty that many choose not use [sic] the work, even though the likelihood of such injunction is small."9 We agree with the Report's conclusion that injunctive relief should not be available against qualified users of orphan works except "where a user simply republishes an orphan work, or posts it on the Internet without transformation of the content."10
Although the Report thoughtfully speaks to the issue of limiting injunctive relief, the recommended statutory language is presently somewhat confusing and restrictive. A properly drafted and expanded notion of what types of work can be protected from injunction is an important recognition of the risk and reliance undertaken by a user who wants to make use of an orphan work. It should be enough that the orphan work is adapted for or incorporated into another work that includes separate substantial expression.
We understand that the Copyright Office is presently undertaking a review of proposed Section 514(b)(2)(A) with the intent of addressing any confusion. We are grateful for this effort and look forward to the results, and to working with stakeholders on any remaining concerns.
The Attribution Requirement and the Chain of Interest Standard Should Be Clarified
We agree with the Report's recommendation that the attribution requirement can function as a way to advertise the use of orphan works to potential owners, thus encouraging them to step forward. More generally, artists appreciate and follow the general convention of crediting authors and other creative contributors to a project, and we expect others to do the same for us. However, when an attribution is "appropriate under the circumstances" must be clarified in statutory language and legislative history so that the steps required to meet it are not unnecessarily complicated or vague. Unless the attribution requirement is clear, the validity of the attribution might become a target for attack by an emerging owner seeking to disqualify the use of an orphan work from the purview of this proposed legislation.
We are similarly concerned that the Report does not adequately address instances where a user could reasonably rely upon the results of a previous third party search. The mechanisms of many media industries require a downstream user to rely on the reasonable search efforts undertaken by another party, but still within the context of a single "use" of an orphaned work. For example, a film's distributor should not be required to conduct a brand new search after the filmmaker has already done so in order to obtain protection. Indeed, the Report mentions that it might be reasonable under certain circumstances for a user to rely on the search conducted by another.11 We agree with the recommendation of Allan Adler, Vice President for Legal and Government Affairs for the American Association of Publishers that it should be made clear that any person who engages in a related infringing use of the same work as the user who conducted a reasonably diligent search, should be able to qualify for the limitations on remedies based on the user's search where the related infringing use occurs pursuant to a license from the user or the users licensee. For example, if the original user of the "orphan work" is an author who incorporates the work into a new work pursuant to conducting a search that meets the statutory standard, then the publisher of the new work, as well as the publisher's distributors and licensees, would also qualify for the limitations on remedies without having to each conduct their own search for the copyright owner of the original work.12
Thus, we urge this committee to permit such "piggybacking" in any orphan works legislation, and to provide legislative history that includes examples of situations in which a downstream user can rely on a good faith search.
Allowing the Orphan Works Law to Sunset Would Create Confusion and Disruption
We join the seemingly broad consensus that permitting the orphan works solution to sunset would not benefit the progress of the legislation but instead create more confusion and disruption. As we move toward an orphan works paradigm that provides more certainty for owners and users, a sunset provision that would repeal the law in the future would fundamentally undermine the goal of these collective efforts. Before she can change the way she works and creates vis a vis orphan works, a filmmaker, like any user, would have to know that protections granted by any new legislation are enduring. As an alternative, we support the Copyright Office undertaking a review of the effect of the orphan works legislation, perhaps every three or four years. Understanding the relative successes of the legislation as it is applied, and gathering additional feedback from creators and owners will permit fine-tuning or substantial changes as needed.
We who are documentary filmmakers work with bits and pieces of film, fashioning collages of visual material from found objects and the objects we create. But we can't provide a sense of context, or give the history behind any one subject - without using archived materials. In today's litigious environment, commercial television and other distributors have become risk averse. Even if I feel I've done due diligence to document that an owner can't be found, I will most likely not be able to use the footage.
This is so because when I get money to make a film, I, like most independent and documentary filmmakers, sell it to a television company or distributor (meaning that I will never see a dime beyond the initial fee). In the contract, I have to guarantee the company that I will indemnify them from any claims. Further, I have to pay for Errors and Omissions insurance. The insurance companies require documentation that I know the owner, and have paid the owners, for every scrap of footage, stills, and music that I did not create myself. We filmmakers provide this assurance in books we call Bibles - an appropriate term, because whether our work is seen depends on the care with which we approach their compilation; and whether we get paid is determined by the networks or other distributors accepting their contents. Because those final contract payments are dependent on that acceptance, we also, in a very real sense, survive depending on how well we make those Bibles. It's the drudgery behind the glamour of this business.
I have been a television journalist for over thirty years. At a time when everyone complains about information overload and the vast ability of programs to be sent over virtually any platform, I feel as though the real education of the public is being hampered because of the onerous burden of researching and paying for rights for every scrap of footage I find. The public's ability to understand its own history, and to place that history in the context of those who have gone before, in part depends on our ability to present a coherent and nuanced view. We can't do that by presenting snapshots of the present. We need access not only to the documented versions of the past, but the strips of home video, movies, still photographs and even music which remain largely undocumented. As the country becomes more diverse the need to present the historical context for points of view that rely on materials whose origin may remain unknown cannot be chilled. Our ability to hold informed discourse in the public square depends on all of us understanding where we've been, and how we got there.
I would like to again thank Chairman Hatch, Ranking Member Leahy and members of the Subcommittee for the opportunity to address the important issues surrounding orphan works and their effect on the creative process.
Providing the public with broader exposure to valuable works from our cultural heritage is truly within reach. We look forward to working with other stakeholders toward a mutual solution and are confident that under your leadership we can achieve meaningful and effective orphan works legislation.
Coalition Organizations:
Association of Independent Video and Filmmakers (AIVF): a non-profit membership organization with 5,000 members serving local and international film and videomakers--from documentarians and experimental artists, to makers of narrative features--by providing a variety of informational services and other resources. (http://www.aivf.org)
Doculink: an association of Los Angeles documentary filmmakers that meet regularly to review the projects and problems of local filmmakers. (http://www.doculink.org)
Film Arts Foundation: a non-profit membership service providing comprehensive education, equipment, information, consultations, and exhibition opportunities to
independent filmmakers. (http://www.filmarts.org)
FIND (Film Independent) (formerly IFP/Los Angeles): a non-profit membership organization that is home of the Spirit Awards and the Los Angeles Film Festival. (http://www.filmindependent.org)
International Documentary Association (IDA): a non-profit organization representing the interests of documentary filmmakers. IDA represents nearly 3000 members in 50 countries around the world. (http://www.documentary.org)
IFP (Independent Feature Project): a not-for-profit membership organization designed to foster a more sustainable infrastructure that supports independent filmmaking and ensures that the public has the opportunity to see films that more accurately reflect the full diversity of the American culture. Headquartered in NYC, there are IFP organizations in Chicago, Minneapolis/St. Paul, Seattle, and Phoenix. IFP is also part of an international network of organizations, each supporting their own national filmmaking efforts. (http://www.ifp.org)
National Alliance for Media Arts and Culture (NAMAC): a non-profit association dedicated to the support and advocacy of independent film, video, audio, and online/multimedia arts. NAMAC represents over 350 member organizations, which in turn represent at least 400,000 media artists and others working in the media field. (http://www.namac.org)
National Video Resources (NVR): an organization that provides grants to filmmakers and creates educational programming using film and video. NVR represents over 350 Media Artist Fellows in the United States, and its programs have been used in over 400 public libraries in 48 states. (http://www.nvr.org)
Public Knowledge is a public-interest advocacy organization dedicated to fortifying and defending a vibrant information commons. Public Knowledge works with wide spectrum of creative artists, including filmmakers, musicians, creative writers, dancers, and visual artists to ensure that their interests are represented in copyright and communications policy debates. (http://www.publicknowledge.org)
1 I would like to thank Jason Kakoyiannis and Kaveh Shakeri, students in Professor Jennifer Urban's Intellectual Property Clinic at the University of Southern California Gould School of Law, and the staff of Public Knowledge for their work in preparing this statement.
2 Report on Orphan Works, United States Copyright Office, at p. 115.
3 In fact, under proposed Section 514(a)(1), bad faith would vitiate the threshold test of a reasonable, good faith effort to find the owner. Such a victimized copyright owner would qualify for statutory damages and a judge should take the fraudulent conduct into consideration in setting such damages.)
4 "Reasonable compensation would equal what a reasonable willing buyer and reasonable willing seller in the positions of the owner and user would have agreed to at the time the use commenced, based predominantly by reference to evidence of comparable marketplace transactions." Report at 116.
5 Oversight hearing on "The Report on Orphan Works by the Copyright Office, Before the House Subcommittee on Courts, the Internet and Intellectual Property, Committee on the Judiciary, 109th Cong., 4 (2006) (statement of Maria Pallante-Hyun, Associate General Counsel and Director of Licensing, The Solomon R. Guggenheim Foundation)
6 Report on Orphan Works, United States Copyright Office, p. 119 note 385.
7 Statement of Maria Pallante-Hyun, p. 6.
8 Report on Orphan Works, United States Copyright Office, at p. 119
9 Id. at p.120
10 Id.
11 Report, p. 9.
12 Allan Adler, testimony at Oversight Hearing on the Report on Orphan Works by the Copyright Office, March 8, 2006.


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The third show in the 2013 Asolo Repertory Theatre's theme of "The American Character" was aptly chosen. With the "pursuit of happiness" at the core of this 1989 Pulitzer and Tony Award-winning play, it's as fresh and clear a cry as the first fictional Heidi yodeling for her freedom in the cool, crisp Alpine air.
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The post World War II baby boomer generation has seen more changes in the social status of women than any other in history. The phrase "can women have it all" referred to post '50s-era women who wanted both a career and a family. But, as to actually "having it all," the question remains unsettled, just as the Equal Rights Amendment, guaranteeing lack of discrimination against women, remains ungratified to this day, with Florida being among the states that have refused to sign. Congress first passed the ERA in 1972, almost 50 years after women won the right to vote. The ERA still hasn't been set into the constitution 40 years later.
As we watch Heidi, quite nicely played by Elizabeth King-Hall, wind her way up the treacherous trail of womanhood, during the gender-bending '60s, '70s and '80s, we get some of what it must feel like to herd goats along with you. Some of the goats include terrific performances by Gail Rastorfer as Susan Johnston, Brian Sills as Peter Patrone and Zachary Fine as Scoop Rosenbaum.
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12:00 pm - 4:00 pm
March 10: The great debate
The Observer will hold a debate for Longboat Key Town Commission candidates at 7 p.m. March 10, at Bayfront Park Recreation Center, 4052 Gulf of Mexico Drive. -
Greg Hoffman SCOREs award
Longboat Key resident Greg Hoffman received Manasota SCORE's Platinum Leadership Award at the organization's 50th anniversary awards luncheon Feb. 24. -
Spring forward for Daylight Saving
Daylight Saving Time begins Sunday, so turn your clocks forward by an hour before bedtime Saturday night.

subset: commoncrawl


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The North Face Boys' Warp Tide Reversible Wind Jacket
Item # 619139
Key Features
Lightweight, super-warm, wind-resistant jacket
Reverses from rugged ripstop to ultra-cozy fleece
DWR finish for moisture repellence, quick drying
Elastic binding at the hood opening and cuffs
Reflective logos increase visibility and safety
Our Price $85.00
Sale Price $59.96
Availability: Sold Out
- Additional discounts do not apply.
Prices, promotions, styles and availability may vary by store and online.
back to topProduct Description
The North Face Warp Tide Reversible Wind Jacket offers exceptional wind protection and warmth on the trail. This lightweight full-zip jacket reverses from rugged nylon ripstop on one side to ultra-cozy polyester fleece on the other for incredible versatility. The jacket's exterior is treated with a DWR finish for moisture repellence and quick drying. The Warp Tide Wind Jacket features a fixed hood with elastic opening; full-length front zipper with reflective zipper pull; elastic-bound cuffs to seal in warmth; two zippered hand pockets (ripstop side); and two welt hand pockets (fleece side). Reflective logos at the left chest and back right shoulder increase visibility and safety in low-light conditions. Imported.


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Please enter your travel dates.
Standard Room
Junior Suite
Deluxe Room - Room Only
Superior Room
Parisian Boutique hotel next to Place des Vosges
Near Picasso Museum
This romantic Paris hotel is located in the Marais, one of the city's oldest and trendiest districts; a central location 2 blocks from the Picasso Museum, and 3 blocks from Place des Vosges.
Business center
Guests are welcomed with a personalized introduction to the hotel and their room; there is a lounge with fireplace, books, and international newspapers; a computer and printer are available in the lobby. Complimentary wireless Internet access is available in public areas.
Free Wi-Fi, satellite TV
50 guestrooms at Villa Beaumarchais overlook an interior courtyard. Amenities include complimentary wireless Internet, high-definition TVs with satellite channels, and in-room safes.
Information missing or incorrect? Tell us!Hotel Amenities
- General
The 6-story Villa Beaumarchais Hotel features a bar, room service, and a lounge with a fireplace, books, and international newspapers. A computer with Internet connection is available in the lobby along with a printer (surcharge), and copy and fax services are available on request. Wireless Internet access is complimentary in public areas. A fitness center is provided for guests 16 and over.
Other services include a roundtrip airport shuttle and child care, both available for a surcharge. Laundry facilities and a meeting/conference room is also available.
- 24-hour front desk
- Air-conditioned public areas
- Babysitting or childcare (surcharge)
- Airport transportation (surcharge)
- Total number of rooms - 50
- Number of floors - 5
- Audiovisual equipment
- Banquet facilities
- Bar/lounge
- Breakfast available (surcharge)
- Business services
- Complimentary newspapers in lobby
- Event catering
- Concierge services
- Fitness facilities
- Dry cleaning/laundry service
- Free Wi-Fi
- Wired (high-speed) Internet access - surcharge
- Internet point
- Computer station
- Luggage storage
- One meeting/conference room
- Parking limited (surcharge)
- Tour assistance
- Tours/ticket assistance
- Elevator/lift
- Area shuttle (surcharge)
- Laundry facilities
- Limo or Town Car service available
- Medical assistance available
- Multilingual staff
- Self parking (surcharge)
- Parking (surcharge)
- Patio
- Porter/bellhop
- Room service (limited hours)
- Safe-deposit box at front desk
- Meeting facilities size (meters) - 50
- Meeting facilities size (feet) - 538
- Number of buildings/towers - 1
- Internet
Available in all rooms: Free Wi-Fi
Available in some public areas: Free Wi-Fi, Wired (high-speed) Internet access - surcharge
- Parking
Parking (surcharge), Self parking (surcharge), Parking limited (surcharge)
- Room Amenities
- Complimentary newspaper
- Air conditioning
- Climate control
- Phone
- Minibar
- Wake-up calls
- Daily housekeeping
- Private bathroom
- Hair dryer
- Bathroom phone
- Rollaway/extra beds available
- Window opens
- In-room safe
- Desk
- Satellite TV service
- Voice mail
- Microwave (on request)
- Refrigerator (on request)
- Soundproofed rooms
- Turndown service (on request)
- Handheld showerhead
- In-room massage available
- Sewing kit
- Bathtub only
- Complimentary toiletries
- Cribs/infant beds (complimentary)
- In-room childcare (surcharge)
- Welcome amenities
- Blackout drapes/curtains
- Speakerphone
- Free Wi-Fi
- Courtyard view
- Dining
A buffet breakfast (surcharge) is provided in the breakfast room from 7 AM to 11 AM.
- Recreation
- Bicycle rentals nearby
- Accessibility
To make requests for specific accessibility needs, complete the "Special or Accessibility Requests" section of "Trip Preferences" when you book your hotel.
- In-room accessibility
Policies & Fees
- Check-in
Check-in time starts at 2 PM
Minimum check-in age is 18
Check-in time ends at 5:30 AM
Special check-in instructions:
The reception desk is open 24 hours, but the front doors are locked at night. Guests planning to arrive after hours should contact the property in advance, using contact information provided in the reservation confirmation email.
- Check-out
Check-out time is noon
- Payment types
Accepted at this hotel: American Express, Diners Club, JCB International, MasterCard, Visa
- Pets
Pets allowed, Maximum number of pets per room 1, Pet maximum weight in kg is 13
- General
Extra-person charges may apply and vary depending on hotel policy.
Government-issued photo identification and a credit card or cash deposit are required at check-in for incidental charges.
Special requests are subject to availability upon check-in and may incur additional charges. Special requests cannot be guaranteed.
Parking height restrictions apply
- Fees
- Unless otherwise indicated, the charges below are not included in the overall room price. If not included in the overall room price, they will be charged by the property at check-in or check-out. Charges can vary, for example, based on length of stay or the room you book. This property told us they will charge you for the following:
- A tax is imposed by the city: EUR 1.8 per person, per night
We have included all charges provided to us by the property. However, charges can vary, for example, based on length of stay or the room you book.The following fees and deposits are charged by the property at time of service, check-in, or check-out.- Breakfast fee: EUR 15 per person (approximately)
- Fee for high-speed Internet (wired) in limited public areas: EUR 15 (for 60 minutes, rates may vary)
- Airport shuttle fee: EUR 25 per person (one way)
- Self parking fee: EUR 23 per day
- Pet fee: EUR 30 per pet (varies based on length of stay)
- Deposit: EUR 50 per night
The above list may not be comprehensive. Fees and deposits may not include tax and are subject to change.
- Additional Details
This property offers transfers from the airport (surcharges may apply). Guests must contact the property with arrival details before travel, using the contact information on the booking confirmation. A resort fee is included in the total price displayed. Guests can arrange to bring pets by contacting the property directly, using the contact information on the booking confirmation (surcharges apply and can be found in the Fees section).
National Rating
- Details
This hotel has received its official star rating from the French Tourism Development Agency, ATOUT France.


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Free standard shipping on full-size orders $50+
This longtime favorite has an oversized wand and superdark formula to give you ultra dramatic lashes.
I had high hopes for this mascara. I have been wearing it for about 2 weeks now and am frustrated with it. By the time lunch rolls around, it's already fading away by placing black circles under my eyes. The product just doesn't seem to work for me.
I love this mascara! The big brush it has really helps if you want very voluminous lashes! I think it looks best if applied by placing the brush at the roots, and pushing up while going left and right and bringing the brush forward. Also, the color is the blackest black, which i love when it comes to mascaras! Over all, a great product!
Just another reason why Benefit is one of my absolute favorites! This mascara makes my normally barely there looking eyelashes look full and nicely noticeable.
i bought this mascara expecting a wonderful product but it seems to be very dry. for the money it costs i think its not worth it. I would not buy this again. loreal volumenous is much better and a third of the cost
I found this mascara to be very natural-looking. It did not clump and applied smoothly. My only reservation about this mascara was that it applied very lightly to my lashes and often required multiple coats to really accentuate my eyes.
I wanted to like this mascara. I love Benefit (who doesn't?), but it just didn't wow me. I haven't connected with an expensive mascara over a drugstore brand in years. Mascara is a go-to makeup item, and if it's not the best thing I've ever put on my lashes or it's expensive, I can't rationalize it.
This is my long-time favorite mascara. The huge brush really allows you to get into the inner and outer edges, and it deposits a natural-looking amount of mascara on every lash. There are no unnatural-looking clumps, either. Badgal leaves my lashes looking full and soft, and it's dark enough to go without eyeliner on a busy morning or add drama to a smokey eye.
I haven't tried a ton of different mascaras to compare, but I love this one. It does what it says, stays on well but also washes off easily. Pretty much everything I'm looking for in a mascara. I already have a second tube waiting for when my first one runs out.
Mascara is one of my staples when leaving the house and I'm extremely picky when it comes to the bristles, but this is one of my 2 favorites! Whether I'm doing a quick errand and doing little to no make up, one quick stroke of this stuff is as amazing as a dark smokey eye out at night. I'm so picky that even if I get one clump or too many lashes that stick, I'll wash and reapply... Never have to because of this brush. 5✨
I have problems with long time use of mascaras causing more and more clumping. I use this daily and have had no problems yet. It gives great length and separation to lashes.


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Fridge Literature Main TheWall YMMV main index Narrative
Timeline is a 1999 novel by author Michael Crichton. It involves quantum physics effectively applied as time travel (though it is more complicated than that), set in the Hundred Years War.An old man has been found in the midst of the New Mexico desert, and is soon discovered to have strange deformities and to be an employee of a company named ITC. He is dead within a day of his discovery, and is quickly cremated by his closest associates. Meanwhile, a group of researchers in the Dordogne region of France, exploring a medieval archaeological dig, make an astounding discovery. ITC contacts them and reveals its greatest secret - tapping quantum technology to effectively travel through time...A film adaptation was released in 2003, starring Paul Walker, Gerard Butler, Frances O'Connor, Billy Connolly and David Thewlis among others. The resulting movie was a critical and box office failure.
This novel provides examples of:
The film features the following tropes:


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Definition of mustard gas in English:
mustard gas
Line breaks: mus|tard gasnoun
- A colourless oily liquid whose vapour causes severe irritation and blistering of the skin, used in chemical weapons.
- Chemical formula: (ClCH2CH2)2S
More example sentences- It has more than a million munitions, armed with 31,000 tons of chemical weapons including mustard gas.
- A chemical weapon is any weapon that uses a manufactured chemical, such as sarin, mustard gas or hydrogen cyanide, to kill or injure.
- All showed traces of blister gases, the army said, a group of chemical compounds which include mustard gas.
Get more from Oxford Dictionaries
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Word of the day
Pronunciation: ˌɛksə(ʊ)ˈtɛrɪk
likely to be understood by the general public


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Lion Hunting: PHASA Presidents Opinion
This is a discussion on Lion Hunting: PHASA Presidents Opinion within the Latest Hunting News forums, part of the Hunting Forums - Main category; Lion Hunting: PHASA President's Opinion Peter de Villiers Butland The judgment in the case of the SA Lion Breeders' Association ...
- Member of CIC, Rowland Ward, B&C, DSC, German Hunting Association, KZN Hunting Association, Wild Sheep Foundation
- Hunted Western US, Western Canada, Alaska, Colombia, Tajikistan, Russian Federation, China, Iran, Austria, Germany, Spain, Czech Republic, UK, Indonesia, South Africa, Zambia, Zimbabwe, Congo, Tanzania, Uganda, Botswana, Namibia
Lion Hunting: PHASA Presidents Opinion
Lion Hunting: PHASA President's Opinion
Peter de Villiers Butland
The judgment in the case of the SA Lion Breeders' Association against the Minister of Environmental Affairs has been given at last, the noise from the various parties has died down and South African hunters can hopefully put this sorry saga behind them. A DEAT spokesman summed it up well, saying "Hunting is an important industry but we must manage it in accordance with defensible standards".
Although not all were guilty, the standards which some clients were prepared to accept to tick off a lion on their trophy lists were indefensible. And the willingness of some "PHs" to take those clients' money and to pretend that they were "hunting" a wild animal was despicable.
The damage done to the reputation of our country, to its image in the hunting world and to the reputation of all South African hunters, the good and the bad, by this sloth and greed will take some time to overcome. But it is time to move on.
PHASA has in the past consistently condemned the shooting of captive bred predators, because of actual and potential abuse of the law. PHASA's past president [Stewart Dorrington] was a member of the Panel of Experts. PHASA participated in the consultative process which lead to the TOPS regulations and PHASA has noted the judge's detailed comments [see last African Indaba for details] and his judgment in the court case.
PHASA has accordingly reconsidered its position on lion hunting in South Africa. It will support the hunting of any and all species that have been released into an extensive wildlife system and can fend for themselves, provided that species listed as TOPS are hunted strictly according to the provisions of the TOPS Regulations and that all species are hunted according to the laws of the land, the PHASA Code of Conduct and the commonly accepted principles of Fair Chase. Unethical and illegal practices will not be tolerated and PHASA members will be held to account if found guilty of misconduct.This article first appeared in the bi-monthly e-newsletter of African Indaba. Get a free subscription.
Gerhard R Damm
Dedicated to the People & Wildlife of Africa
www. africaindaba.co.za
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Hey Everyone!
So happy to be back and to share an amazing experience I recently had with the newly opened lululemon store at Mapleview Centre. I dropped in for a visit a few days ago and was shocked to see the crowds of people hanging out in the store checking out the merchandise, viewing the community board and soaking up the energy of this amazing store.
The lululemon manifesto is welcoming, honest and trust worthy which often lacks in today's brands. What's even more amazing is that the Mapleview Centre staff truly does live and breathe this mantra to the utmost. I was greeted by a team of energetic and passionate people that loved to talk about their store and what it's all about.
For example, a free yoga class is hosted every Sunday morning at 9:30am within the store. How amazing is that? Feel free to drop by next Sunday and all they ask is you bring a non-perishable item if you're able for the Burlington chapter of the Salvation Army. The team was also gearing up to support one of their local brand ambassadors, Sue Abel, as she assumes the leadership role in hosting this year's Turkey Trot Race. For more details, be sure to stop by the store and check out their community board for this and other local events the team is supporting.
And then of course, there's the gear. Whether you're after the coveted Scuba hoodie or Wunder Under pant (what's not to love about these names?!) they're stocked up and ready to go. I learned that the store is also equipped with a notification email system so if there's a new product you're looking to get your hands on or can't seem to find it online, you can get alerted when the item drops into the store in your preferred color and size. Got to love technology!
After perusing through the store and soaking up the positive energy, I left feeling refreshed and pumped to try a fitness class or two. Here are some of my favorite items I found when in store:
Ladies Scuba Hoodie: http://shop.lululemon.com/products/clothes-accessories/jackets-and-hoodies-hoodies/Scuba-Hoodie-Stretch?cc=8749&skuId=3474908&catId=jackets-and-hoodies-hoodies
Ladies Wunder Under Pants: http://shop.lululemon.com/products/clothes-accessories/women-pants/Wunder-Under-Pant-Full-On-Luon?cc=0001&skuId=3505519&catId=women-pants
Ladies Voyage Pullover: http://shop.lululemon.com/products/clothes-accessories/women-tops/Voyage-Pullover-Tencel?cc=10863&skuId=3501660&catId=women-tops
Men's Post Gravity Jacket: http://shop.lululemon.com/products/clothes-accessories/men-jackets-and-hoodies/Post-Gravity-Jacket?cc=11360&skuId=3509851&catId=men-jackets-and-hoodies
Be sure to stop by this fab addition to Mapleview Centre and tweet at us to let us know what you think at @MapleviewCentre.
Till next time fashionistas!


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Bloomberg Misfires, Again
By SOF Editor on Sun, 11/29/2009 - 10:09pm
Gun Rights
John Velleco
New York City Mayor Michael Bloomberg heads a group called "Mayors Against Illegal Guns." The name is deceptive – Bloomberg is mostly interested in further restricting legal gun ownership. His most recent tirade comes in the wake of the Fort Hood shooting.
In an op-ed in the Washington Post
, Bloomberg complains that the FBI is not allowed to keep a registration list of gun owners. Federal law prohibits the government from maintaining or compiling a registration list of gu
Read more
US Expresses Support for Honduran Election
By SOF Editor on Wed, 11/25/2009 - 12:03pm
SOF World Report
VOA News
The United States says it supports Sunday's presidential election in Honduras as an "essential" part of a solution to that country's ongoing political crisis. State Department spokesman Ian Kelly says the U.S. thinks it is important that the people of Honduras have the opportunity to "express their votes in a free and transparent way." But ousted Honduran President Manuel Zelaya says the U.S.
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Prosecutors Seek 40 Years for Khmer Rouge Prison Chief
By SOF Editor on Wed, 11/25/2009 - 11:54am
SOF World Report
VOA News
Prosecutors for Cambodia's genocide tribunal are demanding a former Khmer Rouge prison chief be jailed for 40 years for his role in the deaths of thousands of Cambodians. Kaing Guek Eav, known as Duch, expressed deep remorse in the packed courtroom in Phnom Penh Wednesday. He apologized to the Khmer Rouge victims and their relatives, taking responsibility for the deaths of more than 12,000 people who were starved and tortured under his watch. Prosecutor William Smith told the U.N.-backed tribunal that Duch should be held accountable for what he called the "unrelenting brutality" at th
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Somali Insurgents Order Halt to Imported Food Aid
By SOF Editor on Wed, 11/25/2009 - 11:51am
SOF World Report
VOA News
Islamist insurgents in Somalia have told the United Nations' World Food Program to stop importing food aid into the country. The group al-Shabab said in a statement Wednesday that the massive importing of food is ruining Somalia's agriculture sector. The rebels said the WFP must start buying food from local farmers for distribution to the needy. Al-Shabab warned Somali businesses to stop working with the U.N.
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ISF arrest suspected terrorist after three year pursuit
By SOF Editor on Wed, 11/25/2009 - 11:48am
America at War
Multi-National Corps - Iraq
Iraqi Security Forces, advised by U.S. forces, arrested Harith Sa'dun Dawud Al-Rubayi, a suspected leader of a terrorist group, and a suspected associate, Mortuda Nasir Hamud, in Diyala province Nov. 22. A warrant was issued by the Highest Judicial Court of Muqdadiyah for Harith's arrest for suspicion of murder, kidnapping and violent explosives attacks against Iraqi citizens and ISF units.
Read more
3rd Combat Aviation Brigade Arrives in Afghanistan
By SOF Editor on Wed, 11/25/2009 - 11:40am
America at War
Combined Joint Task Force - 82 PAO
Soldiers from the 3rd Infantry Division's Combat Aviation Brigade uncased their colors in a transfer of authority ceremony at Bagram Airfield, Nov. 24. "The 3rd Infantry Division is a world-renowned fighting organization that is known for two things: starting a fight, and finishing one," said Col. Don Galli, commander of the 3rd CAB.
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Secretary Issues Holiday Season Message
By SOF Editor on Wed, 11/25/2009 - 11:38am
American Forces Press Service
Defense Secretary Robert M. Gates today issued a holiday season message giving thanks to the military men and women who put their lives on the line every day. "This time of year calls on Americans to reflect on and give thanks for the freedoms and prosperity we enjoy. Of course, we can only do so because of those who put their lives on the line every day: the soldiers, sailors, airmen, and Marines who bear repeated deployments, hardships, and danger – without fail and without complaint. "Many have made the ultimate sacrifice.
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Nellis Airmen work behind the scenes to ensure exercise success
By SOF Editor on Wed, 11/25/2009 - 11:30am
99th Air Base Wing Public Affairs
Air Force
Airman 1st Class Michael Charles
Every year, Airmen here support the largest air mobility exercise in the United States. This Mobility Air Forces Exercise, or MAFEX, is essential in making sure both Soldiers and Airmen are prepared to coordinate jointly during overseas contingencies. The MAFEX is part of the U.S. Air Force Weapon School curriculum designed to culminate months of training that the students have received and challenge them to plan and execute a joint forcible entry airborne assault operation, integrating assets from across the world.
Read more
Papers filed in Chicago gun-ban case
By SOF Editor on Tue, 11/24/2009 - 4:49pm
Bloomfield Press
Gun Rights
Should individual states be required to honor your guarantees under the Bill of Rights? Phoenix-based Bloomfield Press has asked the U.S. Supreme Court to say yes, in an
("friend of the court") brief just filed. The goal is to require states to be bound by the Second Amendment right to keep and bear arms. They are not currently obligated to do so. This principle is up for review in
McDonald v. Chicago
, expected to be argued at the High Court in February, 2010, and decided by June.
Read more
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Who is Alan Krueger, Obama's Newest Economic Advisor Pick?
New hires involving mere mortals handling the nation's money problems emerged today; the one you didn't hear of was Kathleen Weiss Hanley, who was named to the deputy post over at the SEC's moderately shiny RiskFin division. It is both less important and shiny than that other announcement, wherein President Obama named Alan Krueger as his pick to chair the White House Council of Economic Advisors. Who is he, and what will he do? Read More


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Hot Rod Bus
October 20, 2008 5:52 PM
It takes a lot of horsepower to pull a racecar up a hill, and if you're a trophy-winning racer like Big Dog Garage general manger Bernard Juchli, then you want to travel in style, which is why you need a bus... a 1961 Flxible Starliner to be exact.
The Flxible Company had a long and varied life that lasted from 1913 to 1996. Over the decades, they manufactured motorcycle sidecars, ambulances, funeral cars, city busses, and large intercity coaches like the Starliner that eventually found its way into Bernard's possession.
In 1913, Hugo H. Young and Carl F. Dudte dropped the "e" from the word "flexible" so they could trademark the name of their unique motorcycle sidecar mounting. As the automotive industry blossomed, so did Flxible by branching out into the manufacturing of busses and other large vehicles.
When they bought the bus-manufacturing business owned by the Fagoel Coach Company in 1954, they started selling busses to major cities and continued to do so until their doors closed in 1996.
When Bernard found his Flxible in Tucson, AZ, it was badly rusted and in a state of deep disrepair. His first instinct was not to purchase it, but when his wife Rosalie located all the parts needed to repair it in Nashville, he decided to go ahead and purchase the bus for use as a mobile home and as a way to transport his racecar to the track on weekends.
With $3,500 plunked down for the bus – that's about 19 cents a pound – Bernard and his wife drove it back to California where work began. All the mechanics were fixed, the entire exterior, save for the roof, re-skinned, and a new super-charged turbo diesel engine ordered from the Detroit Diesel Corporation.
When installed, the 552 cubic inch engine will generate 400+ horsepower, which is plenty of oomph to haul a racecar up a hill at speeds that a racecar driver like Bernard is accustomed to.


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Blurb – Glug at D&AD Judging
Blurb - D&AD Glug Golden Tickets
Rather excitingly we've been asked by D&AD to put together 3 very exclusive talks events (100 people per day) during professional judging week at Olympia in London. So to say thank you to all our loyal Gluggers who've come to all of our events over the years. we thought we'd offer these for 1 pence each.
We'll be running three events, with the following best of Glug line-up. But the tickets not only get you in to see these more intimate talks, you get a behind-the-scenes peek at D&AD judging. From the balcony of Kensington Olympia you'll have a birds-eye view of the world's greatest advertising and design being judged by the expert juries below.
Please note, events will be held in the day between 4pm – 5.30pm
Part 1: Tickets here.
Event 1 – Monday 24th March
Simon Piehl – Bureau of Visual Affairs
Georgina Milne – Moving Brands
Rob Coke – Studio Output
Part 2: Tickets here.
Event 1 – Tuesday 25th March
Matt Wade – Kin Design
Mike Sharpe – Found Studio
Ash Nehru – United Visual Artists
Part3: Tickets here.
Event 3 – Wednesday 26th March
Barnaby Steel – Marshmallow Laser Feast
Toby Triumph – Toby Triumph
Elise Jones – E-L-I-S-E.com
As always thanks to our sponsors:
More on #GlugBeijing http://t.co/0Lh4eAjpo2 #creativeevents #china Please RT
— Glug (@glug) February 25, 2014
Glug: Beijing #1 – 12.03.14
Glug is a international series of events for the design and creative community.
This first Beijing Glug will have four inspiring speakers and plenty of free 'Great Leap' beer. The event will take place from 7pm until everyone falls over, as per usual.
Shift is a multi-disciplinary brand strategy and design firm specialising in emerging markets branding. With studios in Beijing, Hong Kong and Singapore, their work can be found in banks, supermarkets, bars and sex shops all over Asia. At Glug they'll be taking us through a couple of their most recent case studies.
John Korkidis
John Korkidis is a multi-faceted creative from New York who has been living in Beijing for the last 8 years. Past projects include guiding Caochangdi's entry into Beijing Design Week, serving as creative producer at boutique ad agency Jellymon, and working as in-house graphic designer to Ai Weiwei.
Matjaž Tančič
Matjaž Tančič is a Slovenian photographer who splits his time between Beijing and Ljubljana. Matjaž has 60 group and 24 solo exhibitions behind him, with his work being featured in magazines such as Vogue, Marrie Claire, L Officiel, Playboy, Mercedes Benz Magazine, Modna, Inspire and Look de Book.
Studio Output (Hosting)
Studio Output is a creative agency with offices in the UK and Beijing who've been producing work for MTV, Universal, Sony Playstation and BBC for over a decade. Head of Digital Dave McDougall will be taking us through for latest trends on the web in the UK and beyond.
Tickets: (Free)
https://yoopay.cn/event/glug- beijing-1
We're doing it as free entry and there'll be a load of beer from Great Leap.
We're also lining up DJs over the next couple of weeks. Watch this space.
Glug London presents 'Big Ideas, Beautifully Made' 20.02.14
Now that most of you are moving into the last few weeks of 'detox' january wouldn't it be nice to have something great to look forward to in February. Yes is the answer, and we think we've got just the thing, a Glug London on Thursday 20th February, back at Cargo.
Priced £7.50, includes a beer for every ticket. These will sell out, so don't miss out.
Get one now here!
Simon Manchipp and his team will be hosting the event this month talking about some of their wonderful work and introducing some 'Big ideas, beautifully made'. Lots of people are talking about this agency and so they should. Recently voted the designers favourite UK agency in the Drum 2013 Peer Review.
Man Vs Machine
Arguably one of the most wonderful, creative design & motion studios in London. Man Vs Machine will be talking through some recent work and revealing the secrets of their success.
Jim Thornton, Creative Director of VCCP will fill us in on what it takes to win Campaign Agency of The Year. Or rather what it takes creatively!
Sure, you've heard about 3d printing, but do you really know that much about it? The technical ins and outs, what it can offer for us creatives? Hear from a bunch of young upstarts that are using this technology and focusing on the creative agency sector. T
Tickets are £7.50, includes a beer for every ticket. These will sell out, so don't miss out.
Get one now here!
Timings - 6pm – Late
We'll have a host of stalls and pop ups around the venue. If you're interested in setting up a stall, get in touch with firstname.lastname@example.com
Thanks again to all our sponsors, without which we couldn't afford to run this night and more importantly buy enough booze for you all:
Glug London is sponsored by:
Glug London presents 'Data is Beautiful' – Videos
Welcome to the last Glug London, here's all the talks.
More of our back catalogue to be found here.
Glug Brighton @ Create / 29.11.13
The 29th November saw yet another great Glug Brighton held by Crush and Agency Rush.
The talks were absolutely brilliant and so different from each other, all of them were underlined with a wonderful personal passion and were truly inspiring. Thank you Phil Baines, The Makerie Studio, Tim Nunn and Ruffmercy. Plus stunning live art throughout the night by Margaux Carpentier and Daddison and a wonderful Igloo set by Tom Ashton-Booth that went down a storm. Photobot you outdid yourself again with the interactive twitter mirror, we love the results!
Big thanks to the pop up shops Create Zine and Ditchling Museum, we loved playing with the Adana printers. And thanks to Al Murphy and the Private Press for the live screen-printing.
Plus a big thank you to Create for letting us host Glug Brighton at their fantastic studios.
Here are links to some photos from the night, enjoy!
Glug Photos / thanks to Create & Sara Rogowska - Photos
Igloo Photos / thanks to Jean-luc Brouard - Photos
Magic Mirror / thanks to PhotoBot - Photos
Thanks again!
Carl and Rosie (Crush) & Helen (Agency Rush) – Glug Brighton Crew
#dareconf mini: People Skills for Digital Workers
Glug HQ is looking forward to the #dareconf mini. The organiser Johnathan Kahn is a veteran Glugger and rather nicely once said that Glug gave him the impetus to start his own events, this is one of many he's curated over the years.
Do you want to:
Create an environment where your team can do great work, or get skills and techniques to turn conflict into an opportunity to learn together, or be more brave when talking to people at work?
If so, #dareconf mini on 20 Jan is for you. Watch 9 presentations about practical people skills. Join us to learn skills, meet people, and share your ideas:
Each presentation combines a personal story with a practical "how-to" you'll apply to your work (watch this example from Neil Williams).
Take home a personalised workbook with next steps from each presentation
Optional workshop day: manage your team, your time, and your relationships at work
Register by Monday 18 November for £165 +VAT (save over £100).
See some photos from the previous events here.
Glug Brighton. 29.11.13.
Hello Gluggers,
We are really excited to announce the full line up for Glug at the end of the month. Below you will find more speakers, live art and a limited edition screen-print for all.
Hosted by Crush and Agency Rush, Glug will be held at the fabulous Create Photographic Studios on Friday 29th November. This event is for all you creative types, bringing people from far and wide for a few drinks and a natter. If you happen to be a student or an industry pro with a passion for design, illustration, photography, 3D sets or the digital world we would love you to join us.
Those of you who have been before know this will not be some dry business card swapping networking event oh no! This is about like minded people being inspired by amazing creative talks, live art, interactive fun and having a drink or two (or maybe even 3).
Tickets are priced at a very reasonable £5.50, so why not start your weekend creatively? For any newcomers you will need to 'RSVP' and pay for your ticket online to ensure your place.
Much love.
Where, when & how much?
Glug Brighton / Friday 29th November 2013 at Create
Create Brighton, Unit D&E, Level 2 South, New England House, BN1 4GH
Time: 6.30pm – 11pm
Tickets – £5.50 from www.meetup.com
(For any newcomers you will need to 'RSVP' and pay for your ticket online to ensure your place. There will be a guest list on the door, you do not need to bring a ticket or printout).
Philip Baines
Phil Baines has designed the branding and exhibition design of the recently reopened Ditchling Museum of Art + Craft, which focuses on the designers, artists, and craftspeople who worked in and around the village during the 20th century. They included Edward Johnston (regarded as the father of modern calligraphy, and most famous for designing the typeface used throughout the London Underground), Eric Gill (typeface designer, stonecutter, printmaker and sculptor) and Philip Hagreen (wood engraver). The talk will describe the pleasures and problems of designing for this very particular collection and museum that has been described as "a must-see design space'.
Phil combines teaching typography at Central Saint Martins with a freelance practice which has included work as diverse as lettering for the 7 July 2005 London Bombings Memorial; covers for Penguin Books' 'Great Ideas' series; and publications for Matt's Gallery, London.
Tim Nunn
Tim has been involved in image making around surfing and adventure for the last 19 years. Not only has he been editor of Wavelength magazine, a film maker and photographer which has taken him to some of the most remote and stunning places on the planet, he has also published two inspiring books, 'Surfing' and more recently 'Numb'.
World renowned for going to the colder regions of the Earth, Tim is often found living wild with bears in Canada, going feral on uninhabited Scottish Islands and spending months exploring Iceland's vast but freezing coastline. He has put the adventure in surfing and goes totally against the preconception that surfing is all about hot sunny days on beaches in the tropics. The tales he has amassed from these expeditions boarder on the ridiculous, but are in fact just everyday occurrences and when coupled with the stunning images of wilderness and surf they make for compelling viewing.
The Makerie Studio, Joyanne Horscroft
Julie Wilkinson and Joyanne Horscroft are The Makerie Studio, a creative collaboration producing unique three dimensional paper sculptures for both commercial and artistic purposes. Using specialised papers and intricate detailing, The Makerie Studio design and create structural showpieces for window installations, advertising, editorials and private collectors for the likes of Vogue, Wallpaer Magazine and AMV BBDO. Inspired by forgotten worlds, rare prints and the beauty of details, The Makerie Studio create distinctive pieces using uniquely developed techniques, precision and passion.
Ruff Mercy
In Russ's own words … RUFFMERCY AKA Russ Murphy is an ol' has been assed animator with questionable talent who's trying his hardest to atone for previous design & animation crimes committed throughout his 15yrs in the industry. This consists of mustering up whatever rusty ol' skills he has left to try and make the work he dreamed of making when he was a 13 year old kid full of dreams. He lives in Bristol with his partner and twin boys.
A Wintery theme will be the inspiration for our talented artists (one more artist to be announced soon).
Margaux Carpentier
Part of the Animaux Circus studio, Margaux is an illustrator and prop maker. Taking inspiration from folk tales around the world and extra terrestrial creatures.
Tom Ashton-Booth / Photo Installation
Remember Al Murphy's ice cream van, it was such a hit with you Gluggers we have asked the talented Tom Ashton-Booth to create a 3d winter photo-set for all Gluggers to jump in and enjoy. Tom has a wonderful way with paper, sculpture and prop making. Be sure to bring your best winter woolly jumpers and hats for this one! There is an igloo, we are excited.
The Private Press, a great local screen-printing company are teaming up with the wonderful Al Murphy who has designed a limited edition print for Glug. These will be printed live on the night and are free to all you lucky people who come along. The Private Press offers a range of services from screen-printing limited edition artist prints to posters, flyers, record sleeves as well as bespoke design and printing for weddings and events.
Al Murphy, a regular favorite at Glug, was recently voted Illustrator Most Likely To Go To The Pub Later by himself and took first prize in every category of the Al Murphy Illustration awards which he hosted for the 33rd year running. In 2006 he moved to Berlin but left when he realised so had most of East London. In 2008 he moved to New York but left when he realised he had begun pronouncing tomato 'toh-may-toh' (actually he's still there but don't tell anybody). He is influenced by the work of the great masters Neil Young, Charles Schulz and Eric Morecambe and is partial to a Fab ice lolly every once in a while.
Many thanks to Print Source and Fenner Paper who have donated the paper for these screen-prints.
See you there
A big thanks to the wonderful Create for letting us hold Glug at their fabulous photographic studios again and BAV for sorting all the technical equipment. Here's a bit more info about them:
Designed by professional photographers, Create is Brighton's largest photographic studios, housing 3 multi- use shooting spaces, dark room facilities, and training centre which runs an extensive list of photography courses from starter to professional level. Their experienced team of in house photographers offer a diverse range of shooting styles, covering everything from high end fashion editorial to product photography, supported by a full creative team of set builders, make up artists, stylists and assistants.
Hire and install sound, lighting and audio visual equipment for indoor/outdoor events, parties, conferences, bars, nightclubs and much more.
Please visit their website www.boathaudiovisual.co.uk or call 01273-600678
Thanks to Bullit for helping us with the speedy delivery of the wonderful photo-set. For quotes and queriers get in touch at www.bullitcouriers.com
Special Glug Offer: Free Ride Home on Thursday [Sponsored by Uber]
A gift for all attendees of Beautiful Data, use the promo code and receive a free ride on Uber London.
Uber London has a fleet of luxurious cars (LUX); S Classes, XJs and 7 series that anyone can order at the push of a button, it's exactly like having your own private driver. For day to day trips, use Uber London, 30% – 50% cheaper than a black cab!
The Uber app is now available in over 50 cities across the globe including Paris, NYC, Milan, Sydney, Singapore and LA.
Download the app here iOS or Android and use the promo code: UBERLOVESGLUG
Order a Car
- Download the Uber Technologies iPhone, Android or Blackberry app to request a ride.
- Your Driver Comes to You
- Sit back and relax! We'll text you when your Uber arrives outside. You can call or text your driver as soon as he has been dispatched.
Arrive in Style
After arriving at your destination, we'll charge your credit card on file and email you a receipt. You never need to carry cash again!
Email us at email@example.com
Glug London: 'Beautiful Data' 14.11.13. [Speakers]
Hello you lovely bunch, here's the lineup for Thursday's Glug London.
What a handsome bunch we think you'll agree.
Signal Noise is one of London's leading independent information design agencies.
Working with the likes of Nokia, BMW, and TEDx, their user-centered approach, combined with a constant desire for innovation, enables them to help global clients understand and communicate complex data through content, tools and installations.
Hem Patel, Co-Founder of Signal Noise
Hem Patel has over 12 years experience within art direction and graphic design, working within the corporate and philanthropy sectors for clients including bloomberg, Deutsche bank,Tate Modern, Serpentine Gallery, and the Whitney Museum. He has also been a visiting lecturer at both Central St Martins and UCA epsom, working with students on design and art direction.
Matthew Falla, Founder of Signal Noise
Matthew Falla is a London based interaction designer. He graduated with a first in Graphic Design at Central Saint Martins, before completing a masters in Interaction Design at the Royal College of Art.
After graduating, Matthew was awarded a grant by NeSTA to set up an interactive design studio, osmotronic (later re-branded as Signal & Noise). The company has worked for clients including Accenture, the BBC, Hasbro, Hermes, HSbC, Mars, Nokia, the NHS and o2 – providing interaction and information design services.
Matthew has exhibited work in London and Copenhagen and spoken at a number of conferences internationally. His work has been featured in Creative review and Design Week magazines and has received widespread web coverage including technology blogs, engadget and Gizmodo. In 2008, he was Designer in Residence at the Design Museum, London.
Signal Noise – Partners
Yves Boussemart – Chief Design Officer at QuantumBlack
Yves has more than 10 year's experience designing decision support tools in time- and mission-critical settings both from the human-computer interaction and algorithmic perspectives. He has previously worked at Thomson-Reuters in the Finance and Risk division, consulted for major international mining and aerospace companies, and conducted research in collaboration with the defense and nuclear industries. He also taught Data Visualization at MIT as a post-doctoral associate in the department of Aeronautics and Astronautics. Yves holds a Ph.D. in Human Systems Engineering from the Engineering Systems Division at MIT along with an M.Eng. and a B.Eng. in Computer Engineering from McGill University.
David Johnston of Accept & Proceed
Established in 2006. Accept & Proceed is a small creative company, based in East London. Since inception, we have been collaborating with brands on commissioned projects and also generating a variety of self-initiated works.
Our approach is to deliver the obsessively inventive time and again.
To embrace the clinical removal of the unnecessary, and create work that is both complex in it's craft and artistry, yet clear in communication.
Simon Piehl - Founder / Creative director at Bureau for Visual Affairs
Simon studied typography and Graphic design at the LCC when it was still known as the LCP.
During and after his studies, he worked with Angus Hyland, whom he followed to Pentagram in the late nineties. Following his time there, he focussed on interactive media, working for Imagination ltd before heading Spin's digital department up to 2002.
Bureau for Visual Affairs is a digital agency focussing on content driven websites with a diverse range of clients, ranging from the Tate Gallery and Damien Hirst at the one end to BMW and fashion brand Whistles at the other.


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Mizzou Basketball Links
Media Day
The Trib: Jabari Brown expects to be cleared, could startMissouri Coach Frank Haith is expecting Brown to play and possibly start when the Tigers (8-1) take on SC State. Haith had previously said Brown would not start in his first game, but the coach seemed to backpedal on that Monday.
"I know I said definitely would not start him so I want to make sure you guys don't think I'm lying to you," Haith said. "I don't know yet what we will do. I want it to be a competitive week. We get to bring it back to first day of practice this week. All bets are off. Let's go compete for playing time. Got a lot of options - Stefan and Jabari, Earnest, Negus, a lot of guys."
Brown, a former five-star prospect, played just two games at Oregon last season before transferring to Missouri in January. He would not discuss the reasons behind the transfer, saying "I've kind of like closed that chapter."
Post-Dispatch: Haith on lineup: 'All bets are off'
Post-Dispatch: Bowers powers back to new heights for Mizzou
PowerMizzou: PMTV-HD: Hoops Media Day -
The Missourian: Missouri stays at No. 12 in AP Rankings
Mizzou Football Links
Congrats, Kendial God Lawrence
MUtigers.com: Kendial Lawrence Named Football MVP -
2013 Recruiting
The Trib: Tigers pick up help for defensive line
PowerMizzou: Decision looms for [TX tight end Jason] Reese -
Mizzou: Top 25
AL.com: College football regular-season attendance dips to lowest average since 2003 -
Somebody's Evidently Uploading Some Old Highlight Packages...
We Are Mizzou: Mizzou vs. Kansas 2007
We Are Mizzou: Mizzou Cotton Bowl 2008
Other Football Links
BCS Title Game
AL.com: Alabama-Notre Dame: Epic 1973 Sugar Bowl lived up to its billing (Part I)
Matt Sarz: Setting up CFB 2013
Mizzou Diamond Sports Links
SimmonsField.com: Missouri Baseball Roster updated -
SimmonsField.com: SxSE: Coach Tim Corbin's Vanderbilt Commodores
Other Mizzou Links
The Trib: Coaches split on possible change to texting rules
MGD Was My "I'm Tired Of Bud Light" Cheap Beer Of Choice ... What Was Yours?
Yahoo! Finance: Nine Beers Americans No Longer Drink -
The Braiser: VIDEO: Anthony Bourdain and Eric Ripert Discuss Chocolate Bar


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PLM360 is proving to be a great tool for us in support of new idea mangement, project selection and project management. But one other piece could make all the difference...
A communication tool. Something where we could share quick notes or a chat with teammates in a project community. Perhaps being able to "watch" an item for new comments, specific conversations regarding that item that are happing everyday on some level. The daily notifications are helpful but a section of the homepage or a seperate window that could be kept open that displays "live" data would be fantastic.
The goal, replace all project specific communication now taking place in e-mail. Facilitate and store this communication within an item and display all "watched" item communications on my homepge / dashboard.
After having become more familar with PLM it appears to me that the BOM handling across workspaces are lacking.
I like the idea of having multiple workspaces because it allows me to collect different information for different types of items.
But I have come to the conclusion that this is simply not viable at this point, because:
1) PLM does not support BOM import when it references items in other workspaces. (It is possible manually)
2) Even if I did add them all manually, I cannot create a BOM view that includes my custom fields from other workspaces because the BOM view can only see the Descriptor field from other workspaces.
The result of this is that I have to put everything in a common workspace have have to clutter up the item details with a lot of fields that does not apply.
Proposed improvement
1) Include cross-workspace BOM import
2) More configurale BOM view, where I can specify the FIELDNAME (could be free text) for each column. If the FIELDNAME does not exist for a specific item/WS on the BOM, just leave it blank. For example: If I am referencing 3 different workspaces in a BOM and 2 of them has a field called PART_NUMBER, I would expect the value to be inserted if available, otherwise left blank/null.
I realize this is a big request, but here goes anyway.
I would like to have a Item Details layout that can change with workflow stage.
Often I only want to see a few fields in a given workflow stage.
I woud like if I could create different versions of the "Item Details Fields" view and specify which views to use in a given workflow stage.
1) Allow for workspace shortcuts in the unused area of the title bar. (marked in red)
2) Add 'X' for closing the item window (green)
Right now I can chose to expand the window to full size or back to the split view. There is no simple way to get back to a full screen list view. (workspace only with no item in focus.)
3) Be better at remembering column widths.
It could be very handy if condition and validation scripts could take a argument.
It could cut down on the number of scripts needed.
For example:
A GenAccept script could be reused on both an Accept and Reject action if it could take a bool argument.
GenAccept(false) (negate output)
Allowing it to take an integer would make it even more flexible.
I realise this could be a big topic for development but I'll keep it to a few requests:
When searching a workspace, every hit in all fields are shown in individual rows. Usually when I search, I'm looking for a specific item. Therefor I'm not interested in how many places my searchterm is found in ever item, just which items that have atleast one hit.
So I'd like an option to filter the search to only show each item once in the list.
Best regards
Johan Kenneberg
It would be great if we could:
Have the ability to choose a report as an element (in advance print view) and then have it embedded in the email sent out.
Choosing a report and the file type of the attachment, and have that sent out with the advance print view.


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CHARLOTTE — The Carolina Panthers have waived kicker Justin Medlock and replaced him with Graham Gano.
The Panthers (2-8) signed Gano, a free agent, to a two-year deal after Medlock missed his last three field goals.
Gano spent 2009-11 with the Washington Redskins, playing in 36 games and converting 59 of 80 field goal attempts (73.8 percent) with a long of 59 yards.
Gano entered the NFL as an undrafted rookie free agent with Baltimore in 2009 before being released by the Ravens.
Medlock started the season 7 of 7 before having a kick blocked against Washington. He then missed field goals against Denver and Tampa Bay. Medlock's second-quarter miss from 40 yards on Sunday against the Bucs would have put the Panthers up 17-10.
Carolina lost to Tampa Bay 27-21 in overtime. The Panthers face the Eagles (3-7) on Monday night.
Dolphins get tight end
Tight end Kyle Miller has been awarded off waivers to the Miami Dolphins, and they waived receiver Jabar Gaffney.
Gaffney joined the Dolphins in early October. He had the best season of his career last year with Washington, then signed with the New England Patriots and was released at the end of training camp.
Seattle rookie suspended
Seattle Seahawks rookie safety Winston Guy has been suspended for four games without pay for violating the NFL's policy on performance-enhancing substances.
Guy's agent, Greg Linton, says the positive test was the result of an ingredient found in an over-the-counter supplement that his client took. He says Guy has no intentions of appealing his suspension and called it an innocent mistake.
Reed avoids suspension
Baltimore Ravens safety Ed Reed avoided a one-game suspension for late hits after an appeal.
He instead will be fined $50,000.
Reed was suspended for one game without pay on Monday by NFL vice president of football operations Merton Hanks for his third violation in three seasons of the rule prohibiting helmet-to-helmet hits against defenseless players.
The third violation occurred in Sunday night's game at Pittsburgh: Reed's hit to the head of receiver Emmanuel Sanders.
Reed appealed the ruling in a phone session with NFL hearing officer Ted Cottrell. The NFL Players Association represented Reed, who also participated.


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Environmental Management Companies in Bosnia & Herzegovina
Business type: Technology ×
Category: Environmental Management ×
Industry: Health Care ×
Location: Europe ×
Location: Bosnia & Herzegovina ×
ICL Water Solutions - BK Giulini GmbH
Water is the most diverse resource we know and it influences many different areas of life. However, it is a sensitive element and cannot be taken for granted.We as ICL Water Solutions use our expertise and decades of experience to take care of water, wherever it is needed for industrial processes or public purposes. ICL Water Solutions is part of BK Giulini GmbH, an ICL ...
EVALED evaporators are a Veolia Water Solutions & Technologies Italia's product. Veolia Italia is the technical Italian branch of Veolia Water, the world leader in water treatment and part of the Veolia Environment Group. A specialist in engineering and turnkey design & build projects, Veolia Water Solutions & Technologies also offers a wide range of technological ...
Genesis Water Technologies, Inc
Genesis Water Technologies, Inc. is a innovative US wholesale supplier and manufacturer of sustainable water treatment, filtration and purification solutions, serving the needs of water treatment dealers/distributors, engineering consulting firms, OEM clients, commercial and governmental clients. Genesis Water Technologies is dedicated to providing superior customer ...
Ozone Tech Systems OTS AB
Ozone Tech Systems OTS AB offers intelligent and innovative solutions for air and water treatment. By using natures own cleaning process, we have an environmentally friendly and cost efficient method which is both reliable and scalable to suit both small and larger applications.
Airtechnic - Solutions bv
Airtechnic Solutions BV is the specialist in providing integral solutions for airtechnical problems regarding sieving and separating of solids, dust and flue gas emission, process control and improvement, product and gas transport and process air treatment.
Radiant Industrial Solutions, Inc.
Contamination Solutions - you have measured for them, you found them, now what do you do? Radiant Industrial is a disinfection solution expert for the food and beverage industries. Radiant builds disinfection solutions around your process, improving your product quality, improving production flow, never reducing time to process, always increasing product quality. Reach ...
CO2Meter.com manufacturers and distributes carbon dioxide meters and other gas meters, sensors and indoor air quality monitors used in the HVAC, scientific, horticultural, food & beverage and many other industries.
LabLogic Systems Limited
LabLogic is a worldwide market leader in the supply of LIMS and chromatography data systems to the pharmaceutical, agrochemical and nuclear/PET industries. We also design, manufacture, sell and service instruments used in the measurement of low-level radioactivity. Our products help our customers accelerate their research, providing quality data using industry standard ...


text: Hallde manufactures a high quality range of commercial food processors in Sweden. Hallde range of commercial food processors include combination cutters, vertical cutter blenders, bowl cutters, food blenders, vegetable preparation machines, and a comprehensive range of blades to prepare every type and size of cut. Hallde food processors are solid, very reliable and built to last. Hallde commercial food processors are found in restaurants, hotels, motels, commercial kitchens, food productions, hospitals, nursing homes and so on.