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We recommend everyone click the menu item CEUs > Discounts. Here you can see our best deal: our Annual CEU Subscription (Unlimited CEUs) for only $99. With unlimited access you can take any of our AARC approved Real-Time Live Broadcast, Recorded Live Credit, and Self-Directed courses with no additional payment for 365 days from the date of purchase. You also don't have to wait for your Recorded Live Credit course to open - you will have access to whichever course is currently open. You can also register for our FREE Recorded Live Credit course from the Discounts page.
Our Real-Time Live Broadcast courses are available according to our broadcast schedule. We offer these real-time courses via Zoom (CEUs > Real-Time Live Broadcast). If you participate in one of our Real Time Live Broadcast (Interactive Webinar) courses, be aware the evaluation link will remain open for thirty (30) minutes following the broadcast. You must complete the evaluation during this time frame to obtain a certificate for the class. However, be assured we will assist all paid attendees so they may obtain their certificates.
If you wish to take courses when it's more convenient for you, try our Self-Directed courses (available 24/7). Self-Directed (Non-Traditional) courses are on demand and accepted by all state boards for a portion of an RT's CEU requirements. See our State CE Requirements page and click on your state if you are unsure how many of these courses you are allowed to submit for license renewal.
Our Recorded Live Credit courses meet the new AARC rules for Provider-Directed courses and are therefore available when we schedule them to be open. Every day at the posted times our Recorded Live Credit courses will be available to take. One course at a time will be open. Each course will remain open an additional 30 minutes to allow for completion flexibility. To purchase individual courses, go to our CEUs > Locate Your Course page and choose a course on one or more of our 10 schedules (A, B, C, D, E, F, G, H, I, and J). Click on the course schedule, then click Purchase next to the course name to see the course's objectives and purchase it. On our Recorded Course Locator page you may click on the up/down arrows to sort the Content Area to see those specific courses (e.g. Medical Errors / Patient Safety, Infection Control, Ethics).
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Welcome to Saturday's Marlins (10-9, -26 RD) vs. Guardians (10-9 -3 RD) game thread. Let's play two. This is Miami's first meeting with Cleveland since the latter rebranded.
Marlins Game Notes
Marlins Game 1 Starting Lineup
- CF Jazz Chisholm Jr (95 wRC+ this season)
- DH Jorge Soler (157)
- 2B Luis Arraez (195)
- LF Bryan De La Cruz (91)
- RF Avisaíl García (26)
- 1B Yuli Gurriel (83)
- 3B Jean Segura (17)
- C Jacob Stallings (48)
- SS Jon Berti (50)
Game 1 starter: LHP Devin Smeltzer (32 ERA+ this season)
Game 2 starter: LHP Braxton Garrett (130 ERA+ this season)
Pregame Roster Moves: LHP Steven Okert (left abductor strain) returned from rehab and reinstated from the 15-day IL; LHP Trevor Rogers (left biceps strain) placed on the 15-day IL; RHP Jeff Lindgren selected from Triple-A Jacksonville and designated as 27th man for the doubleheader; RHP Tommy Nance (right shoulder strain) transferred from 15-day IL to 60-day IL
Additional Marlins Notes: Sandy Alcantara was scratched due to biceps tendinitis. Both Jordan McPherson of the Miami Herald and Craig Mish of SportsGrid report that he's expected to avoid the injured list and make a start during the upcoming Braves series. Still, it's a frightening setback for a superhuman pitcher who's had no history of arm injuries...Nick Fortes is 2-for-his-last-25 and in the midst of his worst slump as a big leaguer.
Guardians Game 1 Starting Lineup
- LF Steven Kwan (86 wRC+ this season)
- SS Amed Rosario (69)
- 3B José Ramírez (122)
- DH Josh Bell (75)
- RF Oscar González (21)
- 2B Andrés Giménez (109)
- C Mike Zunino (176)
- 1B Josh Naylor (32)
- CF Myles Straw (116)
Game 1 starter: RHP Shane Bieber (149 ERA+ this season)
Game 2 starter: RHP Zach Plesac (60 ERA+ this season)
Guardians Notes: The Guardians lead the majors with 26 stolen bases, but have the second-fewest home runs (10). None of their players have gone deep more than twice...Watch for Naylor to potentially heat up soon. His .143 batting average on balls in play is tied for the lowest among qualified MLB batters despite barreling the ball at a career-best rate (9.8%). His luck is due to turn around.
How to Watch/Listen/Follow
First pitch of the first game is scheduled for 3:10 p.m. ET. The second game will begin approximately 45 minutes after the conclusion of the first. Watch on Bally Sports Florida or listen to the radio broadcast on Fox Sports 940 Miami.
Grant Kiefer is at Progressive Field representing Fish Stripes as a credentialed reporter. Follow him on Twitter (@KieferMedia) for in-game updates.
Grant will handle both game recap articles.

subset: commoncrawl


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Friedrich ZCP10SA 10000 BTU ZoneAire Compact Portable Air Conditioner with Built-In WiFi - R32 Refrigerant $479.00


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Minsheng Financial Leasing orders 60 Gulfstream jets
Minsheng Financial Leasing has placed an order with Gulfstream that could see the Savannah-based airframer deliver up to 60 aircraft to China.
The order, placed in the fourth quarter of 2013, covers G280s, G450s, G550s and G650s, although the majority of aircraft will be G450s and G550s.
Made up of options and firm orders, Corporate Jet Investor understands that the firm orders placed will cover the delivery of 40 aircraft.
The aircraft order was originally expected to be placed earlier in 2013 and had previously been referred to during General Dynamics investor relations calls by Phebe Novakovic as a pending "large fleet order."
"Minsheng has quickly become the largest fleet owner in China and has been a leading visionary in the business aviation market," Larry Flynn, president of Gulfstream. "We are thrilled with Minsheng's confidence in Gulfstream and look forward to working with the company throughout the delivery process and beyond."
The Minsheng order is one of the largest orders Gulfstream has ever received.
"This order is one of the largest in our history and it affirms the valued partnership between our two companies." says Scott Neal, senior vice president of sales and marketing. "Together we are commited to growing business aviation throughout China"
In 2008, Gulfstream received a $1.9 billion order from NetJets for delivery of up to 40 Gulfstream aircraft, however, not all options were converted to firm orders.


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A sustainable, renewable ingredient
Manufacturers use soybean oil and meal to replace petroleum and other volatile or hazardous ingredients, as well as increase product performance. Soy's versatility lends itself to being an ingredient in many different products, including rubber, fiber, coatings, solvents, plastics, cosmetics, lubricants and adhesives.
Responding to the need for green options
By using soybean oil or meal as a replacement for petrochemicals, product manufacturers are answering the call for more environmentally friendly products. As an added bonus, manufacturers often find there are performance benefits to using soy-based ingredients, such as increased lubricity, slower evaporation rates and improved water resistance.
Popping up in more places everyday
From shoes to truck tires, soybeans are finding their way into more products.


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Giving the Only White Guy in Aladdin a Spin-Off Is Beyond Disappointing
Think back to the live-action Aladdin, starring Mena Massoud and Will Smith. Think of the most memorable characters and moments of the film. Maybe even make a top ten. I will bet you money that the weird, pseudo-german antics of Billy Magnussen's Prince Anders didn't land on your list. They certainly didn't land on mine because I had to be reminded of who Prince Anders was when I found out Disney+ is developing a spinoff film around him.
Dear god, of all the things why this? Why are we getting a spin-off of the one white character in a movie starring and about people of color, when the star of that movie isn't getting any auditions. Apparently Billy Magnussen just walked into Disney with the idea and…they went with it. And of course, it's being written by two white guys whose biggest credit is…a yet to be completed SpongeBob movie (Jordan Dunn and Michael Kvamme).
Congrats to Billy Magnussen (sincerely).
Shame on the industry in aggregate (sincerely). https://t.co/paPxdnvHNm— Franklin Leonard (@franklinleonard) December 6, 2019
This is the first project of it's kind – meaning the first feature spun off from a live-action Disney film and it's infuriating that a company with so much power and resources as picked, of all the available characters, Boring White Prince Number Four.
This is especially disappointing because there have been a lot of moves to diversify Disney film and shows, so much so that this feels like a huge step backwards. Why can't they continue the Aladdin story somehow and give us Mena and Naomi Scott in a Disney+ adaptation of Aladdin and The King of Thieves? Or they could follow fairies from Maleficent, or even try again with the flawed but at least diverse world of the weird Nutcracker film that was all about a black Nutcracker and a smart girl saving the day with STEM.
also like ……. I love Billy in Charming Idiot mode and still if you had asked me 20 min ago if he was in Aladdin, a movie I have seen and reviewed, I would have said no
— Angie J. Han (@ajhan) December 6, 2019
I assume that this is in part a matter of cost and availability, but it's also another example of white guys failing up and how astronomically hard it is for non-straight, white, cis males to get their stories told while these guys get pointless spinoff just handed to them.
No one is asking for this. What people are asking for are: queer characters, characters of color and different abilities, more strong women and unique tales. Hell, I'd take a Timon and Pumbaa series over this if we're handing out shows to white guys in diverse movies.
I know I'm not the only one who sighed in horror at this news, not because we think this show will be bad, but because it represents something so pervasive and exhausting that Hollywood just can't shake: the white guy always gets the happy ending, even when the story isn't about him.
(Via: The Hollywood Reporter, image: Disney)
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—The Mary Sue has a strict comment policy that forbids, but is not limited to, personal insults toward anyone, hate speech, and trolling.—
Have a tip we should know? [email protected]


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The first offering from the Yorkshire-producer's upcoming album, it conjures up his solid, breakthrough electronica influences (Orbital, Leftfield) through regrettably flat phrasing with wafer thin hooks.More single than EP, its title track is followed by remixes from underground artists, each (bar one grizzly breakcore rework) gently rearranging its elements to show a lack of melodic bedrock. Odd choice of single from a promising talent.
Callum McLean
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How To Avoid Paying out Too Much For Travel
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Agree on the 4-5 hour delay. Posts from new members are moderated but it seems like you should be past that now.
You probably will get a variety of opinions on how to build the design that you are developing. But I think it will be very hard to get all your elevation changes worked in starting with a flat sheet of plywood on a basic frame (another lesson learned from my 4x8 layout years ago). Maybe this will help get some discussion started.
Since I also have a lot of elevation changes in my plan I am using L-girder style construction. Depending on how your existing benchwork is built you may be able to re-work it into L-girder. Pull all the plywood off, add "L"s to the existing grid, and lay support beams across the L-girders. And then use the plywood that you have to make cookies. Before jumping into this though I suggest that you do a search on L-girder benchwork and look at the variations.
Does the club layout that you mentioned have a lot of elevation changes? If so take a look underneath to see what they did. And you could probably get some good advice and ideas from members there.
Huntington Junction - Freelance based on the B&O and C&O in coal country before the merger... doing it my way. Now working on phase 3. - Walt
For photos and more: http://www.wkhobbies.com/model-railroad/
I was thinking of using the Wood land scenics foam risers for 2% or 3%, i dont have to cut ply and do guess work.
My 13x9 L Shape Garage Layout build
I have done this I O gauge and I will caution you it gets expensive. I went with this method because it is the only one I knew about. Also scenery below track height has to be planned well in advance when using the woodland scenics foam risers and sheets of foam for scenery base. You also need to pick a starting or "0" height above the plywood just in case you discover that you need a bit more wiggle room for getting your track below another (bridges necessarily take up space below the height of the roadbed, quite a bit depending on the type of bridge. Also just buy foam board instead of using the foam risers for level track, it was cheeper and easier for the grades the foam inclines worked really well. You still need to be careful about vertical easements when transistioning from level track to incline and vice versa. You may have uncoupling problems if you dont, especially in HO scale. A good hot wire cutter (and good ventilation!) is necessary for the foam method of construction.
Ive done the bolt on method before and it is workable. I over engineered by O guage layout (I can walk on it), but it started life as an L-shaped N-scale layout. Bolt on becomes unworkable when you go to try to diassemble it for moving after youve put down scenery. I made this mistake on my O guage layout. I have angled pieces of steel holding the sections of the layout together. The angled steel is attached with counter sunk bolts in the top and nuts on the bottom, and run the length of the 4x8 pieces of plywood. I have 2in blue foam board glued and screwed down on top.
I do not reccommend my method of bolting on sections.
And some food for thought:
How are you planning to access the parts of the track that is in the tunnels for cleaning and re-railing derailed equipment?
yeah so what i did for the first section was 4x8 built the way worlds greatist hobby built there benchwork. then i just bolted on addional sections when i wanted larger 10x5. Now that i been thinking about it all day, I think its just better I start from stratch for benchwork. I made the whole table with just two sheets of ply that I cut into strips for the cross sections, saved money. i was thinking of reusing the wood, but i used nails and wood glue. I think if I try to rip it aparts its going to pull the ply apart.
I also have a Ply tabletop, but I used 2inch blue foam ontop which i semi glued with DAP 220. I was going to hotglue gun the risers ontop of the blue foam.
wow, so it seems after 15 post I can post instantly. YEAH!!
Congrats on reaching the instant post approval!
No simple answers to how you should approach benchwork. I think you will have to decide for yourself depending on your sitution. I like L-girder because it is very flexible and easy to build in elevations for both track and landscape, ply sub-roadbed naturally forms vertical easements, there is better access to hidden track, and its much easier to install under-track switch machines and wiring. But there are downsides- design details take some thinking, you end up cutting and fitting a lot of wood (a good mitre saw comes in handy), and the finished structure is more-or-less permanent. My layout would be a real bear to move without totally destroying it.
Suggest you be patient, do searches here and on other internet resources, and see what others have done and are doing. Then select a method that makes the most sense to you. It will be easier for everyone here to respond to specific questions once you get going with it.
For you "new" design i would start from scratch. Since this layout is still somewhat crammed into a working garage, it should be moveable if ever needed. Open grid w/ locking casters would be an option. MrB has posted many times his benchwork, this may be a great idea for your use as well. You could use foam over 1x or use cookie cutter. Don't fear those inclines in cookie cutter, as the grade will be actually easier to construct and the "bending" of the plywood subroadbed will automatically give you the grade upeasements/ overeasings as you "flex" the plywood into the grade.
Like your latest concept far better.
Modeling B&O- Chessie Bob K. www.ssmrc.org
Your Lucky. My wife gave me half that space. Great Job !!!!
So it's been awaile since I last was on here. I bought all the building materials, then I started to rethink. My first plan seemed a bit hard to build. so I came up with this
Let me know what you think. I need to give credit, found this in the layout section, but I fliped it vertical to look correct and added a rail from the lumber mill to the barn for a turnaround.
So two questions come to mind looking at this one:
1. What are the radii of the end loops? The scale grid makes me think this plan was designed for N, since the ends are only 3' and 3.5' across, too small for anything but the absolute tightest HO curves. Are you planning to blow this up to a larger-sized base?
2. Is the layout going to be in a corner, and if so, how are you going to access the staging tracks and that tunnel on both long sides for derailments, cleaning, etc.? If you are expanding the size, this becomes even more important-- you'll need an access hatch if you can't get to that far corner by walking around.
Looks like a good plan for the space you have.
Well last night I was using the computer program Anyrail to try to replicate this to HO scale for my space given in garage. Both ends are 5 feet and the long side is 13 ft. So I can keep to a 22in minimum so that larger locos like sd70ace have no issue, I think I should be ok. So far only the inside loops are 22in and outside it 24 or 25. So not so bad. I bought all this Woodland scenic's foam risers because I thought it might speed up the process, so I'm going to use those.
I also have mostly Atlas Snap turnouts and switches, also going to be using a DCC NCE powercab. I don't know if I will need the larger power pack for this layout or if the basic one can handle it.
That's definitely an N scale plan, although I can't remember the issue. Note that the vertical clearance is only 2 1/4" where tracks cross one another.You'll need to check the grades in your expanded plan with HO clearances. Note also that if your inner radius is 22", your outer radius for double-track will need to be at least 24.5".
You'll probably also want to check your reach distance into the corner. It helps that you can reach from both sides, but typically folks cannot reach more than 30" across a scenicked layout.
Best of luck.
Layout Design GalleryLayout Design Special Interest Group
i was planning on using atlas code 100 flex track, is there any reason not to use this? also atlas snap switchs #4.
Proctous i was planning on using atlas code 100 flex track, is there any reason not to use this? also atlas snap switchs #4.
Snap-Switch frogs are much tighter than #4. They aren't a good match for radii larger than 18". The Atlas "#4" turnout is actually about a #4 1/2, so it works well with radii in the 22-24" range or so. The Atlas #4 is different from a Snap-Switch.
If you want to use the Snap-Switches because you already have them, then you'll be limited in the length of cars and locos that will run reliably, but that's a decision only you can make.
I guess I dont know what a #4 is then. I have the Atlas #850 and #851 turnouts, and they use the remote snapswitch machine to turn them. is this what you are talking about.
Also I like running modern locos like SD70ACe for mainline and shorter stuff for indus with GP35 or something. shouldn't be to much a problem right?
#850 and #851 are Code 100 Snap-Switches, they have tighter frogs than a #4.
#281 and #282 are #4 (actually #4 1/2) "Mark IV" turnouts (another name for track switches).
Snap-Switches are not #4s. The numbers come from the angle of the frog, lower numbers are sharper. Snap-Switches are about a #3 1/4 to #3 1/3.
ProctousAlso I like running modern locos like SD70ACe for mainline
That longer engine probably won't work well through a Snap-Switch. It may depend on the length of the cars to which it's coupled how reliable things are. Since you have the parts, you can try it out before you build to see if you are satisfied with the way it works.
Here is the Anyrail layout of the same thing, just blown up to HO size. all curves are 22in and 24in+. only thing was giving me issues was the two turnouts needed more curve, so i used a Pico curved turnout. Though I really wanted to use the Atlas ones i already have, just do know how to make them work. Im only 29 and this is my first layout other than a oval I used all atlas snaptrack with. I know my trains work on these turnouts as i used them before. this time mostly everything will be flex track.
What is the tallest piece of equipment you are running?
What's your plan for accessing the back? The distance to that bottom left corner is going to be close to 8 feet(!), so even with a corner access hatch of some kind you may find it hard to access all of the track if something derails, stalls, etc. You might consider a couple of hatches here to get to the rear tracks, especially if they will be staging or in tunnels.
I forget-- did you specify the height in this thread? That will factor in, of course, but I think consensus seems to be 30-36" max comfortable reach.
EDIT: I just found the image where you show the layout's placement, so scratch the access issues above. I'd still worry about the center, though-- it might be just far enough to be problematic accessing the track you added to make the wye, especially if the bottom two sides are relatively high.
thanks for leave coments, i do read them. I already have the bench work and foam board ontop and I can reach every inch of this. I dunno, maybe my arms just long or something. I raised the table to able 42in high. allows me to have more eye level viewing and allows for shelves underneath.
The only thing that is stoping me now is figuring out a effective and quick way to lay track and slopes for 2-3% grade. mostly the bottem side where the staging tracks are. Not sure how to build this so that they are under the moutain but ontop of table.
BMMECNYC What is the tallest piece of equipment you are running?
ProctousI can reach every inch of this.
Many people have been disappointed to find that they cannot reach as far over a scenicked layout with structures, trees, etc. as they can over bare plywood, but perhaps your experience will be different.
Note on the original plan that it was NOT designed to go into a corner - it says "open access for staging tracks" along the 'corner'. Now, if this is going to sit int he middle of a garage so that at least SOME time (the second car is not in the garage) there will be access to the back side, then reach in will be marginal but doable. If it's going in a corner agains walls on 2 side, there will be absolutely no access to the lower left, even if you're NBA pro in height.
Definitely check the clearance, and the grades. Seen that a lot when N scale plans get blown up to HO - X and Y dimensions get scaled up to fit the curves but the Z dimension gets forgotten and only an unloaded flat car can get under the overpass.
Modeling the Reading Railroad in the 1950's
Visit my web site at www.readingeastpenn.com for construction updates, DCC Info, and more.
rrinker Note on the original plan that it was NOT designed to go into a corner - it says "open access for staging tracks" along the 'corner'. Now, if this is going to sit int he middle of a garage so that at least SOME time (the second car is not in the garage) there will be access to the back side, then reach in will be marginal but doable. If it's going in a corner agains walls on 2 side, there will be absolutely no access to the lower left, even if you're NBA pro in height. Definitely check the clearance, and the grades. Seen that a lot when N scale plans get blown up to HO - X and Y dimensions get scaled up to fit the curves but the Z dimension gets forgotten and only an unloaded flat car can get under the overpass. --Randy
It's not really in a corner, Here I updated the picture. The top side by the bench isn't exactly, there is more then 2 feet to work in.
So far what I did was take my track plan to UPS and get it Printed to 166 pages so I know exactly where all the track goes, so no guess work. Also the only inclines i have are 3% grades. and for only running about 6-12 cars max due to size, this shouldn't be an issue. All curves are greater than 22in also. the only spot that is going to be a pain is the top wall side against that wall locker. But I already have a way around that. I have a painters scaffolding that can go ontop and allow me to lay on top and work quite easily.
So it's been a while since I have worked on this layout. Club layout needed more help than mine own :) But I now have time to start working on this again. So I wanted to post an update on what I have done so far.
So I had someone else that makes layout plans make some adjustments and tweaks. Should ensure smoother operation now with turnouts on flat surfaces.
Next I laid down my paper track layout and put down the foam risers.
Track is just to visualize the look, it's not glued or anything.
Also was messing around with tunnels, had to use a double wide one to fit at an angle. Think it works nicely. Havn't seen one like this.
Next step is to Plaster over risers and make hills I guess.
I would like to suggest a small change to eliminate an 'S' curve in the lower right corner of your layout.
You have a right hand turnout coming off of the main line. The track off of that turnout is then curved back to run parallel to the main. Then you have a second right hand turnout leading to a third line also parallel to the main. If you are running from the main to the third track your train has to go through an S curve. That might cause some derailment issues. I would suggest changing the second turnout to a left hand. A left hand turnout can be connected directly to the diverging route of the first turnout and then both tracks can be curved to parallel the main. No S curve.
I'm trying to remember how to post a diagram of my suggestion but so far all I have managed is a series of brain farts. I'll keep trying.
I'm just a dude with a bad back having a lot of fun with model trains, and finally building a layout!


text:
Paper Size
1in = 2.54cm
A4 | = 21.0cm × 29.7cm | = 8.27in × 11.69in |
A4 − 1in margins | = 15.92cm × 24.62cm | = 6.27in × 9.69in |
Letter | = 21.59cm × 27.94cm | = 8.5in × 11in |
theoretical and applied randomness by betaveros
1in = 2.54cm
A4 | = 21.0cm × 29.7cm | = 8.27in × 11.69in |
A4 − 1in margins | = 15.92cm × 24.62cm | = 6.27in × 9.69in |
Letter | = 21.59cm × 27.94cm | = 8.5in × 11in |
Cheaply, using an Iverson bracket expression:
\[ \begin{aligned} \lim_{a \to \infty} \lim_{b \to \infty} [a > b] &= 0 \\ \lim_{b \to \infty} \lim_{a \to \infty} [a > b] &= 1 \end{aligned} \]
For more continuity, use \(\frac{a}{a + b}\) instead (Rudin Example 7.2).
Uniform convergence on one limit suffices to allow this exchange, almost by definition.
\[ f_\epsilon(x) = \begin{cases} 0 & \text{if } |x| \geq \epsilon \\ 1 - \left|\frac{x}{\epsilon}\right| &\text{if } |x| < \epsilon \end{cases}. \]
(Ported from betaveros.stash. Wow, I get syntax highlighting and footnotes! Probably years out of date though. I probably wrote this somewhere in 2012–2014, but am editing this parenthetical in 2021.)
A quick brief guide. At least, that's how I planned it.
A lot of stuff is in the package java.awt.datatransfer
. Class Toolkit
is in java.awt
Some basic classes. The class Clipboard
is a clipboard, obviously. Its content is/will be an instance of the class Transferable
. Some content can be read as different types of objects depending on what you want; to choose which type you use an instance of DataFlavor
. It provides three basic ones: DataFlavor.imageFlavor
, DataFlavor.javaFileListFlavor
, and DataFlavor.stringFlavor
Okay, now step by step. This is the low-level method.
Clipboard clipboard = Toolkit.getDefaultToolkit().getSystemClipboard();
Transferable content = clipboard.getContents(null);
can be read as the kind of object you want with (content != null) && content.isDataFlavorSupported(someFlavor)
2.If you just want a quick-and-dirty function:
if necessary.Editor's note: This is almost certainly years out of date. cabal has v2 commands and stuff now? Sorry.
is a nifty Haskell library for making vector diagrams. I keep coming back to it to generate graphics for puzzles:
I got sick of relearning it every time, and I think there's some small chance other people will find it useful too, so I wrote something up. This post is a sort of reference that tries to compromise between the quick start tutorial and manual on one hand, and the API reference on the other, to try to be deeper and more comprehensive than the former, but also flow better and be easier to navigate than the latter. Some types are just really intimidating when fully written out…
To avoid unhelpfully generic types, I will deal concretely with two-dimensional diagrams that measure everything in Double
, and will frequently abbreviate complex types with an asterisk, like I will write V2*
for V2 Double
. I will introduce these aliases along the way for easy greppability. They're not legal Haskell, of course.
This reference assumes basic-to-intermediate Haskell knowledge. Some of the more intermediate stuff includes:
operator is <>
is a typeclass, and I might say or write that a function returns TrailLike
when I really mean TrailLike t => t
, any type t
that is in that typeclass.van Laarhoven lenses may help, but mostly I'll try to black-box them.
It seems like a rite of passage to create one of these because there are so many Coq tactic cheat sheets out there and there's just so much to learn. Here's mine.
This is mostly about tactics but I realized not really.
Other Coq cheat sheets found by Googling "Coq cheat sheets":
Meta-notes: I cover a lot of weak tactics because I like knowing exactly what my tools are doing. I try to use the variants of tactics that explicitly name things produced when possible. I am sure there is nomenclature I don't understand precisely and use sloppily in this list; I am also sloppy with metavariables. Even things that are correct might be horrible style. There are likely other errors and omissions. They might be fixed one day. I'm putting this up nevertheless because it's personally useful.
remember expr as X eqn:Hname.
easier to work with than set (X := expr).
pose proof expr as Hname.
adds expr
to the context, with name Hname
. Modus ponens where you know H1
and H2
, which is "H1
implies H3
", is just pose proof (H2 H1) as H3
, 2:
etc., which can really help limit nesting depth. 2: (tactic that solves subgoal 2).
If you want more bullets, there are infinitely many, not just three. After -
you can use --
etc.Bruce Lindbloom has a ton of equations, but I just want the big ones on one page. We'll assume sRGB, which implies using D65 as white (if you're using Bruce Lindbloom's calculator to check your implementation, make sure to set these).
Let \(\Xi\) (one of \(R\), \(G\), and \(B\)) be an RGB component in the range \([0, 1]\). (This is an obnoxious variable choice, but I'm trying to not overload any variable names in this entire post.) If you have RGB values in \([0, 255]\), divide them by 255. It can be converted to/from the linearized component \(\xi\) (one of \(r\), \(g\), and \(b\)) as:
\[\xi = \begin{cases} \Xi/12.92 & \text{if }\Xi \leq 0.04045 \\ ((\Xi + 0.055)/1.055)^{2.4} & \text{if }\Xi > 0.04045 \end{cases}\]
\[\Xi = \begin{cases} 12.92\xi & \text{if }\xi \leq 0.0031308 \\ 1.055v^{1/2.4} - 0.055 & \text{if }\xi > 0.0031308 \end{cases}\]
This is called "companding".
However, you can use \(\xi = \Xi^{2.4}\) and \(\Xi = \xi^{1/2.4}\) in a pinch.
Convert between XYZ and linearized RGB. Again, this assumes sRGB and D65.
\[\begin{align*} X &= 0.4124564r + 0.3575761g + 0.1804375b \\ Y &= 0.2126729r + 0.7151522g + 0.0721750b \\ Z &= 0.0193339r + 0.1191920g + 0.9503041b \end{align*}\]


text:
Here's the thing about introductory sentences: on their own, they don't make bestsellers.
Shocking, right? What about those memorable first lines from the books that we all know and love?
"It was the best of times, it was the worst of times…"
–Charles Dickens, A Tale of Two Cities
"Call me Ishmael."
–Herman Melville, Moby Dick
"It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife."
–Jane Austen, Pride and Prejudice
Did those iconic sentences not play a part in their respective books' successes?
Before you bring out your pitchforks, let us explain…
Yes, they did play a part but were not the direct cause.
You can write the wittiest opening line ever penned in the history of the written word, but it alone can't make up for a book's lack of substance. A boring book is still a boring book no matter how good its introductory sentence is.
Famous opening lines like the ones we listed above only achieved fame when their books started to gain renown and widespread recognition from the reading public. There are no famous first lines from not-so-popular books.
So, why is this so important? And why do writers spend so much time and creative energy on that singular opening line alone?
Table of Contents
What is the importance of an introductory sentence?
Because an introductory line does play a very important role in a book's existence, and this is a role that it MUST do well.
The introductory sentence's sole purpose is to make people read the next line. No more, no less.
In a bookstore where there are thousands of books, with each book containing a few thousand words, the introductory sentence is often the only place where you need to "hook" your reader.
If it fails, then goodbye book. But if it succeeds, the reader will move on to the next line. And the line after that.
Before you know it, they've reached the end of the introduction. Since time was already invested into reading this first chapter, maybe they'll move on to the second one. And the third.
See where this is going?
That first line better be good.
Introductory sentences examples and tips from popular authors
Ursula Le Guin, famed speculative fiction author and feminist, writes in her 1988 essay "The Fisherwoman's Daughter": "…first sentences are doors to worlds."
Stephen King also shares a similar view. In an interview with Joe Fassler from The Atlantic, he narrates:
"The best first line I ever wrote is the opening of 'Needful Things.' Printed by itself on a page in 20-point type: "You've been here before." All there by itself on one page, inviting the reader to keep reading."
Although worded differently, both writers say the same thing: first sentences are like invitations. That's the writer inviting you in through the doors of the worlds they have created. That's the writer luring you into the web they have so intricately woven that you feel obliged to read the book to its very end.
That's a lot of pressure resting on the shoulders of one line.
How do you go about writing such a sentence?
Introductory sentences examples and tips on how to write them
As playwright George Bernard Shaw put it, "Imitation is not just the sincerest form of flattery – it's the sincerest form of learning."
So that's how we learn – by imitating the masters .
Below is a list of common methods for opening lines that most authors use in their work, as well as some introductory sentences examples from books that perfectly capture how each particular method is used:
Introduce tension right from the start.
People love conflict and intrigue. Tension is what makes the most mundane of scenes gripping and exciting.
Imagine a couple at a cafe. The man is on his phone idly scrolling away, while the woman stares at him blankly. Both of them not talking to each other, their food on the table untouched and ignored.
That's an opening scene as a viewer might see it. Nothing remotely exciting about it.
But in the hands of a good author, this humdrum scene can be transformed into a tense, emotion-filled one.
In the first sentence we can write…
"They say that people who cheat on their partners lack self-esteem, and Alice is here staring at a man who probably has his self-esteem down into the negatives."
Or if the cheating is happening the other way around…
"Ed knows that Alice has been sleeping around with his best friend since last summer, but at this point he just doesn't give a damn anymore."
Without even reading the rest of the sentences in the chapter, the tension introduced in the first sentence alone is enough to get your readers gripping their seats. Now we know what's going on here. Now we know what these two characters' feelings for each other are.
Here's a great example from a popular YA novel:
"Late in the winter of my seventeenth year, my mother decided I was depressed, presumably because I rarely left the house…
…and devoted quite a bit of my abundant free time to thinking about death."
–John Green, The Fault in our Stars
This is an opening line that is both vulnerable and relatable. There's a whole lot of interesting generational tension between the narrator and his mother in there too.
Make the reader want to start asking questions.
Humans are naturally curious. Pose a rather odd scenario in front of them and they immediately want to start asking questions.
Because that's just how it is. Once our interest is piqued in just the right way, we can't help ourselves from asking the hows and whys of something.
It's a popular technique because it works so well for both fiction and non-fiction.
"I am worried."
–Mortiz Davidesko, Change the Story, Save the World
We bet that the first thing that pops into your mind after reading that introductory sentence is "Worried about what?" That line naturally leads to a question. Needless to say, we're now invested in finding the answer posed by this simple three-word introductory sentence so we read on.
In fiction, we have this lovely example from a very exemplary book:
"When he was nearly thirteen my brother Jem got his arm badly broken at the elbow."
–Harper Lee, To Kill a Mockingbird
For such a celebrated book, the line is simple and uncomplicated. There's no mystery behind it. But it invites the reader to ask questions. Why did Jem break his elbow? And why is his sibling the narrator writing about this event in such a matter-of-fact manner?
Say something bold and daring
"You should read this book if you feel you don't belong in the normal world, which coincidentally applies to almost everybody, but we'll circle back on that later."
–Paul W. Carter, Sex, Drugs, and Rocking Code
Saying that readers don't belong in the "normal" world is such a bold claim. But it works so well, especially if we consider that the book is about the rock-and-roll lifestyle of an eccentric programmer.
The author cut right to the chase. Not only are we entranced with his startling opening line but we are compelled to stay on and read to see if he can back up his statement.
Another classic example:
"Happy families are all alike; unhappy families are all unhappy in their own way."
–Leo Tolstoy, Anna Karenina
A bold, sweeping statement- some people might agree with the sentiment of it, and some might not. But it sets the context for the rest of the novel: there is domestic strife happening afoot and everyone is unhappy about it.
What is it that everyone is so unhappy about then? Who knows, maybe it's a cheating spouse, maybe it's something else. But regardless of the reason, we are likely to become curious about how it plays out in the story.
Set the scene and the mood.
"Like a dervish in a dance, death descended out of the darkness of the desert and raiders whirled on their camels and horses, striking the encampment."
And just like that, readers are transported immediately into this dangerous desert, located somewhere in the Middle East. The scene is tense and hectic; it's not just the mere presence of danger that's keeping our eyes glued to the page, but also the extremely high stakes that are at play here. People's lives are at risk- someone is going to get killed soon.
"It was a queer, sultry summer, the summer they electrocuted the Rosenbergs, and I didn't know what I was doing in New York."
–Sylvia Plath, The Bell Jar
This introductory sentence characterizes the confusion and anxiety that this narrator, presumably a young person judging by the tone, was feeling. Not only did it characterize the narrator, but it also successfully captured the whole Cold War paranoia that affected New York, and by extension the rest of the USA, during the 1950s. (Note: We know that this is set during the 50s because the execution of Julius and Ethel Rosenberg- which is the event that is being referenced here- happened in 1953).
It's a great opening line because it introduces the protagonist, the author's tone, and the setting all at the same time. Three birds with one stone.
Introduce the protagonist's or the author's voice.
Sometimes, introductory sentences don't need to expound on the plot, introduce the setting, characterize a protagonist, or do whatever it is that we commonly expect first lines to do.
There are a lot of introductory sentences out there that serve only as an introduction to the voice that will accompany the reader throughout the book.
"Lolita, light of my life, fire of my loins."
–Lolita, Vladimir Nabokov
The first line of Lolita is forcefully romantic. Upon reading that sentence we know that we're going to be in the shoes of a very passionate man. Only later on do we realize the horror in these words since it is revealed that this passion is directed towards a very underage girl.
"What's it going to be then, eh?"
–Anthony Burgess, A Clockwork Orange
Just plain dialogue. No narration, explanation, description, or literary embellishment of any kind. But from those few words alone we know that this narrator is angry, defiant, and rebellious. It's a good setup for the mindless violence and evil acts that Alex– the protagonist and narrator– commits throughout the first half of the novel.
Shock your readers in a good way.
A lot of writers think that they have to shock their readers to get their attention.
It's a risky approach to take for your book's introductory sentence. Writing a sentence just for its shock value and not connecting it to the whole narrative thread can be a huge turnoff. Like you're just shocking readers for the sake of shocking them.
But done correctly, the initial shock from your opening line can transform confusion and astonishment into curiosity and amazement. A tease for readers, if you will, coercing them to continue reading if they dare.
"It was the day my grandmother exploded."
–Iain Banks, The Crow Road
What do you mean that your grandmother exploded? How in the world did that happen?
A crazy event makes for a crazy opening line. The fact that it was narrated in such a no-nonsense tone just adds to the hilarity of the line.
Secure an emotional connection with your reader.
"You are a leader."
–Alinka Rutkowska, Supreme Leadership
Humans are wired to make connections with one another. By addressing the reader directly, the author taps into our primordial need for attachment. We like that we are getting noticed and praised. In turn, this elicits an emotional reaction from us; we start to get invested into what the author is saying almost immediately.
Because emotions evoke reactions. As long as the sentence gets an emotional response from a reader, whether it be positive or negative, then it has done its job well.
Introductory sentences examples of what to avoid
Writing introductory statements or opening lines is a skill in itself.
Author's tone, voice, characterization, plot- all of these things an introductory sentence must carry on its shoulders.
"Good enough," just won't cut it.
When you're a new author releasing your first book and looking to make your mark within your niche, then having a bad opening line is just something that you couldn't afford to do.
Here's what to avoid when writing introductory sentences:
Writing about uninteresting things, like the weather.
"It was a sad, rainy day in June when all of this happened."
The line above has nothing going for it. There's a good reason why the phrase "It was a dark and stormy night…" has been dubbed by the magazine Writers Digest as the "literary posterchild for bad story starters"
If there's nothing notable happening in the sentence, then don't write it.
Being wordy.
Your readers have an attention span shorter than that of a goldfish.
No, that's not an insult. According to a 2015 study by Microsoft, people's focus and concentration start to waver after eight seconds. A probable side effect of the mobile revolution and its endless barrage of notifications, five-second videos, and ultra-short-form content.
So, don't write a hook or opening sentence that takes a minute to read.
There are lots of creative reasons why you would want your introductory sentence to be longer. But, as a general rule, keep your opening line to around 10 to 15 words.
Using unnecessary words that don't have much weight
Let's use this opening line from the horribly infamous piece of Harry Potter fanfiction titled "My Immortal":
"Hi my name is Ebony Dark'ness Dementia Raven Way and I have long ebony black hair (that's how I got my name) with purple streaks and red tips that reaches my mid-back and icy blue eyes like limpid tears and a lot of people tell me I look like Amy Lee."
That's… a lot.
But all of this can be shortened into:
"My name is Ebony Dark'ness Dementia Raven Way and I'm not your average goth girl."
Still doesn't have that much punch into it and is still far too long. But considering the material it came from, it's readable at the very least.
Using 10-dollar words
Ten-dollar words are fancy complex words and phrases that most amateur writers like to use because they think these make them look smart.
$10 word or phrase | Simpler alternative |
At this point in time | Now |
Optimum | Best |
Delineation | Outline |
Prior to | Before |
Don't make your reader reach for the dictionary, especially in a place as essential as your introductory sentence.
Introductory sentences examples and hook statements – some final words
Authors are pretty similar to salespeople.
In sales, there's a concept called the "hook" (aka "sales pitch") that practically all self-respecting marketers are familiar with.
A hook is anything- a tagline, a conversation starter, a quote- that aims to grab and hold your target market's attention.
Sounds familiar?
Of course, it does. The same thing exists in writing too! In fact, we've already been talking about it in the past few hundred words.
For most written work, the hook can be found in the introductory sentence. In fact, there's probably no better place for them than in your text's opening line.
Whatever you're working on– whether it be an English paper, a piece of marketing copy, or your first novel– the hook can be one of the most powerful literary tools in your arsenal.
And while there are many different methods and schools of thought on how to construct that perfect opening hook, there are still some basic principles that they should generally adhere to.
- Keep the sentence short and uncomplicated.
- Keep adjectives to a minimum. Use the correct verbs.
- Clarity over verbosity.
- You don't always have to shock the reader. Sometimes, a more understated and nuanced approach is better than a loud one.
Though we might have listed each opening line writing method individually in this article, there's no stopping you from combining two or more of them in one introductory sentence.
Whatever method you choose, all you need to ensure is that it leads to one thing- to make the reader read the next line.


text:
Due to an unresolved disagreement with the Alliance of Motion Picture and Television Producers regarding better working conditions and payment, the Writer's Guild of America went on strike beginning May 2. Two months later on July 14, the Screen Actors Guild and American Federation of Television and Radio Artists aligned themselves with WGA and their goals by joining the picket lines.
The WGA and SAG-AFTRA strike has meant a pause in work for many professional writers and actors with the aim of securing, among other things, better pay rates. At the University of Mississippi, where the next generation of professionals are trained and educated through UM's Theatre and Film department, the strike has given students and professors alike an opportunity to think more deeply about their industry.
Sophomore film production major Arkasha McGinness expressed his surprise that the strikes occurred but shared that he has learned a lot more about the inner workings of the industry as an aspiring screenwriter and filmmaker.
"It's clear that writers are not receiving the amount of money they are owed when their work reaches millions," McGinness said.
These strikes have caused a pause in development and conception of new projects in Hollywood, including films, television shows, video games and the like. McGinness hopes that as a result of the strikes, the public will have a greater awareness of the work writers and actors put into their work in the film industry.
Don Waller, a senior who studies theater, journalism and business, discussed his knowledge of the current compensation model when it comes to streaming services.
"With this new age of streaming services, there's been no rules set up so that the writers and actors get their fair cut," Waller said. "They would be making, per episode, change, you know? Scraps compared to what the streaming services were making."
Waller is referencing a viral video of actress Kimiko Glenn from Orange is the New Black revealing how little in residuals actors make from hit TV shows by showing her own paycheck from the famous series. Despite playing a prominent role on "on a major show that defined a generation," Glenn had to keep a day job to stay afloat financially.
Waller regards writers as the backbone of the entertainment industry and thinks that streaming services like Netflix have fallen short when it comes to their treatment of workers, particularly with the emergence of AI and how companies are starting to use it to replace both writers and actors.
Waller declared his support of both unions and stressed the importance of the strikes.
"When I become a part of the industry I want to have the protections that actors and writers deserve," Waller said.
UM Theatre professor and active SAG-AFTRA member Dan Stearns shared his insight into the ongoing strike. Stearns served as a delegate for New Orleans Local, which represents SAG-AFTRA members in Louisiana and Mississippi, at the union's 2019 national convention.
Over 95% of SAG-AFTRA members voted for the authorization of a strike, Stearns being one of them. He emphasized that guild members are striking out of necessity, not desire.
"No one wants to go on strike. It's always a last resort," Stearns said. "While there certainly are many very successful actors who make millions of dollars, the vast majority do not."
Stearns clarified that it is not A-listers who need the strike to succeed–it is everyday people who make their living as actors.
"I think it's the working actor, you know? It's the one who picks up a role here and there. It's the one who's hustling to try to find jobs, who really needs the support of the union," Stearn said.
With the rise of streaming services in the last decade, writers and actors alike are looking for a solution to the system of financial compensation currently in place in the entertainment industry. Entertainment workers are paid via residuals, which are payments made when a show or movie is rerun after its original release. With each rerun, the residual amount decreases incrementally. Most workers usually receive a flat rate upon the completion of a project and get paid pennies in residuals.


text:
In the latest iteration of Spotify's Live At Electric Lady series, Whitney popped into the studio and performed some fan favorites. Among the songs they performed are "Blue," "No Woman," and "Real Love."
Additionally, the Chicago duo performed a cover of a fan favorite from another indie group. For Spotify's last Live At Electric Lady EP, Whitney delivered a cover of Beach House's "Other People."
"Other People" comes from Beach House's Bloom album, which turned 10 this year.
On Whitney's cover, the two recreate the song by way of keyboard and kickdrum, with a silky guitar loop throughout, creating a more instrument-driven version of the song.
Upon the EP's release, Whitney shared an account of what it was like recording in the iconic studio and how the new imaginings of their songs and the Beach House cover came together.
"It's wild to feel the history in that building," they said in a statement. "It clearly breeds productivity and imaginative performance. We took this as an opportunity to shape the arrangements of our songs around a super-talented string quartet, as well as stripping back one of our favorite Beach House songs. We're beyond grateful for the experience and look forward to coming back."
You can check out Beach House's Spotify-exclusive Live At Electric Lady EP below.


text:
Foriegn partnerships are marriages in which the husband features no legal authority to make legal decisions pertaining to his wife, such as decisions regarding infant custody, visitation or spousal support. A foriegn marriage is often entered into voluntarily by both parties. This type of relationship often takes place in ethnicities with traditional gender tasks. Foriegn girlfriends or wives are usually qualified and have their particular career before they get married to.
For generations, the tradition has been that for all possessions to pass through you line, women must carry the responsibility of kid rearing. It has resulted in many ladies being cured unequally in many parts of the world. In some places, the foreign wife has little or no legal rights at all. latinfeels reviews A common situation in many distant communities is made for the husband that must be taken away from the along with forced to marry a member belonging to the new family. It has sometimes happened because of set up marriages, and often when a international couple has a son that's considered unwelcome by his brothers.
The primary institution for foreign marriages in the Western world is still prevalent in undeveloped or war-torn aspects of Africa, specially the Muslim parts of Morocco. Nevertheless , for many women living in the Western world this is simply not the case. A partner's wealth is normally used to pressure women in to marriage. For ladies with advanced education this may not be an issue. A large number of educated overseas do not consider themselves victims of gender discrimination, but some do.
The custom for overseas wives to remain home with their kids and man is still very strong in many countries. In the United States for example , it has become somewhat of any norm to get a woman to be home with her children after the birthday of the most youthful child. This kind of leaves various foreign wives with few choices. A woman who has made a decision that the lady does not desire to live faraway from her spouse after the birth of children may well have difficulty obtaining work in the fields with her family typically performs in. This kind of leaves foriegn women with few choices meant for employment beyond the home and being able to support her family group as her husband goes around the world.
The financial ranges of raising a family on a single income can be too much for a few foreign wives to bear. In lots of developing countries the husband might be responsible for any part of the family unit income. These kinds of husbands could insist after providing to get the better half and children as well. In the event the foreign partner wishes to carry on working outside the home, this kind of is frequently difficult, simply because wages usually are far lower in developed countries than in overseas communities.
For lots of foreign wives the desires for them is much loftier than the ones customarily associated with gender roles. For example , many overseas women are generally known to clothing in very disclosing clothing to attract potential husbands. The marriage is normally plagued by lovemaking harassment or adultery, since many foreign communities are polygamous. These females are usually likely to live with their particular husbands and children, starting the public household and passing the wealth and responsibilities straight down through ages of the family. While these kinds of pressures aren't unique to foreign civilizations, the characteristics are often quite distinct. For many women who are foreign, however , these dynamics typically render them emotionally susceptible and struggling to fully satisfy their potential in a classic society based on honor and familial requirements.


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Government Proposals
Home Office extends use of digital app to more visa applicants
Should UK employers consider vaccine incentives?
Government launches National Disability Strategy
England's summer 2021 roadmap to freedom: implications for employers
Returning to work in Scotland: considerations for employers
The Queen's Speech 2021: no mention of a new Employment Bill but changes to employment law are still on the agenda
Supporting employees who have suffered domestic abuse
Neonatal Leave and Pay and Carer's Leave Consultations
Job Retention Scheme
COVID-19: global advice for businesses
General Election 2019: What's on the ballot?
With the general election now only one week away, the largest political parties have now launched their manifestos. On the […]


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Corporate Manslaughter News
August 2012 Update
UK company convicted and have been fined £480,000 in relation to the death of a worker
Lion Steel Equipment Ltd has recently been sentenced after being convicted under the Corporate Manslaughter and Corporate Homicide Act 2007. They are the third company in the UK to be convicted and have been fined £480,000 in relation to the death of a worker. This is the largest fine issued under the Act since it has been in force.
The company had pleaded guilty to corporate manslaughter following the death of an employee on 29 May 2008.
Mr Berry, a member of maintenance staff, fell through a roof light at the company's factory near Manchester after he had gone to check the source of a leak he had identified the previous day. As he was heading back, it is thought he had taken a short cut over the roof's apex to the access door he had used, and then fell through a roof light, 13 metres to the floor below, sustaining fatal injuries.
The CPS had brought charges under of the HSWA 1974 against the company, as well as charges of gross-negligence manslaughter. Three company directors were also charged but were not convicted by the court.
The prosecution argued that Lion Steel had not put in place any suitable arrangements for working on the roof, nor had it trained Mr Berry in roof work, nor provided him with any protective equipment for such work.
Lion Steel had operated successfully from the premises for around 50 years and there had never been an accident involving work on the roof, nor had the company ever been prosecuted for health and safety matters.
During sentencing the company was ordered to pay the £480,000 fine over four years and was also ordered to pay £84,000 in prosecution costs.
In setting the fine, the judge took the company's guilty plea into account, reducing the amount by 20 per cent – which suggests that the fine could have been in excess of £600,000. He said he had reflected upon the potential effect of a large fine on the company and that the company employed 142 people and did not wish for jobs to be lost as a consequence of the death of their colleague.
This case is the first real example of the size of fine courts are likely to impose on companies with a reasonable turnover and profits.
Last month the Crown Prosecution Service brought a charge of gross-negligence manslaughter in relation to the death of a worker against a contractor, Austin and McLean Ltd, who had been contracted by Esso Petroleum Company Ltd, to undertake maintenance on a jib at their oil refinery in Fawley, Southampton.
On 30 August 2008, Mr Romero had been working on a fuel tanker, which had docked at the refinery, when the jib gave way due to the failure of a corroded connector bolt, resulting in the fuel pipe collapsing on him.
Austin and McLean are being charged with gross-negligence manslaughter and breaches of the HSWA 1974, relating to a gross breach of their duty of care towards Mr Romero.
Esso has also been charged with breaches of HSWA 1974, relating to a failure to ensure, so far as is reasonably practicable, the health and safety at work of employees and visitors.
Both companies will appear at Southampton Magistrates' Court in September 2012.
When looking at the convictions to date and the cases pending, the trend suggests that when deaths are attributable to failings in health and safety arrangements by businesses, even larger fines are going to be seen. Evidence also seems to show that even the relatively 'smaller' employers are at risk of substantial fines if convicted under this Act. Larger and more profitable organisations, if successfully convicted, could expect fines well above the Sentencing Guidelines Council's £500,000 starting point.
It will be interesting to see how strictly sentencing guidelines will be followed in the future, as to date significant discretion has been used when setting fines and sentences.
Paul Venter
Health & Safety Consultant
To contact Paul phone our offices on 020 8506 0582