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An interview with Michelle Feynman
How did you become involved in this project?
I heard about it happening and I felt I had to become directly involved. I have been peripherally involved on a number of projects and other books about my father—a CD-ROM about the Atomic Bomb, a theatrical play, documentaries and a feature film—but this project was one in which I wanted to actively participate.
I had read a few of his letters back in 1990, shortly after my mother's death. One that particularly struck me was a letter to a former secretary, in which he lamented that he was not a grandfather yet, that his kids were slow. I figured out I was in high school—in eleventh grade—when he wrote that. As I laughed, it occurred to me that his letters might make for interesting reading one day. Fourteen years later, I started doing just that.
It's all part of a larger project. My brother and I find ourselves faced with a large demand for all things having to do with Richard P. Feynman, and we strive to balance that demand with maintaining his legacy in a conscientious manner. I hope that this book not only does justice to the spirit in which he worked, but also reveals more of the personality behind his accomplishments.
How many letters did you read?
I read close to 1,000 letters—most of them copies of the files from the Caltech Archives. When this project started, the files were being temporarily stored at a friend's house in San Francisco, so I had to wait for them to be shipped down to Los Angeles before I could begin. I think the total weight was something like 1,100 pounds. It's a lot of paper.
As I read through them, I made copies of the letters I was considering and sent them to my editor in New York, Megan Hustad. I also transcribed all the personal letters of my father's that I had at my house, and the ones that my aunt (his sister) lent me for this book. I also looked at photographs, both at Caltech and family photos, including our large family slide collection, which is where many of the pictures in the book come from.
Why did you decide to publish these letters?
I think it's important to hear him in his own words without a filter. Much of his published work was given first as a verbal lecture (with only a page of cryptic notes to guide him) and recorded as given. Then the editors edited it into proper English, in parts making omissions, additions or reorganizations of ideas, and in parts sticking closely to the original words. As he himself described it, "It was a big job for I don't speak writable English." Even the stories in Surely You're Joking and What Do You Care What Other People Think! have benefited from careful editing, but since Ralph Leighton made the wonderful decision to keep my father's speech patterns intact, the reader feels as if my father is telling these stories directly.
I knew about all the extensive and careful editing before I read the letters, so I really didn't know what to expect from his written work. I was not disappointed. In these letters he is articulate, insightful, considerate, humble, nurturing, funny, and charming. What better way for his teaching to continue than to publish these letters?
How long did it take you to work on the book?
About nine months, from April through December.
Anything about the process that surprised you?
That he wrote so many letters, both to scientists and to ordinary people, surprised me. The fact that he responded to letters of congratulations for the Nobel Prize surprised and impressed me.
Any things you found out along the way—either about your father or about publishing in general?
I learned some details about his life; for instance, that he took his first airplane flight ever during the war, with secret documents strapped to his back. I also discovered a letter written to my mother and me from 1982 (my brother was away at college at the time) that I had never seen. That was very exciting. I was charmed by his writing and I thoroughly enjoyed spending time with him again.
Must have been hard to have someone so famous as a father.
No, not really, but I suppose I do feel a little strange that I don't know enough about physics to understand what he did much of the time.
As a result of who he was, I have met a great many wonderful and interesting people, all of whom admire my father. As well as treasured friendships with a few of these remarkable people, I've had many opportunities that would otherwise not have come my way. Before I had children I was struggling as an actress, and a few auditions and resulting jobs came my way solely because I was working with people who thought highly of my father. Most of my associations have been pleasant, but there have been a few exceptions. When I was 16 or so, a psychologically unbalanced man persisted in calling my father three or four times a day—often at our house—and sent many cards and letters to him. I spoke to him several times, and always found it disconcerting and troubling. My father finally had to resort to legal action to force him to stop, and then the man persisted in calling and writing to our lawyer! This man called even called a few times after my father died, claiming responsibility for his death; he said that he had killed my father.
What was he like as a father?
Fantastic. Fun, supportive, sweet, silly. He went to great lengths to entertain us. When I was young, the nightly ritual included him scouring the house for the correct stuffed animal, with me rejecting each and every offering until I had the desired one, or until he had made me laugh with his efforts. I'm not sure which was more important. He also made for an excellent radio. I would sit on his lap and turn his nose, and he would make up songs from different radio stations.
Do you have any favorite letters?
The personal ones—the ones to his first wife, his mother and my mother. He was a devoted husband and son, and the letters are loving and often funny, full of his personality. Perhaps my very favorite: a letter to his mother in which he mentions coming across an article about pine needle tea and the high levels of vitamin C that pine needles have. Then he says, "So, of course, I had to make pine needle tea. I did while visiting Putzie [nickname for his first wife] Sunday, not that either of us were short on Vitamin C (ascorbic acid) but my curiosity was aroused. Result—fair. Not too wonderful, not too bad. About as good as regular tea, but different. Crush the pine needles up—pour on boiling water and allow to steep a while. Serve hot, or with ice and lemon. Cheap. Remarkable fact is it tastes like pine needles."
You mention in your preface that you're still learning from him. What did he teach you?
While working on the book I became a better communicator and a better writer. I was inspired by one thing in particular I found going through these files. In an article on education he wrote for Caltech's Engineering and Science he stated: "The problem is clear language. The desire is to have the idea clearly communicated to the other person." He was speaking of mathematics textbooks at the time, but I think this statement in part explains why he was such an effective and marvelous communicator.
These letters are testimony to his skill and desire to be plainly understood—and, of course, to his passion and curiosity about the world. Again, his own words, this time from a letter to a young student seeking his advice, explain it best: "You cannot develop a personality with physics alone, the rest of life must be worked in."


text:
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subset: commoncrawl


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Apple agreed on stronger parental purchase approval at its App Store and to refund more than $32.5 million in children's purchases made without parental consent, the Federal Trade Commission announced.
The FTC said the Cupertino, Calif. company agreed on the terms and will refund parents whose children bought merchandise without their full consent, according to the New York Times.
U.S. & World
Last year, Apple settled a lawsuit over in-app purchases made by children who used an exploit that would let users buy merchandise within 15 minutes of purchasing an application without having to log in again. The company said it had 37,000 claims so far. Since 2011, Apple began requiring users to re-login to make an in-app purchases to avoid kids and others exploiting the 15-minute window. However, the new login with password opens another 15-minute window that can be exploited, according to the FTC.
"We allege that Apple has been aware of the issue since at least March of 2011," Edith Ramirez, the FTC chairwoman told the Times. "In our view the problem continues and it needs to be rectified." Apple has until March 31 to notify affected users about the refunds and to make changes.
The commission said that Apple needs to be transparent about the 15-minute window and let users make a choice to accept it or opt out of it.
The problem is that many of these apps make most of their money selling in-app merchandise, more so than those that sell an app outright, so the business model is not likely to go away.
Steve Dowling, an Apple spokesman, said that Apple has been protecting children since its beginning.
"Apple is proud to have set the gold standard for online stores by making the App Store a safe place for customers of all ages," Dowling told the Times "Today's agreement with the FTC extends our existing refund program for in-app purchases which may have been made without a parent's permission."
If the refund claims total less than $32.5 million, the rest of the money goes to the FTC. There is no limit on the amount of refunds.
The new rules are a good idea, especially for parents who often leave their child alone with an iPhone or iPad for an hour at a time. However, we still think that parents have some responsibility here, including teaching their children about apps, purchasing merchandise and what is and isn't OK to do. If their children took their checkbooks and wrote a check to someone on eBay to get a new XBox, would they be suing their bank or the guy on eBay? Or would it be time to have a talk to their child about not using money that doesn't belong to them?


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Miss Utah may not have taken home the Miss USA crown on Sunday, but she still managed to become the social media talk of the town after she bungled the interview portion of the competition.
Panelist NeNe Leakes asked 21-year-old Marissa Powell a question about gender and income inequality and the beauty queen's answer set the Twitterverse on fire.
"A recent report shows that in 40 percent of American families with children, women are the primary earners, yet they continue to earn less than men. What does it say about society?" Leakes asked.
U.S. & World
The day's top national and international news.
A visibly-nervous Powell stammered her way through the interview and provided an incoherent answer.
"I think we can relate this back to education, and how we are continuing to try to strive…to… figure out how to create jobs right now. That is the biggest problem right now," Powell said.
She paused upon realizing her mistake and followed up with the suggestion that men need to "create education better."
Miss Connecticut Erin Brady ended up with the crown after Sunday's glamour-filled pageant at the Planet Hollywood hotel-casino in Las Vegas.
Check out Miss Utah's full interview here:
The gaffe is reminiscent of the response that Miss South Carolina, Caitlin Upton, provided in the 2007 Miss Teen USA pageant. Her explanation that a fifth of Americans are unable to locate the U.S. on a map because "some people out there in our nation don't have maps" brought her international notoriety.


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Hello! Here are some frequently asked questions about enrolling in classes that are too long to answer on our . If you have questions, please post them here and I will try to answer them. Please note, this is just for questions about the act of enrolling. For general class questions, there is also .
When do classes go online initially?
There is no specific schedule for what day of the week or time a class will go online. It varies depending on when we confirm the schedule with the teacher. Generally they go online 1-2 months before a class starts (but in some instances they may start in a week or less).
Summer intensives will usually go online earlier in the year (April-ish) so that people coming to NYC for the summer can make travel and lodging arrangements.
We put classes online during their general time slot: weekday classes go online during weekdays, and night/weekend classes go online during the night/weekend (but not necessarily on the corresponding night/weekend day).
Advanced Study classes go online at various times because they are not first-come, first-served.
How can I find out about new classes going online?
There are two main ways:
1) You can get email updates about specific levels of classes via the dashboard. Look under "Available Course Notifications" at
This system will notify you if there is space in a specific course level.
The benefits are: The email will notify you if space becomes available in a previously sold-out class. You can filter by specific level.
The drawbacks are: This system checks for openings every five minutes. Many classes sell out faster than that so you may not hear about them.
2) New courses are announced on Twitter at
You can also elect to get text notifications about new tweets. See here for more info:
The benefits are: Tweets come out immediately after a class is posted. We also tweet updates about other class related topics.
The drawbacks are: You may get a lot of text messages!
Are there waiting lists? How can I find out about slots that open in previously sold-out classes?
We do not keep wait lists at this time, sorry. If someone drops out of a class, the email system will send an email. If there a multiple spaces in a course that begins soon, we may also tweet about it.
Openings often happen 4-7 days before a class starts since the window for a full refund closes three days before the start of the class, so students are more likely to drop at that point if their schedule has changed.
Can you tell me in advance when a specific class will go online?
Sorry, not at this time.
Do you offer [specific level] at [specific time]?
Generally, we offer all our core classes (Improv 101-401, Sketch 101-301) during all time slots (weekday, weeknight, weekend). Due to changes in teacher schedule and holidays, you may not see one online at present (or it may be currently in session).
What days and times do you offer classes?
We offer classes seven days a week, generally along this schedule:
Sunday 11:30am-2:30pm, 3-6pm, 6:30-9:30pm
Monday-Friday 9am-12pm, 12:15-3:15pm, 3:30-6:30pm, 7-10pm
Saturday 12-3pm, 3:30-6:30pm
NOTE: Not every class meets at these specific times.
What do I need to enroll?
First, you will need a student account, which you can set up at dashboard.ucbcomedy.com
Make sure you have your account information. Because classes sell out quickly, you might lose a space in a class if you have to contact support for your password when you see a class go online.
Next, you will need a credit card or debit card to complete the transaction. If you have questions about payment methods, contact the registrar at email@example.com
How quickly do classes sell out?
Weeknight and weekend classes often sell out in under a minute. Weekday classes do not fill up quite as quickly, although Sketch 301, our smallest class, can fill up in under a minute even for a weekday class. Most classes sell out in under a day.
That's fast!
What is the sign-up process like?
Once you reserve a spot in a class, you'll have 20 minutes to complete payment. So even if you reserved the spot immediately, you have a window to double check the schedule and make sure you can attend all the sessions.
You need to be logged in to reserve a spot, since our system will check to see if you've completed the necessary prerequisites before allowing you to enroll. For this reason, you need to make sure you log in under your main student account -- do not create a new account if you lost your login information, as that account will not have your transcripts and eligibility linked to it.
When does your next semester start?
We don't have semesters -- new classes are starting all the time.
I took a class a long time ago, can I still take the next class?
If it's been two years or more since your last class, you will need to contact the registrar for placement (email@example.com). Otherwise you should still be able to register.
I signed up for one class but would like to transfer to another. Can you help me?
If your class hasn't started and you are still in the period where you could get a full refund, you may be able to transfer by calling the registrar at (212) 929-8107 or email email@example.com
Due to the fact that classes sell out so quickly, it can be difficult to arrange a transfer. It is best to call and email if you wish to do so, but the registrar cannot transfer you if the class you wish to switch to is sold out.


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In David J. Griffiths's Introduction to Electrodynamics, the author gave the following problem in an exercise.
Sketch the vector function $$ \vec{v} ~=~ \frac{\hat{r}}{r^2}, $$ and compute its divergence, where $$\hat{r}~:=~ \frac{\vec{r}}{r} , \qquad r~:=~|\vec{r}|.$$ The answer may surprise you. Can you explain it?
I found the divergence of this function as $$ \frac{1}{x^2+y^2+z^2} $$ Please tell me what is the surprising thing here.


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text:
What Beer is That You're Drinking Now?
Wait! Wait! There seem to be quite a few of them in my fridge and another two dozen in my cellar. And I'm getting thirsty! Thirsty, I tell ya!
What do you mean—I can't have a beer until 4 o'clock? Gimme a break. Once you start not drinking until four, they'll expect you to go on that way until you get old—or worse—until you die! And, yes I know that the only reason I am still drinking, and maybe even why I am still alive (I just celebrated my fourth 21st birthday), is that I don't often pig-out on booze. I'm the only one in my peer group still drinking. My friends have all had to quit. My doctor knows better than to cut me off (I hope). So which one will it be?
There's that beautiful bottle from one of my favorite brewers. Oh, it's a big 22-oz. bottle—that's so much better than a miserable 12-oz. regular. I'll just tell my doctor it was one bottle, since I'm allowed two or even three bottles a day. If you, the reader, will promise not to tell anyone how big the bottle was, we can open it.
Oregon's Deschutes Brewery is a long way east of here, in Bend, although they also have a pub here in Portland. This particular brew, Hop in the Dark Cascadian Dark Ale, is brewed from about 16 Plato/1065 gravity at 6.5 percent ABV. It is glowing in all its wonderful dark malty beauty, at about 30 SRM (Standard Research Measure of beer color). But that's not all. There's 70 IBUs (International Bittering Units) here. This is a Cascadian dark ale (CDA), aka black IPA, from the Pacific Northwest, severely hopped with Oregon Cascade, Amarillo, Citra and Centennial.
What's an IPA?
I remember the first regular IPA that I tasted. Like most of our readers, I was weaned on Budweiser, which, as we all know, hasn't changed since it was first brewed in 1879. We know this to be the case because TV commercials tell us that it is so. That implies Budweiser has always had only 10.5 IBUs, despite the fact that they have their own hop fields up in Idaho.
So, I had no idea what hops could do to a beer. One of the first American beers to claim the title "IPA," Bert Grant's Yakima Brewing version introduced in 1983, was brewed at OG 12 P/1048, 5 percent ABV and 55 IBUs from Galena hop pellets. I thought it was too hoppy! Well, almost, but the second time I tried it, the taste was more welcome. Before long, 55 IBUs was mere child's play. Today, I am a certified hophead and look for 100 IBUs when any are out there to be found.
I just searched my basement fridge again, because I know there's another Cascadian dark in there: a bottle of Widmer W'10 Pitch Black IPA, brewed earlier this year. Yes, there it is! Brewed to 16 P/OG 1066 (6.5% ABV), with dark malt flavors from two-row pale (10-Lovibond) caramel malt, 65 IBUs from the bittering alchemy, dry hopped with Cascades and brilliantly dark, at about 35 SRM. Good stuff! Well balanced and friendly.
But wait! There are two more back there. Would you believe an Oakshire O'Dark:30 Cascadian dark from Eugene, south of here by 60 miles. Another great brew, 15 P/1062, 70 IBUs, but not as well balanced as the first two, nor as dark (28 SRM). Of course, as this is my third bottle, it must be my last, but please don't tell my doctor about the 22 oz. size, OK?
That final bottle had to wait until the next day, but it turned out to be another Pacific Northwest dark from Laughing Dog in Ponderay/Sandpoint, ID: DogZilla Black IPA about 17 P/1069, (6.9% ABV) and 69 IBUs with the color at maybe 40 SRM. It was impressive, well balanced and delicious, but not strictly a Cascadian dark as it comes from Idaho, somewhat east of our mythical Pacific Northwest Cascadia.
So Where Did The Black IPA Style Originate?
Well, that depends on what is considered a real black IPA. I haven't been particularly impressed by previous examples, which have not seemed very interesting, until now. The style has probably been around for a long time.
Variations on IPAs abound. As for the "black" IPA type, there has been a smattering of this beer type out there (across the country, I presume), most of them rather innocuous it seems. I had always assumed that it was a national style developing. But I've not researched the type as a national "style."
Around here we have come to calling them "Cascadian," which is the name some folks around here have given the Northwest U.S.-Canadian area (British Columbia, Washington, Oregon, some of Western Idaho, and some of Northern California.) It would be a country only if we were to secede from the U.S. and Canada.
IPAs are a developing style: modern versions abound with double, triple, or even quadruple the accustomed hop rates of the traditional IPA. The "Cascadians" are worthy of note, if only because they are spectacularly delicious to a hophead such as myself.
We do have special hops here in Oregon. The Pacific Northwest has always had great hops, but those from Washington and Idaho are usually the most popular. Oregon's hop growers have always specialized in odd, but well appreciated, types. That worked out very well for our folks when American craft brewers began to experiment with the many fascinating hop varieties developed at the Oregon Agricultural Experiment Station at Oregon State University, under the direction of Al Haunold and C.E. Horner.
In 1972, they introduced the now popular Continental-type flavor hop Cascade, one of many hop seedlings that gave new impetus to their efforts. These new hop varieties have been a great blessing to Oregon hop growers and our new craft brewing revolution.
These great hops became an inducement for Oregon brewers to develop new, highly hopped "imperial" styles of beer now gaining popularity across the country. Our brews are especially famous for their grand hop character.
Back to my Fridge
I don't give much care (as is my usual wont) to what particular beer types I acquire, although there are styles of which I'm not too fond. Still, if they get into my fridge, they nearly always get drunk. But, as noted earlier, I am definitely a hophead, that means that I often head in the direction of the nearest highly-hopped beer.
There are other bottles in my fridge. One of my favorites is the Guinness-brewed Kaliber non-alcoholic premium beer, at less than 0.5 percent ABV, which has a good deal of color, flavor and character. When I pour some for a friend, without mentioning the NA character, that person will usually enjoy the beer just as though it was a "regular" beer. None of my friends have ever called me on it (so far). I enjoy the beer for my weekly non-alcohol day, but not before 4 p.m. and my limit is still three maximum.
That's not all. Like most folks, I love the really big, strong beers that craft brewers are famed for brewing. There are a couple bottles of Hair of the Dog Fred and Adam, both 10 percent ABV, and both likely to stay there for a while, because I can't drink that much strong beer very often.
One More for the Road
But I do have another brew back there, one in a style our industry desperately needs. The new Widmer Sunburn Summer Brew is a light-hearted beer for a long night's effort: 10.3 P/1041, 4.3 percent ABV, from pale malt and caramel malt, 10-L, 20 IBUs and about 5 SRM. The key here is 4.3 percent ABV.
This is a great mild ale, but if I were to call it "mild" most Americans would avoid it. We can't call it session beer—the traditional term—because another Oregon brewer trademarked the name for one of their beers. Such brews are usually under 5 percent ABV, as most of our beers have been since Prohibition. In Europe, most beer is also in that range. Here, anything stronger used to be rare and had to be called a "malt liquor."
We Americans are in desperate need of some full-tasting, low-powered beers. Somewhere in every beer fridge, there should be a few bottles of "session" or "family" brews to relax with.Disclaimer: I have a "Free Beer for Life" card from one of the brewers listed here. I keep that card in my wallet, right next to my "Get Out of Hell Free" card that I got from an old friend, a slightly inebriated Christian minister drinking partner.
Fred Eckhardt
Fred Eckhardt has two refrigerators in his home. There is also sake down there. And gin in the freezer! So how does he stay sober? He doesn't, but don't ask and we won't tell!


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Best definition
A non-vegetarian who will go vegetarian in the right moment.
Being momentarians, John and Emily were happy to skip meat when they had their vegetarian friends Darius and Shaherose over for dinner. Their non-momentarian friend Berin, on the other hand, insisted on bringing his own Thai take-out with chicken.


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To prepare the dressing, heat the oil in a saucepan and sauté the shallots over medium heat until the are soft and tender.
Stir in the light cream, mustard, fresh dill, salt, and pepper. Bring to a boil, then lower the heat and simmer until the liquid is reduced by about half.
Remove the pan from the heat and pour the dressing into a medium bowl. Set aside and allow it to cool to room temperature.
Heat 2 tablespoons of oil in a large skillet and sauté the mushrooms over medium heat until tender. Remove them from the heat and set aside.
Preheat the broiler or grill, then mix together the remaining 2 tablespoon of oil with the lemon juice, dill, salt, and pepper. Brush the mixture over the salmon fillets.
Cook the fillets about six inches away from the hot coals. Cook for two to three minutes on each side, or according to taste.
Spoon the mushrooms onto a large platter and place the salmon fillets on top. Drizzle with the dressing. Serve immediately.
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July flew by! Last weekend I chaired a dinner dance for the beach community where I live.
I found these sailboats on clearance at Christmas Tree Shops. And metamorphed them into centerpieces.
I filled them with oasis and stuffed hydrangeas from my garden in them.
I got 8 of them, just what I needed for the tables.
Set on a mirror with shells scattered, they were perfect. I used washable marker for the table number, so I can use them again.
A scallop shell held sea blue kisses for the guests.
The cost of the centerpieces? .70 cents! I think that qualifies for Thrifty!
These are some of the other items I got for 90 % off the other day at CTS.
The polka dot casseroles were .59, the larger blue was .99. They were all in perfect condition.
The white ribbed rectangular were .20, the apple casseroles were .29 and .39.
Glass compotes were NINE cents. I had 4 so added 2 more.
Orange glasses .22, candle holders .39, covered ramekins .16. The large aqua hurricane was 1.29!
Last night a group of us had an anniversary party for dear friends. I was assigned desserts.
The wedding cake...
I did half with chocolate filling, half cherry and iced with whipped cream.
Chocolate cake, filled with chocolate and iced in chocolate. A votive serves as a vase for the flowers.
I made a Lemon Pound cake in the Heritage Pan, and served it with blueberry sauce. Forgot to take a pic, but I will be making it again soon.
And a simple plum cake for those who like something lighter.
Dh is enjoying some of the leftovers tonight!
Thanks for stopping by!
I am joining Susan for Tablescape Thursday, Gollum for Foodie Friday. Diann for Thrifty Tablescape, The Tablescaper for Seasonal Sunday and Yvonne at Stone Gable for On the menu Monday.I am also joining Marty for Tabletop Tuesday.
My thanks to all the hostesses!


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Unfortunately the license isn't sufficient as it only covers the text itself and not the ideas contained therein. For me to evaluate it, it would have to be submitted to the W3C and covered under the W3C RF policy so that both the text and the ideas are protected. Yaron -----Original Message----- From: Burdett, David [mailto:firstname.lastname@example.com] Sent: Tuesday, June 17, 2003 8:36 PM To: 'Yaron Y. Goland'; Burdett, David; WS Choreography (E-mail) Subject: RE: Draft Choreography Spec Yaron I understand your perspective and in principle submitting it to the W3C should be no problem except that it takes time as I will HAVE to go through our lawyers. I need to do a more detailed check, but I don't think Commerce One has an patents in this area, so really we are talking about copyright. Also the spec is not complete, and there are some issues and gaps in it, although I think there are a lot of good ideas <big grin>. Finally, as it might help to read the licence in the spec without actually downloading it, I attach it below. Is this enough so that you can read it Yaron? Finally, can anyone point me towards the procedure/process for making a submission. David WS Choreography Licence/Copyright text ... "Commerce One Operations, Inc. ("Commerce One") hereby grants you a nonexclusive, royalty-free, worldwide license to a) publish, copy and distribute this specification; b) use the documentation in the design, development and operation of software solutions that conform to this specification. If you publish, copy or distribute all or a portion of the specifications, you must insert the above copyright notice in acknowledgment of Commerce One's intellectual property interest in the specifications. No other rights are granted. These specifications are provided "as is" without any express or implied warranty. Commerce One expressly disclaims any and all warranties regarding this specification, including the warranty that this specification and/or implementations thereof do not violate the rights of others, fitness for a particular purposes and any other statutory warranties which would otherwise apply. In no event will Commerce One be liable to you or any party for any direct, indirect, special or consequential damages for any use of this specification, including, without limitation, any lost profits, business interruption, loss of programs or other data on your information handling system or otherwise, even if Commerce One is expressly advised of the possibility of such damages." -----Original Message----- From: Yaron Y. Goland [mailto:firstname.lastname@example.com] Sent: Tuesday, June 17, 2003 10:00 AM To: Burdett, David; WS Choreography (E-mail) Subject: RE: Draft Choreography Spec I REALLY want to review this but I can't do so until the IP issues are clear. I'm afraid it is not sufficient to say that if the group wants the spec then y'all will submit the IP since this means that the group could potentially not want the spec and having read it I could be contaminated with your IP. So I must ask that you officially submit the spec for consideration by the WG under W3C's IP guidelines. That way there will be no IP issues. Thanks, Yaron -----Original Message----- From: email@example.com [mailto:firstname.lastname@example.com]On Behalf Of Burdett, David Sent: Friday, June 13, 2003 6:41 PM To: WS Choreography (E-mail) Subject: Draft Choreography Spec Here, as promised, is a *draft* of the WS Choreography specification that expands on the sample XML for a Choreography definition that I provided in April [1]. It includes a number of additional features that were not illustrated by the earlier example but is essentially the same. The zip file at [2] contains: 1. The draft WS Choreography spec as a PDF 2. The Choreography XML Schema 3. Sample XML choreography definitions. Also please note that the copyright statement in the spec reserves Commerce One's rights to the specification. However, if the WS Choreography group sees fit to want to take this specification further, then Commerce One will donate their IP in the spec to the W3C. David [1] http://lists.w3.org/Archives/Public/public-ws-chor/2003Apr/0057.html [2] http://lists.w3.org/Archives/Public/www-archive/2003Jun/att-0023/WS_Choreogr aphy_v0-1__13_June_03.zip Director, Product Management, Web Services Commerce One 4440 Rosewood Drive, Pleasanton, CA 94588, USA Tel/VMail: +1 (925) 520 4422; Cell: +1 (925) 216 7704 mailto:email@example.com; Web: http://www.commerceone.comReceived on Wednesday, 18 June 2003 16:26:02 UTC
This archive was generated by hypermail 2.4.0 : Friday, 17 January 2020 19:30:08 UTC


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Pick and mix has remained one of the most popular trends in the confectionery market over the past years, as increasingly more retailers have started to stock up on this type of confectionery. As the leading UK confectionery supplier, Hancocks provides an extensive range of high quality, branded Pick and Mix lines that will definitely appeal to a wide range of customers and help you earn higher margins.
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Vice President Joe Biden campaigning in New York City says he expects Democrats to hold onto both the House and Senate in next week's midterm elections.
Biden stopped by a phone bank Tuesday where about 75 volunteers were making calls for Democratic Congressional candidates. Even in reliably ``blue'' state New York, as many as 8 House Democratic incumbents are believed to be vulnerable.
Many analysts predict Republicans will win more than the 39 seats necessary to take the House. Biden urged volunteers to ``ignore the pundits'' and work on voter turnout instead.
He says he understands voter anger and uncertainty about the economy, but says the Obama Administration and Democratic Congress has made progress in getting the economy back on track.
Copyright AP - Associated Press


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Tim Tebow has been out with two broken ribs and maybe a bruised ego.
The read-option lives, however, in Washington, Carolina and San Francisco, where NFL coaches are dusting off the old college formations to capitalize on the skills of quarterbacks such as Robert Griffin III, Cam Newton and Colin Kaepernick.
Nobody's going all-in like the Denver Broncos did last year when it became apparent that Tebow, with his messy mechanics, wasn't going to win as a pocket passer. Instead, teams are sprinkling in the read-option offense to confuse defenses and create running and passing lanes alike, and that makes their traditional play calls all the more effective.
Coaches say it's not a fad, either. This time, it's here to stay.
The Redskins' creativity was on display Monday night in their 17-16 win over the New York Giants as RGIII repeatedly put the ball in running back Alfred Morris' belly and either let go or pulled it back to run it himself - or even pull up and hit wide-open receivers darting through broken coverages.
That led to both crowing and cringing by ESPN analyst Steve Young, who entered the league as an eager scrambler and left as a pocket passer with a championship and a ticket to the Hall of Fame.
Young said RGIII will eventually have to morph into more of a prototypical passer to prolong his career and reach his enormous potential, but Young nonetheless marveled at watching ``NFL defenses truly indecisive.''
``It's fun to see something new that really is putting people in a jam,'' Young said.
Griffin ran for 72 yards to get to 714 for the season, passing Newton for most by a rookie quarterback. He threw the go-ahead 8-yard touchdown pass to Pierre Garcon in the fourth quarter on a read-option play.
The Redskins, Panthers and 49ers have the quarterbacks to use heavier doses of the read-option out of the shotgun formation, where the running back is parallel to the quarterback, or in the pistol, where the running back lines up behind the quarterback.
``People say you can't run the option in the NFL, but we're proving you can,'' said Griffin, who even ran a triple option Monday night. ``It's not something that's our bread and butter, but you can sprinkle it in now and then.''
Therein lies the dilemma for defenses: the threat of the option reduces their preparation for the traditional plays that make up the bulk of their opponents' offensive game plan.
``Teams have to prepare for it,'' Griffin said. ``They spend however (much) amount of time preparing for it and how to stop it, and that's what helps us open up the rest of our playbook outside of it.
``Coaches take a certain pride in shutting down what they call college stuff. They take pride in that. It doesn't bother me. We can run it two times a game. We can run it 15 times a game.''
As with anything else that's good, moderation is the key.
The Panthers have dialed down their use of the option to simplify things for Newton, and the 49ers are giving opponents a new wrinkle to prepare for by using some pistol formations like the ones Kaepernick ran at the University of Nevada.
The Panthers added several new twists in the playbook during the offseason figuring opposing defenses would be better prepared to stop Newton, last year's Offensive Rookie of the Year. But midway through the season, with Newton struggling to produce, coach Ron Rivera and his staff decided to scale back the playbook.
One of the things the Panthers did to help Newton was reduce the number of zone read option plays - ones where Newton has to make a split-second decision on whether to run or handoff. It's paid off in better performances over the last month.
``These last few weeks he has played like the guy that we believe he can become,'' Rivera said.
Broncos coach John Fox, who's enjoying watching the precise passer he now has in Peyton Manning, said quarterbacks are coming out of college bigger, faster and more athletic than ever before.
NFL teams will find ways to capitalize on all those attributes from scramblers too athletic to get hemmed in the pocket - at least while they're young, because eventually they're all forced to rely more on their arm as age and ailments catch up.
``Most people don't count on the quarterback being a viable option,'' Fox said. ``When you have that ability, it opens your run game. How long it will stay around, how long it will be? It's legit. It creates problems.''
One problem for teams with the versatile quarterback, however, is that they are exposing $100 million investments and the most valuable player on their teams in the run game, where all protections for the passer are nullified. Once the QB commits to the run, opponents are free to smack him in the head, dive at his knees, throw him to the ground.
Fox said that doesn't necessarily mean the read-option is more hazardous to their health.
``I can't really say that because you expose the quarterback in the pocket passing probably more than any time,'' Fox said, ``because his eyes are down the field, he's watching routes progress. So, remind people that that can expose a quarterback pretty heavily, as well. You just look at the numbers of quarterbacks lost through time in the pocket.''
Not just anyone can run the option, though.
``There's no doubt when you're asking him to run the ball he'd better be real fast or big enough to take hits,'' Fox said. ``That's the fine line.''
In his last game as a Bronco, a 45-10 playoff loss at New England, Tebow played through rib, lung and chest injuries he sustained on a third-quarter tackle. (He's recently been sidelined with broken ribs but said he's not sure when he got hurt, only that it happened on offense and not in his role as a personal punt protector.)
Griffin, who's listed at 217 pounds - 28 pounds lighter than Newton - took a beating earlier this season, and one reason was that he's so good at pretending he still has the ball after handing it off, giving defenders freedom to clobber him. There were plays, said left guard Kory Lichtensteiger, that Griffin looked sprawled ``like a question mark'' on the field after a tackle.
The solution was to tone down the trickery, stop extending the fake after handing off and have him put his hands in the air instead. While that advice goes against years of coaching that says a quarterback should sell deception as long as possible, it's helped reduce the number of hard hits the reigning Heisman Trophy winner has taken.
Read-option quarterbacks also need to learn when to slide or get out of bounds to protect themselves when keeping the ball. Tebow was probably the best college quarterback ever to operate the option during his time at Florida, but NFL linemen and linebackers are bigger, faster, stronger - and hit harder.
In one game last year, Tebow was hit 17 times. In another, he ran it 22 times, more than any NFL quarterback since 1950, prompting Vikings coach Leslie Frazier to crack that he'd like to get his star tailback Adrian Peterson that many touches.
``There's not a person in the league that says, `Hey, sign me up for a car accident every play,''' Griffin said. ``But we know what we signed up for.''
Broncos offensive coordinator Mike McCoy, who burnished his head coaching credentials as the architect of the turn-back-the-clock offense in Denver last year, ran the option just one time while he was a quarterback at the University of Utah two decades ago.
``Yeah, I called it once up in Wyoming and I broke my collarbone and my first rib,'' McCoy recalled.
It's not for everybody, but for those teams with the quarterbacks who can do it, the option is turning out to be, well, a great option in today's pass-happy NFL.
Online:http://pro32.ap.org/poll andhttp://twitter.com/AP-NFL
AP Pro Football Writer Howard Fendrich and AP Sports Writer Janie McCauley, Steve Reed and Joseph White contributed.
Follow Arnie Melendrez Stapleton on Twitter:http://twitter.com/arniestapleton


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Wedding DJ and Mobile Disco services at Chartwell, Westerham provided by JMF Disco – your Wedding DJ and Mobile Disco for Chartwell.
Looking for a top Wedding DJ or Mobile disco for your wedding or celebration party at Chartwell?
JMF Disco can provide an experienced Wedding DJ and Mobile Disco for Chartwell to help with your special day or celebration.
JMF Disco will provide the perfect solution for your wedding reception entertainment, with a reliable, experienced, professional Wedding DJ service, providing all the help you need with planning the 'formalities' and providing you and your guests with a great party which will be the perfect ending to your special day at Chartwell.
My aim is to provide you with all the help you need, from your initial phone call to seeing your happy guests leaving after a wonderful nights entertainment, at your perfect reception provided by your Wedding DJ at Chartwell.
JMF Disco's Wedding DJ service will provide you with the entertainment you want for your dream wedding reception at Chartwell – why settle for anything less?
Call or email JMF Disco for your Wedding DJ at Chartwell and find out how I can help you.
Have a look at the Weddings page for more details of the Wedding DJ service at Chartwell I offer and call me to discuss how I can help make your evening very special.
I like to provide my clients with that little bit more – I provide them with what they want, need and deserve for their reception – it is a special occasion and should be treated as such. Doing it right requires a Wedding DJ with the right skills and resources that I will bring to your celebration at Chartwell.
It's the personal attention to detail and planning that will bring your dream wedding reception to life. JMF Disco will provide you with all the help you need to organise your special day, including providing you with a custom Wedding Reception Planner to help organise your special day and the music you want to hear to help make your evening unforgettable at Chartwell.
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text: Summers Floral is located in the historical and beautiful suburb of Woollahra. Mark & Fleur Vander Straaten have been in business for over 15 years and along with their hand picked team they provide florals and products of quality and style. Their professional yet personal approach is what has made them Sydney's leading florist.


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Sunday, May 26, 2013 - 1 comment
Istanbul Tulip Festival
Tulips are usually associated with Holland, but did you know that their fame actually first flourished in Turkey? During the Ottoman Empire, they were cultivated for the pleasure of the sultans, and held such importance that the reign of Sultan Ahmet III (1703-1730) was known as "The Tulip Age."
Tulips are an important national symbol, and every April Istanbul holds a city-wide Tulip Festival. I've been around for it in previous years and enjoyed the tulips on every median and in public parks, but this year was the first year I had a chance to actually head over to Emirgan Park, the main display site. There were 270 different varieties on display there, amounting to 2.5 MILLION tulips in that one park alone! (Can you imagine planting all those bulbs??)
I was in town on a layover last month and had just enough time to meet a friend (a Dutch one, no less!), hop a bus up the Bosphorus to Emirgan and take in an hour or so of the colourful tulip glory. We barely made it through the first section of the park, but what we saw we loved!
I'm seeing a tulip calendar in the near future.....


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I was diagnosed with breast cancer at the young age of 33. A cancer diagnosis always comes as a shock, but it's particularly unexpected at that age. Because my mother had breast cancer at a young age, a new provider sent me for my base line screening mammogram and that turned out to be my first and only mammogram. I can say without a doubt that a mammogram saved my life.
I was treated here at Winship, by Dr. Toncred Styblo and Dr. David Lawson. Twenty-five years later, all three of us are still here. I came back to Winship six years ago, but not as a patient. I took a job as supervisor of business operations for the Glenn Family Breast Center at Winship, and I am one of the organizers of the Celebration of Living event coming up this Sat., June 21.
That's why the Celebration of Living event is so near and dear to my heart. This is a chance to get together with other survivors, and discover that part of being a survivor is learning that it's ok to let fun and humor back into your life. Learn to let the fear go and not let it rule your life. Coming to the Celebration of Living event can be a first step toward getting back out into the world, or it can be a continuation of your on-going journey. We all know that battling cancer has very dark moments, but I hope we can bring some hope and lightness into your life.
So I invite all cancer survivors, their family members and friends to come share this special day. There will be workshops for the mind, body and soul, as well as music, food and companionship. It's free and open to all. Detailed information is available on our website.
I see more and more people surviving cancer because of new and better treatments and earlier detection. In the time since I got my screening mammogram, the technology has greatly improved. Emory and Winship are now offering state-of-the-art 3D mammograms (also called tomosynthesis) at no additional charge above the cost of standard mammograms, so that all women can benefit from this more precise screening technology. For more information about this new service and where it's available, check out this video about 3D mammography at Emory Healthcare.
For some, the idea of living a normal lifespan with cancer as a chronic disease is a reality.
My hope is that one day, all cancer patients will enjoy a lifetime of survivorship.
Mary Brookhart,
Cancer Survivor
About Mary Brookhart
Mary Brookhart grew up in Ohio before moving to Georgia to get away from the snow. There she enjoyed a 20+ year career in advertising and design. In 2008, looking for something more rewarding, Mary returned to Winship, this time, not as a patient, but as supervisor of business operations for the Emory Glenn Family Breast Center. Besides serving as an advocate for breast cancer patients, Mary coordinates screenings for mammograms and the Emory's Breast Cancer Seminar for the Newly Diagnosed breast cancer patient. She currently lives in rural Conyers, with her husband of 37 years, and their three horses.
Tags: breast cancer patients, breast cancer prevention, breast cancer survi, breast cancer survivor, breast cancer survivorship, cancer, cancer events, cancer prevention, cancer survivors, cancer survivorship, cancer survivorship events, celebration of living, mammogram, patient stories, winship, winship at emory, winship cancer institute, Winship Cancer Institute of Emory University


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RICK'S 500 50ml SAMPLE Organic Hemp Oil
- $75.00
- Availability: In Stock
RICK'S 500mg, 50ml Organic Hemp Oil
- 100% Organic
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- Naturally occurring Terpenes
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Ricks hemp oil is Organic and C02 extracted. Our oil is free of synthetics and isolates that pollute many other products on the market.
With any oil purchase, you will receive a number to call for a weekly consult to discuss alternative treatments, supplements and diet to help with your progress. We like to start new clients on a half dose for the first week and then increase slowly over the next few weeks.
Please note our oils are clearskin and if you ever have any dosage concerns contact us immediately.
Suggested Use
Adults take 1ml 2 to 3 times daily 30 minutes before breakfast and dinner.
Fill dropper (1ml) place oil under the tongue, hold for 30 seconds and then swallow.
Can also be used as a topical solution.
Not to be used during pregnancy, keep bottle capped at all times and store in a cool dry place or in the fridge. The wholesale one-litre bottle should be kept in the fridge at all times.
People with Parkinson's should contact us prior to purchase as the carrier oil can block medications in some cases so you will require custom oil.
Natural separation may occur. This does not affect product quality
The information provided on this site is intended for your general knowledge only and is not a substitute for professional medical advice or treatment for specific medical conditions. Always seek the advice of your physician or other qualified health care provider with any questions you may have regarding a medical condition. The information on this website is not intended to diagnose, treat, cure or prevent any disease.


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Discussion: Adaptation, Climate Change & Developmentby -
A new report focuses on adaptation to climate change and offers recommendations to strengthen the resilience of vulnerable countries and communities.
At a recent panel discussion on the links between adaptation, climate change, and development at the House of Sweden in Washington, the Commission on Climate Change and Development presented its report, "Closing the Gaps: Exploring the Links Between Adaptation to Climate Change and Development."
Download the full report (PDF, 107 pages, 3.4 Mb).
The international Commission on Climate Change and Development was launched by the Swedish government in late 2007. The Commission examined adaptation to climate change and its links with development and disaster risk reduction and was asked to issue policy recommendations on how the resilience of vulnerable communities and countries can be strengthened through official development assistance (ODA), on appropriate institutional and financial architecture, and on the mobilization of new financial resources.
- Gunilla Carlsson, Sweden's Minister for International Development Cooperation & Chair of the Commission on Climate Change and Development
- Kemal Dervis, Vice President and Director, Global Economy & Development, Brookings Institute
- Mohamed El-Ashry, Senior Fellow, United Nations Foundation
- Saroj Kumar Jha, Manager, Global Facility for Disaster Reduction & Recovery, The World Bank
Moderator: Jonathan Lash, President, World Resources Institute
Members of the public are invited, but you must register beforehand to attend. Please RSVP to Oretta Tarkhani (email@example.com) no later than Tuesday, May 12.
Friday, May 15th, 12:30-3:00pm
House of Sweden (map)
2900 K St NW
Washington, DC


text: Disclaimer: Thanks to Goodreads and Amazon for the book cover, about the book, and author information. If you can not see the link above you will need to turn off your spam blocker. Buying via these above links allows my site to get a % of the sale at no cost to you. This money gets used to buy items for giveaways.


text: Dave's ESL Cafe's Student Discussion Forums :: View topic - problem in learning englsih Dave's ESL Cafe's Student Discussion Forums"The Internet's Meeting Place for ESL/EFL Students and Teachers from Around the World!" FAQ Search Memberlist Usergroups Register Profile Log in to check your private messages Log in problem in learning englsih Goto page Previous 1, 2, 3, 4 Dave's ESL Cafe's Student Discussion Forums Forum Index -> Learning English View previous topic :: View next topic Author Message winnieJoined: 18 Jan 2003Posts: 74Location: hong kong Posted: Sun Jun 08, 2003 6:08 pm Post subject: hi Rita Lin, Nice to meet you! yes , you are right !! Speaking english is really a good way to improve our english!! Therefore , i like to speak in english , too!!! and now , i am trying to learn the pronunciation through watching films and listening to songs!! i think english is something that we must pay effort on it !!! Gladly , we can see our progress after a period of working hard!! So , i wanna to pay effort on englsih !!! And you too!! CU winnie Back to top Display posts from previous: All Posts1 Day7 Days2 Weeks1 Month3 Months6 Months1 Year Oldest FirstNewest First Dave's ESL Cafe's Student Discussion Forums Forum Index -> Learning English All times are GMT - 8 HoursGoto page Previous 1, 2, 3, 4 Page 4 of 4 Jump to: Select a forum Student Forums----------------ComputersCurrent NewsCultureEnglish SchoolsFamilyFilm and CinemaFoodHealth and FitnessHelp CenterHobbiesHolidaysLearning EnglishLiteratureMaking FriendsMusicOpinionsPetsScienceSportsThe Strange and MysteriousTOEFL and Other English ExamsTravel You cannot post new topics in this forumYou cannot reply to topics in this forumYou cannot edit your posts in this forumYou cannot delete your posts in this forumYou cannot vote in polls in this forum Dave's ESL Cafe is maintained by the one and only Dave Sperling. Banner Advertising | Bookstore / Alta Books | FAQs | Articles | Interview with Dave Copyright © 2018 Dave's ESL Cafe | All Rights Reserved | Contact Dave's ESL Cafe | Site Map Teachers College, Columbia University: Train to Teach English Here or Abroad Powered by phpBB © 2001, 2002 phpBB Group


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I've become a big fan of LinkedIn PPC advertising. The CPC is pretty low (especially for the B2B space), and they have been converting at an aggressive rate. Obviously, my landing pages can't take all the credit. So, clearly, LinkedIn's targeting and various anonymous algorithms are firing on all cylinders. I just wish that LinkedIn would put together a mobile app for its advertising platform.
Here's the deal: my market is all over the world. And, when I wake up in the morning, I'd like to get an early sense of whether it will be a good day or not. Decent progress on my campaigns, of course, could make that extra cup of coffee superfluous. Unfortunately, I have to schlep over to my laptop, fire it up and then head over to the LinkedIn advertising platform. That's just far too much work for me. It would be so much better if I could just pull up my LinkedIn advertising dashboard on my iPhone or Kindle.
So, LinkedIn, please, please, please: give me a mobile app for your advertising platform. To hit my deadline (check the headline), I'll need it by the first week of March.


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Yes, we know. That old yellow wood is the time-worn commencement cliche — not to mention perhaps the first crystallization of the choice conundrum that plagues us all.
But in her 2009 commencement address, Barnard grad Sarah Besnoff takes that old metaphor and peppers it with generous dashes of insight– and hope — for a generation of Undecideds.
And that makes all the difference.
Listen for the resonance. She starts by telling the audience that when she was younger, ".. my mom would tell me, 'When I grow up, I want to be Sarah Besnoff.'" At first, she didn't get it.
As a child, I would dismiss this statement as something my mom told me to make me laugh. As a teenager, I thought she said it just to empower me. Now, I understand that it was more than that; it was a reminder that I have been given opportunities that she never had. The love and support of my mother and my father, and their parents before them, have given me more chances for high achievement and greater access to places and people than they ever had…
Later, talking abut the challenges that confront the typical Barnard student, she defines what she calls the "culture of choice."
The hardest challenge, though, was always how to choose what to do: so many interesting classes to take, too many internships, every student organization imaginable. The challenge of too many options is also one that plagues us upon graduation: grad schools, non-profit or private sector jobs, eventually the choice of raising a family. It is this culture of choice that is our generation's unique opportunity, a blessing that our mothers were not given in equal measure.
Did you hear it? Therein lies the difference between two generations of women, mothers and daughters, and, for that matter, between men and women: the reason that, for so many of us, deciding what to do with our lives is a lot more fraught than picking a path in a yellow wood. The remedy, Besnoff suggests, is shared experience and a sense of sisterhood:
So when two roads diverge in a yellow wood and I'm sorry I can't travel both – I'm not concerned. I know my Barnard sister who chooses to take the other road will call me and tell me what she saw, who to avoid, where to turn and what lies at the end. Her distinct path will not be divergent from mine, rather it will add to the map of our joint experience. She will empower me with knowledge should I ever want to take that path too. She will share her time on that road with me should I never be able to travel it myself. Our sisterhood in this culture of choice allows us all to become trailblazers without fear of the roads not traveled.
And with this sisterhood of trailblazers, we are uniquely positioned to take on the continuing inequalities that women face in our society. We can each forge new paths to equality, calling our sisters along the way to find unexpected intersections. We can be pioneers as we reassert a gender consciousness within our generation. This is the Barnard sisterhood – supportive, collaborative, competitive sure, but conducive to our collective achievement. We need to create this Barnard sisterhood with all women and male allies, so that we can turn assumed equality into actual parity. We stand here today with a woman who put 18 million cracks in the glass ceiling. Well, we, the Barnard College Class of 2009, have been given the opportunity to break the damn thing.
Oh, about those 18 million cracks? Did I mention that she shared the stage with Anna Quindlen and Hillary Clinton?


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This is Not Your Father's Railroad
The U.S. Postal Service has a long and storied history of moving mail on rail dating from the beginning of the railroad industry in the early 1800s. Mail was sorted on trains and Post Offices and processing facilities were located near rail stations. Many innovations and changes to rail, including the very development of modern freight rail service, were closely tied to the movement of mail. Today, however, the Postal Service meets its surface transportation needs almost entirely by using trucks owned by highway contractors.


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New film support rules14 November 2013
by eub2 -- last modified 14 November 2013
The European Commission has adopted revised criteria for assessing under EU state aid rules Member States' support schemes in favour of films and other audio-visual works. The new Cinema Communication allows aid for a wider scope of activities, highlights Member States' discretion in defining cultural activities worthy of support, introduces the possibility to give more aid to cross-border productions and promotes film heritage. The Commission took into account the comments received during three public consultations of Member States and stakeholders.
What is the purpose of the Cinema Communication and why is the Commission controlling film subsidies in the first place?
Audio-visual works, in particular films, play an important role in shaping European identities and reflecting the EU's cultural diversity. The production and distribution of films and other audio-visual works also has an important economic dimension. Over one million people are employed in the EU's audio-visual sector (1), which makes it one of the largest film producers in the world.
The European Commission is in charge of controlling state aid in the Single Market in all economic sectors. The purpose of state aid control is to avoid that Member States grant selective advantages to companies to the detriment of others. This allows companies from all Member States to compete evenly and without undue barriers. According to Article 108 of the Treaty on the Functioning of the European Union (TFEU), the Commission is obliged to assess the compatibility of state aid measures with the Single Market. At the same time, EU state aid control fully recognises the very specific nature of the cultural sector: Article 107 (3) (d) explicitly provides for the possibility of granting state aid to promote culture and heritage conservation, provided that it does not affect trading conditions and competition in the EU to an extent that is contrary to the common interest.
The Commission has therefore adopted specific criteria to assess state aid in the audio-visual sector: the Cinema Communication sets out the criteria under which the Commission will assess aid schemes put in place by Member States to support films and other audio-visual works. The Communication adopted today replaces the previous one adopted in 2001. This document allows operators and Member States to rely on stable and transparent state aid rules when designing their support schemes. The aim of the Communication is to encourage audio-visual creation while preserving cultural diversity in the European Union and to ensure the continued viability and competitiveness of this sector.
How much aid does the audiovisual sector receive in the EU?
A wide range of support measures are targeted at the film and audio-visual sector in the European Union, at national, sub-national and supranational level (including the EU's MEDIA programme).
A 2011 study by the European Audiovisual Observatory (2) estimates that, in 2009, the total amount of audio-visual support spent by nearly 250 funding bodies reached almost €2.1 billion. This figure does not take into account tax incentives for production. According to a study on the impact of territorial conditions in film support schemes, an estimated €1 billion is provided annually by Member States through such film tax incentives (3).
Since the adoption of the 2001 Cinema Communication, the Commission has approved schemes for nearly all Member States, including not only national but also regional schemes.
Why was it necessary to review the previous criteria (i.e. the 2001 Cinema Communication)? What are the main changes?
The criteria to assess the compatibility of Member States' film and audio-visual support schemes with EU state aid rules were set out in the Commission's 2001 Cinema Communication (see IP/01/1326). Their validity was extended three times, most recently in 2009 (see IP/09/138). The 2001 Cinema Communication expired on 31 December 2012.
In the meantime, the audio-visual sector has undergone important changes. The introduction of digital technology in all areas of the audio-visual value chain has a profound impact on the sector and its financing. The aid schemes approved since 2001 also show that Member States use a wide variety of aid mechanisms and conditions. As the 2001 Cinema Communication only applied to production support, the Commission had to apply the rules by analogy in cases regarding, for example, support for film distribution or aid to cinemas.
The new Cinema Communication takes account of this evolution and will therefore increase legal certainty and ensure the continued viability and competitiveness of the European audio-visual sector.
The main changes in the new Communication concern the scope of activities covered by the rules, the applicable aid intensity, the conservation and non-commercial diffusion of aided works and territorial spending conditions.
What changes do the new rules introduce with regard to the activities that can be supported?
The rules set out in the 2001 Cinema Communication only applied to production support. The scope of activities that may be supported is extended to include all phases of an audio-visual work from the concept to the delivery to audiences. The new rules also state explicitly that the definition of cultural activities remains primarily the responsibility of the Member States, in line with the subsidiarity principle.
In particular, the scope of the rules is extended to state aid for cinemas This includes possible aid for the modernisation for cinemas, such as their digitisation. It is worth noting that small amounts of state support for cinemas may not involve any state aid in the meaning of the EU rules at all, because they have no appreciable effect on trade between Member States (see IP/06/1765 on the de minimis Regulation).
Transmedia and crossmedia projects use different media for telling one and the same story, each medium making a contribution to the whole. Insofar as such projects are linked to the production of a film, their film production component is considered to be an audio-visual work within the scope of the Communication.
The new Communication clarifies the rules for post-production and principal photography (i.e. the production phase when the movie is filmed). The principle is that aid must not be reserved for specific parts of the production value chain. The producer should be free to choose which items of the budget to spend outside the territory of the aid granting Member State. For example, a Member State should not offer producers extra incentives explicitly aimed at attracting post-production work to that Member State. The aid should be for production activities as a whole.
Why are games not included in the scope of these new rules?
The Commission does not have a critical mass of state aid decisions relating to games and therefore has insufficient experience to define common assessment and exemption criteria for this type of aid. Although games represent a fast-growing sector, not all games necessarily qualify as audio-visual works or cultural products. The production, distribution, marketing and consumption of games is different from that of films. It would therefore be premature to integrate this sector in the Communication. State aid measures supporting games will therefore continue to be assessed by the Commission on a case-by-case basis.
What are the changes concerning the level of aid (or 'aid intensity') that can be granted to an audio-visual work?
The aid to audio-visual production continues to be limited in principle to 50% of the production budget. For co-productions funded by more than one Member State the new rules extend this ceiling to a maximum of 60% of the production budget.
The costs of the distribution and promotion of audio-visual works may be supported with the same aid intensity. For example, if the distribution budget for a film is €20 000, the maximum aid amount for distribution would be €10 000 (or 50%).
Difficult audio-visual works (e.g. short films, films by first-time and second-time directors, documentaries, or low budget or otherwise commercially difficult works) are excluded from these limits. Under the subsidiarity principle, it is up to each Member State to establish a definition of difficult films according to national parameters.
Why did the Commission review the criteria concerning territorial spending conditions?
Under the new rules, Member States continue to be allowed to impose territorial spending obligations on beneficiaries of aid aimed at the audio-visual sector.
A territorial spending obligation can be any condition which restricts the beneficiary of aid in choosing where to spend the production budget. The 2001 Communication allowed Member States to impose territorial spending obligations – if they wished to do so – up to 80% of the production budget of a film that received aid. In other words, if a Member State gave a single euro of aid to a film, it could impose that 80% of the total production budget would be spent on its territory. At present 9 Member States do not impose any territorial spending obligations to aided films. Hardly any Member States impose such obligations up to the ceiling of 80% of the production budget. Only a limited number of national film support schemes have very extensive restrictions in terms of where and how the aid received can be spent.
The Commission considers that territorial spending conditions may be necessary to maintain a critical mass of infrastructure for films production in a given Member State or region. Yet territorial spending obligations should also remain proportionate, since they may also infringe the principles of the EU Single Market, in particular the free movement of goods (Article 34 TFEU) and the freedom to provide services (Article 56 TFEU). The Commission already had announced in its 2001 Communication that this system would need to be reviewed.
What territorial spending obligations does the new Communication allow?
In the new rules, the Commission has ensured that such territorial obligations remain proportional to the aid granted. When assessing such territorial spending obligations, the Commission will from now on take into account three elements:
First, Member States may require, as an eligibility criterion, that a minimum of up to 50% of the production budget is spent in their territory.
Second, Member States may require that 160% of the aid amount granted is spent in their territory. This may be in particular relevant for those Member States who wish to ensure that more than 50% of the production budget is spent in their territory.
Third, as before, in any case the territorial spending obligation cannot go beyond 80% of the production budget.
Illustrative examples of application of these principles:
1) As part of its support scheme, a Member State grants aid of between 30% and 50% of the production budget, depending on the type of film. The Member State has not set any specific eligibility criteria, but in all cases, it requires that 80% of the production budget is spent in the Member State. The Communication now allows the scheme to require that up to 160% of the aid amount is spent in the granting Member State. When an aid corresponding to 50% of the budget is granted, the requirement that 80% of the production budget is spent in the territory thus corresponds to the Communication criteria. However, for those films to which the Member State contributes to a lesser amount (e.g. 30% of the production budget), the 80% spending criterion is excessive and not in line with the Communication. The Member State should amend its scheme to make the territorial spending obligations lower in those cases (e.g. 48% spending requirement when an aid of 30% is granted).
2) Under its eligibility criteria, a national, a regional or local film support scheme makes support available only to films that spend 50% of the production budget in their territory. The aid intensity of the scheme is set at 30%. In this situation the rule that Member States may require that up to 160% of the aid given is spent in the territory would correspond to a spending obligation of 48%. Given that this percentage is not higher than the 50% set in the eligibility criteria, this factor is irrelevant in practice. The territorial spending level will be in any case at least 50%. The scheme is in line with the Cinema Communication.
In other words: for state aid schemes that impose 50% of the production budget of a film to be spent in their territory in order to be eligible at all for state support, the 160% rule remains without practical effect for as long as the aid intensity is not higher than 31%. Only above this level, an application of the 160% rule results in potential aid levels above the 50% threshold that is covered by the eligibility criteria. Only in these cases, the 160% rule thus has to be taken into consideration.
3) Under its eligibility criteria, a film support scheme makes support available to films whose sole original version is in an official language of a Member State with a limited territory, population or language and that spend at least 50% of the production budget in their territory. Moreover, it requires that 80% of the budget has to be spent in the territory. As the maximum aid intensity for any "difficult film" can go even beyond 50%, it follows that the spending allowed will be 80% of the budget. This scheme is therefore in line with the Communication criteria on territorial spending.
4) As a condition of granting aid, a local film support scheme requires that at least 200% of the aid amount has to be spent in that area. The Commission would not approve the local film support scheme unless the Member State reduces the territorial spending obligation to fit within the '160% of the aid amount' territorial criterion of the Communication.
How can these rules apply to schemes such as film tax incentives?
As tax incentives are more and more used in various EU Member States to support audio-visual works, the Communication includes for the first time specific rules on this type of support by which part of the investment in the aid granting Member State can be used to reduce the corporate tax burden of the beneficiary. In this case, the aid is awarded and defined as a proportion of the production expenditure in the granting Member State.
In order to treat tax incentives in a way that is comparable to grants, the Communication sets the maximum expenditure that can be subjected to territorial spending obligations at 80% of the production budget. In addition, as for grants, Member States may require a certain level of production activity (of up to 50% of the production budget) in the territory as a condition to be eligible for state support.
Has the Commission made sure that the new rules will preserve cultural diversity?
The Communication offers Member States and regional or local public authorities wide possibilities to grant aid to the audio-visual sector in order to encourage creation and protect cultural diversity. As a party to the UNESCO Convention on the Protection and the Promotion of the Diversity of Cultural Expressions, the EU is fully committed to its cultural objectives. The Commission attaches great importance to the promotion of cultural diversity and has made sure to achieve a balanced outcome. As a result, the new Communication recognises that the fundamental freedoms of the Treaty may be restricted to some extent in order to protect cultural diversity.
Member States remain free to impose conditions on state funded films which ensure their link to a national or local culture. For example, Member States may require that a film is produced in a certain language, when it is necessary and adequate to pursue a cultural objective.
What does the Communication say about film heritage?
The new Cinema Communication emphasises the importance of film heritage objectives linked to the collection, preservation and accessibility of European films. Member States should encourage and support producers to deposit a copy of aided works for preservation and specified non-commercial use.
What was the process before adoption of these new rules?
The Commission consulted stakeholders and Member States extensively during a review process that lasted two years. This demonstrates the important role films play in Europe and the Commission's commitment to reach a balanced text, based on input from all stakeholders. In particular, the Communication attempts to strike the right balance between the cultural, legal and economic considerations which are relevant to state support to the audio-visual sector.
In June 2011, the Commission launched the review with a public consultation on an issues paper. This resulted in a draft Communication. A second consultation in 2012 invited comments on this draft. A third consultation round took place from April to June 2013 (see IP/13/388), on the basis of a modified draft.
What happens next?
As from its publication in the EU Official Journal, the Commission will assess notified state aid measures in the audio-visual sector according to the criteria set out in the new Cinema Communication. Within two years from that date, Member States should also bring their existing schemes regarding film funding in line with the Communication.
The Commission also intends to propose rules on audio-visual aid in the next version of the General Block Exemption Regulation, in order to exempt unproblematic schemes from prior state aid approval by the European Commission. The schemes that comply with the rules set out in this Regulation will not have to be notified to the Commission. This will facilitate the granting of aid and reduce red tape for public administrations and the sector alike.
Full text of the Cinema Communication
1 : KEA European Affairs et al. (2010). Multi-territory licensing of audiovisual works in the European Union
. Final report prepared for the European Commission, DG Information Society and Media.
2 : Newman-Baudais, S. (2011). Public funding for film and audiovisual works in Europe
. 2011 Edition. Strasbourg: European Audiovisual Observatory (Council of Europe).
3 : Cambridge Econometrics et al. (2008). Study on the economic and cultural impact, notably on co-productions, of territorialisation clauses of state aid schemes for films and audiovisual productions


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