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Mother's Day is almost here. If you're a mother with grown children, you might receive flowers, candy, dinner invitations or some other type of pleasant recognition.
However, you might find that you can get more enjoyment from the holiday by giving, rather than receiving. The longest-lasting gifts may be financial ones — so here are a few moves to consider:
· Contribute to your child's IRA. If your children have earned income, they are eligible to contribute to an IRA, which offers tax benefits and an almost unlimited array of investment options. You can't contribute directly to another person's IRA, but you can write your child a check for that purpose. This could be a valuable gift, as many people can't afford to contribute the maximum yearly amount, which, in 2018, is $5,500, or $6,500 for those 50 or older.
· Give gifts of stock. You know your children pretty well, so you should be familiar with the products they buy. Why not give them some shares of stock in the companies that make these products? Your children will probably enjoy being "owners" of these companies, and if they weren't that familiar with how the financial markets work, having these shares in their possession may greatly expand their knowledge and lead to an even greater interest in investing.
· Donate to a charity in your child's name. You might want to donate to a charitable organization that your child supports. In years past, such a donation might have earned you a tax deduction, but the new tax laws, which include a much higher standard deduction, may keep many people from itemizing. Still, it's possible for a charitable gift to provide you with a tax benefit, depending on your age. If you're 70½ or older, you must start taking withdrawals from your traditional IRA and your 401(k) or similar employer-sponsored plan, but by moving the withdrawal directly to a qualified charitable group, the money won't count as part of your adjusted gross income, so, in effect, you can get a tax break from your generosity.
· Review your estate strategy. Like virtually all parents, you'd probably like to be able to leave some type of legacy to your children, and possibly your grandchildren, too. So, if you haven't already started working on your estate strategy, consider using Mother's Day as a launching point. At the very least, you'll want to write your will, but you may need much more than that, such as a living trust, a durable power of attorney and other documents.
· And don't forget to change the beneficiary designations on your life insurance and retirement accounts if you've experienced a major life change, such as divorce or remarriage. These designations are powerful and can even supersede whatever instructions you might have left in your will. As you can guess, estate planning can be complex, so you almost certainly will want to work with a legal professional to get your arrangements in order.
Mother's Day is a good opportunity for your children to show their love for you, and you can do the same for them by helping bolster their long-term security through financial gifts and legacy planning.
This article was written by Edward Jones for use by your local Edward Jones financial advisor. Karsten L. Jacobson, CFP®, is a financial advisor for Edward Jones at 2208 Sawgrass Village Drive in Ponte Vedra Beach.


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Apple today seeded the second beta of an upcoming tvOS 10.2 update to developers for testing purposes, two weeks after seeding the first tvOS 10.2 update and more than two weeks after releasing tvOS 10.1.1, the current release version of tvOS.
Designed for the fourth-generation Apple TV, the second tvOS 10.2 beta can be obtained by connecting the Apple TV to a computer with a USB-C to USB-A cable, downloading and installing the software from a registered developer account via iTunes or Apple Configurator. Once a profile is installed, subsequent betas can be downloaded over the air.
Given the tricky installation requirements, tvOS betas are limited to developers and will not be provided to the public.
According to Apple's release notes, tvOS 10.2 introduces improved scrolling behavior, allowing tvOS users to scroll through large lists of information more quickly. A large swipe on the Siri remote automatically activates the new scrolling mode, and a swipe on the far right side of the remote allows users to navigate specific indexes.
It's likely there are other small feature tweaks and bug fixes included in tvOS 10.2, even though additional changes have not been specifically outlined by Apple. We'll update this post should any new content be found in the second tvOS 10.2 beta.

subset: commoncrawl


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Trust and Will Attorneys in 2024: Navigating New Legal Landscapes in Estate Planning
As we approach 2024, the landscape of estate planning continues to evolve, with trust and will attorneys at the forefront of navigating these changes. The complexities of asset management, the introduction of new laws, and the adoption of digital assets are influencing how estates are planned and administered. This comprehensive guide explores the crucial role of trust and will attorneys in 2024, offering insights into the latest trends, legislative updates, and strategic advice for those looking to manage their estates effectively.
Emerging Trends in Estate Planning for 2024
As digital assets become more commonplace and families become more global, the role of estate planning is shifting. Trust and will attorneys must adapt to include these elements in their strategies to ensure comprehensive asset protection and distribution.
Integration of Digital Assets
With cryptocurrencies and online investments on the rise, understanding how to incorporate these into a trust or will is becoming essential for attorneys. This section will explore best practices for securing digital assets within an estate plan.
Global Family Dynamics
More families are spread across multiple countries, raising complex legal questions about international estate planning. This part will discuss how attorneys navigate these challenges and ensure that global assets are handled correctly.
Legal Innovations and Updates in Estate Law
New legislation and court decisions can significantly impact how estate plans are designed and implemented. Staying informed about these changes is crucial for both attorneys and their clients.
Recent Legislative Changes
This section will outline recent changes in estate law that trust and will attorneys need to know heading into 2024, including tax implications and changes to federal and state laws.
Technological Advances in Estate Planning
From virtual notarizations to AI in estate planning, technology is playing a bigger role. Here, we'll look at how these technologies are being integrated into practice and the benefits they offer.
Choosing the Right Trust and Will Attorney
Finding an attorney who is well-versed in the latest aspects of estate law is more important than ever. This section will provide tips on selecting an attorney who can best meet your estate planning needs.
Qualifications and Expertise
What qualifications should you look for in a trust and will attorney? This part will discuss what expertise is necessary to navigate the complexities of modern estate planning.
Working with Your Attorney
Effective communication and understanding between you and your attorney are vital. Tips on how to foster a successful relationship with your estate planner will be covered here.
Conclusion: Preparing for the Future with Expert Legal Guidance
As 2024 approaches, the importance of having a knowledgeable and adaptable trust and will attorney cannot be overstated. Whether dealing with traditional assets or emerging challenges like digital and international estate planning, expert legal guidance is essential. This guide aims to equip you with the knowledge to choose the right attorney and successfully plan your estate in an ever-changing legal environment.
The post Trust and Will Attorneys: Your 2024 Guide to Estate Planning appeared first on lawyer.bet.


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A chilling and revelatory expose of the KGB's renaissance, Putin's rise to power, and how Russian black cash is subverting the world.
In Putin's People, former Moscow correspondent and investigative journalist Catherine Belton reveals the untold story of how Vladimir Putin and his entourage of KGB men seized power in Russia and built a new league of oligarchs. Through exclusive interviews with key inside players, Belton tells how Putin's people conducted their relentless seizure of private companies, took over the economy, siphoned billions, blurred the lines between organised crime and political powers, shut down opponents, and then used their riches and power to extend influence in the West. In a story that ranges from Moscow to London, Switzerland and Trump's America, Putin's People is a gripping and terrifying account of how hopes for the new Russia went astray, with stark consequences for its inhabitants and, increasingly, the world.


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AFC Energy
In this audio note, Zeus' Robin Byde discusses the investment case for AFC following a site visit last week. Since then, AFC has achieved another commercial milestone with independent attestation of conformity for the CE Mark for the 30kW H-Power S Series Generator.
Listen to all episodes of the Zeus Research team Audio Notes here.
This content is issued by Zeus Capital Limited ("Zeus") (Incorporated in England & Wales No. 4417845), which is authorised and regulated in the United Kingdom by the Financial Conduct Authority ("FCA") for designated investment business, (Reg No. 224621) and is a member firm of the London Stock Exchange. This content is for information purposes only and neither the information contained, nor the opinions expressed, within constitute or are to be construed as an offer or a solicitation of an offer to buy or sell the securities or other instruments mentioned in it. Zeus shall not be liable for any direct or indirect damages, including lost profits arising in any way from the information contained in this material. This material is for the use of intended recipients only.
If you would like further information, please get in touch with our team.


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From LONG ISLAND – by Ann Parry (ann-parry.com)
August 20, 2016
- UPDATE Starting Feb. 15, 2021, KEVIN JAMES stars in The Crew, a Netflix comedy series filmed at Long Island's Gold Coast Studies. James portrays a NASCAR chief mechanic dealing with a new boss; SARAH STILES & JILLIAN MUELLER also star, and JEFF LOWELL is the show creator.
Last night my daughter Sue and I saw Episode 1 of Kevin Can Wait being filmed at Gold Coast Studios in Bethpage. This new CBS sitcom, starring actor KEVIN JAMES, is the first prime-time network series originating from a Long Island studio – hello, Hollywood East!
First we saw the pilot, which gave background to the episode being filmed that night. It introduced us to the Gable family: father Kevin, a newly retired police officer; mother Donna, a school nurse; and their children Kendra, Sara, and Jack.
We also met Kevin's brother Kyle (played by James's real life brother GARY VALENTINE), Kendra's fiancé Chale (who looks like… no, I'll leave that as a surprise), and Kevin's three friends who are fellow retired police officers.
BTW from LI: The Gable family lives in the south shore town of Massapequa, so they'd have to move just a few miles west to be the Gables of Merrick Gables, a 1920s development of Spanish stucco houses near my home.
Long Island's JOEY KOLA was the warm up comedian. Over the course of the night, Joey identified dozens of cast and crew … had us sing along to songs the DJ played … shared anecdotes that were probably at least partly true… did fast and furious impressions (mostly of Long Islanders, of course)… and introduced countless audience members who were fellow comedians, notable Long Islanders, media personalities, and relatives of cast and crew.
The first scene filmed was the first scene of the episode, and there were several partial and whole retakes (that I found riveting) – of this scene and scenes in general – in order to tweak dialogue and action, and film from different viewpoints. As Director ANDY FICKMAN – who made some genuinely funny comments when cameras weren't filming – explained to the audience, the sitcom studio filming is done in chronological order – except that night the last two scenes were reversed so Mary-Charles Jones, a minor, would finish her last scene before 11 PM.
I especially liked how Kevin Gable – the eponymous character played by star Kevin James, a gifted everyman physical comedian – didn't always have to be the one getting the Big Laugh, so his character had the chance to convey emotion, doubt, conflicted feelings – you know, things real people feel while living life without a laugh track, let alone a live studio audience.
And I hope to see more of Chale, who stood out as a unique, engaging character.
BTW from LI: "Chale" has a range of meanings throughout the world: Perhaps the village Chale in the Isle of Wight, England, is relevant. Also, "Chale" means "strong" and "manly" in Spanish, which might be something to think about.
When Executive Producer ROCK REUBEN took questions from the audience, he stated that KCW will be free of references to a certain infamous Massapequa resident from the early 1990s.
BTW from LI: Wouldn't it be fun if Kevin Can Wait has Kevin bumping into, or even hanging with, Long Island natives Alec Baldwin, Ray Romano, Jerry Seinfeld – say, at All American Hamburger?
UPDATE Ray Romano guest-starred on KCW Oct. 23, 2016.
Cameras weren't allowed, but cell phones were, though they couldn't be on/out during filming.
Media, including People magazine and Newsday, were there to cover the night, and though I wished now and then I were covering it with my Nikon D4, it was a nice change to be sitting there with my daughter and fellow audience members, simply enjoying the show – you know, things people do while living life without a pro DSLR and Press badge.
The long evening of filming was so much fun it sped by. If you're in the Long Island area and interested in free tickets to a future filming of Kevin Can Wait at Gold Coast Studios in Bethpage, visit 1iota.com. And don't forget to eat dinner before you go to the studio.
- FREE TICKETS to SHOWS & Special Events at 1iota.com
So, okay, maybe it's partly because I'm from Long Island, plus there's a retired police officer in our family, but I enjoyed watching the pilot and filming of the first episode of Kevin Can Wait, and can't wait to see its premiere on Monday, September 19, 8:30 PM (EST) on CBS.
Cast includes:
- Kevin James as Kevin Gable
- Erinn Hayes as wife Donna
- Taylor Spreitler as daughter Kendra
- Ryan Cartwright as Kendra's fiancé Chale
- Mary-Charles Jones as younger daughter Sara
- James DiGiacomo as son Jack
- Gary Valentine as Kevin's brother Kyle
- Christopher Brian Roach as Mott
- Leonard Earl Howze as Goody
- Lenny Venito as Duffy
Episode 1 "Kevin and Donna's Book Club"
- Writer: Heather Flanders
- Director: Andy Fickman
Executive Producers: Kevin James, Bruce Helford, Rock Reuben, Jess Sussman
UPDATE 9/2016: During Z100's Elvis Duran Morning Show, Sue spoke with Kevin James about how much she enjoyed being in audience for taping of Kevin Can Wait at Gold Coast Studios in Bethpage, NY.
UPDATE 5/12/2018: CBS confirms cancellation of Kevin Can Wait after two seasons.
"Kevin Can Wait": my Photo GALLERY
FREE Show Tickets at 1iota.com
Gold Coast Studios at Bethpage, Long Island, NY


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This cap is a must-have for all of your daily adventures! Throw it on when you go to the beach, ballgame, or even if you are just having a bad hair day! This cap is perfect for any occasion. It has an adjustable strap with a metal clip that allows you to customize the fit.
Soft Cotton
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Approximately 19.5" - 22.5" Around the Head
Adjustable Metal Closure


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Miguel de Cervantes Saavedra (1547–1616). Don Quixote, Part 1.
The Harvard Classics. 1909–14.
I. Wherein Is Rehearsed the Calling and Exercise of the Renowned Gentleman, Don Quixote of the Mancha
THERE lived not long since, in a certain village of the Mancha, the name whereof I purposely omit, a gentleman of their calling that use to pile up in their halls old lances, halberds, morions, and such other armours and weapons. He was, besides, master of an ancient target, a lean stallion, and a swift greyhound. His pot consisted daily of somewhat more beef than mutton: a gallimaufry each night, collops and eggs on Saturdays, lentils on Fridays, and now and then a lean pigeon on Sundays, did consume three parts of his rents; the rest and remnant thereof was spent on a jerkin of fine puce, a pair of velvet hose, with pantofles of the same for the holy-days, and one suit of the finest vesture; for therewithal he honoured and set out his person on the workdays. He had in his house a woman-servant of about forty years old, and a niece not yet twenty, and a man that served him both in field and at home, and could saddle his horse, and likewise manage a pruning-hook. The master himself was about fifty years old, of a strong complexion, dry flesh, and a withered face. He was an early riser, and a great friend of hunting. Some affirm that his surname was Quixada, or Quesada (for in this there is some variance among the authors that write his life), although it may be gathered, by very probable conjectures, that he was called Quixana. Yet all this concerns our historical relation but little: let it then suffice, that in the narration thereof we will not vary a jot from the truth.
You shall therefore wit, that this gentleman above named, the spurts that he was idle (which was the longer part of the year), did apply himself wholly to the reading of books of knighthood, and that with such gusts and delights, as he almost wholly neglected the exercise of hunting; yea, and the very administration of his household affairs. And his curiosity and folly came to that pass, that he made away many acres of arable land to buy him books of that kind, and therefore he brought to his house as many as ever he could get of that subject. And among them all, none pleased him better than those which famous Felician of Silva composed. For the smoothness of his prose, with now and then some intricate sentence meddled, seemed to him peerless; and principally when he did read the courtings, or letters of challenge, that knights sent to ladies, or one to another; where, in many places, he found written: 'The reason of the unreasonableness which against my reason is wrought, doth so weaken my reason, as with all reason I do justly complain on your beauty.' And also when he read: 'The high heavens, which with your divinity do fortify you divinely with the stars, and make you deserveress of the deserts which your greatness deserves,' etc. With these and other such passages the poor gentleman grew distracted, and was breaking his brains day and night, to understand and unbowel their sense, an endless labour; for even Aristotle himself would not understand them, though he were again resuscitated only for that purpose. He did not like so much the unproportionate blows that Don Belianis gave and took in fight; for, as he imagined, were the surgeons never so cunning that cured them, yet was it impossible but that the patient his face and all his body must remain full of scars and tokens. Yet did he praise, notwithstanding, in the author of that history, the conclusion of his book, with the promise of the Endless Adventure; and many times he himself had a desire to take pen and finish it exactly, as it is there promised; and would doubtless have performed it, and that certes with happy success, if other more urgent and continual thoughts had not disturbed him.
Many times did he fall at variance with the curate of his village (who was a learned man, graduated in Ciguenca) touching who was the better knight, Palmerin of England, or Amadis de Gaul. But Master Nicholas, the barber of the same town, would affirm that none of both arrived in worth to the Knight of the Sun; and if any one knight might paragon with him, it was infallibly Don Galaor, Amadis de Gaul's brother, whose nature might fitly be accommodated to anything; for he was not so coy and whining a knight as his brother, and that in matters of valour he did not bate him an ace.
In resolution, he plunged himself so deeply in his reading of these books, as he spent many times in the lecture of them whole days and nights; and in the end, through his little sleep and much reading, he dried up his brains in such sort as he lost wholly his judgment. His fantasy was filled with those things that he read, of enchantments, quarrels, battles, challenges, wounds, wooings, loves, tempests, and other impossible follies. And these toys did so firmly possess his imagination with an infallible opinion that all that machina of dreamed inventions which he read was true, as he accounted no history in the world to be so certain and sincere as they were. He was wont to say, that the Cid Ruy Diaz was a very good knight, but not to be compared to the Knight of the Burning Sword, which, with one thwart blow, cut asunder two fierce and mighty giants. He agreed better with Bernardo del Carpio, because he slew the enchanted Roland in Roncesvalles. He likewise liked of the shift Hercules used when he smothered Anteon, the son of the earth, between his arms. He praised the giant Morgant marvellously, because, though he was of that monstrous progeny, who are commonly all of them proud and rude, yet he was affable and courteous. But he agreed best of all with Reinauld of Mount Alban; and most of all then, when he saw him sally out of his castle to rob as many as ever he could meet; and when, moreover, he robbed the idol of Mahomet, made all of gold, as his history recounts, and would be content to give his old woman, yea, and his niece also, for a good opportunity on the traitor Galalon, that he might lamb-skin and trample him into powder.
Finally, his wit being wholly extinguished, he fell into one of the strangest conceits that ever madman stumbled on in this world; to wit, it seemed unto him very requisite and behooveful, as well for the augmentation of his honour as also for the benefit of the commonwealth, that he himself should become a knight-errant, and go throughout the world, with his horse and armour, to seek adventures, and practise in person all that he had read was used by knights of yore; revenging of all kinds of injuries, and offering himself to occasions and dangers, which, being once happily achieved, might gain him eternal renown. The poor soul did already figure himself crowned, through the valour of his arm, at least Emperor of Trapisonda; and led thus by these soothing thoughts, and borne away with the exceeding delight he found in them, he hastened all that he might, to effect his urging desires.
And first of all he caused certain old rusty arms to be scoured, that belonged to his great-grandfather, and lay many ages neglected and forgotten in a by-corner of his house; he trimmed and dressed them the best he might, and then perceived a great defect they had; for they wanted a helmet, and had only a plain morion; but he by his industry supplied that want, and framed, with certain papers pasted together, a beaver for his morion. True it is, that to make trial whether his pasted beaver was strong enough, and might abide the adventure of a blow, he out with his sword and gave it a blow or two, and with the very first did quite undo his whole week's labour. The facility wherewithal it was dissolved liked him nothing; wherefore, to assure himself better the next time from the like danger, he made it anew, placing certain iron bars within it, in so artificial a manner, as he rested at once satisfied, both with his invention, and also the solidity of the work; and without making a second trial, he deputed and held it in estimation of a most excellent beaver. Then did he presently visit his horse, who (though he had more quarters than pence in a sixpence, through leanness, and more faults than Gonella's), having nothing on him but skin and bone; yet he thought that neither Alexander's Bucephalus, nor the Cid his horse Balieca, were in any respect equal to him. He spent four days devising him a name; for (as he reasoned to himself) it was not fit that so famous a knight's horse, and chiefly being so good a beast, should want a known name; and therefore he endeavoured to give him such a one as should both declare what sometime he had been, before he pertained to a knight-errant, and also what at present he was; for it stood greatly with reason, seeing his lord and master changed his estate and vocation, that he should alter likewise his denomination, and get a new one, that were famous and altisonant, as became the new order and exercise which he now professed; and therefore, after many other names which he framed, blotted out, rejected, added, undid, and turned again to frame in his memory and imagination, he finally concluded to name him Rozinante, a name in his opinion lofty, full, and significant of what he had been when he was a plain jade, before he was exalted to his new dignity; being, as he thought, the best carriage beast of the world. The name being thus given to his horse, and so to his mind, he resolved to give himself a name also; and in that thought he laboured other eight days; and, in conclusion, called himself Don Quixote; whence (as is said) the authors of this most true history deduce, that he was undoubtedly named Quixada, and not Quesada, as others would have it. And remembering that the valorous Amadis was not satisfied only with the dry name of Amadis, but added thereunto the name of his kingdom and country, to render his own more redoubted, terming himself Amadis de Gaul; so he, like a good knight, would add to his own that also of his province, and call himself Don Quixote of the Mancha, wherewith it appeared that he very lively declared his lineage and country, which he did honour, by taking it for his surname.
His armour being scoured, his morion transformed into a helmet, his horse named, and himself confirmed with a new name also, he forthwith bethought himself, that now he wanted nothing but a lady on whom he might bestow his service and affection; for the knight-errant that is loveless resembles a tree that wants leaves and fruit, or a body without a soul: and therefore he was wont to say, 'If I should for my sins, or by good hap, encounter there abroad with some giant (as knights-errant do ordinarily), and that I should overthrow him with one blow to the ground, or cut him with a stroke in two halves, or finally overcome, and make him yield to me, would it not be very expedient to have some lady to whom I might present him? And that he, entering in her presence, do kneel before my sweet lady, and say unto her, with an humble and submissive voice, "Madam, I am the giant Caraculiambro, lord of the island called Malindrania, whom the never-too-much-praised knight, Don Quixote de la Mancha, hath overcome in single combat; and hath commanded to present myself to your greatness, that it may please your highness to dispose of me according unto your liking!"' Oh, how glad was our knight when he had made this discourse to himself, but chiefly when he had found out one whom he might call his lady! For, as it is imagined, there dwelt in the next village unto his manor, a young handsome wench, with whom he was sometime in love, although, as is understood, she never knew or took notice thereof. She was called Aldonsa Lorenzo, and her he thought fittest to entitle with the name of Lady of his thoughts, and searching a name for her that should not vary much from her own, and yet should draw and aveer somewhat to that of a princess or great lady, he called her Dulcinea del Toboso (for there she was born), a name is his conceit harmonious, strange, and significant, like to all the others that he had given to his things.


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49.5″ x 35.5″ framed ink and gouache on paper $4500
Magnolia Laurie was born in Massachusetts and raised in Puerto Rico. She received her BA in Critical Social Thought from Mount Holyoke College and her MFA from the Mount Royal School of Art at the Maryland Institute College of Art. She has been awarded residencies from the Vermont Studio Center, the Virginia Center for the Creative Arts, the Creative Alliance in Baltimore, and the Jentel Foundation in Wyoming. Magnolia's work has been supported with grants from the Creative Baltimore Fund, the Maryland State Arts Council Grants, the Belle Foundation, and a Mid Atlantic Creative Fellowship. Magnolia lives in Baltimore, MD, and is an Associate Professor at Franklin & Marshall College in Lancaster, PA.
Magnolia Laurie's work has been exhibited in solo shows at frosch & co (New York, NY), The Phillips Museum of Art, Franklin & Marshall College (Lancaster, PA), and Hamiltonian Gallery (Washington, DC) and group exhibitions at MONO Practice (Baltimore, MD), Little Berlin (Philadelphia, PA), Addison/Ripley Gallery (Washington, DC), Hemphill Gallery at Carroll Square (Washington, DC), and the Baltimore Museum of Art (Baltimore, MD), among other venues. She has participated in residencies across the United States including at Virginia Center for the Creative Arts (Amherst, VA) and Vermont Studio Center (Johnson, VT).


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Sodalite 10mm stone beaded Bracelet
One size fits all
Over the Moon Bracelet
Excluding Sales Tax |
You have 14 calendar days to return/exchange an item from the date you receive it. To be eligible for a return/exchange, your item must be unused and in the same condition as you received it. Returns will be processed and a merchandise credit will be issued.


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This product page covers SMB9215-004 and SMC9215-104 models (the Xs in SMX9215-X04 are variable placeholders). SMB models use bus power logic. SMC models require an external 24 VDC logic power supply.
The SMX9215-X04 Alpha Series Digital PWM Servo Drive in the Multi-Axis package configuration operates from 110-130 VAC and can output up to 20 A of continuous current. All SMX92 Alpha Series drives can control brushless (standard servo and high-speed spindle), brush type, rotary, linear, voice coil, and AC induction motors. They also offer expanded command and control modes, including pulse (step) and direction. Feedback is accepted from a wide range of devices and protocols, namely brushless resolvers.
Command/Control Modes |
+/-10 VDC typical for current (torque) or velocity (RPM) |
Pulse (step) and direction |
Encoder follower |
External sine commutation (2-phase current mode) |
PWM for current (torque) or velocity (RPM) |
Camming/Gearing |
Feedback |
Incremental quadrature encoder |
Digital Hall sensors or commutation tracks from encoder |
Resolver |
Analog tachometer |
Dedicated I/O: Analog signal command, +/- limits, inhibit/enable, fault, reset, motor temp, encoder and step & direction |
Programmable analog out: 1 12-bit or optional 2 16-bit |
General purpose relay: maximum 2 amps @ 30 VDC. Nais P/N: TQSA-5V |
Environmental Conditions |
Storage Temperature: -40°C to 80°C |
Standard Operating Temperature: 0°C to 40°C without current derating, up to 50°C with 25% current derating |
Special Operating Temperature: -40°C to 40°C without current derating, up to 50°C with 25% current derating |
Humidity: 5% to 95% relative humidity, non-condensing |
Altitude: Up to 1000m without derating, derate current 10% per 1000m above 1000m |
Performance | |
FOC | All Alpha Series employ Field Oriented Control method which allows accurate control in both steady state or transient operation, and optimal orientation of the magnetic field. |
Space Vector Modulation | Glentek's advanced algorithms allow for maximum utilization of the DC bus voltage while generating minimum harmonic distortion of the currents in the winding of 3-phase AC motor. |
Digital Current Loops | Current loop bandwidths up to 3 kHz. |
Digitally Tuned | All parameters set digitally. No potentiometers to adjust. DSP control for the ultimate in high performance. |
Parametric Filtering | Provides control engineers advanced filtering to eliminate unwanted system mechanical resonance. |
Smart-Comm Initialization | Eliminates the need for Hall sensor or commutation tracks for many applications. |
Auto Phase Advance | Plug and Play for all types of three phase brushless motors. Provides control engineers the ability to connect any motor to the drive's motor outputs. The drives smart algorithm will automatically find and align the motor phases to allow for the most optimized smoothness and efficient commutation. |
Sinusoidal Commutation | For the ultimate in efficiency and smooth motion, commutates from almost any resolution linear, rotary encoder, or Hall sensors only. |
Fault protection | Short from output to output, short from output to ground, drive RMS over current, drive under/over voltage, drive over temperature, motor over temperature. |
On-the-fly mode switching | This feature allows the drive to switch between any mode of operation on-the-fly. That is, the drive can switch between current to velocity (or velocity to current), current to position (or position to current), and velocity to position (or position to velocity) while the motor is in motion. This feature is available upon request. Please contact Glentek application engineers for assistance. |
Software configurable | Glentek's Windows-based MotionMaestro software provides ease of set-up, monitoring and tuning with no previous programming experience required. MotionMaestro for Alpha series drives is Windows XP, Vista, 7, 8, and 10 compatible. Click here to download. |
Silent operation | 25 kHz PWM standard. |
Command/Control Modes | +/-10V for current (torque) or velocity (RPM), pulse (step) and direction, encoder follower, external sine commutation (2-phase current mode), RS-232, RS-485, PWM for current (torque or velocity (RPM), and camming/gearing. |
Regulatory | |
CE Marked | All servo drives are CE marked. |
RoHS Compliant | RoHS compliance optional. |
Connectivity | |
RS-232 or RS-485 | High speed (115.2K baud) serial communication interface for setup and tuning and diagnostics.Note: RS-485 is optional. |
Feedback | |
Resolver feedback | Accepts analog signals from all types of resolver feedback. |
Encoder feedback | Accepts nominal encoder signals up to 5 MHz (maximum frequency of up to 10 MHz is possible, but is system dependent). |
Tachometer feedback | Accepts analog signals from all types of tachometer feedback. |
Dedicated I/O | Analog signal command, +/- limits, inhibit/enable, fault, reset, motor temp, encoder and step & direction. Programmable analog out: 1 12-bit or optional 2 16-bit. General purpose relay: maximum 2 amps @ 30 VDC. Nais P/N: TQSA-5V. |
Build | |
Complete isolation | Complete isolation between signal and power stage. |
Non-volatile memory | All parameters are stored in non-volatile memory for reliable start up. In addition, up to four different configurations can be stored in the drive's non-volatile memory. |
Relay outputs | Two pins provide an interface for the relay. They turn on when a desired condition occurs. |
Status indicator | 7-segment display indicates drive status and diagnostics. |
SMT construction | Provides ultra compact size, cost competitive package and high reliability. |
Series | |
Package Configuration | |
Input Voltage | |
Continuous Current | |
Drive Compliance | |
Modes of Control | +/- 10 VDC for Current or Velocity, Camming/Gearing, Encoder Follower, External Sine Commutation, Pulse (Step) and Direction, PWM for Current or Velocity, RS-232 |
Motor Types | Brushless Servo (Rotary), Brushless Servo (Linear), Brush Servo (Rotary), Voice Coil, High Speed Spindle, Induction |
Feedback Devices | Digital Hall Sensors/Commutation Tracks, Incremental Quadrature Encoder, Resolver, Tachometer |


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W h a t .
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✪ Patreon is a GO!
Hiya, gang!
As promised, in addition to today's Time Trouble update, I've finally finished the second part of my website launch and opened my Patreon! You can find a link to it here and on the right sidebar of each page!
From now on, when you see the symbol to the right located anywhere on the comic, you'll know that there's a corresponding patreon post that will go with it!
Beyond that, everything that you need to know about my Patreon is on the page itself! I've taken the time to outline all my current goals and reward tiers. In addition to that, the first blog post is free to everyone! This way you can get a good idea of what to expect from it, and me, in the future!
I hope everything there is sufficient and up to snuff. If you have any ideas or special things you'd like to see on it, please respond and let me know!
I hope Labor Day finds everyone well. take care!
✪ Thunderbirds are GO!
Happy birthday to me! So here's my present to you!
Ladies and gentlemen! After a very long time, a lot of hard work (plus an admittedly embarassing lack of sleep): Welcome to my three websites!
And my personal blog... and the relaunch of my two webcomics, Chip and Walter and Time Trouble…and eventually my portfolio, Patreon/Commisions Hub, writings plus everything else that I can conceptually fit here!
I've been in need of a professional venue that I can maintain for a looooooong time. This joint still isn't completely moved into but it's definitely at a point where I can comfortably launch and not feel awkward about doing so! This is a rare time that I'll be cross posting to all three of my websites so I'll break everything down accordingly. Please bear with the long post…
The Main Website: www.jongraywb.com
This will be my primary, personal, professional website. Here you'll find info containing my bio, my published works (specifically dealing with licensed materials like Disney Comics and Sonic the Hedgehog!
If you are one of my Principles of Cartooning students at the School of Visual Arts, you can find a copy of the syllabus as well as a direct means of contact should you need to ask me any questions about assignments or general advice after school hours. IMPORTANT NOTE: The new syllabus will most likely go up next week in anticipation of the start of classes. Currently I've linked the old one just so you can get a rough idea of what it will look like. All school related info can be found on the left sidebar.
The right sidebars of this page will be updated with all my current Disney Comics solicits for IDW Publishing.
Beyond general updates the news feed here will double as blog entries whenever I feel the need to discuss random things, announce events (conventions, new books coming out, etc), travel plans or talk about general things that are on my mind.
FAQ sections for all three pages are interlinked depending on content. I'd debated on consolidating them into one big page but it seemed to massive and cumbersome.
The next major things to integrate here will be a full image/portfolio gallery of all my non web-comic work plus a working Patreon/Commissions Hub for donations/any work you'd like me to do. I'd liked to have launched with this but time was of the essence for the start of school and freelance work. PLEASE NOTE THAT COMMISSIONS ARE NOT OPEN YET! They won't be until I've finished this project and specifically gotten these things launched. This is the next major thing I will be working on following this update.
Chip and Walter: http://www.chipandwalter.com/
Time Trouble: http://www.time-trouble.com/
After a long time, my babies have finally been re-launched.
I promised these comics would come out ages ago (2014 to be exact) and I've sat down plot-mapping, character redesigning, planning, thinking, re-plot-mapping and drawing and redrawing a buffer that I've slowly been pecking at for years. It wasn't until the past year and a half that I finally overcame my personal worries, buckled down and pushed myself to do it. I don't think it's prideful to pat myself on the back for having finally achieved that goal.
Before I say anything else…
A lot of you have messaged me about wanting to see return to doing my personal comics/doing original work. I can't thank you enough for both your patience, your inquiries and for the needed words of encouragement. Artists are sensitive and, personally, I'm always exceedingly nervous about putting myself out there. My comics are representative of my personal grow and improvement since my earliest days. The more I got into the groove or drawing these for myself, the better I feel like I got. I can't wait for y'all to see the stuff that hasn't even gone up yet.
I can only hope that you enjoy the story as much I enjoy creating it.
Both comics have launched with their respective 15 strip Chapter Zero prologues including title/cover pages (for the prologue itself and ending on the cover for the following chapter), a bonus cast page (the plan is to end all chapters with some sort of bonus page) and a rudimentary archive for easy browsing.
Updates for each comic will individually occur once a week barring any pressing freelance or professional work that comes my way (My pro work always comes first. Gotta pay my bills.)! As with my main website, all updates will be announced on my social media accounts (Facebook, Twitter and Tumblr) and noted on their individual pages as news posts when necessary.
While cast pages currently exist as makeshift tags, these only show what strips (plus a counter) each individual character has appeared in. As the stories progress and new characters are introduced, I will add in proper cast descriptions with new individual artwork as I see fit.
I will definitely be replacing the large top header banners for both comics with more intricate illustrations like on my main page in the coming weeks. Right now I have a several "placeholder images" up in spots to suit my needs.
I'll probably also add outgoing links to other comics I like read. I have no earthly idea how RSS feeds work, so I'll be looking into that in the coming week.
As a sidenote: I know the dropdown menus for each comic are currently acting weird. I've been tutoring myself in CSS on the fly and while the background color for individually selected comics on the dropdowns work, I have no clue how to get the chapters to have the same background color as the rest of the menu so that they're actually readable. If you have any idea on how to fix this problem I'm all ears. I'll probably also ask some knowledgeable friends later once I get ample sleep. And I think that's that.
Finally, if you'd like to comment on any of the comics or even the individual blog posts feel free!
Again, I have no plans on cross posting to all three pages like this, preferring to keep news worthy things separate and organized, but this is a special occasion and I want to cover all my bases. Do note that I've set up an approval system on comments, so nothing will show up yet without my say-so. That said, my twitter and facebook accounts are always open (check the Social Media Portal on the left sidebar of all pages!) If you post with "first" nonsense I'll most likely ban you outright. I'll approve any commentary once I've gotten decent rest and celebrated my birthday proper. 🙂
Thank you so much for being patient. I hope you enjoy what you see and I hope these pages will eventually do everything I intend for them to do. Have fun and enjoy the comics!


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Footprints in the Windsm # 719
G*d hears you
the universe knows you are here
the world wants you
Please pass it on.
© c 2007, Learning Works, Incorporated. All rights reserved. Easy reprint permissions: 574/291-0022, or by e-mail to mailto:Doug AT FootprintsInTheWind.com. Back issues available at http://www.FootprintsintheWind.com
Please publish in your print or electronic periodical, with the above info.
To subscribe, send an e-mail with the word "subscribe" to mailto:Doug AT FootprintsInTheWind.com
You can leave a response, or


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Today is a BIG day for Sandie from LONDON Days !
To celebrate with Sandie , Kylie is hosting a linky party HERE !
Sandie has a fabulous super duper CAS style, and LOVES purple !
To honor this, I made Sandie a birthday card in the color and style she loves!
I used a rose cutting file from Hero arts, found in the Silhouette online store #12917.
I cut it twice in white, and layered it to add dimension. I then cut the inner parts of the rose in purple, and the inner parts of the leaves in green to use for inlaid die cutting.
I added a birthday sentiment also from the Silhouette online store by Miss Kate Cuttables
#46490. I created the white on black 'wishes' part in Paint, and added it to the cut sentiment.
Three purple rhinestones to finish off the design.
To help me create Sandie's card, I used inspiration from the following challenges:
Simon says stamp Wednesday challenge ~ Flowers
Happy little stampers ~ CAS inlaid die cutting.
Happy Little Stampers ~ Anything goes with dies
AAA cards ~ CAS inlaid die cutting
Cas-ual Fridays ~ Birthday girl
Muse card club .~ Caseing Anita (colors - purple, white and green- , flower theme)
*Edited to add* :
Time out challenges ~ CAS with the option to add purple.
Happy Birthday Sandie!
I hope you'll have a great day!
Thanks for visiting me today!


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Another Kleiner Perkins company touted by Prof Dan Kammen of Bezerkely is headed south. Their stock is plunging.
The company had an IPO four years ago and the existing shareholders before the IPO (probably Kleiner) had to prop up the IPO.
Kleiner brought us the Bloomdoggle and Hillary's campaign gets funds from John Doerr of Kleiner. I hope Trump reads my blogs so he can ask Hillary about Enphase being out of phase. As for Kammen of UC Berkeley in 2006 he promised us 4.25 billion gallons of cellulosic ethanol for this year. We will be lucky to get just over 3 million gallons. I asked Kammen if 0.08% is a passing grade for the classes he teaches at Berkeley. Kammen has remained silent and he probably is doing some phase shifting on his position at Enphase where he chairs a research board.
I can't wait for Donald to make Hillary's head spin on Monday in the debate. She will do a full 720 double back flip with a half twist not a 180 out of phase Kammen trick.


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Probably one of the most frequently asked questions I get from people seeking to write historical fiction is this: How much research should I include in my historical novel? And my reply, which may sound more flippant than I intend, is just this: Enough to tell the story. I've written elsewhere about balancing historical accuracy and authenticity. So, I thought today I'd given an example of how I seek to have my characters interact with historical details, hopefully without just dumping my research on my readers. I could have picked any passage, but in honor of Easter, I picked an excerpt from my forthcoming novel, A DEATH ALONG THE RIVER FLEET. In this, scene Master Aubrey has just returned from selling pamphlets (unsuccessfully) on Maundy Thursday, (known in other parts of the world as "Holy Thursday.") There were a couple of factual details about Easter that I wanted to bring up in the scene. First, since the Middle Ages, there was a tradition in England that on Maundy Thursday, the monarch would give money to the poor and wash the feet of twelve poor people. [Indeed, while the etymology is not certain, the word "Maundy" may have come from the Latin world mendicare ("to beg.")] But we know from the diarist Samuel Pepys, in 1667, King Charles II opted against the practice that year, asking the Bishop of London to do it for him. Second, there had been an ongoing debate about the moveable date of Easter--some scholars of the time insisted that the date should be the same each year, similar to how Christmas was always on December 25. Third, in general, I wanted to allude to the fact that England was on a different calendar (the Julian Calendar) than Catholic nations like France and Italy, which had adopted the calendar created by Pope Gregory (the Gregorian Calendar). I couldn't use all the research I had at my fingertips, but I tried to work in a few of the more salient points within their trade as the printers and sellers of books. So you can see what details I managed to include... Master Aubrey laid his pack down. "I sold a few. I went to Whitehall to see the King wash the feet of the poor people, but the Bishop of London did it on his behalf." The printer seemed a bit disgruntled. It had long been the custom for the monarchs of England to wash the feet of twelve men and women, as Jesus had washed the feet of the Apostles before the Last Supper. Having the Bishop of London take on the task instead of the king clearly irked him. Sometimes Lucy suspected the printer had Leveller sensibilities and liked it when the royals took on more mundane responsibilities. "Which pieces did you bring?" Lucy asked, changing the subject. In truth, she was always intrigued to know how the packs got decided. Master Aubrey had a knack for knowing what to sell to attract a crowd that she desperately hoped to learn for herself one day. "Could not very well sell murder ballads and monstrous births on Maundy Thursday, hey? Brought along John Booker's Tractatus paschalis and John Pell's Easter Not Mis-Timed. Too many of them, it seems. Only the sinners' journeys, like the one you wrote about that Quaker, sold today." He kicked the still-full bag, looking in that moment a bit like Lach, causing Lucy to hide a smile. A rare miss for Master Aubrey. Most people did not care how the date of the moveable holy day was affixed in the almanacs each year. Nor did they care why Catholic nations celebrated Easter and Christmas on different days than they did in England. I'm sure some readers might think that I have provided too much detail here, and other people think I have not offered enough. But, for me, this was "enough to tell the story."
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Susanna CalkinsHistorian. Mystery writer. Researcher. Teacher. Occasional blogger. Categories
May 2023


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XML and Namespaces
- Why Namespaces Are Needed: Resolving Name Conflicts
- Qualified Names, Prefixes, Local Names, and Other Terminology
- Declaring Namespaces in XML Documents
- Default Namespace
- Handling Namespaces in a DTD or XML Schema
- Validating Documents with Namespaces
- What Does a Namespace Point To?
- Namespace Support and Use
- Special Attributes: xmlns, xml:space, xml:lang, and xml:base
- Common Namespaces
- Summary
- For Further Exploration
Briefly stated, the primary purpose of XML namespaces is to define a mechanism for uniquely naming elements and attributes so that different vocabularies can be mixed in an XML document without name conflicts. For example, if you want to refer to both the price element defined in the SuperDuperCatalog.dtd and also the price element from the DiscountHouseCatalog.dtd, you need a way to unambiguously identify which type of price you are referring to at any point in an XML instance that references both DTDs. This name collision is a potential problem when you consider that the content models and/or attribute lists for these elements may differ. Consider for example these fragments:
<!-- from SuperDuperCatalog.dtd --> <!ELEMENT price (#PCDATA) > <!ATTLIST price currency CDATA "US" > <!-- from DiscountHouseCatalog.dtd --> <!ELEMENT price (#PCDATA) > <!ATTLIST price type (wholesale | retail) #REQUIRED >
Although these two have the same content model, their attributes differ, so what is valid for one is invalid for the other, not to mention the fact that the two price elements may be based on completely different factors. (In fact, if we were using XML Schema, the two elements could even be different datatypes.) So we clearly need a way to differentiate which price element we mean at all times.
The Namespaces in XML Recommendation (http://www.w3.org/TR/REC-xml-names/) wasn't published until January 1999, nearly a full year after the XML 1.0 Recommendation. Therefore, although the concept of namespaces is now considered part of the core XML technology, you won't see them mentioned in the original XML 1.0 Recommendation or in any of the W3C specifications that appeared in 1998. You will, however, find a few references to namespaces in the XML 1.0 Recommendation, Second Edition, from October 2000 (http://www.w3.org/TR/1998/REC-xml-19980210 and http://www.w3.org/TR/REC-xml, respectively). Virtually every major W3C specification from 1999 onwards contains some mention of the role played by namespaces, or at least states the namespaces that apply to that spec. Namespaces aren't fully supported by some tools (especially those that handle DTDs but not XML Schema), but they are very important to XSLT, XML Schema, XLink, and most of the more recent XML family of specifications.
Even if you don't plan to create documents that use mixed vocabularies, you need to understand what XML namespaces are and how they are used because you will encounter them in XSLT, XML Schema, and XLink, as well as in programming APIs such as DOM Level 2 and SAX2.
Although the Namespaces in XML specification itself is only fourteen pages, it has managed to generate far more pages of controversy since its publication. For example, Ronald Bourret's excellent XML Namespace FAQ (http://www.rpbourret.com/xml/NamespacesFAQ.htm.) is forty-six pages, more than three times the length of the W3C recommendation on which it is based. How can this be possible? In his XML.com article, "Namespace Myths Exploded" (http://www.xml.com/pub/a/2000/03/08/namespaces/), Bourret points out that the actual Namespace in XML Recommendation omits many details about issues that programmers have raised, although the specification does achieve its stated purpose of defining a two-part naming scheme for elements and attributes. In his FAQ, Bourret also contends that namespaces do not themselves provide a technology for merging documents that reference different DTDs, although they are useful in developing this capability. Furthermore, the URIs1 used as XML namespace names need not point to anything at all since they are merely intended to be unique identifiers, a distinction that often confuses newcomers. Another point of confusion and controversy is the problem namespaces pose for validation based on DTDs, which are to some degree incompatible with the Namespace in XML Recommendation.
Why is there so much controversy? And what are namespaces anyway? Why do we need them, and how do we use them? This chapter addresses these questions. Readers interested in many more subtle issues concerning namespaces should refer to Bourret's two previously cited resources.
Why Namespaces Are Needed: Resolving Name Conflicts
The element name title appears in many vocabularies: XHTML, SVG, XLink (as both an element and an attribute), XSLFO, Schematron, RSS, and Dublin Core (as Title). The familiar table element from XHTML also appears in XSLFO (and as mtable in MathML2). Both SVG and MathML define a set element. Both SVG and XSLT have a text element. (You can check for element names, attribute names, function names, keywords, and much more using the Smart Reference Search of XML specifications on ZVON.org at http://zvon.org/php/Search/codes.php.)
What happens when we need to refer to identically named elements from different XML languages from within the same XML document? This need can arise when we are combining W3C languages or, as in the example at the beginning of this chapter, referencing multiple custom languages that include common element names like price and item. It is also necessary if you wish to convert between two versions of the same language, such as when translating an XSLT stylesheet originally written for the early MSXML parser from Microsoft to a stylesheet compatible with the XSLT 1.0 Recommendation, or eventually when converting from a XSLT 1.0 stylesheet to a 2.0 stylesheet. We need a way to unambiguously differentiate "the element named title from the XLink namespace" from "the element title from the SVG namespace" from "the element title from the XSLFO namespace" from "the element title from the XHTML namespace."
One way to achieve unique naming is to leverage the uniqueness provided by URIs. Since the Domain Name System guarantees unique names, identifiers based on unique addresses are also unique. That is, if we combine an element name with a URI in some manner, an element with that same name but combined with a different URI will not be considered identical by parsers. For example, we could consider four references to a unique title element, each from a separate namespace, as indicated by a URI for each language (thinking of each language as defining a separate namespace):
{http://www.w3.org/1999/xlink}title {http://www.w3.org/2000/svg}title {http://www.w3.org/1999/XSL/Format}title {http://www.w3.org/1999/xhtml}title
If the languages are created and maintained by different organizations, this scheme still works fine:
{http://www.EverythingUNeed.com/2002/SuperDuperCatalog}price {http://www.HouseOfDiscounts.com/namespaces/Discounts}price
While this URI-based naming approach solves the problem of possible name collision, it certainly makes for ungainly element names. As it turns out, the syntax shown here is conceptual, rather than literal, since slash and curly braces are not legal characters in XML Names.3 So, how do we really declare and use these unique names?


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Patient Safety for Cataract Surgery
All surgeries have associated risk, but your surgical team has specific safeguards in place to provide the best possible outcome.
June is Cataract Awareness Month, a good time to learn about ways that your surgeon and surgical team prioritize patient safety:
- Patient consent — Before your procedure, you must give written consent to have cataract surgery. All forms should be written clearly, but be sure to ask office staff for clarification if any of the information is confusing. Read the forms carefully for details concerning the correct operative eye, the type of surgery to be performed (traditional or laser-assisted) and the type of intraocular lens (IOL) to be inserted. We have drafted these forms for your safety.
- Lens management policy — On the day of surgery, your surgical team will mark the eye on which they will operate, as well as your customized IOL, to make sure they are placing the correct lens in the correct eye. Marking the lens and the operative eye prevents errors.
- Time-outs — Before the procedure begins, your team will perform what is referred to as a "time-out" to verbally verify your name, date of birth, operative eye and IOL before beginning your procedure.
- Least invasive anesthesia — The anesthesia staff will use the least invasive form of anesthesia or sedative appropriate for your case. You may speak with the anesthesia team about your options.
- Infection prevention — You'll be given prescription-strength antibiotic eye drops to administer during your recovery. Use these drops as directed to prevent inflammation and infection.
Talk to your ophthalmologist about patient safety measures during and after cataract surgery. We value your trust in our center, and we look forward to serving your vision needs.


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Our RGV250 race systems are being used in competition throughout the World and this experience has allowed us to develop our exhausts to be the best available in the market. Our latest systems provide excellent power, ground clearance and weight saving. Available in two configurations, and two materials please select the system that suits your requirements.
Below is a graph showing the power output of an RGV250. This independent test was conducted in the UK by Triple MMM Racing and compares the TYGA Performance EXCS-0010 stainless steel GP system, to a stock Suzuki system.
Our range of VJ22 RGV250 systems comprises two configurations. Please select the system that suits your requirements:
In stainless steel
side by side (left and right exiting) stainless steel chambers, EXCS-0009
GP (conventional twin right exiting) chambers, EXCS-0010


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I am excited to share our new Azure Security and Compliance Blueprint for HIPAA/HITRUST – Health Data & AI. Microsoft's Azure Blueprints are resources to help build and launch cloud-powered applications that comply with stringent regulations and standards. Included in the blueprints are reference architectures, compliance guidance and deployment scripts.
"The best part of the Azure Security & Compliance Blueprint is that it encompasses the exact Azure services architecture required to help customers meet their HIPAA and HITRUST security, privacy, and compliance obligations, along with supporting documentation and a fully-automated deployment process."
– Tibi Popp, CTO, Archive360
Health organizations all over the world are looking to leverage the power of AI and the cloud to improve outcomes, accelerate performance, and enable the vision of precision medicine. "We are enthusiastic about the potential to foster multi-institutional collaborative environments for data sharing and machine learning," said Chuck Mayo, PhD at the University of Michigan Medicine. Microsoft is working to meet these challenges with Healthcare NExT, an initiative which aims to accelerate healthcare innovation through artificial intelligence and cloud computing, while at the same time working to protect the privacy and confidentiality of patients.
"We are entrusted with our customer's and their patient's most personal data. Cloud unlocks our ability to leverage this data and apply machine learning at scale to save more lives. Securing, governing, and protecting Protected Health Information (PHI) on cloud is an incredible opportunity and responsibility. The blueprint helps us draw from best practices to protect and leverage PHI on the Cloud (for scenarios like Length of Stay Prediction, Clinical Analytics, etc)."
– Dr. Ankur Teredesai, Chief Technology Officer, KenSci
The new blueprint provides secure implementation automation for building solutions in environments supporting Health Insurance Portability and Accountability Act (HIPAA), a US healthcare law that establishes safeguards for individually identifiable health information; as well as the Health Information Trust Alliance (HITRUST) framework, a widely recognized security accreditation in the healthcare industry. The blueprint is intended to serve as a modular foundation for customers to adjust to their specific requirements and accelerate the development of machine learning experiments to solve both clinical and operational use case scenarios.
"Clinical informatics teams are entrusted with a very time sensitive mission – to deliver the right care to the right patient at the right time. And our pace of innovation determines how many human lives we can impact. Solution frameworks like the blueprint accelerate my team's mission to fight Death with Data Science by enabling quicker access to data and insight"
– Dr. Greg McKelvey Chief Medical Officer, KenSci
The blueprint is designed to demonstrate how to deploy a secure end-to-end health solution that contains PHI, and includes:
- A sample use case scenario: A machine learning experiment for predicting length of stay, a sample data set of 100,000 patient records formatted using Fast Healthcare Interoperability Resources (FHIR), and data visualization using Power BI.
- Deployment template & automation scripts: Azure Resource Manager templates and PowerShell automation scripts are used to automatically deploy the components of the architecture into Azure by specifying configuration parameters during setup, and pre-load the same data and use case scenario.
- Cybersecurity threat model & component architecture: A comprehensive threat model provided in tm7 format for use with the Microsoft Threat Modeling Tool, detailing the components of the solution, the data flows between them, and the trust boundaries. The threat model is designed to help customers better understand the points of potential risk in the component reference architecture.
- Customer responsibility matrix: An Microsoft Excel workbook listing the relevant HIPAA/HITRUST requirements and explaining Microsoft and customer areas of responsibility.
- External compliance review: A report produced by Coalfire Systems with an auditor's review of the solution, and considerations for transforming the blueprint into a production-ready deployment, covering both HIPAA and HITRUST. The blueprint provides all the building blocks to successfully start using a serverless cloud solution in under 25 minutes! For a quick look at how this solution works, watch this five-minute video explaining, and demonstrating blueprint deployment.
"The blueprint has helped IRIS to justify we are going in the right direction, and that we are not doing anything rogue when it comes to security, privacy, and compliance"
– Jonathan Stevenson, Chief Information Officer of Intelligent Retinal Imaging Systems.
To learn more, join Microsoft at HIMSS 2018 and discover how health organizations across the globe are partnering with Microsoft to move beyond digitization into transformation and rallying with innovation. Learn more about Azure Blueprints on the Service Trust Portal. Learn more about Microsoft's compliance with HIPAA and HITRUST on the Microsoft Trust Center.


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Any discussion of Hamilton, the show currently topping Broadway's box office, starts with the elevator pitch: a hip-hop musical about the life of our nation's first Secretary of the Treasury.
It's important to get that description out of the way, because, if you grew up around the time I did — I'm a child of the 80s, roughly the same age as Hamilton's star and composer, Lin-Manuel Miranda — you grew up at a time when hip-hop might happen when you least expected it, in the most unwelcome places. You could be minding your own business, watching Saturday morning cartoons or some kid-friendly comedy destined for the bargain bin at Blockbuster Video, when, out of the blue, any cartoon character or respected actor or elected official might break out into shudderingly awkward rhymes.
It was meant to be funny. The joke lay in the perceived contrast between the act of rapping and the person spitting rhymes on the 1 and 3. That person was frequently older, often respectable, and inevitably white, and, if a contrast was to be made, it must mean that rap was young, disreputable, and black. Rap was a signifier for blackness; the performance was a minstrel show, the rap itself a kind of blackface. Suddenly, the performance was a white space, and I was black. The performer was speaking to an audience that suddenly excluded me; the story became a narrative I could only watch from the outside. The joke was on me, and no laugh track could drown that out.
I would come to experience this in real life, too, finding myself suddenly black in white spaces. Often, they were spaces I hadn't even known were white until a "gotcha" moment invariably left me writhing in silent shame. As a child, I turned a Little House on the Prairie page to find Pa Ingalls in grinning blackface; as an adult, a colleague jokingly called a spreadsheet "ghetto" and a suddenly white room erupted into laughter around me. I came to feel like an unwanted character who kept cluelessly wandering back into the narrative, only to be written out over and over again. I had no place in the story. The feeling of erasure was, at times, unbearable.
If I was reluctant to see and experience Hamilton, at first, it was because Hamilton's high-concept pitch smacked of a kind of erasure. Rap music was first made by unwanted characters who were brave and talented enough to write their own narratives. Most rappers cast themselves as the lead characters in an ongoing saga that they are constantly writing and rewriting; lyricists have the enormous power to own their own stories, whether on the outskirts of mainstream American culture or close to its acquisitive heart. Hip-hop as a whole delineates a proudly black space where those lyricists' unique signifiers, references, and vocabulary are shared, valued, and understood. Removing rap from this supportive space can undermine its power. The mainstream culture is then free to impose its own narratives on rap — rap as the music of violence, rap as a harbinger of cultural breakdown, rap as an alien and hilarious sideshow — and those narratives silence the authors. I was concerned to see hip-hop in the most deliberately white space I could imagine — to see Biggie Smalls and Busta Rhymes dropped down in Revolutionary America, before a live, mostly white audience.
Instead I would discover that the ultimate point of Hamilton might be the story of unwanted characters taking control of the narrative and telling the story on their own terms.
I write historical fiction and fantasy, so, to build entire worlds, I study a wide range of history, from ancient Sumeria to Georgian England and beyond. Yet I came to Hamilton with surprisingly little knowledge of American history. I've rewritten the story of Creation itself; I could easily have had my revenge on the American past a long time ago, putting myself on Plymouth Rock or electing the first Black president two hundred years before Obama. I didn't. In America, I felt uniquely constrained by the narrative I'd grown up with, the dominant narrative of American history that began with the Mayflower and proceeded right past me into the present day. I couldn't engage with it. It didn't feel like mine to change.
My first traceable ancestor enters the historical record already in chains. Somewhere in South Carolina, sometime around 1790, an unnamed African slave gave birth to my grandmother's grandfather's grandfather, Newman Ingram. Meanwhile, Alexander Hamilton and the Founding Fathers were defining what freedom was going to mean in these newly United States, writing an intentionally white narrative that very deliberately erased and excluded people of color. From the beginning, mainstream American history was a carefully-defined white space where Newman Ingram and, by extension, I did not belong. Even in the post-Civil Rights era, when I came of age, black history was taught in periodic asides, as if making it clear that Black History and American History were not the same thing. African-American history was an alternate American story, the narrative of a people in the shadow of Independence fighting for a place in a narrative never meant to include them.
The first history books I acquired outside school were a series of illustrated booklets celebrating famous Black inventors, educators, innovators, and explorers. The Black American narrative — that ongoing struggle — was, I learned, the story of a series of exceptional Black people whose names didn't make it into American history textbooks: Jean Baptiste Point du Sable, Madam C. J. Walker, Garrett Morgan, Bessie Blount Griffin, Matthew Henson, and dozens more. It was like stumbling on a secret Black history of America. What I learned of the early United States I learned through studying their lives. Their stories were collated into a parallel American narrative in which racial progress — that is, freedom — was driven by greater and greater Black achievement. Invariably, these famous Black people became so important that they were allowed provisional entry into white spaces; by proximity, they brought Black Americans closer to emancipation.
These examples of Black excellence and what it could do were meant to elevate me. If these heroes could survive in an America where they were not regarded as citizens — or just barely — then surely I could be the first person in my family to graduate from college. As Michelle Alexander puts it in her already seminal The New Jim Crow, "Black success stories lend credence to the notion that anyone, no matter how poor or how black you may be, can make it to the top, if only you try hard enough". And those that try hard enough pave the way for everyone else: by achieving even beyond my potential, I could be personally responsible for Black uplift. The more Black Americans achieved, separately and collectively, the closer the story of Black America would come to merging with the main narrative of American history. While the Founding Fathers and their direct descendants were making a more perfect union, Black people were making themselves worthy of it. In a last-minute twist, it would turn out that we had been Americans all along.
I've spent the entire Obama administration trying to reconcile my two American histories. It's an especially personal project as my children grow older and I begin to see America — both historical and contemporary — through their eyes. On the one hand, they've come of age seeing Black exceptionalism's apotheosis: what could be a greater achievement than the election of the first Black president? On the other hand, they are coming of age at a time when every week seems to bring new evidence that Black people are still not part of the main narrative — not even as it unfolds in real time.
These days, I don't bother to turn on the television when I want to know what's happening in Black America. The Ferguson protests taught me that, while news networks were content to regurgitate "official" news filtered through biased sources, Black activists were sharing unedited video footage and on-the-ground reporting through social media channels. On Instagram and Twitter, I saw tanks menacing Black citizens on American streets. On CNN, I saw Black "looters". Black America is still responsible for telling its own story. Which version of events, I wonder, will join the main narrative in history textbooks? Who will have the right to recount this history, and what story will they choose to tell?
Hamilton, as it turns out, also tells the story of how history is made. We watch as competing perspectives are curated into one single, coherent story — the story of a past that continually shapes what comes next.
In the opening number, we learn that the dominant narrative of American history as we know it is wrong; Alexander Hamilton's enemies sullied his reputation and diminished his out-sized role in creating American institutions. Hamilton goes on to challenge that narrative, redeeming the story of one of history's underdogs. It does by telling the story from a new perspective, the perspective of someone disenfranchised.
Whoever tells the story, Hamilton teaches us, holds an almost incalculable power to rewrite the past and the future. But, first, that person must take charge of the narrative. That person must be empowered to tell the story. Then they can make the narrative their own. And, when the narrative is the story of an entire nation, the person who tells the story has the power to change the present around us.
In Hamilton, the "Founding Father without a father" believes himself the hero of a story he must finish before it's too late. Aaron Burr, his historical nemesis, struggles along, railing against being dragged in Hamilton's wake. In the end, not even killing Hamilton in that infamous duel frees Burr from the narrative. Yet, when the tale has been told, we realize that the historical record was actually preserved by Alexander Hamilton's wife Eliza, someone who had even less agency — far less — than Burr. She is the one who has written the story Burr is narrating; by claiming the right to tell this story, even though she had little power to affect the ongoing events, Eliza has ultimately made it her own.
Casting almost every part in Hamilton — including Eliza, played by Phillipa Soo — with an actor of color draws sharp attention to who is currently telling Eliza's story: a company of young and talented people, mostly of color, many of whose ancestors would not have felt like full citizens in 1776. They create an implicitly colored space, placing American history in a new context. Using hip-hop's inherent power, they build an America the Founding Fathers would not recognize on sight, narrated in verse intricately layered with rap and hip-hop references they would not understand. People who would have been marginalized when America was being born impose their own narrative. And, as with Eliza, as soon as they begin to tell the story — as soon as actor Leslie Odom, Jr. opens his mouth — it is already their story.
Watching Hamilton, I was deeply emotional, and not merely because it is a gripping and moving story. I realized, sitting there, that claiming the story as your own can be as radical and empowering an act as declaring war on a major foreign power and then having the audacity to create a new country whole-cloth. In its casting, in its deft use of uniquely American art forms, in its rich symbolism, Hamilton claims the story of America as every American's story. My ancestor Newman Ingram's story is my story and Alexander Hamilton's story is also my story because they are both Americans and I am an American. The Founding Fathers are mine after all; the story of the founding of America is inextricable from the story of slavery. The story of America is every American's story, and we should all feel empowered to read it, write it, and tell it, from whatever perspective. We've always been part of this story because it's our story. It turns out we really were Americans, all along.
Image by Detroit Publishing Company — http://digitalcollections.nypl.org/items/510d47da-36f7-a3d9-e040-e00a18064a99, Public Domain, https://commons.wikimedia.org/w/index.php?curid=47047742
Originally published at www.marcellawhitecampbell.com