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VOSS Unveils Plans for UC Expo
VOSS Takes BCOM to London OlympiaPermalink
Tuesday April 12, 2016 – Reading, UK - Today, VOSS Solutions announced that the company will exhibit and give a presentation at this year's UC Expo.
- Date: Tuesday 19th to Wednesday 20th April, 2016
- Time: 9.30am to 4.30pm
- Location: London Olympia
Attracting over 5,000 visitors, UC Expo is Europe's largest unified communications and collaboration event. UC Expo offers a stage for all the major UC vendors who are shaping and developing the technology which is revolutionising business and working practices.
At the event, VOSS will exhibit at booth #D404, and will showcase three exciting features:
Multi-vendor UC
VOSS-4-UC now incorporates the management of both Cisco and Microsoft applications and UC technology. Come to our booth to find out how we enable the easy movement of users and services between Cisco and Microsoft platforms, with no need for specialized Cisco + Microsoft training.
Business system integration
Successful UC environments require flow-through provisioning. VOSS-4-UC includes northbound integration capabilities, enabling the UC platform to interoperate with BSS and CRM systems, and with customer HR systems.
UC analytics
VOSS UC Analytics pulls data from multiple applications, devices and infrastructure into a single dashboard, giving a big picture view of resource utilization. Find out how to understand your UC consumption and activity levels across the various customers, sites, and users.
VOSS has been invited to present a conference session at the event, Adopting Cloud-Based UC: A Pain Free Journey
- Tuesday 19th April, 15:20 - 15:50
- Henry Barton, VP Strategy at VOSS
- Read a full session description: http://www.ucexpo.co.uk/Seminar-Planner/Speakers/Henry-Barton/
VOSS is hosting a "Happy Hour" at the VOSS booth, on Tuesday 19th April from 15:45.
To find out more about VOSS' participation, please email firstname.lastname@example.com.
About VOSS Solutions
VOSS offers a BCOM (business communications operations management) solution that automates and simplifies the challenge of managing today's increasingly sophisticated communications environments. VOSS provides a complete tool-set to transform the way that communications architectures are designed, deployed and operated, in the public and private cloud. VOSS is head-quartered in Richardson, Texas, with offices in Reading, UK, and Cape Town, South Africa. VOSS is funded by Intel Capital, Eden Ventures, Vodafone Ventures, and XAnge Private Equity. The VOSS technology has been deployed by over 100 cloud service provides and many prominent enterprise organizations across the world.
Media Contact
Rachel Chicken
+44 (0) 7788 567 604


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Our Italian restaurant has the finest dinner menu in Bergen County.
Pizza Online Ordering New Milford NJ
Order Online
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At Mangiamo Pizza Restaurant, we strive to be your first choice in terms of hot buffet catering or online ordering for pizza in Bergen County NJ. Top quality authentic Italian cuisine is what we're known for. At Mangiamo Pizza Restaurant we stand apart from the enormous number of other choices you will discover when it comes to Italian food in the local Bergen County NJ area. We offer highly affordable prices but never sacrifice when it comes to the quality of your food. We believe that you should not need to spend an incredible amount of money just for an authentic Italian meal. We use premium quality ingredients and strive to always make certain only our best is delivered when it comes to food. It doesn't matter if you are sitting in our restaurant, ordering a pizza for a night in or taking advantage of our services for catering. The fact that everyone who dines on our food like family is something you can always rely. When it comes to hot buffet catering or online ordering for pizza in New Milford NJ or other local areas be certain to make Mangiamo your first choice.
Pizza New Milford NJ
When online ordering for pizza in Bergen County NJ is something you're interested, you cant depend on Mangiamo Pizza Restaurant. Many times you don't have time for a night out. But this doesn't mean you have to settle when it comes to the quality of your food. It is easier than ever to have great food delivered right to your door with our easy to use online ordering system for pizza and other Italian dishes. We believe in always offering the best service possible, which means you're always going to get your food in a timely manner and you're always capable of counting on getting precisely what you've ordered. Getting hot and fresh authentic Italian meals isn't something you're capable of counting on from every local pizzeria. It's a wise idea to go with a name you're capable of trusting since there are a lot of options in the local region you're able to trust so you don't wind up disappointed. Inferior quality food has a way of ruining a good evening unlike anything else. You want to make Mangiamo Pizza Restaurant your first choice because of this. When it comes to online ordering for pizza in New Milford NJ or the rest of the local area, be certain to take advantage of the services we offer.
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Are you looking for quality catering service or online ordering for Italian in Bergen County NJ? Mangiamo Pizza Restaurant is the one name you need to remember. Check out the large variety of choices on our menu and discover what makes us so special.

subset: commoncrawl


text: IronFilm 3,534 Posted October 3, 2018 On 10/1/2018 at 4:07 PM, Chrad said: Hard to buy that. There are barely any M43 sensors on the market. Is there really another out there with the same oversized dimensions and dual ISO that we somehow haven't heard about? Q: How do you know a politician is lying? A: Their lips are moving. Some could say the same is true about salespeople as well.... On 10/1/2018 at 8:53 PM, kye said: I'm not sure if the lack of adjustable screen is due to it being a 'cinema' camera where the world is expected to bend around the camera instead of the other way around, or if it was a size or cost measure, but the idea of it being a 'cinema' thing fits with the great attention and effort towards image specs and (relative) lack of effort towards ergonomics for hand-holding. I bet the reason is : BOTH! Both is due to their cinema camera world view, and for cost cutting measures. Quote Share this post Link to post Share on other sites


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Hand painted, textured artwork on canvas then attached to wooden stretchers. Features muted gold tones with gray, silver and pastel blue. Artwork is surrounded by a narrow, gold leaf gallery frame. Due to the handcrafted nature of this artwork, each piece may have subtle differences.
©2019 The Classy Cottage. All rights reserved.


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Trimming is Simple... with the right instructions!
A smart interior is important for any classic car to look good. For a classic convertible it is absolutely essential. As soon as you flip the soft top, your car's interior takes centre stage. You can chrome every component under the bonnet but it will be wasted if your seats, dash and armrest have gaping splits. All those weeks getting the panel gaps just right will be ruined if your door boards are warped and crumbling.
The good news is that retrimming your classic car interior is well within the capabilities of the average owner. It's easy for me to say that… I've been trimming for well over a decade so I have a bit of a head start.
I want to prove to you how simple trimming can be if you have the right instructions.
Here is a copy of the instructions from my Triumph Spitfire & GT6 tunnel recovering kit. I sell these on ebay and through my website: www.parklaneclassics.co.uk
I chose the tunnel cover because it is an ideal starter piece for a novice trimmer:
Have a read, have a look at my website and then have a go yourself… it's simple!
Some trimming pointers…
1. Keep warm - vinyl will stretch, foam will compress and glue will stick much better.
2. Patience - you don't have to rush trim so take the time to get it "just right" and you will be rewarded every time you sit in your car.
3. Tension - this is the key to a professional finish. A tight cover compresses the foam which prevents wrinkles.
4. You're NOT alone - if the instructions are not clear or things are just not working out don't hesitate to contact me!
Cheers, Owen.
1. In the kit:
1. Scrim foam
2. Cover panel
Note - Impact adhesive is best for this trim e.g. Evostik or Timebond.
2. Remove the tunnel cover from the car. Remove all vinyl, foam and old glue from the metal frame. Place the foam panel with the 'scrim' gauze face down. Position the frame centrally on the foam with the two legs towards the narrow end of the panel.
3. Glue the foam to the frame and trim flush with the edge of the frame. Note - If the foam panel appears too narrow to cover the legs then bend them inwards slightly (it is easy to distort the frame when removing it from the car)
4. Place the cover panel with the vinyl face down. Position the frame centrally on the panel with the two legs towards the narrow end of the panel. Starting from the middle of the frame, stretch the cover over the edge and glue it to the back face of the frame. Glue both long edges in this manner followed by the end piece. This is just the first fix so don't cut any of the cover yet - wait until step 6.
5. Turn the tunnel the right way up to check that that cover is reasonably flat and straight on the frame. Turn the tunnel upside down again and cut a Y shape in the cover between the two legs. Stretch the middle flap over the edge of the frame and glue in place. Repeat for the other two flaps.
6. Turn the tunnel the right way up to check for any creases or bagginess, adjusting the tension of the cover where necessary. Once the cover is smooth turn the tunnel upside down again to glue the ends of the legs. To get a smooth finish around the larger curves cut two V notches above and below. Stretch and glue the middle flap first then the sides.
7. Your tunnel is now retrimmed. Any excess adhesive on the cover should be left to dry and then rubbed off with a finger. Impact adhesive takes 24 hours to achieve full strength so it is best to wait until the next day before refitting the tunnel to the vehicle.
Park Lane Classics - interior trim direct
Website: www.parklaneclassics.co.uk
Email: firstname.lastname@example.com
Tel: +44 (0)1827 284 957
Mobile: 0781 392 5153 (UK Only)
47 Park Lane, Bonehill, Tamworth, Staffordshire, B78 3HZ. United Kingdom


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Andrew Meacham
forbidden world, and the conflicting wants of the people who live in it. Contact Andrew Meacham at firstname.lastname@example.com or (727) 892-2248. Follow @torch437 http://www.tampabay.com/things-to-do/stage/review-the-maids-serves-up-a-potent-brew-of-love-abuse-and-betrayal/2275727
Andrew Meacham
Andrew Meacham at firstname.lastname@example.com or (727) 892-2248. Follow @torch437. . If you go Vanya and Sonia and Masha and Spike The show runs through March 26 at the David http://www.tampabay.com/things-to-do/stage/review-jobsites-vanya-and-sasha-and-masha-and-spike-make-for-maddening-but/2267343
Andrew Meacham
Maids Interview With The Times Andrew Meacham at the Times asked me about The Maids over email. Here are my responses. In response to being asked if we cast women https://www.jobsitetheater.org/maids-interview-with-the-times/
Andrew Meacham | Andrew Meacham |


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Wedding photography in Lafleche: check prices, availability, request quotes and get the best deals on photo packages that will capture the happiest and most timeless images of your life. Choose from a wide range of professional photography services offering single or multiple photographers and limited or full-day coverage, to tell the story of your wedding day.
Christal DeCap Photography is a photography business located in Lafleche, Saskatchewan. Head photographer Christal has a passion for photographing weddings and loves getting to know her clients. Christal identifies with photojournalistic and portraiture photography styles and will capture every... (wedding photography Lafleche)
Wedding Photography in other towns of Saskatchewan:
Wedding Vendors


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Toy Assembly in Portland
No time to put together your kids' new toys? Browse 7305 Taskers in Portland to assemble them for you.Book Now
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Toy Assembly reviews in Portland
Customer Reviews
On time and quickly got to work. My couch looks fantastic!!
- Maabi M., April 09, 2020
Another task professionally handled! Thanks, John L.!
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Highly recommend! Thank you Jordan for your professionalism and your attention to detail. I will definitely use you again!
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John L. showed up right on time, assembled two good sized bookcases professionally and efficiently, and even was able to concentrate when my overly friendly big dog tried to assist him! Would definitely recommend.See More
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Nailed it! Thank you!
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Kelsey was great! She was on time and was pretty quick with her task. She is efficient person and she would surely be my first stop for any Ikea furniture assembly!See More
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Kelsey was great! She was on time and was pretty quick with her task. She definitely is a super efficient person and she would surely be my first stop for any complex Ikea furniture assembly! Very professional and a fun person to have around. Would highly recommend Kelsey to everyone!See More
- Aiswarya E., March 17, 2020
Ben is the best! On time, professional !
- Meredith S., March 16, 2020
Great Job!
- Richard L., March 16, 2020
John did good work and was fun to work with! He helped assemble a number of Ikea things for us.
- Justin C., March 15, 2020
Kate was absolutely amazing! Very fun to chat with and got everything done really fast and well!! Will definitely hire again :)
- Juda W., March 13, 2020
She did a great job and was very prompt. Thanks, Kirsten!
- Bee J., March 13, 2020
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Cuor Di Merino
This variant is currently sold out
This high-quality merino yarn is light, comfortable to wear and is ideal for knitting cables and structured patterns. Made in Italy.
Content: 97% Superwash Virgin Wool, 3% Polyamide
Weight: Aran
Yardage: 131.2 yards (120 meters)
Skein Weight: 50 grams (3.5 ounces)
Gauge: 15 to 20 sts = 4 inches
Recommended Needle Size: US 6 - 7 or 4 - 4.5mm
Recommended Hook Size: US G to H or 4.25 - 5 mm
Care: Machine wash cold gentle cycle, tumble dry low.


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§ 3.5 p.m.
§ Order of the Day for the House to be put into Committee read.
§ Moved, That the House do now resolve itself into Committee.—(Lord Champion.)
§ On Question, Motion agreed to. House in Committee accordingly.
§ [The EARL OF LISTOWEL in the Chair.]
§ Clause 1:
§ Selective employment premium
§ 1.—
§ (2) Subject to subsection (3) of this section, this section applies to any employment 1688 in, or carried out from, an establishment where—
§ (a) the establishment is engaged by way of business wholly or partly in—
- (i) activities falling under any of the minimum list headings shown in Orders III to XVI of the Standard Industrial Classification; or
- (ii) activities by way of the manufacture from exposed film of cinematograph films for public exhibition; or
had given Notice of two Amendments to subsection (2)(a)(ii), the first being after "the" to insert "production or", and the second to omit "from exposed film". The noble Lord said: I shall not detain the Committee for long on this occasion, because I put most of my arguments during the Second Reading debate yesterday. However, I think there are one or two points which I should emphasise. As the Bill now stands we have what is to my mind the extraordinary situation that the manufacturers of the raw stock, the celluloid, are manufacturers, then at a later stage the laboratories which do the processing are manufacturers, but in between there are the people who make the films, the actual producers, and they are not classified as manufacturers.
I would ask your Lordships just to look at the logic of this situation. If there were no film production, what would be the situation? When I talk about film production I am not talking only about entertainment films, because there is a vast production of films in this country beyond the making of entertainment films. There are educational films, there are industrial films, there are films made for industrial training, there are films made for export promotional purposes. Many thousands of films are made every year, quite apart from the normal, approximately, seventy entertainment films. So I am talking about the whole field of film production.
If the whole field of film production stopped, then the manufacturers of the raw stock would find themselves with millions of feet of raw stock on their 1689 hands, with which they could do nothing and which would be valueless. I am not talking about the film that they make for the amateur cameraman; I am talking about the cinematograph film which is made for entertainment films, industrial films, educational films and so on. If film production stopped, then the makers of raw stock would be left with all this on their hands, and the laboratories would be left with no work at all to do. The link between the manufacturer of the raw stock and the laboratory which processes it is the person who makes the film, and if the person who makes the film is not a manufacturer, then I do not know what the word "manufacturer" means.
May I just repeat two points which I made yesterday? Films qualify for the export rebate scheme which is confined to goods, which would seem to indicate that the Government have accepted under the export rebate scheme that films are goods. Somebody has to make the goods, and I should have thought the person who made them was a manufacturer for the purposes of this Bill. The other point is that film studios are regulated by the Factories Acts, and the Factories Acts control premises in which goods are manufactured. So I should have thought the things which were made in the film studios were goods and were therefore manufactured articles. Therefore they should come in a clause of the Bill other than that in which they are now placed. I might add that a film studio is designated as an industrial building under the Local Employment Act 1960. But if it is an industrial building under the 1960 Act, how can it be a service under this Bill? It does not seem to make any kind of sense.
Might I just add another and, perhaps, more difficult point? I think that if the Bill goes through as it is now drafted the Government may find themselves, or the appropriate Department may find itself, in considerable difficulty in interpreting the Bill. As it stands, it reads:activities by way of the manufacture from exposed film of cinematograph films for public exhibition".It is awfully difficult to know where exactly "activities by way of … manufacture from exposed film" begin and end. For example, the director of a film goes on the stage, where a set has 1690 been built on which he is going to "shoot". That set having been built, the director assembles his artistes and, against the background of that set, "shoots" his film. It is then, as I understand the Bill, an exposed film. Then it goes to other departments in the studio. It goes, for example, to the dubbing department, where various things are done to the exposed film, such as the incorporation of music, of sound effects or of some special effects. These departments are dealing with an exposed film. So presumably certain parts of the studio might be deemed to have the benefit of the premium under the Bill, while other parts might not. I can see considerable chaos arising out of this.
Going back to my example, the set has been built, the director has "shot" his artistes against the background of that set and he has finished. He then has exposed film. Thereafter the set has to be demolished to give way to another set required for a subsequent stage of the film. The demolition of the set, it might be argued, is an activity arising from the exposed film, because until the film has been exposed the set is not ready for demolition. I wish joy to the Department that has to interpret this as it stands.
I come back to my main point which I made yesterday. Film production was classified as a service under the standard industrial classification, quite erroneously. The film production industry did not make any objection because for all practical purposes, and for all other Government legislation, it was as an industry considered as a manufacturer, as a producer of goods—that is to say, as I have indicated, for the purposes of the export rebate, of the Factories Acts, and so on. So it did not object to being wrongly classified. But now this wrong classification becomes a matter of major importance to the industry. I have told your Lordships' House on many occasions that I have an interest in the film industry, but I should make it quite clear that I have no direct financial interest in any film production whatsoever. But not having objected to a wrong classification in the past should not be a good and sufficient reason for acceptance of a wrong classification now.
I could put before your Lordships' Committee the hardship case—the amount that this is going to cost the film 1691 production industry, which is in no condition to accept a high additional burden. But I am not basing my case on how much it is going to cost the industry: I am basing my case entirely on the sheer logic of the position. As an industry we have submitted our case to the Board of Trade, which is the Department which looks after our affairs. We have provided it with all the evidence as to what this is going to cost, and so on. But it is not really a question of how much the industry is going to be burdened with additional cost: it is really a case of how, in logic, it can be justified by the Government that the film production industry should be put in the position of a service when obviously it is in fact a manufacturer. It is on that basis that I beg to move the Amendment standing in my name.
Amendment moved—
Page 2, line 1, after ("the") insert ("production or").—(Lord Archibald.)
My noble friend Lord Archibald has given such a lucid and convincing explanation of this Amendment that I am sure that it is necessary for me to add only a very few words in support. This may seem a very small Amendment, but of course it is one of very great importance to the film industry, and I therefore make no excuse for adding a few words to the explanations of my noble friend. The object of the present Bill is to relieve those who are engaged in manufacture from the incidence of this tax. So far as film-making is concerned, there is no dispute that organizations like Kodak, who manufacture film stock, are manufacturers. The question is: who is the manufacturer of the cinematograph film which is put before the public? Is it the organiser who produces the film—that is, the man who gets hold of the story, who gathers together the studio, the staff and the actors, and who prepares the whole production of the film? Is he the man who is the manufacturer of the film, or is it the man who, after all this has been done, has handed to him a piece of exposed film and passes it through some chemical processes in a processing laboratory? I should have thought, with great respect, that one had only to ask that question to see that the answer was obvious—that it is the man who prepares 1692 the production who is the manufacturer of the film.
My noble friend, Lord Champion, in the Second Reading debate yesterday, said that he did not agree with my noble friend, Lord Archibald, that what goes on in a film studio amounts to manufacturing, and he—that is, the noble Lord, Lord Champion—referred also to the theatre, apparently as an analogy to the cinema. Speaking for myself, I should be only too willing to accede that the theatre, too, should be exempted from this tax, but this is no part of the case that I am arguing this afternoon. What I would submit, however, with the greatest respect to my noble friend, Lord Champion, is that there really is no analogy whatsoever between the theatre and the cinema, because the cinema produces a manufactured end product, the film, and there is therefore clearly a process of manufacture, whereas there is nothing of this kind in the case of the production of a play in the theatre.
My noble friend Lord Archibald has mentioned several instances which show quite clearly that on a variety of occasions and in diverse connections the Legislature has accepted the fact that the making of films by way of production in a studio is a manufacturing process, the most conspicuous illustration being that a film studio is a factory under the Factories Act. One can hardly want a more convincing illustration.
I should like to mention to your Lordships' Committee another matter which I think equally significant. It may be recollected that under the Copyright Act 1956 a new form of copyright was introduced in relation to the making of cinematograph films. Under Section 13 of that Act it is provided that the maker of the film is the person who is to enjoy the copyright. Then the section goes on to define what is meant by the maker of a film. The legislation provides:the maker', in relation to a cinematograph film, means the person by whom the arrangements necessary for the making of the film are undertaken"—in other words, the producer. I should have thought that this again provides convincing evidence that the whole tendency of legislation is to recognise what is, after all, an obvious fact—namely, that the real maker of a film, the producer, is the manufacturer.
1693 All I wish to add to this argument is that I think noble Lords will recognise that it would be a grave misfortune to impose this additional burden on the film industry in this way, bearing in mind the many difficult problems with which that industry is wrestling at the present time, some of which, it maybe recalled, were heard in the debate in your Lordships' House not very long ago. I should therefore like to express the hope that, even at this stage, Her Majesty's Government through my noble friends on the Front Bench might find it possible to give us some assurance that this matter will get the closest attention.
The Committee may feel that this matter has already been dealt with very faithfully and adequately by the informed, lucid and, if I may say so, very persuasive speeches made by the noble Lords, Lord Archibald and Lord Lloyd of Hampstead. I want to add a word for a special reason, and I have an interest to declare which is the special reason. I am the chairman of one of the largest independent British film companies. I should add that, like the noble Lords, Lord Archibald and Lord Lloyd of Hampstead the fate of this Bill will make no financial difference to me. But I regard it as of special importance to the industry that this change should be made. I would make a very vehement appeal to the Government that even at this late stage they should reconsider what is undoubtedly an anomaly, what is inconsistent and what is, if I may venture to say so, devoid of logic
There is a very sound practical ground which might appeal to them better than the other considerations that have been put forward. It is that, if they leave the Bill as it stands without taking the opportunity of amending it, without the Amendment that we have put forward, they will really leave the industry in a mess. The noble Lord, Lord Archibald, indicated that the draftsmen of this particular clause, skilful as they may be as draftsmen, did not really know enough about the film industry. The result of this clause is undoubtedly to leave a situation where certain production processes will fall on the right side of the line and other production processes will fall on the other side of the line. The division is totally arbitrary and irrational
1694 For instance, there can be, I think, very little doubt on the true interpretation of the clause as it stands that the cutting of a film would enjoy the premium, would enjoy the rebate, would enjoy the advantages of this particular clause, simply because the cutting is an operation that takes place when the film has been exposed. I think it is unarguable that this activity relates to the manufacture of the film from an exposed film. The exhibition of the rushes of the film would similarly fall on that side of the line. One could go on and weary your Lordships with a detailed narrative of the number of processes that would come on one side of the line and the number that would, without any consistency, fall on the other because the draftsmen—who may be excused for it; for this is a mass of heavy and important legislation—didnot think of them. I venture to urge the Government to reconsider this position on the simple, practical ground that we are giving them a workable clause to deal with. If they leave it as it is it is quite unworkable.
I may perhaps put an appeal on a rather loftier plane. The film industry is in a very special position. One of the aspects that have hurt me a little about this particular Bill—I have no general views on it because those are a high political matter—is that it seems to give the impression, very unfair to the Government, that in a number of fields the Government are indifferent to matters of the mind. As Chairman of the Arts Council I know better than anyone that in the case of this Government that is profoundly untrue. I doubt whether there has been any Government with more sympathy with the arts and culture in general than this Government, and that is especially so with regard to grants towards the arts and so far as the treatment of the Arts Council is concerned.
It appears from this Bill, purely by chance, that in a number of directions where they have made an arbitratry division of all the remunerated human activities into services and manufactures, they have left out a vast field of activities—the activities of creative artists, of the human mind—which do not fit in either category. That is where most of these difficulties arise. It is quite inconsistent and unarguable to say that the theatre is a service, that the ballet is a service, that 1695 the opera is a service, that when a singer is giving a great performance at Covent Garden she is rendering a "service" in the sense in which that word is used in this Bill. Obviously, this is an unarguable contention. But if you decide to make divisions as arbitrary as that, then you must have inconsistencies of that kind. It is unfortunate, when we have a Bill which makes arbitrary divisions of this kind that, where logic demands and you have an opportunity of putting creative activities on the right side, you do not immediately seize it.
This is the case with the film industry. Unarguably, the film industry manufactures a product. At the end of the day there is a canister with film in it; somebody has made it. At the stage where it gets relief it cannot be exhibited. If you exhibit it you see nothing but blackness on the screen; at this stage relief was provided by the draftsman. But unhappily—or happily, as I think—the film achieves this result only when it is being processed in the laboratory, when it is already a finished article. As the noble Lord, Lord Archibald, pointed out in his congent and adroit intervention, at the important stage when the film is actually being made it is not accorded the provision that ought then to be accorded.
There are special reasons why, at this moment of time, the British film industry, which is suffering a heavy blow, should not suffer this unnecessary imposition. This charge may make it impossible for some companies to continue at all. There is a real risk that a large number of technicians and employees will be put out of work as a result of this entirely unjustifiable tax, unjustifiable in terms of logic and reasoning.
I therefore urge the Government to reconsider this matter. We have been able to keep the studios going by attracting to them a large number of American and other non-British film-makers brought here because of our efficiency. If these people are priced out of the market as a result of this particular imposition, which I find quite unnecessary, we may lose that which makes all the difference between the studios' continuing in operation and having to close down. I would appeal to the Government on these three grounds: that there is no logical reason for this imposition; 1696 that the clause as it stands is muddled; and that acceptance of the Amendment would save the industry from a very serious blow which need not be inflicted on it.
§ 3.30 p.m.
We have heard cogent reasons put forward in favour of this Amendment. The one that struck me as most extraordinary, having regard to the nature of the Bill, was that it would make this bit of the Bill less nonsensical. If we once started amending the Bill on those lines, there would be none of it left at all. This is not more nonsensical than the rest of the Bill and I think that the Government would be in very great difficulty if they listened to this particular plea without doing a great deal more to the Bill. The noble Lord, Lord Lloyd of Hampstead, showed him-self as humane as we always thought he was by expressing his sympathy with the theatre. The noble Lord, Lord Goodman, expressed a sympathy which we all recognise with the arts in general. I cannot pretend to feel towards the film industry more affection and respect than I feel for music and the great orchestras, or for the theatre. I do not know what the Government are going to say about this Amendment. All I can say is that if they accept the Amendment they will be doing something for one particular art though they are doing nothing parallel for any other art.
May I mention one other thought that occurred to me as I listened to the arguments put forward? The Government decided to treat the printers as manufacturers. Are the printers really the sole makers of the finished article? Is there not such a thing as an author? I know that there are a certain number of noble Lords opposite—in fact I can see some of them nodding their agreement at this moment—who feel that it is quite absurd, in the case of the printers, to treat them as the sole manufacturers of the finished product. Of course the author is one of those who is a sine qua non in considering the final product. I believe that as the result of other Government Amendments the editor of The Times qualifies for a premium under this extraordinary Bill but none of our authors does, however famous their works may be throughout the world and however difficult they may find it to carry on, since 1697 they will now have to spend a great deal more money if they employ a typist. I do not wish to say anything against the plea put forward by the three noble Lords who have spoken. They spoke with force. I appreciate what they said, but they have certainly put in a plea for one particular industry which may be paralleled mutatis mutandis in many other cases, and, when they talk of the absurdity of this provision in the Bill, I can only say that it is no more absurd than the rest of it.
May I make one reply to the noble Lord, Lord Conesford? We are not asking that the writer of the original book from which a film may be drawn should be regarded as a manufacturer. We are not asking that the script writer who transforms the book into a film script should be regarded as a manufacturer. We are asking that the process of manufacturing the film should be treated as such.
I can only say to the noble Lord that, had he been arguing what he says that he is not arguing, I should have had much more sympathy with him.
The noble Lord, Lord Conesford, has rehearsed arguments which were used yesterday and to which I had to reply last night. I believe I did reply to him fairly effectively, but this is a matter of opinion, and clearly the noble Lord will not agree with me. We are not talking about the generality of the Bill but rather the particular and the particular Amendments before us at the moment. I am bound to agree straight away that the noble Lord, Lord Archibald, the noble Lord, Lord Lloyd of Hampstead, and the noble Lord, Lord Goodman, have made an extremely knowledgeable and a powerful case. The noble Lord, Lord Goodman, said that the film industry was in a special position. My period in Parliament since 1945 has shown me that not only is the industry in a special position, but Parliament has been rather careful about trying to do something to secure that it shall continue to live. But that is not the point of this Amendment today.
The Amendments now before us would alter the Bill so that it would readactivities by way of production or manufacture of cinematograph films for public exhibition".1698 and this would entitle all operations in the production of the film to a premium. This, of course, is the point, the gravamen, of the case which has been put. The film industry made representations to the Government that the making of films was a manufacturing industry and should be entitled to the premium. The Government carefully considered the representations made to them by the industry and accepted that the work of producing positive copies of exposed negative film was a manufacturing process. An Amendment was tabled on Report stage in the Commons, the effect of which is to entitle the premium to those engaged in the manufacture of exposed film, of cinematograph films for public exhibition. This work is normally done by the film laboratories.
I admit that, having been faced with these Amendments, I could almost wish that the Government had not tabled that Amendment. My life might have been made a little easier this afternoon if it had not happened. But the Government did that in order to some extent to help the film industry. The noble Lords and the industry have argued that this does not go far enough and that everything involved in the production of films should be regarded as a manufacturing process qualifying for the premium. My noble friend Lord Archibald has well argued that it is illogical that the making of film stock and the production of positive copies from an exposed negative should be regarded as manufacture, and that the intervening work involved in putting an image on the film should not. The making of a gramophone record and a tape recording is classified in the industrial classification as a manufacturing activity and so qualifies for the premium.
It could be argued, and this is what is being argued, that it is illogical not to apply the same treatment to the making of films. I am bound again to argue what I said last night and what the Government have said: that the shooting of film is closely akin to the production of a play and other live shows. It seems to me that much of what was said by my noble friends about the pulling down of sets and the re-erection of other sets, the work that goes on behind the scenes in a theatre, is allied to some of the production work which goes on in a film studio. One could, of 1699 course, go into a number of these things. I wonder whether an artist is a manufacturer. He puts paint on canvas, but, of course, he is not a manufacturer; he is an artist. There are a number of arguments which one could adduce in this connection which will have some little connection with what has been said. I think the analogy here between the theatre and this part of the making of a film is closely allied as between the theatre and the making of the film.
Apropos what the noble Lord has just said, I wonder whether he can tell me what he thinks the sales of gramophone records would amount to if there were no musicians to put any music on them.
Then we should have merely speaking gramophone records—and nobody would buy the darn' things! That is the only answer I can give the noble Lord. The artiste is immensely important in connection with the theatre and with all the various activities that help the public to a more civilised life. But they are not necessarily manufactures. I would not regard some of the finest artistes whom I happen to know as manufacturers, who would be entitled to qualify for premium under this Bill. The concession made to film laboratories is the only case in which premiums are being paid in respect of industrial activities not classified under the manufacturing orders in the standard industrial classification. So here an exception has been made.
I hesitate to interrupt, but I think it very important that the noble Lord should take advice as to what this clause means in its present state of drafting, because he seems to be maintaining the position that it is restricted to laboratory processes. My view, which is shared by my noble friends Lord Archibald and the distinguished lawyer Lord Lloyd of Hampstead, is that this is not the case. Some considerable number of production processes will quite arbitrarily be caught by the clause, and one of my appeals to the Government was that this was so devoid of any kind of logic that it would be sensible to accept our Amendment and make a logical clause out of it.
I must admit that I have not yet been able to look into this point. I am sure that the noble Lord is able to tell by my work in your Lordships' House that I am not a lawyer. I was going to say later on, and I might as well say it now, that the Government recognise that a powerful case has been made out this afternoon. The Government have undertaken to review the tax in the first year, with the aim, as my right honourable friend the Minister of Labour has said in another place, of making modifications if they prove necessary or desirable. We shall take into account any representations that may be made by the interested industrial organisations and we shall consult properly with the Confederation of British Industry.
What I am prepared to give to my noble friend Lord Archibald and others who have spoken this afternoon is an assurance that the Government will be ready to consider any representations about the film industry as part of this review. In addition, the Government will consider everything that has been said here this afternoon by noble Lords who are knowledgeable, in this field. Beyond that I feel I cannot go. This undertaking is given with full sincerity and with the backing of the Government, otherwise I should not be making it here. So, although noble Lords may feel that in rejecting this Amendment I cannot go so far as I ought to, this is as far as I can go this afternoon, as the result of the advice of my right honourable friends who are responsible for this Bill.
It would be quite dishonest to say that I was other than deeply disappointed by the reply of my noble friend. I think that in the course of his reply my noble friend has given away the whole of the logic of the Government's case. He has referred to the fact that the making of gramophone records is a manufacturing industry. If the making of gramophone records is manufacturing, presumably because there is a physical product at the end which can be handled, sold and exported, so equally is the production of a film a manufacturing process, because at the end there is something which can be handled, sold, exported and dealt in. The analogy with the production of plays seems to be quite the wrong one to use in this case. At the end of the production of a play one may 1701 have a pleasant memory of a beautiful production, but one has nothing that can be put in a box and sent overseas. Why there should be this illogical argument I do not know, but I recognise that the Government are not going to give way on this. I accept the undertaking that it will be looked at again within the year, and on the basis of that undertaking, I beg leave to withdraw the Amendment.
§ Amendment, by leave, withdrawn.
This may be a convenient moment for the House to resume for the purpose of making a Statement. I beg to move that the House do now resume.
§ Moved accordingly, and, on Question, Motion agreed to.


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Penfold's Cabernet Sauvignon 2004 . Block 42 Kalimna. 4ogb. Bottle (4). ... (Total: 4 Btls. )Click the image to load the highest resolution version.
DescriptionPenfold's Cabernet Sauvignon 2004
Block 42 Kalimna
Bottle (4)
"Matured in 100% new American hogsheads for 13 months, it displays a very deep garnet-purple color and profoundly earthy / gamey aromas over black cherry preserves, creme de cassis plus scents of leather, pencil shavings, Mediterranean herbs, black truffles, underbrush and black olives. The elegant, medium-bodied palate is tightly-knit and led by structure with a high level of grainy tannins, very high acid and a long earthy finish." (97pts LPB, Wine Advocate #192, Dec 2010)
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Whether hanging above an accent shelf or looming over your kitchen decor, our Wood and Metal Framed Gather Plaque will be a stunning accent piece for your home decor! It's simple, sweet, and farmhouse chic!
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Apple has proclaimed a Screen Replacement Program for metal models of Apple Watch Series 2 and Series 3. The brand has acknowledged a problem wherever a crack might form around the rounded edges of the screen below terribly rare circumstances. This program is additionally obtainable for purchasers in Malaysia.
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The program doesn't extend the quality warranty of the Apple Watch. It covers eligible models for a number of 3years when the primary sale of the device or one year from the beginning of this program, whichever is longer. you'll be able to learn additional on Apple's web site. — SoyaCincau


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Pathways to Professionalism is a list of professional courtesies for voluntary use by REALTORS®. Originally developed by the Professional Conduct Work Group in 1998, the "Pathways to Professionalism" was updated and approved by the NAR Board of Directors at the 2004 Annual Conference and Expo.
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There are three short video segments covering Respect for the Public, Respect for Property, and Respect for Peers. There is also an introductory video segment and a concluding video segment. Each NAR Pathways to Professionalism segment listed below is two to seven minutes long.


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Beigne gourmand
Du Price CA$5.00
Made from 100% coconut oil with a hint of colloidal oatmeal powder for a softening and exfoliating effect. This soap will certainly offer a gentle cleansing, but effective. With a subtle fragrance of watermelon, for the pleasure of the nostrils.
May differ slightly from picture


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Sir Michael Caine turns 83 today. That's pretty impressive. Here he is getting the business from Timothy and Don Calfa in the amiable detective homage Peeper (1976).
He's got a Twitter account. Whattaya know?
Sir Michael Caine turns 83 today. That's pretty impressive. Here he is getting the business from Timothy and Don Calfa in the amiable detective homage Peeper (1976).
He's got a Twitter account. Whattaya know?
Today's pic brings us around once again to Peeper (1975), the amiable homage to 1940s detective yarns directed by Peter Hyams and written by Keith Laumer and W.D. Richter. Bad guys Sid and Rosie (Don Calfa) take care of some business while Ellen Prendergast (Natalie Wood) looks on and another fellow just hangs around.
I had an ulterior motive for choosing a pic from Peeper – it's Don Calfa's birthday today! Two summers ago he shared some fabulous memories of working with Timothy in this film with Romeo Carey and I. Stay tuned! And happy birthday, Calfa.
It's way past time we took another gander at Sid, the hulking torpedo of Peter Hyams' genial homage to the hard-boiled detective flicks of the 1940s, Peeper (1976). Here he oversees his sidekick Rosie (Don Calfa) working over our hero, Leslie Tucker (Michael Caine).
As previously mentioned, Romeo Carey and I got a great interview with Calfa two summers ago at his memorabilia-packed little home in the California desert. Stay tuned for that – it's coming, honest!
Let's kick off the week with another look at Sid, the irascible hit man of Peter Hyams' Peeper (1976). Here's our first glimpse of him, playing innocent. He's anything but.
I honestly can't think of anything different or witty to say about this one that I haven't already. It's a neat little homage to 1940s private eye flicks, readily available on video, so check it out if you haven't done yourself that favor as of the moment you are reading this. Trust me.
Today being the 81st birthday anniversary of the great Michael Caine, it follows that our pic of the day is from Peter Hyams' Peeper (1976). Private eye Leslie Tucker (Caine) faces down bad guy Sid, while an only slightly concerned Ellen Prendergast (Natalie Wood) looks on.
It's great to see Caine still working steadily in films, as he has been since the late 1950s. He's always a delight to watch on-screen, and the interplay between himself and Tim in this film, however brief, is a gem. With at least five films currently in production, he's unstoppable. Happy birthday, Sir Michael!
Timothy Carey and Dan [sic] Calfa, whose faces are more readily recognisable than their names, portray "heavy heavies" as [producer Irwin] Winkler describes them, whose deathly chores are only temporarily interrupted by excursions through Beverly Hills to view the homes of Veronica Lake and other favourites of the era.
– John Austin, "On the Hollywood Set: Caine – a 'Bogey Man' in FAT CHANCE [PEEPER]", Photoplay Film Monthly, January 1975 (Vol. 26 No. 1)
It's been barely a month since the last Peeper pic, but as today is my dear husband's birthday, he gets to choose today's pic. And he decided he wants to see Timothy all snazzy and stylish in a suit and fedora, so how could we not turn to Peeper (1976) once again? Bumbling torpedoes Sid and Rosie (the great Don Calfa) prepare to interrogate a hapless ship steward, in a scene filmed aboard the majestic Queen Mary.
I truly lucked out in the husband department. Happy birthday anniversary, sweetie!


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WEEK FIVE - Matthew's Wake
February 9, 2017
I'm lost. Again. Without a cell signal or a GPS device, my only guides are a green plastic compass (a leftover from my Girl Scout days) and a photocopied map of the island. The map is wearing thin in a rectangular pattern where it's been folded over and over. In this place, all points are relative to "the compound." That's where the commissary, mechanic shop, administrative office, clinic, wood shop and my house are. The compass confirms that I'm on the south part of the island, which is to say, south of the compound. Since the landscape is nearly uniform in its vegetation - pine, oak, and saw palmetto - I've had to get creative with landmarks. At the next fork in the road, I pause to carve a symbol into the dirt with my walking stick. It's the letters D and E underlined with an arrow pointing in the direction I just came from. To me, it means, "that way is a dead end." To anyone else it probably means, "that crazy girl was here."
Part of the problem with my navigation is that the map is outdated. So many of the roads that used to wind their way through this part of the island were rendered impassable last October, when Hurricane Matthew came to visit. The storm was a category five when it hit Haiti. Then, it worked its way up through Cuba and the Bahamas before it hit the east coast of the U.S. I've never seen the aftermath of a hurricane before. Large pines have been twisted, shredded, as if a giant had spun their tops around. Their massive, lichen-covered trunks lay in piles across the road I'm trying to follow. As I stubbornly climb over, under, and through fallen branches, I notice a tiny bird's nest, abandoned in what used to be a lofty bough. I pick it up and bring it with me. After another several yards, I run into the marsh and have to turn back around.
An hour of retracing my steps goes by and I notice that the sun has started to go down. I promise myself that if I don't find a reliable road before dark that I'll radio for help. Not that it will do me much good. The storm knocked down a radio tower when it demolished the windmill up north and we're down to one channel. Even if I could describe where I am, there is no equipment on the island that can move the debris and let a truck pass. Equally impractical is a rescue by boat as south dock is a twisted mess. In my morbid imagination, I'm trying to relay my dying wishes to my roommate, but they're garbled by radio static.
I'd be the island's first casualty as a result of hurricane Matthew. Tragically, hundreds lost their lives before the storm hit our coastline. St. Catherines was evacuated and all of the animals secured in windowless buildings. Remarkably, no lemurs or enclosures were harmed by the storm, although there were some near misses. I can't say the same for the beach. The erosion is dramatic there, even to eyes that have no "before" picture to compare. Finally, I'm sure that the main road is underfoot and I head north. An hour goes by with little more than starlight to guide me, before I see the lights at the compound. As I march up the steps, I imagine a dramatic anthem - maybe something by Queen - playing while I make my heroic entrance, still cradling the delicate nest in my left arm. But, nobody is home and my five-hour struggle goes un-heralded.


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5 Great Things to Rent from Highland Rent All for a Party
Everyone loves a party... as long as it is properly hosted! Having the right items can really make or break an event, for the host or those in attendance. Renting items for a party is a great way to save money and prevent having to store ample amounts of equipment that you may very well never use again. For weddings, birthdays, holidays or other celebrations, Highland Rent All offers all sorts of party rental items, including these popular selections.
Cotton Candy Machine
Who doesn't enjoy cotton candy? No matter the celebration, this easy to use machine will ensure everyone has a smile on their face and stickiness on their fingers! Just don't forget the napkins.
Bar Setups
A place to mix drinks is almost always a necessity for a big party or celebratory event. Having an established drink station will ensure that all guests know where to go when it is time for a refill.
Dance Floor
Not all venues have a spot for people to get their groove on, especially outdoor settings. Renting a dance floor will ensure everyone gets a chance to show the crowd what they're made of when the music starts blasting.
A popular item for weddings, arches offer a beautiful backdrop as the happy couple say their vows, offer their "I dos" and exchange rings. WIth a variety of options to choose from at Highland, there's definitely an arch that will bring your wedding full circle.
Throwing an outdoor event can be tricky, especially if the weather fails to cooperate. However, tents aren't just to shield guests from the rain, as they are the perfect escape from the beating sun.
If you're throwing a party don't hesitate to contact Highland Rent All to reserve your party supply rentals in Albuquerque. We love being apart of our friends and neighbors big days. To learn more, or to request a reservation for rental equipment in Albuquerque, give us a call at (505) 349-4798 and we will be happy to accommodate.
Highland Rent All Blog
Written and Published By MORBiZ
Real Customer Experiences from Highland Rent All
4 Great New Years Home Improvement Projects
Throwing a Holiday Party with Rental Equipment
Simple Tips to Prepare your Home for Winter
Heavy Equipment for Rent in Albuquerque
Why Choose Highland Rent All for Rental Equipment in Albuquerque
Planning Your Autumn Home Maintenance
5 Summer Events that are Benefit from Party Rental Equipment
5 Benefits of Renting Construction Equipment
Simple Ways to Improve a Home's Curb Appeal
Great Plants for the Beginner Gardener
It's Time for Spring Cleaning!
Keys to a great company event that will boost morale
5 House Chores Made Easier by Equipment Rentals
5 Great Things to Rent from Highland Rent All for a Party
Why Rent with Highland Rent All?
Preparing Your Home for Fall
Customer Reviews of Highland Rent All
When does it Makes Sense to Rent Heavy Equipment?
Top Uses of a Skid Steer
What types of Heavy Construction Equipment are for Rent in Albuquerque?
5 Garden Tools You Need to Rent this Spring
Is it Time for Home Spring Cleaning, Maintenance or Repair?
How a Rental Company can Help You Throw a Party
Renting Landscaping Equipment
Home Improvement Rental Tools
Top Thanksgiving Rental Items
Home Auto Repair with Automotive Repair Tool Rentals
Top Outdoor Wedding Rental Items
Renting Gardening Equipment
Best Rentals to Celebrate Summer
What Heavy Equipment can I Rent?
What Types of Equipment Can I Rent for My Outdoor Party in Albuquerque?
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Top Events to Rent a Bar and Dancefloor
Why Rent a Tractor
Top Events for Tent Rental
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perfect man
It's simple. About family rituals and traditions
Working with family (and its subsystems separately: husband + wife, parent + child, and other diverse set of "deuce"/"Troika") I often touch themes family rituals and traditions.
"What traditions do you have in your family/couple?"When did they arise?"Who brought them?"Do you like them?""What do you like to do together?""Are there any special rituals in your family?"– these and other issues highlight the important bonding threads that give strength to the family fabric.
It happens that traditions, as well as family rules (unspoken), pass from the parent family unconsciously, are taken as a given, in this case it is useful to look at them more closely. How useful are they? Do we really need them for our couple, children, the family as a whole? Do we want to keep them? It is also important to reconsider the tradition with the development of the family: age-related changes, needs change, changes in family composition. Continue reading
How to explain to mom that you don't want to get married: instructions
The good news is that we can close this unpleasant topic once and for all. The bad news is that you have to grow up very quickly, and – surprise! – to abandon some of their stereotypical expectations.
Don't expect mom to understand.
While the baby is very small, mom really has a lot to understand: he is cold or hungry, he is interested or he is tired… But the older the person becomes, the harder it desires and the less debt remains at mom's. In the end, mom is also a person with her own views and limitations, with her life position, and it may not coincide with yours. It's life.
You can argue your views, but do not get involved in endless disputes! It makes no sense: if mom does not agree with your arguments, it is unlikely to convince her. Fortunately, even in this case, all is not lost.
Become independent
Normally: with age, a person becomes more independent – but, as you know, sometimes the age comes alone. If you can not provide yourself with the most necessary, including housing and food, the hope that your arguments will be listened to, is rapidly melting. Continue reading
Home comfort – it's not scrubbed floors, and scrubbed from the beliefs of the head
Such words I heard from my husband, in response to accusations that he does not appreciate my efforts to maintain the household. It was at the very beginning of our marriage. At the time, it seemed to me that within the framework of socially approved views on the behavior of a diligent wife and mother, I honestly fulfill my part of the duties.
And then this phrase… Like a bucket of ice water was poured on my head. I digested it for a long time, trying to understand the intricacies of the words in the sentence.
Brought up in the traditions of the Soviet family, I believed in the myth that the wife is primarily a mother and mistress. Other functions – as tasks of increased complexity in the control work: you can do as you wish, if there is time. I could say with confidence that I was doing everything right and as it should be an exemplary wife. I just thought one thing and felt another. Words and actions can lie, feelings can never. It is possible to deceive others, the truth is not to hide.
And truth was such.
I'm bored doing household chores. Continue reading


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Editing Deputy (LEGO Scooby-Doo! Blowout Beach Bash) 0 You do not have permission to edit this page, for the following reasons: The action you have requested is limited to users in one of the groups: Users, FANDOM Staff, FANDOM Helpers, Wiki Managers, Content Team Members. Please log in to edit this wiki.Joining Scoobypedia is free, and it only takes a minute.We hope that you sign in, and become a member of the community!Click here to log in or create an account more + You can view and copy the source of this page: {{DISPLAYTITLE:Deputy (''LEGO Scooby-Doo! Blowout Beach Bash'')}} {{Expansion|
* Physical appearance.
* History.}} {{Character | image= Deputy (Blowout Beach Bash).png | species= Human | gender= Male | hair= Brown | eyes= Black | job= Deputy (incarcerated) | affiliation= [[Sheriff (LEGO Scooby-Doo! Blowout Beach Bash)|Sheriff]] | firstapp= {{LEGODTV2}} | actor= [[Jeff Bennett|Jeff Glen Bennett]] }} The '''Deputy''' was a law enforcement officer of [[Blowout Beach]], until his and [[Deputy (LEGO Scooby-Doo! Blowout Beach Bash)|the Sheriff]]'s attempts to destroy tourism got them arrested. ==Physical appearance== ''Insert details here.'' ==Personality== Under his helpful demeanour, he secretly hated all the extra attention he had to give to the town because of the tourism. ==History== ===''LEGO Scooby-Doo! Blowout Beach Bash''=== ''Insert details here.'' ==Appearances== * LEGO DTV2. {{LEGODTV2}} {{DEFAULTSORT:{{PAGENAME}}}} Templates used on the current version of this page: Template:! (view source) Template:Character (view source) (protected)Template:Expansion (view source) Template:LEGODTV2 (view source) Return to Deputy (LEGO Scooby-Doo! Blowout Beach Bash). Retrieved from "https://scoobydoo.fandom.com/wiki/Deputy_(LEGO_Scooby-Doo!_Blowout_Beach_Bash)" Edit summary Preview Mobile Desktop Show changes


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How to sell bitcoin for usd
Learn how to sell Bitcoin for PayPal. Using these bitcoin to paypal exchanges, you can convert Altcoin and Bitcoin to PayPal. Sell Bitcoin for dollars or euros✅. Withdraw money on VISA / MasterCard, Bank transfer (SEPA / SWIFT), Payeer, AdvCash, Perfect Money quickly and profitably. For example, to exchange Bitcoins to USD, you should simply input the amount of BTC you would like to sell. After that, you will see the amount of dollars that.


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March 7, 2019
It is important for your company to have an online presence with LinkedIn.com.
We know what you're thinking. "How will creating a LinkedIn account and remaining active help my business?"
Read More
by igm
0 Comments7 Minutes
December 17, 2018
IGM Creative Group, a full-service advertising agency based in New Jersey, is excited to announce it is alliance with Evince Development. Since 2012 Evince has built a global presence in more than 10 countries and growing.
0 Comments2 Minutes
December 5, 2018
Fruit, vegetables, appetizers are all on the table for creative fun display. Take a look at the cool things you can do to impress your guests. You don't have to be a crafty person to make a presentation that stands out on its own. This year, get into the spirit by dressing up some of your favorite recipes with w little fun that your guests will remember.
0 Comments4 Minutes
October 25, 2018
You may think that you have struck gold with a seemingly path breaking product. You may claim that you offer among the most efficient services! But it does not only matter how path breaking your product is and how efficient your services are! In today's competitive times, what also matters is the way you promote your products and services.
August 15, 2018
In today's competitive atmosphere it seems more and more difficult to get your brand the attention it deserves. While there are a plethora of marketing tactics you can use to improve your visibility, more and more businesses are turning to influencer marketing to help cut through the clutter.
0 Comments6 Minutes
August 1, 2018
In an era when we can instantly communicate with customers, hosting a conference may seem unnecessary, but live events are still powerful tools in building loyalty, developing customer relationships and generating excitement about your product.
June 12, 2018
With competition and technology constantly evolving, companies in all types of industries need to consistently find new ways to get their products and services in front of receptive audiences. As a marketing expert, I believe one of the most promising strategies for businesses is interactive marketing, otherwise called trigger-based or event-based marketing. It's a form of digital outreach that's initiated by the consumer and is currently being used by banks, hospitals, airports, and many different types of retail stores.
0 Comments3 Minutes
May 30, 2018
Robotics is here to stay. Look around you and you will find that AI has infiltrated every aspect of our human culture from video games to home servants, from security to the way we drive our car. It has become an integral part of our everyday life. It has also become an integral part of our professional life. You will find technological advances in manufacturing, medicine, sports and many other professions, including marketing.
0 Comments5 Minutes
May 10, 2018
Whatever industry you are in, a business professional knows trade shows. Yet whatever role you play–attendee, educator, exhibitor, sponsor–you should know marketing at trade shows is changing. Exhibit booths and showroom floors are going high tech.
May 8, 2018
Science fiction movies and novels have been harbingers of future dystopias ruled by malevolent artificial intelligence, but when it comes to business, artificial intelligence (AI) should be embraced, not feared. AI's role in the future of product design and marketing communications is bright.
Artificial intelligence ("AI"), that convincingly mimics the behavior of humans, may seem like advanced technology from the distant future, but current AI is already a powerful influence on marketing communications and product design. The ultimate marketing goal for front-facing departments within a wide range of companies, albeit retail stores to reception desks, is to offer consumers personalized interactions that create lasting relationships, which generate continual sales and sustained loyalty. With AI, these relationships are no longer relegated to human interactions alone. I believe that artificial intelligence, augmenting the human efforts, shows enormous potential for brands.
April 25, 2018
Conferences have moved into the digital age inspiring new, more engaging ways to deliver presentations. Digital interactive signage is perhaps the most exciting venture in augmenting your delivery with 3D models, real-time updates and much more. Here three imperative reasons why you must consider implementing digital interactive signage at your next conference.


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Do you suffer from chronic pain that gets in the way of your day to day life? Do traditional chronic pain management methods not work for you? If this describes your situation, you may benefit from a procedure known as a sympathetic nerve block.
Schedule a consultation with your pain specialist to find out if this procedure is right for you. If so, you could be on your way to living life pain-free.
What are Sympathetic Nerve Blocks?
The sympathetic system is a collection of nerves that perform a role in bodily functions, such as sweating, heart rate, blood pressure, and digestion. A sympathetic nerve block is a procedure that examines if your sympathetic nerves are conveying pain signals to other portions of your body.
A sympathetic nerve block benefits chronic pain management by administering pain relief in the form of blocking those pain signals. By generating a pain block, this procedure can enable you to go back to living your life the way you did before chronic pain.
What Types of Nerve Blocks are Available?
There are a few different sympathetic nerve blocks that a pain doctor can perform They are as follows:
1. Celiac Plexus Block
- A celiac plexus nerve block will determine if your celiac plexus of nerves, found in your abdomen, is transmitting pain signals from your stomach organ tissues back to your spinal cord and brain. Routine celiac plexus blocks can relieve chronic stomach pain.
2. Lumbar Nerve Block
- A lumbar nerve block settles whether nerves along the forward side of your spinal column are provoking painful symptoms like burning or swelling skin. If your pain doctor concludes that your lumbar nerves are the cause, a lumbar nerve block can render longterm alleviation from chronic nerve pain in the back.
3. Stellate Ganglion Block
- The stellate ganglion nerves are positioned in your neck, on each side of your voice box. These nerves can broadcast pain signals to your face and neck, inducing chronic pain conditions such as Complex Regional Pain Syndrome and shingles. A consistent regimen of nerve blocks can alleviate symptoms of face and neck pain.
How Is a Sympathetic Nerve Block Procedure Performed?
You will meet with a chronic pain specialist, at your pain management clinic, experienced in administering nerve blocks. Your health care provider will ask what all the medicines you're taking are, including vitamins and supplements, and if you have any allergies. It's possible you may be asked to fast for approximately 6 hours prior to the procedure. The medical team may start an IV, or intravenous line, and observe your vital signs carefully. You could also be given some medicine through the IV to make you relaxed and sleepy.
Before the actual block, a local anesthetic will be administered to the area the block is being injected. X-rays may be used to aid the pain specialist in finding the right ganglion of nerves. Once the ganglion is located, it is blocked with a nerve block injection.
Start Living Pain-Free Once More
A sympathetic nerve block is a simple, safe procedure, that requires no downtime afterward, to help sufferers of chronic pain go back to living their normal lives. If you are dealing with chronic pain, contact your local pain management clinic and schedule a consultation to see if this procedure can help you.


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Eat The Fat Off
It is great to find leftover turkey or chicken in the refrigerator the day after a feast of a oven-roasted bird. Newspapers and magazines offer scores of ideas of what to do with leftovers during turkey season.
Cooked meat holds better in the refrigerator, than raw meat because through heat you got rid of harmful microorganisms and deactivated enzymes in the chicken that otherwise start to spoil the meat. But the flavor just isn't the same after three or four days as it was the Friday after Thanksgiving. Food scientists refer to this phenomenon as warmed-over flavor and I discussed in detail in Warmed-over flavor in the Meat chapter. Poultry is exceptionally susceptible because it is high in unsaturated fats, which tend to turn rancid faster than saturated fats.
As with most chemical reactions, lowering the temperature and limiting oxygen contact minimizes oxidation. Wrap any leftovers carefully and store them in the refrigerator or freezer as soon as the are cool. Covering the meat with a sauce to keep oxygen from attacking it is another excellent way to reduce warmed-over flavor. Meat stored in gravy has five times longer shelf life than if it is wrapped securely but stored without sauce.
Cold cooked poultry is a fine addition to salads, but don't use the pieces that you cooked in water to make a poultry stock. The flavor of that meat is all in the liquid, and what is left gives nothing but a good texture to salads. Instead, marinate fresh chicken or turkey in your favorite marinade, and bake the marinated pieces specifically for your salad.
Was this article helpful?
If you're overweight, you are not a bad person. You're simply overweight. But it's important to lose the extra pounds so you'll look good, feel healthier and develop a sense of pride and self-esteem. Once you've lost the fat, you'll need to maintain your weight.


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|Sun 11 Oct 2015, 10:00am–12:30pm
Additional fees may apply
This is one of New Zealand's most popular springtime events, promoting participation amongst all ages and levels of experience.
It's a perfect excuse to dust off your running shoes and finish winter by setting a goal. There are three course distances to choose from: 2.5km, 5.5km and 10km.
You'll enjoy being part of an event that follows Pegasus Lake, weaving through the wetlands and forest tracks of the Tuhaitara Coastal Park, with stunning views across to the Canterbury foothills.
Corporate/group bookings are available. Please contact Sport Canterbury (03) 373 5060 to secure your site.
Registration from 8.30am
Event start 10am
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I need to bind copy one package from one system into another.
I am not understanding the manual example. It suggests coding a stored proc?
We have a need to actually issue the BIND COPY statement from within a Native (SQLPL) Stored Procedure. During testing our developer gets SQLCODE = -199, ERROR: ILLEGAL USE OF KEYWORD BIND during PREPARE of the Bind Copy statement.
Can we not issue BIND statements from Native SP like we can CREATE and GRANT?
Stefan Kolev | Database Services | |D|S|T| SS&C
Thank you all! We were able to
call SYSPROC.ADMIN_COMMAND_DSN with the Bind Copy
Stefan Kolev | Database Services | |D|S|T| SS&C


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First Pradaxa suits filed in federal court
What are believed to be the first three product liability suits over the blood thinner Pradaxa were filed earlier this month in federal courts in Kentucky, Louisiana and Tennessee.