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Our Heart Care Team
Heart and vascular conditions require specialized knowledge to treat. You may receive care from our award-winning surgical teams, cardiologists, nurses with special training in heart care, rehab specialists and patient experience navigators.
General cardiologist
Cardiologists treat a wide range of problems that affect your heart and blood vessels. They are usually the first doctor you see after being diagnosed with a heart-related condition. Depending on the diagnosis, your cardiologist may refer you to an even more specialized cardiologist.
Interventional cardiologist
Our interventional cardiologists specialize in minimally invasive procedures to treat heart or heart valve disease. Our interventionists perform procedures such as:
- Angioplasty – Technique in which a small, thin, flexible tube called a catheter is inserted into the artery to widen it
- Stenting – Inserting a small, wire mesh tube into a diseased coronary artery to hold it open
- Transcatheter aortic valve replacement (TAVR) – Technique in which a catheter is used to place a mechanical valve in the place of a damaged aortic valve
This doctor has advanced training in diagnosing and treating abnormal heart rhythms. Electrophysiologists determine whether you are at risk for cardiac arrest by completing diagnostic testing such as:
- Electrophysiology study – Sends signals to the heart to see if you develop a rapid heartbeat
- Electrocardiogram (EKG or ECG) – Monitors the heart's electrical activity and translates it into line tracings on paper
Cardiac and vascular surgeons
A cardiac surgeon focuses on heart bypass surgery or other types of open-heart surgery while vascular surgeons are trained to operate on blood vessels that are related or connected to the heart, but outside of it.
Cardiac rehab team
Your cardiac rehabilitation team may be composed of one or more of the following:
- Counselor
- Dietitian
- Exercise physiologist
- Physical therapist
- Registered nurse
- Respiratory therapist


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Online Access to Contests
- Details
- Parent Category: ROOT
- Published: 17 March 2014
Now available ONLINE for 2014-2015: Math League Contests with Automatic Marking and Score Submission at http://online.mathleague.com.
No additional fees for registered schools to administer Contests Online. Access to previous years' contests available to individuals and schools. Read more about this here!

subset: commoncrawl


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If you're located in the Northern Hemisphere, you might have the opportunity to spot a special full moon in the sky this weekend: the Harvest Moon.
This month's special full moon gets its name because its appearance low in the southeastern sky for several nights historically afforded farmers extra time for harvesting crops. Before the invention of electricity, farmers relied on bright moonlight in the late summer to gather their ripening crops after sunset.
The moon typically rises about 50 minutes later each night, but during several nights around the Harvest Full Moon, it can rise between 25 to 30 minutes later across the United States. In other Northern Hemisphere locations, like Canada and Europe, the moon can rise just 10 to 20 minutes later around a Harvest Moon, according to SPACE.com's skywatching columnist Joe Rao. [Photos: Our Changing Moon]
For the past couple nights the moon has been well positioned in the sky as it heads into the full moon Sunday night (Sept. 11), with the peak coming on Monday (Sept. 12) at 5:27 a.m. EDT (0927 GMT).
Traditionally, the designation "Harvest Moon" is given to the full moon that happens closest to the autumnal (or fall) equinox, which occurs on Sept. 23 this year. While the Harvest Moon typically occurs in September in the Northern Hemisphere, it can occur in early October about once or twice each decade, according to Rao. [Infographic: Phases of the Moon Explained]
Skywatchers and amateur astronomers should hope for clear skies that will offer them nice views of the Harvest Moon. But, in addition to marveling at the bright sight, many detailed features on the moon can be seen with the ordinary binoculars or small telescopes.
Editor's note: If you snap an amazing photo of September's Harvest Moon and would like to share it with SPACE.com for a possible story or gallery, please contact managing editor Tariq Malik at: email@example.com.
Follow SPACE.com for the latest in space science and exploration news on Twitter @Spacedotcomand on Facebook.


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06 Apr, 2011, 06:30 ET
CAMBRIDGE, Mass., April 6, 2011 /PRNewswire/ -- Akamai Technologies, Inc. (NASDAQ: AKAM),the leading provider of cloud optimization services, today announced that the Akamai HD Network is the first global video delivery network to have its HTTP dynamic streaming implementation certified by Adobe®. The certification validates that the Akamai HD Network delivery of live and on-demand streaming based on Adobe Flash® technology, via the Adobe F4F format, is fully compatible with Adobe Flash run times that currently support HTTP dynamic streaming. Accordingly, content owners are expected to soon be able to take advantage of new HTTP dynamic streaming features, supported across the Akamai HD Network, which will be designed to improve video quality.
(Logo: http://photos.prnewswire.com/prnh/20100225/AKAMAILOGO )
Support for the new HTTP dynamic streaming capabilities are being made available in the Akamai HD for the Adobe Flash Platform product. The Akamai HD for the Adobe Flash Platform product has been delivering high-quality, broadcast scale Flash video for almost two years now using HTTP based adaptive streaming. By integrating HTTP dynamic streaming capabilities into this product, it is expected that customers will be able to leverage the new capabilities without making any changes to their existing Flash workflow.
"We are delighted to be the first certified HTTP dynamic streaming network," said Rich Kennelly, Vice President of Media at Akamai Technologies. "We strive to integrate the best technologies available for a high quality experience – while keeping it simple for our customers. This is a great example of both. In short, our goal is that you give us your video files for Flash, and we'll ensure they play back at the highest quality possible."
One of the truly unique attributes of Akamai's offering is its "in the network" packaging. The Akamai HD Network automatically packages existing video based on Flash to the appropriate container, with the goal of thereby providing customers with faster time to market with new technology and reduced workflow complexity. In addition, the Akamai HD Network is designed to secure the content through a variety of features.
AEG Digital Media works closely with Akamai on delivering many of the digital media industry's largest live and on-demand online video events for major brands, broadcasters, sports leagues and media properties.
"AEG Digital Media and Akamai have collaborated to deliver some of the most engaging and successful live and on-demand events," said John Petrocelli, Vice President for Business Development and Sales for AEG Digital Media. "The ability to add video based on Flash to these events – for access on PCs and mobile devices – increases the value exponentially for our customers and their viewers."
CSG Systems' Content Direct solution provides video content companies with the tools to better manage customers and monetize digital video content predictably and reliably. The solution supports virtually all content types and commerce models, digital locker capabilities, marketing promotions, advertising management, partner management, financial management, reporting, analytics, customer care and syndication.
"As the leader in premium content monetization solutions, CSG's Content Direct partners with the leading and most innovative software technology companies in the industry today - Akamai is one of those partners," said Kent Steffen, President of CSG's Content Direct. "By leveraging the Akamai HD Network, our customers can now offer a Flash Adaptive streaming option, and easily and more effectively deliver more content to more devices. Ultimately, we believe this will reduce their content preparation costs, and allow them to offer their premium content across more devices."
"The ability to consistently reach all viewers across devices, in an open and standard way, is the heart of Adobe's HTTP Dynamic Streaming Certification," said Scott Wellwood, director of business development, at Adobe. "Akamai and Adobe have had a long strategic relationship. We are thrilled that Akamai has reached this milestone and look forward to the upcoming general availability of HTTP Dynamic Streaming within the Akamai HD Network."
About Akamai
Akamai® provides market-leading, cloud-based services for optimizing Web and mobile content and applications, online HD video, and secure e-commerce. Combining highly-distributed, energy-efficient computing with intelligent software, Akamai's global platform is transforming the cloud into a more viable place to inform, entertain, advertise, transact and collaborate. To learn how the world's leading enterprises are optimizing their business in the cloud, please visit www.akamai.com and follow @Akamai on Twitter.
Akamai Statement Under the Private Securities Litigation Reform Act
This release contains information about future expectations, plans and prospects of Akamai's management that constitute forward-looking statements for purposes of the safe harbor provisions under The Private Securities Litigation Reform Act of 1995. Actual results may differ materially from those indicated by these forward-looking statements as a result of various important factors including, but not limited to, the effects of any attempts to intentionally disrupt our services or network by hackers or others, inability or failure of any Akamai solution, including the Akamai HD Network, to operate as expected or advertised, failure of Akamai solutions to operate effectively or as planned with Adobe solutions, inability of Akamai's and Adobe's solutions to provide the intended customer benefits, unexpected or early termination of Akamai's relationship with Adobe, a failure of Akamai's network infrastructure, and other factors that are discussed in Akamai's Annual Report on Form 10-K, quarterly reports on Form 10-Q, and other documents periodically filed with the SEC.
Jennifer Donovan
Media Relations
[email protected]
SOURCE Akamai Technologies, Inc.


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The Slumburbs of Our Future
It is not hard to explain the prevailing demographic trends in America over the past decade or so: the inflating bubble caused Americans to rush further and further out into the far-flung suburbs in order to purchase homes, to live the American dream; construction and lending skyrocketed along the way; when the bubble burst, our nation was left with millions of homeowners stranded far, far out in the lonely exurbs, with homes they can't really afford, as the wealthy flee back into the cities. And now, we simply wait for the Slumburbs to flower, in all of their awful glory.
New census data out today shows a glimpse of the slow-motion transformation that will render outer-ring suburbs into convenient dumping grounds for the poor who can no longer afford to live in our newly desirable inner cities. Already, suburban growth is grinding to a halt: "Population in the country's outer suburbs grew at just 0.4 percent in the year ended last July, down from 1 percent in the previous year and a peak in 2006 of more than 2 percent."
What's next? Well, I'm just a Professional Internet Blog Demographer and Certified Trend Analysis expert, but I'd say that poverty will now eat the American urban environment from the inside out—meaning that far-flung exurbs will become full-fledged slum wastelands, as closer-in, contiguous suburbs will be a mixed bag, staying prosperous if the cities they are attached to are themselves prosperous, slowly spiraling into lower-class havens if their nearby cities are not doing well. And, just as the wealthy used to flee cities and congregate in walled suburban developments, cities themselves will become upper class bastions in which the wealthy push out the poor through simple market economics, and then use their political clout (under the rubric of "community development") to see to it that police forces act as de facto security guards, keeping the urban environment free of the riff-raff. New places, same old shit.
The slumburban era is here. Get your urban artists' lofts while you can still afford them.


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In its final post in early November of 2008, Zaphod's Heads wrote::
With the election results coming in last night, it is as if a great darkness has been lifted from the world. The historic victory by Obama may help change many things... for the better no doubt!
Yeah, how's that working for you? Really, that good?


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This video was from a recent trip to Africa. The photos were taken with a Canon EOS Rebel Digital Camera. Visit Canon EOS Rebel T2i Camera for more information.
Canon EOS Rebel T2i Camera-An Excellent New Camera For Photographing Birds
Canon will soon be releasing the new Canon EOS Rebel T2i EF-S Digital SLR Camera. It is the latest in the Rebel line of DSLR cameras, which are excellent for photographing birds. Canon retains the classic features that photographers have come to count on. The Rebel T2i EF-S Digital SLR Camera is an excellent choice for the more advanced beginner up to the professional photographer.
The new Canon Rebel T2i EF-S is a lightweight and easy to use camera that incorporates many professional EOS features including:
- 18.0 Megapixel CMOS Image Sensor and DIGIC 4 Image Processor
- Captures images with exceptional clarity to provide more than enough resolution for crops and enlargements. The DIGIC 4 Image Processor speeds up the EOS Rebel T2i's operations and offers improvement in fine detail and natural color reproduction.
- ISO 100-6400 (expandable to 12800)
- Allows shooting from bright to dim light.
- An advanced HD Movie mode for Full HD movies
- HD video at 1920×1080 resolution with selectable frame rates of 24, 25 or 30 frame rates per second. Movies are saved as MOV files. Other recording sizes include HD at 1280 x 720 or SD/VGA at 640 x 480. Full manual exposure control. An external microphone can be used for stereo sound quality.
- Enhanced iFCL 63-zone, Dual-layer metering system
- Up to 3.7 frames per second continuous shooting
- The Canon EOS Rebel T2i can shoot up to 3.7 frames per second (fps) for up to approximately 6 consecutive RAW files or approximately 34 full-resolution JPEGs. Shooting at speeds of up to 1/4000 sec., the EOS Rebel T2i camera can capture even rapidly-unfolding scenes with ease.
- A new wide LCD monitor
- Quick Control Screen Button
- Dedicated Live View/Movie shooting button
- New compatibility with SDXC memory cards
- Compatible with the full line of Canon EF and EF-S lenses
Here are a few of the new features that the Canon EOS Rebel T2i camera provides that will make every bird watchers' pictures stand-out. The new expanded ISO range makes it easy to shoot from dim to bright light, eliminating one of the biggest concerns that bird watchers have when photographing birds. The wider LCD monitor furnishes a clearer view and the anti-reflective coating makes it easy to see the subject even in bright light. Go from still pictures to video with one quick press of a button, no fumbling with menu screens or carrying an additional video camera around all day. Shooting at shutter speeds of up to 1/4000 will surely enhance your success when photographing birds. As you can see, the new Canon EOS Rebel T2i provides many beneficial features for taking pictures and will be a valuable piece of equipment while bird watching.
Canon feels that the EOS Rebel T2i camera is the best Rebel they have developed, providing some of the most advanced components of any digital SLR camera. This camera is due out in early March. I will keep you posted on the release date.
Click here for more information or to pre-order your Canon EOS Rebel T2i Camera.


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Abbeville R.V. Park
Beautifully shaded 55 site campground with full hook-ups. Located within 2 min. of historic downtown Abbeville's restaurants, shops and golf. Also located within 20 min. of Lafayette and New Iberia. Wireless internet available. Authentiquement Cajun Louisiane. Allows small animals on a leash.
1501 W. Port St.70510 Abbeville , LA
Phone: 337-898-4042; 337-893-0013
Fax: 337-893-5024
See map: Google Maps
8 a.m. - 6:00 p.m ... 7 days a week


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Statistics are a vital source of evidence as they provide us with clear, objective, numerical data on important aspects of Australian life including the growth and characteristics of our population, economic performance, levels of health and wellbeing and the condition of our surrounding environment.
The Australian Bureau of Statistics (ABS) plays an important role in this process by providing data 'to assist and encourage informed decision making, research and discussion within governments and the community, by leading a high quality, objective and responsive national statistical service' (ABS Mission Statement). When we are able to understand and interpret this data correctly, our ability to identify key areas which require change are enhanced, and our proposals for change are likely to respond to the 'real' needs of the Australian community. Statistics can also aid the decision making process by enabling us to establish numerical benchmarks and monitor and evaluate the progress of our policy or program. This is essential in ensuring that policies are meeting initial aims and identifying any areas which require improvement.
Statistics can be used to inform decision making throughout the different stages of the policy-making process. The following framework has been adapted from different approaches to the policy making cycle, outlined in Disability Services, Queensland, 2008; Edwards, 2004; Othman, 2005. The framework highlights the importance of using statistical information at each of the stages of the policy cycle.


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will tell you it's all about story. Some stories start at the end.
It's the last of our three meetings and he says he's sick of talking about himself. We're in Colorado, where he is the guest of honor at the Telluride Film Festival. He looks gaunt, his blue eyes sunken far into his face, his world-famous hair askew.
"I've got bed head," Redford says with mild despair.
He is promoting All Is Lost, in which he plays a sailor adrift alone in the Indian Ocean. He is nearly silent the entire film and his ravaged, desperate performance could earn him, remarkably, only his second Oscar nomination for acting in his 50-year career. (In 1981, he won for directing Ordinary People.)
RELATED: Robert Redford: The Sundance Kid Rides Again
Part of being the guest of honor is submitting yourself to an hour of your clips followed by a 45-minute interrogation in front of 600 people. Twice. Redford was charming the first night, watching earlier versions of himself with a grin and the occasional covering of the eyes, ducking out only during the three minutes of 'Out of Africa,' which he says is his most demanding film. The bummer was he had to do the whole thing again 14 hours later. It's now afternoon and he's exhausted, looking small and vulnerable as he falls into a lounge chair in the lobby of the Hotel Madeline.
"Is there really anything more for me to say?" says Redford with a sad smile as he shakes my hand.
We'd spent hours at his Sundance lair talking about his fleeing his hometown of L.A., his battles with Hollywood, and carving a better life in Utah. The conversation had been somber — a product of what Redford calls his dark Celtic roots, a clash with his cowboy-hero image. But now I wanted to know if there were some, you know, kick-ass moments from being the most desirable man of the second half of the 20th century.
"Oh, there were some fun times with my leading ladies," says Redford with a twinkle. He doesn't elaborate, but instead tells me about visiting Jimmy Carter in Plains, Georgia, during the 1976 presidential campaign and being disappointed when Lillian Carter, Jimmy's mom, remarked, "Mighty glad to have you here, but I'd much rather have Paul Newman."
Redford says it in a perfect Southern accent and then talks about lying on the family-room carpet with Billy Carter watching a tape of the Nixon–Kennedy debates in preparation for Jimmy's debates with Gerald Ford. (Carter woke him at 6 the next morning and asked him if he wanted Cheerios.) But he quickly slips over to the flip side of fame and relates skiing with his son Jamie and Vice President Walter Mondale and how oppressive it was with all the Secret Service.
Then Redford sees a familiar face. A man with long, streaked blond hair and a cowboy squint walks toward him with a roll-away bag.
"Am I interrupting?"
Redford flashes his famous smile at Brad Pitt. "Depends what you have in mind."
"Nothing good."
The only clip in the Telluride highlights from a film Redford directed was of Pitt being dragged downriver with a trout on the line in the Redford-directed A River Runs Through It.
"I was just looking at you when you were younger, fresher, cleaner."
Pitt grimaces. "Younger, more respectable, and I smelled better."
They talk about the scene for a moment. Then a sweet thing happens. Both men get more than a little sentimental. Pitt clears his throat.
"I get a little choked up in that bit of A River Runs Through It," he says.
"You were great," Redford tells him.
"Yeah, I get a little choked up."
They talk about why they're here: Pitt has flown in for the surprise screening of Oscar favorite 12 Years a Slave, which he is producing. The film features Pitt as the only decent white man — a very Redford-esque star turn. Redford tells him about All Is Lost.
"See it, Bradley. I want to see what you think."
Pitt says he will, makes his apologies for interrupting, and starts moving away, but Redford doesn't want the moment to end.
"You and your lady are doing good things. I would love to catch up sometime. Where are you, pal?"
"We are trying to spend more time in France, about an hour north of Saint-Tropez — trying to do a little artist commune thing. I'd love to talk with you more about it."
Pitt is staring down 50 this year, close to the age Redford was when he started the Sundance Film Festival. Pitt is at the fork in the road that Redford faced in the 1980s: Carve your own path, or become Harrison Ford and rinse, repeat roles until death does you part. Redford sees himself in Pitt: the half-century battle to be taken seriously as an artist and not just another pretty boy. Redford wants to help his old friend on his journey, but he has an un-Redford-like question.
"Uh, how do I even get a hold of you?"
Pitt smirks. "I'm not that hard to reach."
"You aren't?"
Pitt chuckles. "If they say Redford is looking . . ."
Redford beams. "Oh, if they say Robert Redford's looking!"
They do not exchange phone numbers. "I've been terrible about maintenance," Redford told me earlier. "There are many people I love and care for, and I've been a poor friend because I've been so busy moving forward and creating new things."
The two say goodbye. They swear they'll stay in touch. It probably won't happen — Redford is known for having a thousand famous acquaintances but not many close friends. So it goes. Pitt walks away, an assistant trailing behind him. The World's Most Famous Actor emeritus watches the reigning World's Most Famous Actor until he disappears.
A month earlier, I caught my first glimpse of Redford at an amphitheater in the hills above his Sundance Resort in Utah. Down on the stage, three country singers were swapping songs when a shortish man in a baseball cap and corduroys arrived fashionably late with his second wife, Sibylle Szaggars, and a gaggle of grandchildren. They sat on a blanket on the grassy hill far from the stage. Shortly after sunset, clouds blotted out the purple sky. Banging thunder and torrential rain soon followed. Most of the crowd made a run for it, but Redford's family stayed, huddling together until a stereophonic clap from above ended the night. Still, his brood didn't rush off; they waited patiently as the crowd scrambled for cover.
I meet Redford the next day at the resort. It's the jewel in a Sundance empire that has more spin-offs than PepsiCo. There's the Sundance Film Festival; the Sundance Institute, a creative lab to help young filmmakers develop projects; and a ski resort. Oh, yeah, there's also the Sundance Catalog, specializing in southwestern tchotchkes, and the Sundance Channel, which Redford sold in 2008.
Redford's office is located next to — no lie — a babbling brook. There are some books and a signed Ted Williams ball, but the space is fairly bare except for an unexplained campaign button stuck on the wall reading "save bob," apt shorthand for the motivation that has driven Redford's entire life. I complimented him on sticking it out last night until the end.
"It's the least I could do," he says. "They were singing their hearts out and in danger of getting electrocuted. I couldn't leave."
Visiting Redford in Sundance conjures the line "In Xanadu did Kubla Khan / A stately pleasure-dome decree," which most people, including me, know from Citizen Kane and not a love of Coleridge. In a way, Redford is the Charles Foster Kane of Sundance, if Charles Foster Kane were charming and benevolent, not an asshole. (The only arrogance I noticed was that my hotel room was decorated with posters from Lions for Lambs and The Conspirator, two of Redford's less successful directing projects.) Walking the grounds with Bob, as everyone calls him, is to witness a cavalcade of lab participants and pilgrims coming up to thank him for letting them experience his Sundance, a particularly kind gesture from the tourists who are paying $250 a night.
Redford is patient with his supplicants, but he gets prickly about the difference between Sundance the place and Park City's Sundance Film Festival, where you can see a great documentary and then watch a reality star climb out of a Range Rover while not wearing underpants. Redford started Sundance because the movies he wanted to see — ones with story and characters — weren't being made in Hollywood. The only problem is he was so successful that Hollywood decided to devour his Xanadu, with premium vodka parties and assistants scouring the Park City Albertsons for Fiji water. "It makes me fucking nuts," says Redford. He has physically distanced himself from the film festival, making only occasional cameos. "It has moved out of what I had as a comfort zone. It's moved beyond, to where I'm uneasy about it."
Redford talks with sadness about his wayward film child, ticking off the rise of ambush marketers and swag bags, as if it is all out of his control, a stance that Redford's skeptics claim is evidence he sees himself as a reluctant, tragic hero — not only in his movies but also in the story of his life. Either way, Redford knew something had to give. He was in his mid-70s and in a rut that some saw as terminal. So, in 2012, he came up with a plan, simple yet counterintuitive: Robert Redford temporarily turned his back on producing, directing, and the festival, and decided to do something totally different.
He became an actor again.
It used to be simpler. Back in the late sixties, Redford heard about a script by William Goldman originally called The Sundance Kid and Butch Cassidy. He tracked down the director, George Roy Hill, and they talked about his playing Cassidy opposite Paul Newman as the laconic Sundance. But Redford had other ideas.
"I can do that, but that's not what I identify with," Redford told Hill over a beer. "I feel closer to the Sundance Kid."
The movie came out, received mediocre reviews, then went on to become the highest-grossing film of 1969. Newman and Redford became America's favorite undeclared butch couple. In Newman, Redford found a partner in crime; they shared the same dubious view of stardom and sense of humor.
Redford claims he introduced Newman to racing by letting him drive his Porsche to the Utah set of Butch Cassidy and the Sundance Kid. Years later, they both had houses in Connecticut. "All Paul talked about was cars — cars, cars," Redford tells me with a laugh. "I told him to stop with the cars. It's boring. I would come up to Connecticut on weekends, and one time I called a towing service. I said, 'Look, you guys have a wrecked car? Preferably a Porsche.' "
A couple of days later, the guys found a flattened Porsche that fell off a railcar. Redford had them wrap it up in newspaper and put a ribbon around it. He then had them drop it on Newman's back porch.
Two weeks passed, and Redford heard nothing. One day he came home and opened the door, and in the foyer was a large wooden box. He got a crowbar and a hammer to open it. It was just a big block of metal.
"He put it in a block," says Redford. "I didn't say anything. So I called a friend of mine, a sculptor in Westport and said, 'If I give you some material, could you sculpt it?' "
She said yes. The towing guys took the block to the sculptor. About three weeks later, she finished, and — according to Redford — it was an abomination. The guys put it in Newman's garden. "Neither one of us ever mentioned it," says Redford. "That's the kind of relationship we had. It was just fun."
After Butch Cassidy, Redford had power, but he used it like Newman, both embracing and rebelling against his image as everyone's all-American, underscored by Barbra Streisand's remark in The Way We Were: "Do you smile all the time?"
Between 1969 and 1973, when he starred with Streisand and then reunited with Newman in The Sting, Redford made a slew of offbeat films, two of which showed his increasing rebellion against celebrity.
In Downhill Racer, Redford played a skier obsessed with becoming an Olympic champion. The movie ends with Redford's being carried off the slopes after an apparent victory. But there's one skier still on the course. For a moment, he's beating Redford's time. The crowd drifts away before the skier falls. Redford sees his ghost passing him by; it is just a matter of time before his moment passes. In The Candidate, Redford is Bill McKay, a glib matinee idol of a senate hopeful. By the end of his campaign, McKay sees it's more about cosmetics than policy. Just before his victory party begins, the senator-elect turns to his campaign manager and asks, "What do we do now?"
It's a question Robert Redford is still trying to answer.
The gates outside Redford's Sundance spread are made of stone and cement, looking both ancient and modern. Back in 1963, when he was building his first real home, Redford became infatuated with the stone construction of Frank Lloyd Wright's Taliesin West. He tracked down the one guy in Arizona who knew how to mix the stone and cement to get the same look. He spent a few days learning the skill and then built the gates himself. Much like Redford, the end project is both inviting and fortresslike.
He found his Utah place in the manner that he's made many of his career choices: He zigged instead of zagged. After high school in Los Angeles, he went to the University of Colorado, where he was supposed to play baseball but just drifted, failing out after three semesters. On one of his trips home, he took a wrong turn on old Utah Route 40 and found himself on a rough switchback road heading up Mount Timpanogos in Utah's Wasatch Range.
We're driving on some of the same roads in Redford's SUV, heading up to his spread above his resort. "I saw the back of the Timpanogos and said, 'Wow,' " says Redford as he takes a series of turns at too-high speed. "It hit me like a ton of bricks."
With his first acting money, Redford bought two acres for $500 and built a cabin with no running water. His first wife, Lola, was from the area, and they returned in good times and bad, burying their first child, Scott, in nearby Provo after he died of sudden infant death syndrome in 1959.
But it wasn't until the oppressive and giddy days of the 1970s that he considered making Sundance a refuge for his three kids, Jamie, Shauna, and Amy. They went to Dalton, a prestigious school in Manhattan, but Redford felt the walls closing in around them.
It's hard to exaggerate Redford's seventies celebrity. Some of the experiences were funny, if scary. While in a Manhattan office building, Redford was chased into the basement by a group of nurses who'd heard he was in the building. "I plowed out through a couple of nurses, out into the street, and they followed me," remembers Redford. "They started pulling at my clothes and my hair." He jumped into a taxi, where the radio was playing "Raindrops Keep Fallin' on My Head," from Butch Cassidy. "I thought, 'This is too much.' "
Redford liked to take the kids to Trader Vic's in New York, but it became increasingly impossible. After countless well-wishers interrupted one trip, Redford's son trailed behind the rest of the family on the walk home. Redford asked him what the matter was and Jamie answered with a question.
"Why don't those people like you?"
"I think they like me."
"Then why would they come bother you if they liked you?"
Soon after that, Redford started assembling a compound behind the stone gates. (Not much has changed: "People still come at that guy like he's public fucking property," says All Is Lost director J.C. Chandor.) We head up to the family's original A-frame, the successor to the cabin, and run into Eric Schlosser, Redford's son-in-law and the author of Fast Food Nation and Command and Control.
"Hey, Eric," Redford calls out, "just showing him the old homestead."
Schlosser smiles. "All made by hand," he says.
Redford chuckles, acknowledging that his son-in-law might have heard the Sundance creation story a few times. We drive on in the idyllic setting, deer prancing in the fields, a grandson's bicycle tilted over. That afternoon, Redford was leaving for a day of meetings in L.A. about a film adaptation of Bill Bryson's A Walk in the Woods, which he'd originally wanted to do with Paul Newman and that was now creeping forward with Nick Nolte in the Newman role. "I grew up in L.A. I can't do it anymore. I can't take it. Down in L.A, I'm a dick."
Redford will tell you that he hates L.A. because of the traffic, the pollution, and the movie-making industrial complex. But it's also because of a grueling childhood that he airbrushed out of his bio for years, only becoming comfortable talking about it in his later years.
His father was a milkman working 12 hours a day who had little time for his only child. (Redford was named after his father, Charles, but has always gone by his middle name.) His mother tried to make up for it, but there are some things a mom can't do. Bob became close to his uncle David, who taught him how to throw a football and hit a baseball. It was the seed planted by David Redford that started his nephew on a path stretching from American Legion baseball star to skiing in Downhill Racer to doing his own hitting in 1984's The Natural.
But then the war came. His uncle was shipped off to Europe. One day, when Redford was eight, his mother and grandmother picked him up from school, which was weird because he usually walked home. His grandmother got out of the car.
"Your uncle David has passed on."
"What do you mean, passed on? He's dead?"
"He's passed on."
Redford came home and waited for his father in the front yard of their house on the L.A.-Santa Monica border. He saw Charles Redford walking down the street, right toward him. But he didn't look at his son. He just went right into the house and into his bedroom for the next 20 hours.
"I couldn't go in there," he remembers. "When he came out, there was no talk, nothing."
The family eventually moved out to Van Nuys, a nowhere zone in the Valley. As Redford got older, he started to paint and talk about living the artist's life. His father thought it was a bad idea. Then his mother died when he was 18.
"My mom was always in support of me," says Redford. "No matter what I did, she said, 'You're going to be good.' I never took it that seriously. It wasn't until after she died that I realized she was the only person who believed in me."
Redford drifted for a while. After failing out of college, he split for Europe — an exotic move in 1956. It wasn't a party. He got depressed and lost 40 pounds, and spent much of his time in bars sketching patrons and imagining the conversations they were having. He would write down what he thought was going on at another table on one side of a pad and draw pictures of the guests on the other. "That experience of traveling around, being alone, listening and watching was probably the beginning of how I felt about acting. If you had any talent at all to mimic, I thought that might be enough."
In the late 1970s, Redford said he wanted to direct, and most of Hollywood saw it as a star's folly and were shocked by the depth of Redford's Ordinary People. While Redford denies it, it was hard not to see the through line between Redford's distant, emotionally withholding father and the brittle and aloof mom played by Mary Tyler Moore. Redford won a Best Oscar for directing. He was also heading for divorce and saw the honor as a sign to retreat from Hollywood.
"When it happened, I said, 'There's something dangerous in the air here,' " says Redford. " 'I just need to be grateful that I got this thing, but I think it's time to take stock. You haven't hardly taken a breath. It's time to stop and regenerate, otherwise you're going to start repeating yourself.' " Redford began dedicating more time to environmental activism. He banged the drum early on global warming and pressed for the protection of the Arctic National Wildlife Refuge. In Utah, he clashed with locals who disdained him as a Hollywood outsider, but he was integral in keeping untamed areas from falling into developers' hands. (He hasn't really slowed down: This year he's been outspoken on the protection of wild mustangs in the Southwest and recorded a PSA bemoaning the evil of tar sands oil drilling.)
Back in Hollywood, he saw the film biz morphing toward the high-tech-blockbuster era with the rise of Spielberg, De Palma, Lucas, and other modern film wizards. "I realized that a lot of the films were dependent on special effects. Gradually what was missing for me was story, and I thought, 'I can't give that up.' "
So Redford started the Sundance Film Festival, which muddled along until Steven Soderbergh's sex, lies, and videotape was bought by Harvey Weinstein at Miramax in 1989. It was simultaneously the start of something great and a death blow for Redford's original idea for the festival. Weinstein's company did as much if not more than Redford in establishing indie filmmaking as a real force in the 1990s, but Redford saw it differently.
"Harvey wanted to be a Hollywood mogul," says Redford. "He's got a real merchant mentality; he would start to pick stuff. And then Hollywood came. When the actors started to come, the paparazzi came, and once the paparazzi came, then fashion came, and suddenly you had Paris Hilton," says Redford. "I felt at a certain point that we were being engulfed."
He paints the Sundance changes as beyond his control, which is hard to believe since he is still the festival's godfather. Though he no longer handles its day-to-day operations, he's still the face of the festival and has considerable influence on the films and the corporate sponsors who fund it, to say nothing of Sundance's general direction.
Between his environmental causes, Sundance, and his directing, acting had become an afterthought. He tried to hire others to run Sundance and its assorted business, but that was a disaster, resulting in his nearly having to declare bankruptcy in 2003.
"It was mostly my fault," he says. "It almost became an empire without my managing it, because I was off doing what I wanted to do, which was make my own films. It made me a bit of an absentee owner for Sundance, so advantages were taken in my absence, and when I hit the skids I realized I was in really deep financial shit."
While Redford says he never took a part for the money, it's hard to see his 1990s roles as a billionaire in Indecent Proposal or as a news director in the frothy Up Close and Personal as anything but a paycheck. (Redford told folks he played a tough-minded newsman instead of middle-aged eye candy.) He became increasingly frustrated, struggling with his aging status in the marketplace, seeing the latest new thing's face on billboards and wondering why he wasn't getting those parts.
But Redford wasn't 30 anymore; his options were narrowing. Not coincidentally, the previous quarter century marked the decline of his partnership with Sydney Pollack, whom he met at 26 on War Hunt, his first film. Pollack had directed Redford classics like Jeremiah Johnson, The Way We Were, and Three Days of the Condor, but Redford sensed that his winning a best director Oscar for his first film rankled his old pal. While the two remained friends — Redford sat next to his widow at Pollack's 2008 funeral — they were unable to fix the professional damage done by Out of Africa, Pollack's own Oscar-winning film, in which Redford played a big-game hunter. The two argued over the character.
"I was beginning to feel that I was being used as a symbol," Redford said at Telluride, "rather than a person who had a job and feelings of his own."
It didn't help that Redford's performance was panned while Pollack and co-star Meryl Streep were winning Oscars. The two would work again only one more time.
"Sydney got bored with directing — he wanted to become a mogul," Redford tells me, dropping the M-word again. For Redford, it is the ultimate creative slur.
Redford kept directing films, but after 1990s success with A River Runs Through It, The Horse Whisperer, and Quiz Show, he lost his touch. Since then, his 2000s productions have been bloodless cinematic sermons — often featuring Redford as liberal sage — that failed with the critics and at the box office.
"I think I did it to myself in a way," says Redford. It's time to head back down the hill, to his beloved Sundance, where he'll then catch a flight to his dreaded hometown for meetings. "What I didn't want to do," he continues, "was repeat success. I wanted to move to new things and maybe create new opportunities for other people, other actors and directors. If that worked, add on to that and add on to this. And next thing I knew, there were so many add-ons in my life that I had gotten further and further away from what I loved doing and the way I started, which was acting."
A sinking ship rescued him. The first time director J.C. Chandor heard Robert Redford's voice in person, he knew the actor would be perfect for a film that had no dialogue. In 2011, Chandor was in Sundance for the premiere of his first film, Margin Call. Redford came down from his mountain to give a motivational speech to the filmmakers. Chandor was standing in the back when technical difficulties began.
"Bob's voice started cutting in and out," Chandor recalls. "You'd hear that famous voice, and then you'd hear nothing. And I started thinking, 'What would it be like if you made a movie where that voice doesn't say anything?' "
Chandor is the first Sundance filmmaker to ask Robert Redford to appear in one of his films. "I don't know if they were scared or what, but it started to bother me, and I wondered if I should have hurt feelings," jokes Redford.
Chandor broke the taboo. He sent Redford a bare 30-page script about a man sailing solo through the Indian Ocean whose boat is hit by a shipping container and who spends eight days trying to survive. Redford is notorious for punting projects down the road. (A Walk in the Woods has been on his plate for nearly a decade.) But shortly after he received the script, he and Chandor met in New York. Once Redford realized he wasn't crazy and could pull it off, he signed on, ceding all power to the then-37-year-old director — something a middle-aged Redford would have never done.
"The more time I spent with J.C., I saw that he had a vision I could give myself over to," says Redford, during his second Telluride talk. "I wouldn't have to double think or overanalyze."
The one unspoken wild card was whether Redford could pull off the physical part of the role. An avid skier and hiker, Redford is fitter than most 30-year-olds, but he was still 76. The plan was originally for Redford's face to be used for close-ups and a double to handle the tough stuff. Redford wouldn't have it. He'd done many of his own stunts throughout his career, and he didn't want to change now.
"As you get older, there's only so much you can do. So when we get to this thing, I'm sure it was a combination of ego and DNA saying, I can do it," he says.
Chandor was worried that the shoot might maim his star — the film eventually sank three boats off the coast of Baja — but learned Redford had significantly more energy and verve than your average AARP member.
"We'd have him in the water eight hours a day, and the next morning I'd get up and Bob would be in the hotel pool swimming," says Chandor. "I was like, 'What the hell?' "
Chandor tried to put limits on Redford's adventures, knowing one wrong fall, one broken ankle would kill the film. But Redford didn't listen. There's a key scene where Redford jumps from his sinking boat to his raft, a distance of six feet with an eight-foot drop. Chandor expressly forbade Redford to do it, but next thing Chandor saw through his lenses was his star making the leap. Redford's daring was eventually taken for granted by the crew to the point where they were evacuating one of the sinking stunt ships and everyone was removed before Chandor and the crew realized Redford was still below. They almost lost their star.
Some nights, Redford would retire to his room to recuperate — "I had tequila on my side" — but other nights he would head out with Chandor and the crew for dinner, charming the women, his fire still burning bright. One night, Redford and Chandor headed out when they learned movie exec Richard Zanuck had died at the age of 77. Redford had been frenemies for years with Zanuck, the scion of a famous filmmaking family, who originally argued that Redford wasn't right for the role of the Sundance Kid. Over drinks, Redford revealed he'd known Zanuck all his life, battling him on the tennis courts as a teenager. The more Redford talked, the more heated he became.
"He and Dick Zanuck are still in a tennis match when they were 14 and he's the poor kid, the milkman's son," says Chandor.
It's hard to watch All Is Lost and not focus on Redford's mortality — or, hell, your own mortality. It's the type of unvarnished role his advisers had been urging him to take for years, but he'd become encased in his own dilemma. He'd spent his entire career rebelling against just being another good-looking guy but only partially leaving his comfort zone. Every film Redford has been involved in for the past half-century has him playing a hero; it might be subverting the cliché — like in The Candidate — but it's still the hero. In All Is Lost, Redford doesn't play a hero; just an old man trying to survive.
Robert Redford turned 77 a few weeks before Telluride. He still carves turns on his own mountain, but it is now easier for J.C. Chandor to raise money for his next film than it is for Redford. In a grand irony, the actor's next role is the head of S.H.I.E.L.D. in the sequel to Captain America, the type of blockbuster that led Redford to flee Hollywood for Sundance.
"This is the new deal," Redford explains. "This is the way the film business is going, with high-tech, high-budget, high things. So many parts of it were not recognizable to me. I thought it'd be interesting to have the experience."
While he now claims he's trying harder to stay in touch with his past, there is little evidence. I mention that I'd recently interviewed James Salter, a former Redford confidant who wrote Downhill Racer. His face lights up. "I've read his new book twice. My daughter asked me who from my past I'd like to reconnect with, and I said 'Salter.' " What is left unsaid is that he never called him.
Old habits die hard. But Redford's contradictions just remind us he's human, not a golden god, and that's something Redford has been trying to tell us for decades. Let's go back to the start of our story. It is unlikely Redford would have come to Telluride just to be honored; he thinks he has too much road still ahead for that. But the convergence of his past and future — All Is Lost will be released on October 18, almost 40 years to the day after the release of The Way We Were — reminded everyone that they were in the presence of an icon. After the house lights went up, Ralph Fiennes jumped on the stage and hugged a surprised Redford, kissing his hand. The two hadn't seen each other since he directed Fiennes in Quiz Show.
For a second, I thought Redford was going to cry, a rare moment of public vulnerability, but he regained his composure and took his seat on the stage. Dressed in a black blazer, jeans, and cowboy boots, with a silver Telluride medallion around his neck, he looked like a Roman oracle via Ralph Lauren. He would never admit it, but you could tell he loved the moment. His stories were a bit self-serving and unkind to the dead. Asked about acting with Marlon Brando in 1966's The Chase, Redford showed little mercy.
"He was throwing it away, and it was not easy to watch," Redford told the Telluride crowd. "He was trying to wash away or turn away something he had done. I didn't want to watch that."
The audience ate it up. He brought some to their feet when he was asked which presidents of his lifetime he admired. "Nobody," was all he said. (Apparently, Jimmy Carter's Cheerios were not enough.) They even believed him when he said he had no regrets about his career.
The next morning's repeat was less giddy. There was no Fiennes, no Chandor in the audience. Redford was largely alone. He didn't arrive for the clips and took the stage looking disheveled and tired. Someone asked him what kept him motivated as he closed in on 80. He mentioned his characters in All Is Lost and 1972's Jeremiah Johnson, in which he played a mountain man who carries on after the murder of his family.
"They share one thing in common," said Redford, speaking softly. "When times are tough and survival looks impossible, some just quit; they give up. Because it's obvious they can't go any further. And others just keep going. They don't know anything more than to just continue. And I guess that goes for me, too. I will just keep going."
Maybe it was the early hour, but the crowd clapped uncertainly. A few minutes later, Redford put his microphone down. As he exited stage right, hands reached out to touch him, just as they've done for 50 years. Redford stopped for a moment, embracing the limelight. But then, just as quickly, he bolted for the door.
Robert Redford: The Sundance Kid Rides Again
Robert Duvall Interview: Acting, Women, and Steak
A Drunken Afternoon with Anthony Bourdain
Tom Hanks, the Men's Journal Interview


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Prosecutors: Ohio Amish convictions should stand
CINCINNATI (AP) — The sentences and convictions of 16 Amish men and women found guilty of hate crimes for cutting the hair and beards of fellow Amish in eastern Ohio should be upheld, federal prosecutors argued in a court filing.
In their response to the defendants' appeals, prosecutors on Friday wrote that the victims were forcibly awakened in the middle of the night, restrained and disfigured in a way intended to destroy an important symbol of their beliefs.
"The victims were devastated and physically injured, and the assaults injected terror and anxiety into a community that awaited the next nighttime assault," prosecutors wrote in their filing with the 6th U.S. Circuit Court of Appeals.
Authorities charged the defendants under a hate crime statute, saying the 2011 attacks were meant to shame fellow Amish that the attackers believed were straying from the faith.
The group's leader, Samuel Mullet Sr., was sentenced to 15 years in prison, while the other members of the group got sentences ranging from one to seven years.
Among other arguments, defendants in their appeals have challenged the use of the federal hate crime statute under which they were prosecuted. They have said they were wrongfully prosecuted because their actions amounted to family disputes that resulted in no serious physical injury. They also have said the judge should have instructed jurors that religion had to be the primary motivating factor and not just one of the factors to justify use of that statute.
The prosecution argued in its response the statute does not require that religion be the primary motivating factor.
Prosecutors also say the statute, which requires interstate commerce to be a factor in a crime, was applied correctly in the case. At trial, prosecutors argued that the scissors, shears and clippers used in the attacks had traveled across state lines.
Prosecutors asked the appeals court to hear oral arguments.
Mullet's attorney, Edward Bryan, said Saturday that he had not yet seen the prosecution response.
"We hope and pray that we prevail, and the community is holding strong," Bryan said.
Associated Press writer Amanda Lee Myers in Cincinnati contributed to this report.


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I am creeping closer to the end of my Masters, I have been working more than I'd like to, I have become a full-on gymnastics mum, with two of my kids doing gymnastics competitions all over Brisbane (or at least it seems like that), sometimes at stupid o'clock, and unfortunately, most of everything else has suffered, including my poetry.
But that's starting to turn around, as the work, and study, have slowed down. Phew.
To prove that writing didn't stop completely for all these months, I have a story in the current issue of Tincture (Issue 6), which you can purchase, and download straight away, over here, for only $8. It doesn't get much better than that, and there's heaps of great reads in there, not just my story.
Also, the Genealogical Society of Queensland, has started its own blog and, along with a handful of other members, I will be posting regularly (monthly). My first post just went up, and you can check it out here. It'll show you how easy it can be to create a visual poem, though there are, of course, other ways to do that too. Here's one I made.


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I think it's a great thing that neuroscientists study meditation and that experience, and correlate it with what is observed.
However, as I note there, I'm deeply skeptical of claims such as:
However, the kind of thing that I have in mind would require and exceedingly precise kind of biofeedback where we knew exactly what kind we were dealing with, we knew the necessary and sufficient physiological correlates of enlightenment itself, and then we could use biofeedback to train those correlates more efficiently. Now, having said that much, please do not think that I am so naive as to think that that in it of itself is going to bring a person into enlightenment. However, I would strongly suspect that it could cut the time required to a tenth. There'll be all sorts of other ancillary trainings and learnings and life experiences that would have to go around that. You're not just gonna hook somebody up to a machine and just because their physiology emulates enlightenment think that they're gonna get enlightened. But boy, it could sure make my job a lot easier, if we could do stuff like this. And that's what I'm looking towards from practical point of view. Why?
...Only a small number of people participate in the meditation endeavor. Not elitist because meditators don't want to spread it. Meditators do their best to spread it. But it's too hard, it takes too much time, people aren't interested, it doesn't seem relevant. If we had a way of bringing deep experiences more easily, then we could reach a significant portion of the population, and we could start to make a change on this planet.
Besides what I wrote there (expectations regarding meditation, etc.) I would raise yellow flags of caution as both a Buddhist and a systems engineer with expertise in communication theory, information theory, signal processing and control theory.
First, let's put out front where the technology is: you can do all kinds of things with devices now to emulate feelings in the brain, and even perform simple control functions such as moving a mouse on a screen and what-not. But, there's notions of controllability and observability that, when applied to the fact that our brains are "to go" obviate the need for such devices.
Even if such a device, in meditation could speed up the experience of emptiness or sammadhi, the fact is all that's kind of irrelevant if you aren't applying this moment to moment in everyday life. You'd need to be able to observe the ensemble of mental states during the day (which, even in restricted areas of the brain is not trivial in the near future), and then you'd have to have some control mechanism to put it where it's "supposed" to be. And point is, it's "supposed" to be where it already is.
We sit on a cushion to get off the cushion, and actually expressing sunyata moment to moment in our interaction with our fellow beings and our environment is where the rubber really meets the road.
Because of what I said above, I'm not sure we can do this, and if we can...then...could not we be able to, just as well, convert a whole segment of society into paranoid, delusional, enraged teabaggers? How could you stop folks from doing that, as long as they thought there was something in it for them? Hell, people are already doing that with crude means because they think there's something in it for them. Which, I suppose makes a counter argument for creating neuropsychological techniques to "walk people back" from paranoia, delusion, and rage. But I suspect that's a different brain app than a Nirvana app.
To me, as a technologist, we always have to view technology as a double edged sword. Technology is never wholly on the side of bodhisattvas or the enraged and fearful (or angels and demons, if you prefer). It's neutral. So we need to be careful.
So, yeah, let's study how the brain functions in sammadhi, for sure. But as someone wrote about Masters and Johnson's sex research, ultimately that's not the point, except that in the case of sammadhi and kensho (見性), the feeling isn't the point either.


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Judge: For now, Picasso work to remain at NYC's Four Seasons
NEW YORK (AP) – A conservation group has won a temporary injunction to keep a Picasso painting on the wall of the famed New York City restaurant The Four Seasons.
A state Supreme Court judge in Manhattan ruled Friday that the restaurant's owners and landlord can't remove the unframed 1919 ballet stage curtain called "Le Tricorne" on Sunday.
Instead, the judge ordered the parties back to court next month.
The New York Landmark Conservancy owns the painting. Landlord RFR Holding Corp. has said the wall where the painting is hanging is threatened by a leaking pipe and shifting tiles.
The conservancy disputes those claims.
Conservancy President Peg Breen has said the city should preserve the $1.6 million piece by granting it landmark status.
The rest of the restaurant was granted landmark status in 1989.
Click to view an image of the stage curtain on the Four Seasons Restaurant's website:
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Center for American Progress
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Paid family leave upholds the value of caregiving, fights against injustice, and helps build healthier families.
Advancing Racial Equity and Justice, Building an Economy for All, Strengthening Health, Economic Justice, Faith and Equality, Reproductive Justice+3 More
Director, Media Relations
Vice President, Communications
Director, Federal Affairs
Senior Manager, State and Local Government Affairs
This issue brief is part of a six-part series from the Faith and Progressive Policy Initiative outlining values-based policies that benefit all American families. For more information on our Real Family Values series, visit our series page.
This year marks the 20th anniversary of the Family Medical Leave Act, a landmark bill that President Bill Clinton signed into law in 1993. The law, which President Clinton called "a matter of pure common sense and a matter of common decency," was a huge victory for American families. It gave legal weight to the timeless value of family caregiving, ensuring that workers at companies with 50 or more employees would be guaranteed 12 weeks of unpaid, job-protected leave to care for a new baby or sick family member.
But while the FMLA was a major step in the right direction, it has not kept pace with a changing America. Although unpaid leave is useful for some workers, roughly 40 percent of the nation's workforce still does not qualify for the benefits of the law. In addition, many who do qualify cannot afford to take unpaid leave. Going without a paycheck for 12 weeks is simply not an option for millions of American workers despite the urgent needs of their families.
This affront to American families could be rectified with a simple solution that reaffirms the value of caregiving: federal legislation that provides employees with paid family leave. One such proposal is the Family and Medical Insurance LeaveAct, or FAMILY Act, a forthcoming bill that is set to be introduced to Congress this year. It would provide eligible employees with up to 12 weeks of partial wage replacement for their own serious illness; the serious illness of a child, parent, or spouse, including a domestic partner; the birth or adoption of a child; the injury of a family member who is in the military; or urgent needs arising from a service member's deployment.
Such a policy is smart, effective, and moral, and has been embraced by most of the world. In fact, the United States is one of only a handful of countries that do not yet guarantee paid maternity leave for workers, putting it alongside significantly less wealthy nations such as Liberia, Sierra Leone, and Papua New Guinea.
Three U.S. states—California, New Jersey, and most recently, Rhode Island—successfully passed paid family leave laws for their residents. But state-based solutions are not enough. If we are to make good on our nation's promise to be a society that cares about community—especially families—then we need to pass a federal law that affords all Americans workers with the opportunity to care for newborn children and sick loved ones.
With this in mind, the Faith and Progressive Policy Initiative has consulted with ethicists, economists, and faith-based advocates to identify three core family values that are upheld and strengthened by expanding access to paid family leave: caregiving, justice, and health.
At the root of strong families—no matter how they are configured—is an embrace of caregiving as a core family value. Whether it is a working father taking time off to care for his newborn or a working woman taking leave to help care for an ill parent, the vast majority of Americans understand caregiving and policies that support caregiving as a given for living in a community. In fact, a National Partnership for Women & Families exit poll conducted during the 2012 election found that 96 percent of Democrats and 72 percent of Republicans considered it very or somewhat important that the federal government consider new laws to keep families economically secure—including creating a system of insurance that would fund paid family leave.
Unfortunately, while most Americans value providing for others as a key part of family life, the policies of many employers essentially prohibit workers from taking time to care for their families: Only about 10 percent of workers in the United States have access to paid family leave that denotes caregiving as a reason for time off.
"Caregiving is not deemed 'important' work, and, economically speaking, it's not valued," said Gloria Albrecht, professor of Christian ethics at the University of Detroit, Mercy, in an interview with the Center for American Progress. "Businesses want employees that are unencumbered by dependents."
But it does not have to be this way. Implementing policies such as paid family leave can help businesses respect the public's widespread support for caregiving and can change business culture for the better. As The Atlantic reported in July, academics such as Shelley Correll and Stephen Benard have argued that passing paid family leave laws changes how people think about those who take time off for family reasons, leading bosses and co-workers to abandon negative opinions about employees who take maternity, paternity, or other caregiving-related leave. According to The Atlantic, Correll's research shows that these work-culture shifts can create a more equal environment for workers who take paid leave, as the presence of the new laws is proven to "influence positively managers' assessments of and decisions about leave-taking employees—for example, whether they later deserve raises or promotions."
While policies such as paid family leave are often framed as explicitly women's issues, the benefits extend to men as well. Offering paid leave to fathers leads to greater paternal involvement in a child's life over time, creating a pattern of parenting that is more equally shared between mothers and fathers. Paid leave can be a godsend for male parents in same-sex marriages, as well as for men who head up single-parent households or who have seriously ill children.
Paid leave also allows Americans to make good on our collective promise to care for our sick and elderly when they are in need. In addition to wanting to care for their own relatives, lower-income families often cannot afford professional caretakers for ill family members. As such, many end up having to provide care on their own, effectively forcing them to take unpaid leave or even quit their jobs to tend to the needs of a parent, child, or spouse. Offering paid family leave could help end this vicious cycle of poverty and guarantee all Americans—regardless of income—the right to care for their loved ones in times of need.
At the core of the American psyche is a deeply rooted belief in justice and equality. From Abraham Lincoln to Martin Luther King Jr. to Elizabeth Cady Stanton, our most celebrated leaders have been those who have stood up for the vulnerable, championing justice and equality for all Americans, regardless of age, gender, sexuality, skin color, or income.
The lack of universal family leave is an affront to these values, perpetuating injustice and disproportionately affecting the most vulnerable in our society. While the FMLA granted millions of Americans access to unpaid family leave, about 40 percent of U.S. workers still do not qualify for the benefits of the law. Worse, the Department of Labor reports that nearly half of workers who qualify for unpaid family leave cannot afford to take the time off, and two-thirds of those who did take leave said that it hurt their family financially. In addition, although wealthier families are better able to shoulder lost wages while taking unpaid leave by relying on other forms of income such as extensive savings or financially leaning on a spouse with high income, a 2013 Center for Law and Social Policy analysis found that poorer families often saw their incomes vanish while taking time off to care for loved ones. The study also reported that 54 percent of workers earning less than the median national family income reported losing all of their income while taking unpaid leave.
The absence of paid leave also has an inordinate effect on people of color and ultimately promotes racial inequality. Households headed by women of color are more likely to be struggling financially. While the American Time Use Survey shows that workers of color are more apt to need time off for various reasons, the FMLA's job-tenure and employer-size requirements means that nonwhite workers are also more likely to be ineligible for job-protected leave. Latinas are also unlikely to have access to paid leave; only 32.6 percent of Hispanic women have access to a paid paternal family leave, compared to about 50.2 percent of white women.
A nation without paid family leave is also one that hurts women and children. Although women are the primary breadwinners for most lower-income families, many struggle to return to work: Among new mothers who had to quit their jobs to care for their newborn child, less than half—48.2 percent—returned to work within a year. This deprives lower-income families of much-needed funds and can deny working mothers and their children access to basic nutrition. Meanwhile, allowing for paid leave makes women far more likely to return to employment later. As a consequence, countries that allow for longer paid maternity leave typically enjoy lower child poverty rates, creating a richer, healthier environment for kids.
Furthermore, the absence of family leave insurance unfairly hurts workers who fall ill or get hurt. In 2001, 25 percent of dual-income couples and 13 percent of single-parent families who filed for bankruptcy did so after having to miss two or more weeks of work due to personal illness or the illness of a family member.
"If we really take seriously the call to care for the poor and people on the margins, low income people who can least afford to take time off from work without pay should be the first to get it—not the last," said Edith Rasell, economist and minister of economic justice for the United Church of Christ, in an interview with CAP.
All families deserve the chance to raise healthy kids. Healthy families are productive families, and in a country such as the United States, there is simply no excuse for allowing families and children to suffer because parents cannot afford to offer care to their own children.
Yet they do suffer. Because lower-income families usually do not have access to family leave, working parents are confronted with a cruel choice: either stay home to provide needed family care and lose a much-needed paycheck or stay on the job despite urgent family needs. This painful choice erodes the emotional and physical well-being of millions of American families. Not only does the lack of family leave keep many parents from caring for an ill loved one or bearing witness to a newborn's precious first days, but it also negatively impacts the long-term health of children and parents; in some cases, it delays babies' immunizations and causes postpartum depression in mothers.
By contrast, granting employees access to paid family leave is proven to create healthier families. According to a 2005 study published in The Economic Journal,newborns with mothers who were financially able to take at least 12 weeks of leave were more likely to receive medical checkups and get critical immunizations. In addition, the study found that taking an additional 10 weeks reduces post-neonatal mortality by an average of 4.5 percent. Mothers are also more likely to breastfeed for longer if they take paid leave, a practice many believe can have numerous long-term health benefits for mothers and children.
The issue of paid family goes to the heart of how we understand family. When confronted with our shared values around caregiving, justice, and health, most Americans agree that our businesses have a duty to afford families the chance to care for loved ones. All American families—rich, poor, single parent, multi parent, and of any racial makeup—should enjoy basic protections that allow them to raise a family without being forced to endure unnecessary and unjust workplace complications.
Paid family leave is ultimately about bringing policy in line with the American people's willingness to care for others.
"There is a perfect human symmetry between this larger human family and particular families—parents and children," said Rev. Michael Livingston, public policy director for the Washington, D.C., office of Interfaith Worker Justice, in an interview with CAP.
"Justice for working families [by implementing paid family leave] is about a concern for our larger human family."
Jack Jenkins is a Senior Writer and Researcher with the Faith and Progressive Policy Initiative at the Center for American Progress.
The positions of American Progress, and our policy experts, are independent, and the findings and conclusions presented are those of American Progress alone. A full list of supporters is available here. American Progress would like to acknowledge the many generous supporters who make our work possible.
Senior Religion Reporter, ThinkProgress


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Time::Duration::Parse - Parse string that represents time duration
use Time::Duration::Parse;
my $seconds = parse_duration("2 minutes and 3 seconds"); # 123
Time::Duration::Parse is a module to parse human readable duration strings like 2 minutes and 3 seconds to seconds.
It does the opposite of "duration_exact" in Time::Duration function in Time::Duration and is roundtrip safe. So, the following is always true.
use Time::Duration::Parse;
use Time::Duration;
my $seconds = int rand 100000;
is( parse_duration(duration_exact($seconds)), $seconds );
$seconds = parse_duration($string);
Parses duration string and returns seconds. When it encounters an error in a given string, it dies with an exception saying "Unknown timespec: blah blah blah". This function is exported by default.
Time::Duration::Parse::More has the same interface as this module, but supports more expressions and memoization.
Time::Duration can be used for the reverse of this module: given a number of seconds it will provide an English description of the duration.
Time::Duration::Object provides an OO interface to Time::Duration.
Time::Duration::LocaleObject provides an OO interface to the Time::Duration::?? modules, which provide language-specific versions of Time::Duration.
DateTime::Format::Duration can be used to parse natural language descriptions of durations, returning an instance of DateTime::Duration, which can then be converted to seconds using the in_units() method.
Tatsuhiko Miyagawa <firstname.lastname@example.com>
This library is free software; you can redistribute it and/or modify it under the same terms as Perl itself.
Some internal code is taken from Cache and Cache::Cache modules on CPAN.
To install Time::Duration::Parse, copy and paste the appropriate command in to your terminal.
cpanm Time::Duration::Parse
CPAN shell
perl -MCPAN -e shell
install Time::Duration::Parse
For more information on module installation, please visit the detailed CPAN module installation guide.


text:
Wednesday, June 29
Wednesday Dose of Cute: Whitey the Chicken's Secret to Outliving Everybody Else
10 comments:
What beautiful chickens (and rooster)! Hmmm....maybe we should ALL eat more pizza, sounds good to me! :)ReplyDelete
I love this blog. It really brightens up my day (and my week).ReplyDelete
beautiful girls... WOW 11 that is impressive! Good Luck Whitie... we are rooting for ya!ReplyDelete
I love how she grabs all the kale with her one foot, stands on it so no one else can have any, then decides she doesn't want it and stomps off.ReplyDelete
Go Whitey! I have my Anais who is 10 (just a year younger than Whitey) and is also going strong; is the queen of the flock and gives me a beautiful green egg every other day (as she always has).ReplyDelete
That Whitie. She is such a funny girl. I'm glad she's still kicking. :)ReplyDelete
Sometimes, the best part of the day is sitting around watching our wacky pets.
As a native New Yorker (who, for strange reasons, are sometimes known for our attitudes), I feel a definite kinship with Whitey. A "don't mess with me" temperament AND a love of pizza? Was this bird originally from Bay Ridge? Yo! Whitey! I love ya!ReplyDelete
Somebody has to be the boss!ReplyDelete
- Anonymous6/30/2011 4:01 PM
Obviously, she is The Diva of the hen house!! (She really is a beautiful girl.) Thanks for sharing her with us.ReplyDelete
Whitey you are my hero. Makes me feel quite guilty that my girls leave me sooner. Where am I going wrong? Have bought the yeast and the flour (twice) but too scared to give the pizza dough a go. Be brave and go forth and the chooks will be all the happier even if it fails...ReplyDelete
December 2015 update: Hi! For some reason I can't figure out, Blogger hasn't been letting me leave comments on my own blog (!) for the last several months, so I've been unable to respond to your comments and questions. My apologies for any inconvenience! You're always welcome to email me: farmgirlfare AT gmail DOT com.
Hi! Thanks for visiting Farmgirl Fare and taking the time to write. While I'm not always able to reply to every comment, I receive and enjoy reading them all.
Your feedback is greatly appreciated, and I especially love hearing about your experiences with my recipes. Comments on older posts are always welcome!
Please note that I moderate comments, so if I'm away from the computer it may be a while before yours appears.
I try my best to answer all questions, though sometimes it takes me a few days. And sometimes, I'm sorry to say, they fall through the cracks, and for that I sincerely apologize.
I look forward to hearing from you and hope you enjoy your e-visits to our farm!


text:
Workplace Robots Need a Better View
A coming wave of industrial robots will be smart enough to work safely alongside humans in many different settings, says Rodney Brooks, a professor emeritus of robotics at MIT and a founder of iRobot.
Industrial robots have evolved little since the first ones appeared in General Motors factories about 50 years ago, Brooks says. Most workplace robots—such as those used in car manufacturing—are designed to perform simple, repetitive tasks. And they lack the sensory smarts to work safely alongside humans.
"I think there's room for a real revolution by putting sensors and computation into industrial robots," says Brooks. "What if the robots were smarter and they could go into smaller companies and be easier for ordinary people to use?"
If manufacturing robots could recognize their human coworkers and interact with them safely Brooks says they could be used in many more manufacturing environments, assisting with repetitive and physically demanding manual tasks.
In 2008, Brooks founded a new company, called Heartland Robotics, to develop robots for manufacturing. The company has said that its robots will be intelligent, adaptable, and inexpensive. But the company is still in stealth mode, and hasn't revealed what technologies these robots will use.
In the last few years, robotics researchers have made progress in machine vision, due in part to the falling cost of computer power, and the photo and image resources that can be pulled from the Web and used to train computer vision systems to recognize different objects. However, Brooks says, giving machines more human-like vision remains one of the biggest challenges to the development of more practical robots.
"Perception is really, really hard. For robots, I think it's largely unsolved," says Brooks. "Image-based recognition has worked surprisingly well, [but] it can't do the recognition that a three-year-old child can do."
Commercial machine vision systems are still usually focused on a narrow task. For example, some cars now come equipped with a system that can identify pedestrians and other vehicles, even in a cluttered scene. The system, developed by Mobileye, based in Israel, is connected to an onboard computer that applies the brakes if a collision seems imminent.
"This is the first wide-scale, highly demanding use of computer vision," says Amnon Shashua, the Sachs professor of computer science at the Hebrew University of Jerusalem, and a cofounder of Mobileye.
Shashua says the company's computer vision system works well because it only has to identify a handful of objects. But he hopes that within the next five years, the system will be able to reliably recognize almost everything within a scene. "There are at least 1,000 object classes you need to know in an image to at least do semi-autonomous driving," including signs, lights, guard rails, poles, bridges, exits, and more, he said during a symposium on artificial intelligence at MIT last week.
Mobileye is developing specialized hardware to support the specific demands of rapid image recognition. "There's still a long way to go to build hardware that is efficient, low cost, low power, that can do very complex computer vision," Shashua adds.
Better machine vision systems might lead to significant advances in robotics. "How we deploy our robots is limited by what we can do with perception, so improvements in perception will lead them to be smarter and have modicums of common sense," says Brooks.
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text:
Category:Fox News
From WikiLeaks
Fox News Channel (FNC), commonly referred to as Fox or Fox News, is a cable and satellite news channel owned by the Fox Entertainment Group, a subsidiary of News Corporation. As of April 2009, it is available to 102 million households in the United States and further to viewers internationally, broadcasting primarily out of its New York City studios.
The channel was created by Australian-American media mogul Rupert Murdoch, who hired Roger Ailes as its founding CEO. The channel was launched on October 7, 1996 to 17 million cable subscribers. The network slowly rose to prominence in the late 1990s. In terms of regular viewers (Nielsen ratings), Fox News rates as the United States' most watched cable news network, ahead of CNN and MSNBC. Many observers have asserted that both Fox's news reporting and its political commentary promote conservative political positions. Fox News Channel denies any bias in its news reporting and maintains that its political commentary and news reporting operate independently of each other.
Pages in category "Fox News"
The following 2 pages are in this category, out of 2 total.


text:
A BEAUTIFUL COW, well trained in British traffic values, wanders up the Domlur Road in Ole Bangalore today.
She knows that it is perfect sense to go with the flow, and to walk sedately up the road in the same direction as the cars, autos and trucks.
Except! Can you see just ahead of her a road on the left? And can you see a barrier in the middle of the road? Vehicles coming down this road have no choice but to turn right, and go against the traffic flow because the barrier won't allow them to execute a proper right!
Our cow was safe and passed the accident black spot without event. We have seen so many dogs limping on the 100 Feet Road that we suspect even intelligent pooches have trouble reckoning where the traffic is going. And us pedestrians have the same problem too. ♥


text:
"Fancy in Floral"
- Full apron, double sided
- Handmade with love
This apron is one of a batch I (Alyssa Bond, director of NSHS Theater) made to keep busy this fall.
When I suddenly found myself with too much free time and mountains of donated fabric at school- as well as plenty I had been hoarding for years myself- I decided to go back to my roots and made some aprons! Back in the day (pre-teaching) I regularly made product for craft bazaars and Etsy, so it was fun to get back in the swing of such things. Originally I was hoping to have these for sale in the lobby pre-show and intermission this year, but it seems less and less likely that will be an option. Instead I am putting them up for sale via our website so folks can purchase them that way! All proceeds will go toward our Dionysius Awards costs this past August, as well as past and future virtual show rights. We aren't expecting to be able to balance our costs as effectively with ticket sales this year, so this is just one more fabulous fundraiser!
If you purchase an apron (all of which have been safely quarantining since production/photos) you will get a homemade product crafted with love and be giving back to NSHS Theater!


text:
Standalone LibraryApril 27, 2011 | news
A little history and an update: after Rich Kilmer integrated my graphics library into Apple's MacRuby project as part of the "HotCocoa" library, the HotCocoa project was split out from MacRuby into its own gem at github.com/richkilmer/hotcocoa. Then, Matt Aimonetti extracted the graphics library out of HotCocoa into its OWN standalone library, MacRuby Graphics. Here's my fork of that project, where future development efforts will be directed: github.com/drtoast/macruby_graphics


text:
Samsung announces mass production of the eMMC Pro Class 1500 flash storage memory for mobile phones and tablets. This new memory is four times faster than previous eMMC solutions. Samsung Electronics Co., Ltd., the world leader in advanced memory technology, today announced that it has now begun volume production of an ultra-fast embedded memory for smartphones, tablets and other mobile devices in 16-, 32- and 64-gigabyte (GB) densities.
The new Samsung eMMC (embedded multimedia card) Pro Class 1500 delivers the industry's fastest speeds for an embedded memory device, reading data sequentially at up to 140 megabytes per second (MB/s) and writing it at up to 50 MB/s. For random reading and writing, it can process up to 3500/1500 IOPS (inputs and outputs per second)*, four times the speed of previous eMMC solutions.
"With the production of 64GB Samsung eMMC Pro Class 1500, we are delighted to provide the highest performing mobile storage solutions available that support the latest eMMC standard, for worldwide mobile device makers," said JaeHyeong Lee, vice president, Memory Product Planning & Application Engineering, Samsung Electronics. "We will confidently strengthen our research and development efforts to continually bring to market the most advanced mobile storage devices based on next-generation standards."
The Samsung eMMC Pro Class 1500 is designed for next generation premium mobile products. It will improve system performance and the user experience for a wide variety of applications including web browsing, 3D and HD video capture and playback, multi-tasking activities, augmented reality and the use of social networking sites and interactive graphics-rich gaming.
The ultra high-speed storage device uses Samsung's 64-gigabit (Gb) NAND with a toggle DDR 2.0 interface based on the company's latest 20 nanometer class** process technology. The new eMMC's fully managed NAND memory comes with its own high performance controller and intelligent flash management firmware.
To meet the market need for thinner designs for high-end mobile devices, Samsung offers the new eMMCs in two, four- and eight-die stacks with the largest capacity of 64GB's being only 1.2 millimeters thick.
Samsung eMMC Pro Class 1500 is the first to support the latest JEDEC e-MMC v4.5 specification that standardizes more features to improve performance, efficiency, security, and reliability such as: a SDR-200 Interface (200MHz, 200MB/s Max Bandwidth), cache handling, dynamic handling, file sanitizing and power-off notification.
Featuring highly reliable boot code and application storage, Samsung's 64GB eMMC can store 16,000 MP3 files in a single package that weighs only 0.6 grams.
Samsung provided the first 64GB eMMC in January of 2010 using 30nm-class** 32Gb NAND flash components.


text:
week eight
Active Metabolic Assessment warm up, or 10 minutes of full body cardio. Start easy, increase speed every 2 minutes.
Today's cardio will be a HIIT workout, or High Intensity Interval Training. This means you'll alternate between bursts of intense energy and recovery periods.
Repeat the below circuit 6 times. If 60 seconds isn't enough recovery time, feel free to take 90+ seconds as needed.
Not sure where your heart rate zones are? Learn how to estimate your zones here.


text:
According to the new market research report "Electric Powertrain Market by Component (Motor, 12V, HV/48V Battery, BMS, 48V ISG, Controller, PDM, DC/AC Inverter, DC/DC Converter & Others), Type (BEV, MHEV, Series, Parallel & Parallel-Series), Vehicle Type, and Region – Global Forecast to 2027", published by MarketsandMarkets™, The global Electric Powertrain Market size is projected to reach USD 191.4 billion by 2027 from an estimated USD 62.9 billion in 2019, at a CAGR of 14.9%
The growth of the global Electric Powertrain Market is influenced by factors such as stringency in emission norms, government initiatives toward popularizing electric vehicles, and developments in various powertrain components. Therefore, the Electric Powertrain Market is expected to witness significant growth in the future.
Browse and in-depth TOC on "Electric Powertrain Market"
162 – Tables
53 – Figures
200 – Pages
The Electric Powertrain Market is dominated by globally established players such as Bosch (Germany), Mitsubishi Electric (Japan), Magna (Canada), Continental AG (Germany), and Hitachi (Japan).
Download PDF Brochure @ https://www.marketsandmarkets.com/pdfdownloadNew.asp?id=97605711
MHEV powertrain is expected to grow at the fastest CAGR in the Electric Powertrain Market
The 48V MHEV is an attractive revenue pocket for automakers right now. It is capable of delivering 70% efficiency of a conventional ICE powertrain. Owing to slowdown in diesel-powered vehicles and stringency in CO2 targets, manufacturers are turning to this technology for the market. According to Emission Analytics, the mass adoption of mild hybrids over BEVs is an effective solution to cut down emissions. Also, owing to the dropping prices of lithium-ion batteries, various automakers are turning to optimize lithium-ion batteries in their 48V systems. To optimize costs and packaging, Hella developed a 48V power pack that combines a 48V battery, BMS, and DC/DC converter, making it easier to integrate into the existing vehicle architecture.
Motor/generator is expected to grow at the fastest CAGR in the BEV powertrain component market
Motor/generator is estimated to be the fastest-growing segment in the BEV powertrain market. With the need to decrease CO2 emissions, automakers are switching to pure electric models. Various developments in motor/generators to improve the performance of the BEVs are also driving the BEV Electric Powertrain Market. For example, Tesla Model S uses two motors, and Rimac Concept One uses four motors for improved performance. The rise in sales of BEVs and developments in BEV powertrain motor concepts will drive this market segment in the future.
Request FREE Sample Report @ https://www.marketsandmarkets.com/requestsampleNew.asp?id=97605711
The Asia Pacific is expected to lead the Electric Powertrain Market during the forecast period
The Asia Pacific is estimated to be the largest market for electric powertrains as China is at the forefront of this technology globally. With the intention of curbing pollution and making China a manufacturing superpower, the Chinese government has already spent heavily on incentivizing and subsidizing electric vehicle sales. Also, the allocation of funds for building the necessary electric vehicle infrastructure has also propelled the Electric Powertrain Market in China with 466,100 public charging connectors—more than any other country in the world. India is also set to implement BS-VI emission norms by 2020, encouraging the mass adoption of electric vehicles in the future. Government-owned power companies such as Energy Efficiency Services is planning to install 10,000 charging stations in the next two years. The South Korean government is offering subsidies for domestic manufacturing of electric vehicles and R&D in chips and batteries to increase the production capacity of zero-emission cars from the current 1% to 10% by 2022. Additionally, the presence of major players in this region would drive the Asia Pacific Electric Powertrain Market in the future.
Browse Related Reports:
Electric Vehicle Market by Vehicle (Passenger Cars & Commercial Vehicles), Vehicle Class (Mid-priced & Luxury), Propulsion (BEV, PHEV & FCEV), EV Sales (OEMs/Models) Charging Station (Normal & Super) & Region – Global Forecast to 2030
Vehicle Electrification Market by Product (Start-Stop, PTC, EPS, Electric Air Conditioner, ISG, Starter Motor, Alternator, Actuator, Electric Pump-Vacuum, Oil & Water), 48V, ICE, BEV, HEV, PHEV, Vehicle Type, and Region – Global Forecast to 2027
About MarketsandMarkets™
MarketsandMarkets™ provides quantified B2B research on 30,000 high growth niche opportunities/threats which will impact 70% to 80% of worldwide companies' revenues. Currently servicing 7500 customers worldwide including 80% of global Fortune 1000 companies as clients. Almost 75,000 top officers across eight industries worldwide approach MarketsandMarkets™ for their painpoints around revenues decisions.
Our 850 fulltime analyst and SMEs at MarketsandMarkets™ are tracking global high growth markets following the "Growth Engagement Model – GEM". The GEM aims at proactive collaboration with the clients to identify new opportunities, identify most important customers, write "Attack, avoid and defend" strategies, identify sources of incremental revenues for both the company and its competitors. MarketsandMarkets™ now coming up with 1,500 MicroQuadrants (Positioning top players across leaders, emerging companies, innovators, and strategic players) annually in high growth emerging segments. MarketsandMarkets™ is determined to benefit more than 10,000 companies this year for their revenue planning and help them take their innovations/disruptions early to the market by providing them research ahead of the curve.
MarketsandMarkets's flagship competitive intelligence and market research platform, "Knowledge Store" connects over 200,000 markets and entire value chains for a deeper understanding of the unmet insights along with market sizing and forecasts of niche markets.
|Related Post
Global Servo Motors and Drives Market to Reach $15.8 billion by 2027, Driven by System, Communication Type & Brake Technology
Wireless Charging Market for Electric Vehicles Emerging Technology Trends 2022 to 2027
Cloud ERP Market projected to reach $130.0 billion by 2027, with a remarkable CAGR of 15.0%
Traffic Management Market projected to reach $68.8 billion by 2027, with a remarkable CAGR of 12.5%
PU sole (Footwear Polyurethane) Market by Raw Material, Application, and Region – Global Forecast to 2024


text:
The Raspberry Pi Foundation is celebrating a milestone. The organization recently announced it has sold ten million Raspberry Pi devices since the first versions debuted in 2012.
"Thanks to you, we've beaten our wildest dreams by three orders of magnitude," Raspberry Pi founder Eben Upton said in a blog post. To commemorate the milestone, Upton announced the very first official Raspberry Pi Starter Kit.
Why this matters: With its original mini-computers, the Raspberry Pi Foundation kicked off a revolution in low-priced computing for students and enthusiasts. Hobbyists have used the Raspberry Pi for everything from autonomous drones to smart mirrors to high-altitude balloons—not to mention its popularity as an everyday HTPC or the power behind a retro-gaming set-up. The Raspberry Pi hobbyist trend is so popular it even prompted Microsoft to roll out a version of Windows 10 tuned for developing Internet of Things devices. Microsoft also rolled out a Raspberry Pi development kit of its own in early September.
Further reading: 10 surprisingly practical Raspberry Pi projects anyone can do
Nice piece of kit
Unlike buying the plain old $35 Raspberry Pi 3 Model B board, the Starter Kit is a little on the pricey side.
The kit is on sale for £99 in the UK, meaning that when it rolls out to the U.S. in the coming weeks the kit will probably sell for about $140. For that money you'll receive everything you need to use the Raspberry Pi for basic coding.
The Starter Kit includes a Raspberry Pi 3 Model B, a case for the board, and an 8GB SD card with the NOOBS operating system pre-loaded. For peripherals, you'll get a mouse and a keyboard with scissor-switches—the keyboard looks similar to Apple's wireless keyboard. There's also an "official" 2.5 Amp power supply with multi-region adapters, an "official" three-foot HDMI cable, and a copy of the book Adventures in Raspberry Pi, 2nd Edition by Carrie Anne Philbin, who is Director of Education at the Raspberry Pi Foundation.