text:
Using Git for Samba Development: Difference between revisions
(Commit size/summary)
(update creating patches to ban git send-email and stop suggesting patches can be pushed directly.)
|Line 170:
|Line 170:
The [[Samba Release Planning]] page lists the current branches and their status.
The [[Samba Release Planning]] page lists the current branches and their status.
== Creating patches
== Creating patches ==
As you need code review you will first need to send your patches to other developers. [[Using_Git_for_Samba_Development#GitLab|GitLab]] provides a one-step approach, but we also accept patches on the [https://lists.samba.org/mailman/listinfo/samba-technical samba-technical mailing list] and in [https://bugzilla.samba.org/ Bugzilla].
$ git format-patch -3
This will export them into one file (which is the preferred way to handle patches in Samba):
$ git format-patch -3 --stdout > featureX-01.patches.txt
$ git format-patch origin/master
While there are many ways to send patches with git, '''a single .txt file attached to the cover e-mail''' is how we do things in Samba.
This will create one patch file for every patch that is in your local branch but not in origin/master.
If you have more patches which belong together it's sometimes useful to export them into one file:
$ git format-patch --stdout origin/master > master-featureX-01.patches.txt
$ git format-patch --stdout origin/master > master-featureX-01.patches.txt
This will export all the changes since origin/master into one file.
=== git send-email ===
Using git send-email in the Samba project is '''not permitted'''. Doing so will cause, without manual work by the recipient, your patch to be credited to '''samba-technical@...''' not your own e-mail address.
Revision as of 18:30, 22 February 2019
Samba source code is now hosted in a shared git repository to which all existing Samba Team members are allow to push to after code review via the autobuild system. If you are a Team member and do not have an account on git.samba.org, please email the team list and let the appropriate people know. This is a shared repository, after review and via autobuild, all active development is in master as a series of rebased patches. Samba's use of git is perhaps best described as the Centralised, rather than the Feature branch git workflow. Individual commits should be kept small and should be summarized completely by their commit message.
Git Installation
- The git source code is available from http://www.kernel.org/pub/software/scm/git/.
- The project home page is located at https://git-scm.com/.
- You should probably familiarize yourself with the Git tutorial.
The examples in the following sections are based off of the tools and syntax used by git v1.5.3 or later which is the recommended version for Samba. Either apt-get, yum, or make install the tools. See Git documentation for more details on this part.
If you are on OS X, both MacPorts and Fink contain working binary packages of Git. Building Git from source on OS X works fine, but resolving the chain of dependencies for asciidoc (which is needed to build the man pages) is very painful.
Many users may find it easier to start by creating a fork on GitLab. Samba has a GitLab mirror of the official git repository.
A merge request made against the GitLab mirror will send an email to everyone registered on GitLab with your patch. You may wish to also mail the patch or merge request URL to the samba-technical mailing list. Please ensure you have added Signed-off-by tags to your commits, and follow the Samba copyright policy.
Once on the mailing list, Samba Team members (in particular) will review your changes, and post comments to you either on your merge request, or on the list. so please ensure you are subscribed to samba-technical.
To fetch a merge request from gitlab, use the fork URL in the mail, giving the original branch:
git fetch firstname.lastname@example.com:<fork> <branch> git checkout FETCH_HEAD
Once Reviewed-by tags are added this can then be sent to autobuild in the customary fashion.
After the autobuild completes, please close the merge request using the git hash finally assigned in master in the comment:
Merged as <git hash>
Automatic testing of commits
The GitLab CI service is configured in the Samba repository. When you create a commit Samba will be automatically built and some of Samba's tests will be run. GitLab tests on shared runners are prone to failure due to GitLab's limit of one hour on tests. To help prevent this a smaller set of tests is run on the GitLab runners as the full set of tests can take upwards of 4 hours. Members of the Samba team and approved Samba developers have access to a set of private servers to run tests on which you can read more about here. A guide on setting up a personal computer as a GitLab runner can be found here.
Basic Samba Git
The master git repository is located at git://git.samba.org/samba.git and https://git.samba.org/samba.git. There is also a GitWeb installation.
Step Zero is to set your name and email address for commits:
$ git config --global user.email firstname.lastname@example.com $ git config --global user.name "Your Real Name"
Next, clone the repository:
$ git clone https://git.samba.org/samba.git Initialized empty Git repository in /home/AD/gcarter/src/git/tmp/samba/.git/ remote: Generating pack... remote: Done counting 440544 objects. remote: Deltifying 440544 objects... remote: 100% (440544/440544) done Indexing 440544 objects... remote: Total 440544 (delta 340808), reused 436199 (delta 336480) 100% (440544/440544) done Resolving 340808 deltas... 100% (340808/340808) done $ cd samba
List local and remote branches:
$ git branch * v3-2-test
$ git branch -r origin/HEAD origin/v3-0-stable origin/v3-0-test origin/v3-2-stable origin/v3-2-test
Listing tags matching release-3-0-3*
$ git tag -l release-3-0-3* release-3-0-3 release-3-0-3pre1 release-3-0-3pre2 release-3-0-3rc1
Creating your own working branch from v3-2-test:
$ git checkout -b my_branch origin/v3-2-test Branch my_branch set up to track remote branch refs/remotes/origin/v3-2-test. Switched to a new branch "my_branch"
Do your own local work:
$ mkdir git-test $ echo "hello" > git-test/README
View status of changes
$ git status # On branch my_branch # Untracked files: # (use "git add <file>..." to include in what will be committed) # # git-test/ nothing added to commit but untracked files present (use "git add" to track)
Add our new file to the local branch index:
$ git add git-test $ git status # On branch my_branch # Changes to be committed: # (use "git reset HEAD <file>..." to unstage) # # new file: git-test/README #
Commit changes
$ git commit -m "Example file for HOWTO" Created commit ad9a1eb: Example file for HOWTO 1 files changed, 1 insertions(+), 0 deletions(-) create mode 100644 git-test/README
Do some more work and commit local changes....
Now fetch the remote branch history:
$ git fetch
Merging remote branch changes:
$ git merge origin/v3-2-test Already up-to-date.
To present your patchset properly to other developers, please rebase your patches against the branch you are developing against. In particular, if you are developing for Samba 3, please regularly do a
$ git rebase origin/v3-2-test
Obviously replace "origin/v3-2-test" by "origin/master", "origin/v3-4-test" or whatever branch you are developing against. If you have created a mess in your local patch queue, "git rebase -i" might help you out.
The final push of the changes to the shared repository is done by team members using the autobuild system.
However, you may push them to your own fork on gitlab or elsewhere with a command like:
$ git remote add gitlab ssh://email@example.com/$USER/samba $ git fetch gitlab $ git push gitlab my_branch:my_remote_branch updating 'refs/heads/v3-2-test' using 'refs/heads/my_branch' from f2252e041e075e19bf27e53ab3ed62f39bc8b3e2 to ad9a1eb599c125964ac3e198d3003841edb4c54e Generating pack... Done counting 5 objects. Result has 4 objects. Deltifying 4 objects... 100% (4/4) done Writing 4 objects... 100% (4/4) done Total 4 (delta 1), reused 0 (delta 0) refs/heads/v3-2-test: f2252e041e075e19bf27e53ab3ed62f39bc8b3e2 -> ad9a1eb599c125964ac3e198d3003841edb4c54e
After they have been pushed to your GitLab fork make a merge request for the branch you are developing against. Once it has been reviewed an approved a team member will push them to the shared repository with the autobuild system as normal.
Some Git Tricks
When you have quite some changes to commit, but you want to split them in logically coherent commits you can do that with the following invocation:
$ git commit -i
When you have commits you want to push, but you want to have the commits to compile on their own, you can insert x make -j after each commit to check if they do compile one after the other with:
$ git rebase -i
Last, but not least, when you want to discard part of your changes before committing, you can use:
$ git reset -p
Explanation of Branches
- The master branch is the development branch. Any team member may check into this branch via autobuild after code review.
- The *-test branches are the release series dev branch. These are under the control of the current release manager for a given release series.
- The *-stable branches are used for release purposes, matching the current release tarball. These are under the control of the current release manager for a given release series.
The Samba Release Planning page lists the current branches and their status.
Creating patches for the samba-technical mailing list or Bugzilla
As you need code review you will first need to send your patches to other developers. GitLab provides a one-step approach, but we also accept patches on the samba-technical mailing list and in Bugzilla.
In this case, you should create patches. Now, assuming your patches are the last three commits on your current local git branch, this is the easiest way to create patches from them:
This will export them into one file (which is the preferred way to handle patches in Samba):
$ git format-patch -3 --stdout > featureX-01.patches.txt
This will create a patch file with a .txt suffix (meaning it will be encoded text/plain in the archives) in your current directory that you can then send to the samba-technical mailing list.
While there are many ways to send patches with git, a single .txt file attached to the cover e-mail is how we do things in Samba.
Note that if you have a number of patches against a specific samba.git branch and don't feel like counting them, the following works as well (e.g. against the master branch):
$ git format-patch --stdout origin/master > master-featureX-01.patches.txt
This will export all the changes since origin/master into one file.
git send-email
Using git send-email in the Samba project is not permitted. Doing so will cause, without manual work by the recipient, your patch to be credited to samba-technical@... not your own e-mail address.
Q. How do I revert a commit?
A. The "git reset" command allows you to reset the HEAD of the branch to any given point in history. To go back one commit, run "git reset HEAD^". This will keep your local changes and you can make any additional changes before re-commiting the new work. Also see the "git commit --amend" command and the "git reset" man page for other examples.
Q. Is there a shorthand for git push <URL> <local_repo:remote_repo>?
A. Yes. You can define a [remote "upstream"] section in your local repos .git/config file.
$ git config remote.origin.url ssh://git.samba.org/data/git/samba.git $ git config remote.origin.push my_branch:v3-2-test $ cat .git/config ... [remote "origin"] url = ssh://git.samba.org/data/git/samba.git fetch = +refs/heads/*:refs/remotes/origin/* push = my_branch:v3-2-test [branch "my_branch"] remote = origin merge = refs/heads/v3-2-test
Q. How can I have access to the old CVS and SVN imported repositories via GIT without creating additional cloned repos?
A. You can add remote tracking repositories using "git remote":
$ git remote add cvs git://git.samba.org/import/samba-cvsimport.git $ git fetch cvs remote: Generating pack... remote: Done counting 7070 objects. Result has 5004 objects. remote: Deltifying 5004 objects... remote: 100% (5004/5004) done Indexing 5004 objects... remote: Total 5004 (delta 3836), reused 4098 (delta 3044) 100% (5004/5004) done Resolving 3836 deltas... 100% (3836/3836) done 461 objects were added to complete this thin pack. * refs/remotes/cvs/APPLIANCE_HEAD: storing branch 'APPLIANCE_HEAD' of git:// git.samba.org/import/samba-cvsimport commit: af0e201
You can then see the remote branches using "git branch -r" and work with them in the same way you did for the "origin" branches obtained in the initial "git clone".
Q. How can I maintain a feature branch against the upstream Samba branches?
A. You clone the Samba repository as per the instructions above. Then you make a new feature branch from v3-2-test:
$ git branch feature/foo v3-2-test
Now you do your development in your feature branch. Any time the v3-2-test branch gets too different to the code in your feature branch you should rebase your feature branch. The rebase rewinds your feature branch to the point there it was branched. Then it updates you feature branch to the HEAD of the v3-2-test branch and re-applies your changes.
$ git rebase v3-2-test First, rewinding head to replay your work on top of it... HEAD is now at 357f003... Add WERR_SERVICE_ALREADY_RUNNING. ... Wrote tree 02299ef7c1cfa093248bfd9c6e3812805718845e Committed: e20a8c521d7860d9b7bd724ed5ea19c7306530ab
Rebase works best when you use it for local branches that are never pushed to a public repository, see Why won't "git push" work after I rebased a branch?.
Suggestions for .gitconfig
In order to comply with Samba coding standards and not add new trailing whitespace (see: Samba Coding Standards Document) it is suggested to put:
[apply] whitespace = strip
into your $HOME/.gitconfig file.
That way, whenever you apply a patch using git-am or rebase your work on top of the upstream trees with git-rebase, all newly added whitespace is nicely removed automatically.

subset: commoncrawl


text:
Top stories
Trending on Bing
Menendez resignation push
Alligator w/ corpse in mouth
GOP misinformation research
Henderson dies at 70
Tie the knot
15 dead in Somalia bombing
Spending bills ready for vote
WWE releases Matt Riddle
Fetterman family's recovery
Gets updated COVID shot
Peanut Festival cameo
Mississippi River threat
Ex-Wagner commander held
Rep's wife files for divorce
Hollywood talks continue
Mediterranean 'sea of death'
Ophelia makes landfall in NC
Former NHL player dies
Vetoes gender-identity bill
Coach Sanders ticket
UKR targeting Crimean city
Underwater system upgrade
Who is Lachlan Murdoch?
Calls for SC code of conduct
Postponed amid bad weather
China's empty homes
Flamingos visit Wisconsin
Family sues Texas officials
Osiris-Rex is back from Benu
Russian minister at UN
Miss. civil rights leader dies
Canada supports Ukraine
Exhibit 10 deal w/ Pacers
Any time
Past hour
Past 24 hours
Past 7 days
Past 30 days
Best match
Most recent
10,800 results
Fox Sports
Heat defeat Nuggets in Game 2 of the NBA Finals, even series 1-1 | UNDISPUTED
The Miami Heat evened the NBA Finals at one game each after a 111-108 win last night over the Denver Nuggets. Gabe Vincent led the Heat in scoring with 23 points while Jimmy Butler and Bam Adebayo ...
Hosted on MSN
When is Nuggets-Heat Game 5? Updated NBA Finals schedule, date, time & TV channel
15 wins down, one to go. With their 108-95 win in Game 4 the Denver Nuggets have moved within one win of their first NBA Championship in franchise history. Despite Nikola Jokic landing in foul ...
National Basketball Association
5 takeaways: Nuggets drop Heat for 1st NBA championship
A closer look at how Denver was built, Jamal Murray & Michael Porter Jr. overcome odds and Michael Malone is eager for more titles. Shaun Powell The Denver Nuggets celebrate their first ...
Nikola Jokic, Nuggets hold off Heat late to win Game 1
DENVER (AP) — Nikola Jokic and the Denver Nuggets were facing some questions going into their first NBA Finals, and their answers came in resounding fashion. No, a week and a half off didn't ...
National Basketball Association
2023 NBA Finals preview: Nuggets, Heat take unique paths to Finals stage
The story of a No. 1 seed facing a Play-In survivor doesn't do justice to the star talent taking the Finals stage. Shaun Powell Shaq, Charles, Kenny and EJ share their thoughts on the Nuggets-Heat ...
How to Bet on Heat vs Nuggets in Game 4 of the NBA Finals
Just like that, the Denver Nuggets are ahead once again in the NBA Finals, and they are now strong favorites to win the NBA Championship again, following their Game 3 road win. Ahead of what could ...
Sports Illustrated
Heat And Nuggets Final Injury Reports And Starting Lineups
The Miami Heat and Denver Nuggets have finalized their injury reports and starting lineups for Game 5. The starting lineups for both teams have been relayed by Underdog NBA. Via Underdog NBA ...
Hosted on MSN
Nuggets push Heat to the brink: Best memes and tweets
The Denver Nuggets overcame Nikola Jokic foul trouble to beat the Miami Heat in Game 4 and take command of the NBA Finals. The 8-seed Miami Heat found themselves in unfamiliar territory ...
Heat still confident, Nuggets remain focused as NBA Finals reach Game 4
Denver Nuggets center Nikola Jokic (15) listens to a question during a post game news conference after Game 3 of the NBA Finals basketball game against the Miami Heat, Thursday, June 8, 2023, in ...
Santa Maria Times
Heat looking to get to the line more, while Nuggets vow to be better in Game 2
DENVER (AP) — For the Miami Heat, shooting at Denver's 5,280 feet of mile-high altitude during Game 1 of the NBA Finals wasn't a problem. Not shooting from 15 feet — the distance from the ...
Joplin Globe
Heat still confident, Nuggets remain focused as NBA Finals reach Game 4
MIAMI — Jimmy Butler showed up in plush blue slippers for what was officially called practice. Kyle Lowry was trying to distract him during an interview session. Nikola Jokic continued to say ...
Heat still confident, Nuggets remain focused as NBA Finals reach Game 4
MIAMI (AP) — Jimmy Butler showed up in plush blue slippers for what was officially called practice. Kyle Lowry was trying to distract him during an interview session. Nikola Jokic continued to ...
Some results have been hidden because they may be inaccessible to you
Show inaccessible results


text:
This place is a dream...Follow us on instagram!
Your Cart is Empty
I Agree with the Terms & Conditions
There is a 24-48 hour processing time for all orders, with most orders sent out for delivery within 24 business hours.
Shiraz Kitchen
$ 18.99
Notify me when this product is available:
Type: Unknown Type
Sign up to get the latest on sales, new products and more …


text:
I have had a few emails today regarding my earlier Facebook post. I was questioned as to why the images did not look like they were shot on Alexa or Canon 5D (two of the camera's I used for the shoot). My response is….what should images from the Alexa and Canon 5D look like? Is there a rule for using those camera's or do they have a very special signature that says…this image was shot on a "this or that" camera. It seems most these days regard a good image as something with shallow depth of field and sharp as a tack. Continue reading
Tag Archives: D21
Is it worthwhile owning your own equipment?
This was in response to a college graduate who was looking at purchasing equipment as a way of getting into the industry.
Owning your own gear is a bit of a double edged sword. On one hand you have the potential to make extra income and make attractive deals for Producers but at the same time, what will be an attractive deal to one will become a burden to another.
Fortunately, I am in a position where I can make strong representations regarding my equipment and, based on years of experience, show Producers Continue reading


text:
NEW YORK (AP) — Oil nearly reached $100 a barrel for the first time this year, as traders worried about disruptions to Mideast supplies while anticipating an increase in oil demand in the U.S.
Benchmark crude for August delivery gained $1.61, or 1.6 percent, to close at $99.60 a barrel in New York after rising as high as $99.87. Oil last crossed $100 a barrel on Sept. 14 of last year.
Protests in Egypt continued as President Mohammed Morsi faced a military ultimatum that gives him until Wednesday to meet the demands of the millions who have taken to the streets seeking his ouster. Traders were concerned that the situation in Egypt, as well as and the civil war in Syria, could affect the production and transport of oil supplies in the Middle East and North Africa.
Traders are also awaiting the Energy Department's weekly report on U.S. stockpiles of crude oil on Wednesday. Data for the week ending June 28 is expected to show a draw of 3 million barrels in crude oil stocks, according to a survey of analysts by Platts, the energy information arm of McGraw-Hill Cos.
That would be the first decline in four weeks, and the forecast supported oil prices.
In addition, BP PLC says a new 250,000 barrel-a-day distillation unit at its refinery in Whiting, Ind., is operational. The unit will initially process light, sweet crude, which analysts expect will mean increased demand for West Texas Intermediate crude, the U.S. benchmark.
At the pump, the average price of a gallon of gas dropped another penny to $3.48, the lowest level since early February.
In London, Brent crude rose $1 to finish at $104 a barrel on the ICE Futures exchange.
In other energy futures trading on Nymex:
— Natural gas gained 8 cents to end at $3.65 per 1,000 cubic feet.
— Heating oil added 3 cents to finish at $2.90 per gallon.
— Wholesale gasoline rose 5 cents to end at $2.78 per gallon.


text:
ICC Fundraising Guidelines and Event Planning
Below are the ICC guidelines that must be followed when planning your club fundraising activities:
- There may be only 1 food sale per day. Clubs are required to reserve days by writing in the club name on the fundraising calendar posted in Student Union 209.
- Clubs must submit a Fundraising Event Request Form 14 business days in advance to Student Union 205, and schedule a time to meet with the Student Activities Management Assistant to review event details.
- Any other forms required for the event (sound, performers, etc.) must also be submitted 14 business days in advance.
- Every ICC meeting will begin with an overview and update of the Events Calendar.
What Qualifies as a Food Sale
A food sale is defined as such:
- It can only be in one location—the Amphitheater, Cloud Mall, or Ram Plaza.
- There can only be one per day. However, more than one club may share the space and do a joint food sale if the club that has the day reserved agrees.
- A club may have a food sale in the morning while another club has one in the afternoon, as long as there is no conflict.
- Example: Club A sells coffee from 9 a.m. - 12 p.m. while Club B sells hot dogs from 12 p.m. - 3 p.m.
Before your fundraising event
Discuss possible dates with club members, and reserve your fundraising date on the calendar posted in Student Union 209. Make sure that you submit a Fundraising Event Request Form to Student Union 205 at least 14 days before you plan to have your event so that there is no other conflict with the date you want. Reserve the BBQ Grill, tables, chairs, canopies, and anything else you wish to have at your event on this form. Please remember that this equipment is on a first-come, first-served basis. If you need any technical equipment beyond what the Associated Students have available, the club advisor will need to make arrangements with the Audio-Visual Department.
Once you figure out what day you want to have your fundraiser, you can decide whether or not your club wants to take out a cash advance or if someone will pay for the items before and be reimbursed afterward.
Your club must decide before you even begin to advertise your fundraiser if you are going to raise money for a cause. Money can be sent to charitable organizations/activities only if specifically fundraised for that purpose. The fundraising publicity posters and flyers MUST state the specific charitable organization/activity that shall receive the proceeds of the fundraiser. Once the money from the fundraiser is deposited into your club account, you will have 30 days from that point to submit the paperwork for the transfer of money to the charitable organization/activity.
Your club must decide before you even begin to advertise your fundraiser, if you are going to raise money for prizes or awards for members of your club or for the winners of a club-sponsored competition. The only way a club/council can award a cash prize or purchase items for prizes is if the club fundraises for the specific event or receives donations for the prizes. It is prohibited to use District funds or Associated Students funds to purchase prizes or award prizes for the winners of a club-sponsored competition (which is viewed as a gift of public funds). The fundraising publicity posters and flyers MUST specifically state that the proceeds of the fundraiser will be used for the prize money or for the purchasing of prizes to award to the winner(s) of the advertised competition. Once the money from the fundraiser is deposited into your club account, you will have 30 days from that point to submit the paperwork for the transfer of money to the winner(s) of the competition. If the winner(s) are awarded prizes, these must be purchased beforehand either with a cash advance or will be reimbursed later.
For business, groups, or individuals needing a TAX ID number for donations, please get form letter from the Student Activities Office. For cash donations or expensive items, bring to the attention of the Associate Dean of Student Activities. For donations over $200.00, your club must complete a Donation Approval Form (Administrative Services Office E104) and attach a copy of the check (if applicable) or a list of items that was donated to the club/council.
If you decide you are only asking for donations at your event, and will not be selling anything, a club representative must pick up a Fundraising Lock Box from the Administrative Services Office in Conlan Hall E104. Please bring a flyer of your event to show the Administrative Services Office that your club is having a fundraising event, and be sure to include on the flyer where or to whom/what the donations will go. You cannot require people to donate to your event; however, if you want to have a donation box and still sell tickets to your club event you can do so (See Tickets below).
For dances, performances, workshops and other such activities where your club will be pre-selling tickets or selling tickets at the door to the event, you will need to discuss this with the Student Activities Office at least 3 weeks beforehand. To ensure you will have a staff member at your event as a ticket taker or cashier, you will need to fill out a Request for Staffing Form and submit it to the Student Activities Office 2-3 weeks before the event. You MUST have a cashier at your event if you are selling tickets at the door and a cashier can only be a designated staff member from the Administrative Services Office. You CANNOT take tickets yourself.
ICC Food Fundraiser Guidelines
Step One: Paperwork
- Reserve the date you wish to host your fundraiser by writing your club's name on the calendar in Student Union 209.
- Fundraising Event Request Form must be submitted 14 days before the scheduled event to Student Union 205. (Please note that food fundraisers must be completed by 3:30 p.m..)
- Attach the flyer for the fundraiser, which includes:
- Date, Time, Location, and Price List of Items to Be Sold
Step Two: Confirmation
- Confirm with Student Activities that your event has been approved. You must meet with the Student Activities Management Assistant to review the details of your fundraiser.
Reasons why your event would not be approved:
- Incomplete paperwork
- Date already taken by another club
Step Three: Day of Food Fundraiser
- Check-in with Student Activities to get reserved equipment
- Send a representative to Conlan Hall E104 to sign out for receipt books
- Your club will be responsible for the receipt books during the fundraiser and to turn them back in by 3:30 p.m.
- When you pick up the receipt books, you need to bring a copy of the Fundraising Event Request Form, which you can get from the Student Activities Office and the flier with the price list on it to Conlan Hall E104.
Step Four: During the Fundraiser
- Each purchase must be accompanied by a written receipt (the original [white] goes to the patron, and the copy [yellow] stays in the book)
- At the end of the fundraiser, all receipts should reflect the exact amount of cash collected
- Both receipts in the receipt books and the cash are due to Conlan Hall E104 by 3:30 p.m. the day of the fundraiser. No exceptions!
- The same person that checked out the receipt books does not need to turn them back in, but they will have to stay while the Student Accounting Office counts all the money, at which point they will issue a receipt for money deposited
Other Notes to Consider
- A Fundraiser Deposit Statement will no longer be used for fundraisers, only for donations.
- If changes are made to the prices of items sold, please note that on the first receipt when the price changes. (For example, say you were selling tacos and you wanted to drop the price because you have a number of unsold tacos and only an hour left of the fundraiser. Your club may reduce the price but you must write that down in the receipt book – for only the first taco sold at the reduced price)
- Please note these guidelines are for food fundraisers only.
After your fundraising event
Within 2 working days of a fundraising event, ensure that your treasurer has deposited any fundraised money into the club account in Conlan Hall E104. If not done an adequate amount of time, club accounts can be frozen until the funds are deposited.
If your club took out a Fundraising Lock Box from the Administrative Services Office, you must bring the box and a Fundraising Deposit Statement (signed by your advisor and treasurer) back to the office on the same day or the day after your club event (unless it is a weekend night). The office staff will count the money from the box in front of you and will then deposit the donations into your club account. Remember to keep the receipt they give you for your club records.
Your club CANNOT use the money you raised without depositing it into your club account first.
Your club CANNOT open an off-campus bank account.


text:
Ethereum Pop
$79.99 – $449.99
Canvas Details
Our industry leading canvas prints will bring your wall to life like no poster can. They are printed in high definition with archival quality HP inks, and each one has to meet our strict quality standards before we ship it out. They're guaranteed to never fade, run, bend, or fold like a standard poster would.
Stretched and wrapped around real pine wood bars of 1.5″ thickness and ready to hang right out of the box. Our bars are made from certified pine wood that is knot free, sap free, and guaranteed not to warp or crack. There are no cheap or recycled stretcher bars here!
Ready to hang right out of the box! We package and ship your canvas directly to your door with hanging hardware attached. All you need to do is carefully remove it from the box and protective packaging, then hang on your wall and step back and marvel at your new art.
Money back guarantee. If you are not satisfied for any reason, just contact us within 90 days and we will give you a 100% refund. Or take advantage of our exchange program where you can exchange your canvas for another one that you like better.
Shipping Policy
Please allow 5-8 business days after placing your order for it to arrive. Each canvas is made to order, and quality takes time. We will not send a canvas that we would not hang on our own walls. We use UPS and Fedex, depending on where the package is being delivered. Your package will not require a signature except for canvases larger than 40x30.
Refund Policy
WHAT IF MY CANVAS IS DAMAGED IN SHIPPING? This does happen from time to time, but have no fear! Simply contact us to let us know, provide a picture of the damage, and we will be more than happy to ship another one. WHAT IS YOUR RETURN POLICY? We will be happy to take returns within 30 days of delivery. The canvas should be in original condition and returned in the original packaging. We ask that you provide a tracking number, and you will be refunded the full amount of your order upon receiving the canvas back in unharmed condition. WHAT IS YOUR REFUND POLICY? We offer a 30 day money back guarantee! If you need to return or exchange your canvas please contact us and our amazing customer support will take care of you.
Frequently Bought Together
ETC Space$119.99
Ethereum Coin$79.99
Ethereum Pop$79.99
- ETC Space($119.99)
- Ethereum Coin($79.99)
- Ethereum Pop($79.99)


text:
Topoisomerase: A class of enzymes that alter the supercoiling of double-stranded DNA. (In supercoiling the DNA molecule coils up like a telephone cord, which shortens the molecule.) The topoisomerases act by transiently cutting one or both strands of the DNA. Topoisomerase type I cuts one strand whereas topoisomerase type II cuts both strands of the DNA to relax the coil and extend the DNA molecule.
The regulation of DNA supercoiling is essential to DNA transcription and replication, when the DNA helix must unwind to permit the proper function of the enzymatic machinery involved in these processes. Topoisomerases serve to maintain both the transcription and replication of DNA.
Aside from topoisomerases I and II, there are more discovered topoisomerases. Topoisomerase III may regulate recombination while topoisomerase IV regulates the process of segregating newly replicated chromosomes from one another.


text:
TruAire 4 in. x 10 in. Brown Floor Diffuser
The H150MB 04 x 10 is a 4 in. x 10 in. 2 way air diffuser used for floor openings. The stamped face allows for two way air deflection. Our patented Smooth glide technology ensures rattle free and quiet airflow from your central air system. Smooth glide also provides for smooth opening and closing of your back dampers. Our high quality product will ensure years of continuous use. * Floor diffuser controls airflow into a room * Made of high quality steel * Brown powder coat finish * Dampers control the amount and direction of airflow


text:
NEW YORK (AP) — The movie industry grappled Friday with the deadly Colorado shooting at a midnight screening of "The Dark Knight Rises," as one of the most anticipated films in years became enmeshed with a massacre.
The film's director, Christopher Nolan, speaking for the cast and crew, expressed their "profound sorrow at the senseless tragedy," lamenting the violence brought into the cinema, where moviegoers had gathered for what was supposed to be a celebratory opening night.
"I believe movies are one of the great American art forms and the shared experience of watching a story unfold on screen is an important and joyful pastime," said Nolan. "The movie theatre is my home, and the idea that someone would violate that innocent and hopeful place in such an unbearably savage way is devastating to me."
The shooting, which killed 12 and left nearly 60 injured in an Aurora, Colo., movie theater, reverberated through Hollywood and upended carefully laid plans for the global release of "The Dark Knight Rises." Warner Bros. quickly canceled a premiere planned for Paris and canceled press interviews in France.
Warner Bros.. rushed to react to the tragedy, saying in a statement that it extended "our prayers and deepest sympathies to the victims, their loved ones and those affected by this tragedy." Dan Fellman, head of distribution for Warner Bros., said he had been up since 4 a.m. making calls.
"Everybody is very saddened by the event. We were obviously looking for a very happy occasion for us," Fellman said. "It's a difficult way to begin. We're just more concerned now with the well-being of those that were injured, of course."
Warner Bros. had no further comment on whether screenings might be canceled or precautions taken. The studio did take the unprecedented step of delaying its reporting of eagerly awaited weekend box office figures for "Dark Knight" from Sunday to Monday "out of respect for the victims and their families."
Warner Bros. also moved to pull trailers for its upcoming movie "Gangster Squad" from showings of "The Dark Knight Rises." The trailer of the film, which stars Sean Penn and Ryan Gosling in a ruthless war between '40s Los Angeles police and the mob, includes a scene of mobsters firing into a movie theater from behind the screen.
A person familiar with what was shown at the Aurora theater said the trailer did not play there. The person did not want to be identified because the person was not authorized to speak on the matter.
Cinemark Holdings Inc., the chain that owns the theater where the shooting happened, said it was working closely with local law enforcement. "Our thoughts and prayers are with the victims, their families and loved ones, our employees, and the Aurora community," the company said.
Movie theaters around the country continued Friday showings of the film as planned, though some were stepping up security and conducting bag searches. New York police commissioner Raymond Kelly said the city was providing extra security in New York theaters playing "The Dark Knight Rises" ''as a precaution against copycats and to raise the comfort levels among movie patrons."
In the wake of the shooting, "The Dark Knight Rises" and the earlier Batman films, with their dark themes and emphasis on terrorism, were sure to be heavily scrutinized. The practice of midnight screenings for eagerly anticipated blockbusters, too, could come into question.
Kelly said that the suspected gunman, James Holmes, had his hair painted red and identified himself to authorities saying he was the Joker. Heath Ledger played the Joker in the previous Batman installment, "The Dark Knight," although his hair was colored green. Ledger died in 2008 from a toxic combination of prescription drugs before the film was released.
"I don't know if James Holmes cared deeply about Batman," film critic Roger Ebert wrote in an op-ed for The New York Times. "I suspect he cared deeply about seeing himself on the news."
The National Association of Theatre Owners issued a statement offering their "hearts and prayers" to the victims. The association said, "Guest safety is, and will continue to be a priority for theater owners," adding that the group would work closely with law enforcement and review security procedures.
"We share the shock and sadness of everyone in the motion picture community at the news of this terrible event," said former Sen. Chris Dodd, chairman and CEO of the Motion Picture Association of America. "We extend our prayers and deepest sympathies to the victims, their loved ones and all those affected by this tragedy."
"The Dark Knight Rises" had expectations of being one of the biggest weekend openings ever. Its midnight screenings earned $30.6 million, Warner Bros. said Friday. That's the second-best midnight opening ever, behind $43.5 million for the "Harry Potter" finale. "The Dark Knight" earned a then-record $158.4 million in its first three days, including $18.5 million from midnight screenings.
The PG-13 film played in 3,825 theaters domestically in the midnight screenings, expanding to 4,404 cinemas nationwide Friday. Many showings on the weekend were sold out in advance.
Paul Dergarabedian, an analyst for Hollywood.com who specializes in box office, declined to speculate on an effect the tragedy might have on the film over the weekend, saying it was too soon to estimate. But some moviegoers were already rethinking their plans.
Christine Cooley, who works for the University of Florida at a campus facility near Tampa, Fla., said she and her 15-year-old daughter were stunned by the TV coverage of the shooting Friday morning.
"Her immediate reaction was 'I'm never going to the movie theater again. Why should I go somewhere where I'm looking over my shoulder worrying that someone is going to come in and harm us when I can wait six months and watch it in the safety of my own home?'"
Cooley said she tried to explain to her daughter that it was an isolated incident, "but I see where she's coming from. Why put yourself in harm's way?"
Others were undeterred.
"Just seem like another day at the movies," said Jimmie Baker, 40, of Harlem, N.Y., at a theater in Times Square.
Andrew Bross, 22, of Livingston, N.J., returned Friday to watch "The Dark Knight Rises" for the second time in 12 hours.
"I go to the movies every week," he said. "I'm going to keep going. I'm not going to let it stop me one bit."
Damon Lindelof, the co-creator of "Lost," said he was going to see the film Friday night and suggested a modest tribute: a minute of silence as the end credit roll.


text:
During our almost hourly powows at Indian Wells last week, my friends Chip and Charge both chimed in on their favorite outfits from the desert. Their unanimous choice? The looks from Lotto.
Former World No. 1 Juan Carlos Ferrero was wearing a the Kontact Print tee in a white/maroon colorway (with matching shorts). This is the style with the metallic graphic on the right torso. (FYI: After a strong start Down Under, Juanqui's record has been dismal, with back-to-back first round losses in Rotterdam and Dubai, followed by a loss in the fourth round of the Pacific Life Open to David Nalbandian.)
Yep, that's a mock mandarin collar. I still like v-necks better, but this is genius!
A training sleeveless tee and a warm-up jacket.
Meanwhile, Guillermo Garcia Lopez wore a red/white/black polo. Very clean, and stood out very nicely in the green and blue courts in the desert.
Gigi on the stretch.
The flip side: Lotto's casual Leggenda collection looks pretty good for spring/summer 2008 — they're all about fleur de lis, which I'm currently into. I might do a post on it later with pictures, if I have time. For now, you should check out the Lotto site and browse.
(All photos by BabyAngelB1 via MTF)


text:
There's still a lot of confusion in the Republican Party in the aftermath of the 2012 election. Part of the confusion stems from the struggle between the party establishment based in Washington and the party's base of voters all over the country. Sixty-three percent of Republican voters nationwide recognize that their leaders in Washington have lost touch with the base.
Added to that challenge is the debate over what type of change is needed. Some argue that the party needs to simply change the message and find a better way to sell its product. Others argue that more substantive policy changes are needed.
To end the party's civil war, both sides need to change. The Republican base needs to make its message of limited government more palatable to more Americans. Bigger fixes are necessary for the party establishment. Right now, it acts as if only cosmetic changes are needed. For example, since the party had trouble with Hispanic voters, let rising star Marco Rubio deliver the GOP response to President Obama's State of the Union address. From the view of Washington Republicans, the only other thing that's needed is for the base to become more "pragmatic."
However, if the Republican base had listened to the establishment a few years back, Rubio would still be unknown. The establishment's definition of pragmatism at that time was to oppose Rubio and back former Florida Gov. Charlie Crist, who is now a Democrat. Yes, it's important for Republicans to make more of an effort to reach out to the Hispanic community, but it needs to be substantive outreach based on common ground and values. Rubio may be able to help, but it will be because of his message, not his heritage.
Today, the Republican establishment would rather keep wrangling with the Democratic establishment, risking irrelevance because it has neither power nor a large group of supporters.
As for the GOP base, sincere talk about limited government clearly doesn't work. Not enough voters care about limited government as a goal unto itself. People care about the kind of society a limited government can create. Too often when Democrats propose an idea that sounds good and addresses a perceived need, Republicans say it's not what the Founders would have wanted. From a messaging perspective, voters want to hear positive solutions rather than theoretical objections.
Case in point: The president just called for more spending on infrastructure, clean energy and education projects. In each case, he claimed they would help the economy. A solid plurality of voters agrees with him on the first two items. And when it comes to spending more on education, 56 percent believe it would help the economy, while just 23 percent believe it would hurt.
A political party that simply says "no" can only count on that 23 percent of the vote.
If voters are given a choice, however, the numbers shift. What would do more to help the economy, cutting government spending or spending more on the president's initiatives? Fifty-five percent say cutting spending, while just 36 percent favor the new initiatives. Support is even higher when the choice is between cutting the deficit and the new spending plans.
For Republicans to succeed, they need to do a much better job of spelling out choices to the voters. Instead of couching things in black-and-white terms, they need to make clear the real-life implications of their policies. The party establishment needs to listen to GOP voters and find more effective ways of turning their ideas into an uplifting vision for the 21st century.


text:
Resident Evil 6 Siege gameplay trailer
Something Resident Evil 6 could use is more multiplayer modes. The realm of multiplayer is endless and the experience is always changing. For a fast paced, side vs. side, horde mode-esque fight mode,Resident Evil 6 introduces Siege.
This DLC has player BSAA agents protecting their rookies vs. player monsters in a timed battle. The agents need to survive and
zombies need to feed. Both sides have powerful items or unlocks they can find during the match. After the round ends the sides swap and it starts all over again.
Siege mode will be out in March for both PS3 and Xbox 360 for $3.99 or 320 Microsoft Points.


text:
Jewish Theater
Every Good Question Deserves Another Question
#JewPlay: What is the future of Jewish theatre in the United States? In this series, co-curators David Winitsky, Artistic Director of New York's Jewish Plays Project and Guy Ben-Aharon, Producing Artistic Director of Boston's Israeli Stage, asked Jewish theatre practitioners from major regions of the country what Jewish theatre means to them.
Okay, thought experiment. I'll say a phrase, you give me the first image that pops into your mind. Ready? Go: Jewish theatre.
I'm gonna hazard a guess that one of three things came to mind: a) a grainy black and white of the Yiddish King Lear on 2nd Avenue, b) either Diary of Anne Frank or Fiddler on the Roof or c) your orthodontist in Little Shop at the local JCC.
Is it just old fashioned (are we talking Yiddish theatre?). It could be contentious (is it Israeli theatre?). Maybe it's just Broadway (but maybe that's reductive)?
All due respect to Yiddish, Anne, and your orthodontist, but as a theatremaker in the twenty-first century, I'm not exactly turned on by any of those images. (I'll cop to a huge soft spot for Fiddler, but it's still not thrilling—just kind of sweet.)
Because really, Jewish theatre? What does that mean? Is that redundant (insert your "theatre would be dead without the Jews" joke here). Is it just old fashioned (are we talking Yiddish theatre?). It could be contentious (is it Israeli theatre?). Maybe it's just Broadway (but maybe that's reductive)?
But I've got to tell you, I've spent the last ten years thinking about it, and the last three actively pursuing it, and I think what it could mean—what it should mean—is vital, exciting, cutting-edge art that speaks to us now.
The tools are there:
- A millennia-old tradition of argument and dialogue. (A good place for theatre to start.)
- A gorgeous mass of mysticism and magic. I'm talking dybbuks and spirits and archangels and flaming swords. This stuff is made for the stage.
- A love of the intellectual and the idealistic stretching from the minutae of every day life to the grandest notions of human justice, goodness, and righteousness.
- A deep attachment to text. We love our texts.
- A cultural history filled with great stories.
- A bit of tragedy. Can't make theatre without that.
- Funny. Definitely got some funny.
I would submit that right now, we're not quite using all these great tools. We're a bit stuck on two subjects (dysfunctional families with ogre-like mothers and the Holocaust), one style (realism), and a growing disconnect between the artists who want to make this work, and the theatre community in which it would be made.
So, how did we get here, and how can we make it better?
A Brief, Annotated History of Jewish Theatre
(I won't be offended if you want to skip right to the recommendations.)
For a people with a long history, Jews have been doing theatre for a relatively short period of time.
Pre–1800s: Not much. You got your Purim plays (a holiday in the spring with a lot of storytelling and drinking), and that's about it. Not to say there aren't Jews onstage, but they are mostly Jewish characters created by other folks (see Shakespeare, W. and The Merchant of Venice, et al).
At this point, Jewish stories, like almost all of Jewish life, are bound by religion.
1865–1900: The Haskalah ("Enlightment") comes to Eastern European and Russian Jewry. They leave the shtetls and create a new, upwardly mobile, urban community, complete with an artistic class. The first Jewish dramatists (Abraham Goldfadn, Solomon Ettinger) start writing in Yiddish.
Interestingly, like some culturally-specific movements later in the United States, much of the work is political, dealing with a recently oppressed ethnic minority struggling to gain equality and become enfranchised.
1900–1930: The Golden Age of Yiddish Arts and Letters. In Poland, the classic Yiddish dramatists (Pinski, Asch, Ansky, Hershbein, Singer, etc.); in Russia, the avant-garde theorists (Meyerhold, Granovsky, Chagall, Mikheols). In New York, the vibrant 2nd Avenue Yiddish theatre starts transferring its stars to Broadway. This is really the start of Jewish theatre in the United States.
Jewish drama joins the emerging realist and modernist dramatic movements sweeping Europe. "The fate of the Jews" is no longer the only topic. Philosophy, western life, sex, money, intermarriage—the whole megillah.
1930s–1940s: Jewish theatre artists become some of the most influential in American history. You know the list: Kaufman, Hammerstein, Rodgers, Gershwin, Marx, Brice, etc.
At the same time, though, explicitly Jewish content goes away. The influence of Yiddish drama structures, the humor, the breadth, the pathos are there, and some Jewish characters are around, but the plays these folks are making are much more about America than Jews.
1950s–1960s: Post World War II things change, but they also stay the same. The list of Jewish American dramatic greats definitely continues to grow: Adler, Miller, Sondheim, Harnick, and on and on. (I'm definitely switching to an American narrative here. At this point, there aren't any Jews left in most of Europe, and Israeli drama hasn't really started.)
But we do start to put some Jewish things back onstage—mostly in an effort to reclaim the history that has just been so traumatically ripped away. We reach a height with Fiddler on the Roof and The Diary of Anne Frank, two towering pieces that try to reclaim what was lost.
1970s–80s: By now, American Jews are fully assimilated, upper-middle class and on their way to wealthy. Jewish theatre artists are still a major force, but they make their bones completely away from their Jewish identity.
Jewish intellectuals are moving fast away from ancient, tribal, religious affiliations. Vanguard artists look instead to global, multicultural, humanistic concerns. (Judith Malina, Julian Beck, Richard Schechner, etc.)
Combine this with the general shift away from religious life in America and a growing sense of unease on the left side of American politics with the contentious situation in Israel/Palestine, and we get a generation of artists who in many cases refuse to be labeled "a Jewish artist."
I would argue that this point is where a drop-off in Jewish theatre starts. Not because we need theatre by us for us (FJBJ?). I truly believe that matrilineal descent is neither necessary or important. (Of course, my mother was Catholic, so I have a bit of an axe to grind on this count.)
It's more a matter of specificity. The value of any culturally-specific theatre is the way it uses it's unique point of view to illuminate the human condition. Whether it's August Wilson's African American Hill district, Harvey Fierstein's gay New York, or Nilo Cruz's Ybor City, it's the gritty details that made these new worlds relevant to a broad audience.
As Jewish artists—and in some ways American Jews overall—distance themselves form core parts of their cultural inheritance, we start to get a Jewish theatre that is too general, too devoted to the easy joke, the pat historical record, or the cultural stereotype to stir the kind of emotions we want our audience to feel.
NB: Except for Neil Simon. Even though today he is often used as a punchline for jokes about shlocky theatre, I'd argue that his Brighton Beach trilogy is on par with Miller in its searching investigation of American ideas, ideals, and history through a very Jewish lens.
1990s: A curious time. Tony Kushner, Wendy Wasserstein, Donald Margulies, David Mamet, and others inherit the Jewish voice on the stage. Their theatre is always powerful and often Jew-ish, but can traffic in a "specifically Jewish sense of anxiety and guilt," rather than a deep engagement with Jewish ideas. (That great phrase is from Jeremy Stoller, but in his defense, he was not talking about these writers when he said it.)
During this period, culturally-specific Jewish theatres and producers are dropping like flies. American Jewish Theater and Jewish Rep in NYC both go out of business; companies in Philadelphia, Pittsburgh, Chicago, Los Angeles, and elsewhere are born and die in rapid succession. An odd fact emerges in a study by Jewish cultural agencies: Jews prefer to see Jewish content in non-Jewish venues, and non-Jewish content in Jewish venues. Go figure.
2000s: Away from the theatre, waves of young Jews are involved in the ongoing reinvention of Jewish life from the inside. Worship services continue to change, women and the LBGTQ community gain traction, as do "Jews in ALL Hues." JDub brings Matisyahu to the masses. Social justice movements around the environment, hunger relief, and eradication of poverty and political activism become a growing focus of Jewish life. It's pretty cool.
And there are artists following the trend. Jennifer Maisel's The Last Seder looks directly at the magic that might still exist in our assimilated, multi-culti families. Motti Lerner's hard-hitting stories from Israel (Pangs of the Messiah, Hard Love) come to America. Aaron Posner's brilliant adaptations of Chaim Potok's The Chosen and My Name is Asher Lev bring the question of modernity versus tradition alive.
But at the same time, the organized, institutional parts of the Jewish world take a definite shift to the right. The drivers of the global Jewish community are wealthy donors, many of whom are very conservative, socially and politically. Unswerving support of Israel becomes the litmus test of many Jewish leaders (and virtually all politicians). Jews might still vote Democrat, but it's been awhile since we were all of the leftie-liberal, worker's rights, bleeding heart set. In this environment, support for the questing, challenging artist starts to dry up.
2014: Which brings us to today (roughly).
Today, Jewish life and the Jewish conversation are alive with ideas that are resonant with theatre life and theatre conversations—open dialogue, social and civic justice, international collaboration, and new modes of creating sacred space and time for an overstimulated population.
Like the theatre, these amazing ideas live in the context of a world of shrinking resources, right-drifting politics, and a disconnect with a mass audience. In the Jewish world, there's a lot of handwringing over intermarriage and dwindling numbers; in the theatre, there is a constant concern over brain drain to more lucrative media like film and TV.
So What Do We Do Now?
Three years ago, I started a venture called the Jewish Plays Project, a development center for new Jewish theatre. In that time, I and my colleagues have read and reviewed 512 new Jewish plays from 450 writers in twenty-six states and eight countries over. That's a huge outpouring of ideas and energy.
Based on that work, here are a few ideas, and a few plays that I've worked on that are great examples. (Producers or Artistic Directors who want to look at any of these plays—contact me ASAP.)
1. Embrace the mystical in our ancient texts
Yes, it's dense. Sure, much of it might be in Hebrew. But it's like a gold mine if we get into it. These are not your Hebrew school lessons. These are subversive, radical, sexy, dark stories full of complex motives and results. The stories in our texts are the stuff of theatrical gold, if we can go and get them.
We need to take a page from Wilson, Lorca, and Rivera and bring the magic and the spiritual onto our stage. Hasidic folktales, are hallucinogenic, trippy tours through the subconscious of a highly ordered society. This stuff should be catnip for dramatists. (See He Who Laughs by Ian Cohen, Estelle Singerman by David Rush, and Modern Prophet by Sam Graber).
2. Invite Everyone
The best part of all of this is that you don't have to be a Jew to get into any of it. In today's world, we all have access to culture from all over the world. Some of the best Jewish theatre is being created by people who are not religious or cultural Jews (The Whipping Man by Matthew Lopez comes right to mind). I always make sure we have a good group of non-Jewish playwrights in the work the JPP develops—often their insights are among the most profound. The non-Jewish directors, actors, designers, et al who interact with the JPP's work often learn more and have their horizons expanded more than I do. (Check out Lauren Yee's The Hatmaker's Wife, Lenelle Moises' The Many Faces of Nia, and Cory Hinkle, Victoria Stewart, and Jeremy Wilhem's Clandestino)
3. Let's talk about Israel
Ah, Israel. Palestine. Israel? Let's just say the Middle East. Not only is it one of the most contentious, complicated, vexing questions in the Jewish world, it has instant import for the global community, too. And in its very short history, it has amazing stories of tragedy and triumph and moral questioning.
I know it's tough. It can be tiring. But it's so enmeshed in deep questions: faith and modernity, socialism and capitalism, war and peace (literally), nationality versus ethnicity, law versus history! What theatremaker worth her salt wouldn't want to get into that?
And if there is a future there that does not involve some kind of mass tragedy, I truly believe it is up to us—up to the artists and the thinkers and the creators—to envision it. What does this part of the world look like in fifty years? (Further reading: Six by Zohar Tirosh-Polk, Goodnight, Mrs. Bernstein by Lauren Kettler, and Close to Home by Jonathan Gillis).
The JPP does not develop plays about the history of the World War II period or its immediate aftermath, not because its not important, but because it's already been done.
4. Leave anti-Semitism
Jews today are, by and large, a free and prosperous people with more power and influence than ever. That's a huge difference between Jewish culturally-specific work and other cultural groups. Our goal in Jewish theatre is not to liberate or empower Jews—that happens in other ways. Our goal should be to liberate and empower everyone through the best of Jewish culture.
(Don't get me wrong. Anti-Semitism is certainly alive and well in our world, but its not a central factor in the way most of us live (particularly in America). And preparing for potential future anti-Semitism means we are living from a place of fear, and that's not where great art lives.)
And yes, I include the Holocaust in this idea. The JPP does not develop plays about the history of the World War II period or its immediate aftermath, not because its not important, but because it's already been done. The body of Holocaust dramatic literature is significant and of high quality. The more remain stuck in that moment, the harder it is to…
5. Be in the now
Jewish life is ancient. That's what's cool about it. But in its best aspects, it does not concentrate on that long history. Jewish ideas—and the best Jewish theatre—are about how we live today. How this mass of life lessons, gained through hard-fought experience, can teach us to live now. (Plays I Love: Let Me Go by Jonathan Caren, a People by Lauren Feldman, Esther's Moustache by Laurel Ollstein.)
Whether we embrace text, religion, magic, history, or philosophy, there is something for all of us that can help us be better humans today.


text:
Asus - (SD554-YB)
55" Plug 'N' Play Commercial Display
- Built-in media player supports a variety of commonly-used media formats
- Plug-and-play through an USB drive
- Wide-view angle panel for bright and colorful Full HD visuals
- Clear audio through built-in 7-watts stereo speakers
Seamless Vision for Impactful Messaging
ASUS SD554-YB Commercial Displays feature a built-in multimedia player that automatically detects and plays a variety of commonly used media file formats. The SD554-YB supports up to Full HD 1920 x 1080 content and features a 178-degree wide-view angle panel that provides stunning images even when viewed from extreme angles.
SD554-YB features brightness of 350 cd/m², making them ideal for indoor wall-mounted, shelved, or end-cap installations. The SD554-YB also has built-in speakers that provide clear audio to accompany the visuals. With everything housed in a single unit, the SD554-YBs ' all-in-one design makes it ideal for small businesses. It is a cost-effective solution that is easy to set up too, giving users a high return on investment.
Easy, cable-free set up
Simply insert an USB storage device to the embedded media player for cable-free playback. It eliminates the need for a connection to a PC or other multimedia device. The all-in-one design of the SD554-YB ensures quick and easy set up.
Plug 'N' Play capabilities with diverse multimedia format support
The SD554-YB can automatically detect and play files from an USB drive. It supports various video, audio, and image file formats to give users more options when it comes to creating display materials.
Vivid Visuals Even from Extreme Angles
The SD554-YB features a 178° wide-viewing angle display that eliminates color shift even when viewed from extreme horizontal or vertical angles. This means the audience experiences no image distortion or degradation even when they're viewing the screen from different angles. For added placement flexibility, the SD554-YB can be used in a portrait or landscape orientation.
Powerful Built-in Speakers
SD554-YB features built-in twin 7W speakers to provide quality audio to accompany what's onscreen. Situated at the rear of the display, the speakers eliminate the need for external speakers while maintaining the streamlined profile of the SD554-YB display.
|Alt Part Number
|Manufacturer's URL


text:
Excelsior! Legendary comic book writer, editor, actor, producer and publisher Stan Lee will be making a special appearance at Wizard World Comic Con Des Moines tonight and Saturday, May 20. The most iconic and well-known of all comic book legends and the spark that lit up the current heyday of comic books and comic book movies, Mr. Lee has done it all–the man behind Spider-Man, The Incredible Hulk, X-Men, The Fantastic Four, Iron Man, and hundreds of other characters, he is a member of both the Will Eisner Comic Book Hall of Fame and the Jack Kirby Hall of Fame. This weekend he will greet fans, pose for photos, sign autographs, and conduct an interactive Q&A at the Iowa Events Center as Wizard World Comic Con celebrates its third year in Des Moines.
Mr. Lee will be joining fan-favorite genre actor John Cusack, another late addition to the headliners appearing at this year's event. Cusack's impact on a generation of moviegoers can't be overstated. Most first saw him as a kid in Sixteen Candles and Stand By Me. He became a household name in teen flicks like The Sure Thing, Better Off Dead…, and One Crazy Summer, but it was Say Anything… that made him a star as the lovable Lloyd Dobler, the boyfriend with the boom box. His adult drama work resulted in many cult classics, like Eight Men Out, The Grifters, Grosse Pointe Blank, and Pushing Tin. Films like Woody Allen's Bullets Over Broadway, Clint Eastwood's Midnight in the Garden of Good and Evil, Spike Jonze's Being John Malkovich, and Robert Altman's The Player proved he was the real deal, and later films High Fidelity and Hot Tub Time Machine proved he's willing to return to his roots as the everyman good guy that audiences love.
This weekend Cusack joins a big pantheon of celebrities including Eight Men Out co-star Charlie Sheen, plus Dean Cain (Lois & Clark, Supergirl), James Marsters and Emma Caulfield (Buffy the Vampire Slayer), Marina Sirtis (Star Trek: The Next Generation), Kane Hodder (Jason Voorhees from Friday the 13th), Holly Marie Combs and Brian Krause (Charmed), Barry Bostwick (Spin City), Micky Dolenz (The Monkees), and more.
The convention will be held at the Iowa Events Center at 730 Third Street in Des Moines, beginning May 19, 2017, opening at 4 p.m. and continuing until 9 p.m., Saturday, May 20, 10 a.m. to 7 p.m., and Sunday, May 21, 10 a.m. to 4 p.m.
A full list of Wizard World Comic Con Des Moines programming is available here (subjects, guests, times and rooms subject to change). For more on the event, visit the convention website here.
C.J. Bunce


text:
Pediatric Neurological Disorders
The OHSU Brain Institute is proud to partner with Doernbecher Children's Hospital in treating children with neurological (brain and nervous system) disorders. Every year, doctors at OHSU Doernbecher Children's Hospital see more than 4,000 children, more than anywhere else in Oregon.
National leaders in the diagnosis and treatment of children with neurological disorders
Each year we see over 4,000 patients in our neurosciences program, more than anywhere else in Oregon. Our patients come from across the United States and throughout the world seeking the specialized care that we provide.
Multi-specialty teams ensure your child the most thorough diagnoses and complete care
At Doernbecher, your child receives coordinated neurologic care from a team of experts in a range of fields including behavioral pediatrics, child psychiatry, neurological surgery and neuroradiology, in addition to nurses and therapists, all focused on caring for your child.
Research makes them experts in the newest treatments
We are at the forefront of studies of new drug treatments for epilepsy, migraine, brain tumors, Tourette's syndrome, tuberous sclerosis, muscular dystrophies and other neurological disorders. We made history in 2006 when we completed the first neuronal stem cell transplant into a human brain.
Your child's care comes from the most advanced technology, at the best-equipped facility
Doernbecher is one of only a few hospitals in the country using comprehensive seizure monitoring, leading-edge imaging, and computer-guided neurosurgery to offer new hope to children with neurologic disorders.
Family centered approach
We understand that a child's neurologic disorder can impact the entire family. Our team is committed to providing comprehensive, compassionate and respectful care to every patient and family.


text:
Mirror's Edge meets Need for Speed: That's what I was expecting, hoping for as I stood in line last week to see Electronic Art's new racing game.
The brief glimpse I caught of Need For Speed: The Run prior to my meeting showed a racing game that let you get out of the car and run. Run from bad guys with guns, run from cops, run from helicopters and trains.
But that's really not what the game is about. Those out of car experiences are meant to be mostly non-interactive set pieces designed to move the story along and move your from one car to the next. Sure, The Run lets you step out of a car, but really only to get to another one.
"We wanted to get the character out of the car to tell the story, but it's less than 10 percent of the game," said Jason DeLong, executive producer for the game. "Mostly it's to switch cars, get into different race modes.
"Whenever he does get out of the car he is forced back into another car as soon as possible. We don't want to have characters wandering around, going window shopping and buying a donut."
The out-of-car experience I saw had the game's hero, a man named Jack forced into a San Francisco-to-New York illegal race, thrown from his car in the middle of a race through downtown Chicago. The game quickly transitions from gameplay to interactive movie.
The player can't just sit back and watch the events unfold in what is essentially a long cut-scene. A player has to press X to run faster, another button to jump occasionally, triggers to grab a railing after a fall. All of the button pushes are prompted on screen with an icon.
Jack gets into a fight with cops, failing the correct button push leads to Jack's eyes rolling up into his head as he is choked out with a baton pressed against his neck... and a chance to try again. Succeeding leads to Jack jumping into the cop car and the game essentially continuing with a different sort of race, this one running from cop cars and a non-police helicopter following you and firing.
This second race feels more like some thing out of last year's well-received Need for Speed: Hot Pursuit. In this race, gamer's don't just have to avoid the people chasing, but also a helicopter spotlight. If the car crosses the beam, the bad guys in the chopper open up on the car with a machine gun. It doesn't instantly end the race, but it starts to chew into the car and can eventually cause it to explode.
This second, different sort of race, ends with the stolen cop car upside down on a set of train tracks. It's a cut-scene again, but the player needs to press the right buttons enough to get Jack out of the car before the train runs it over.
Once free the level is over, wrapping up with a completion time.
While most of the time-saving gamers will do in these levels of driving and running will come from how you handle the car, you can do things to speed up or slow down those cut-scenes.
Need For Speed: The Run will also share out your scores with friends and other gamers, relying on the same autolog that made asynchronous racing in Hot Pursuit such a blast.
The premise of The Run will take Jack on a race across the width of the United States, having him driving not only in cities like Chicago, Las Vegas, Denver and Detroit, but also some of those expansive places between cities.
"It is an epic journey across the country," DeLong said. "There is 300 kilometers of track in the game and it's not just about cities you're visiting. It has huge deserts, mountain treks, dusty back roads."
This is also the first Need For Speed, the first non-shooter, built on the Frostbite 2.0 game engine that powers Battlefield 3.
"There is great world destruction and visuals and killer audio," DeLong said.
The game also features more detailed character animation, with not just voice, body and face capture, but a tech used to capture the movement of the eyeballs on a character. DeLong called it ocular tracking.
The traditional face in a video game is made up of 20 to 30 bones, he said, the faces in The Run has more than 90.
All of that detail to animation leads back to the entire point of a racing game that includes moments outside the car. While The Run in the game's title refers to the illegal race, not the act of running, it's still an important element of the game.
"We wanted to tie a story into the game in a way we haven't before," DeLong said. "That makes the journey feel more personal for players."


text:
As concerned as we are about memory, we haven't done much to preserve it. Most of our hard drives don't last past 30 years. But soon, using diamond-like carbon nanotubes, even your Gizmodo comments could last practically forever.
The solution, discovered by researchers at the University of California, takes an entirely new approach to data storage. The proposed device would place a microscopic iron crystal inside a carbon nanotube. With the application of an electric signal of just a few volts, the iron nanoparticle moves back and forth along the tube, registering a binary "1" or "0" depending on its position, basically acting as data bits.
While it's a theoretical solution right now, the scientists who created it are confident that we'll someday see a practical application. And when we do, because of the project's nanoscale nature, we may be able to store 25 DVDs' worth of information on a postage stamp-sized storage device.
The prospect of billion-year storage is fascinating and a little terrifying. Do I want researchers ten thousand years from now combing through my drunken tweets? Actually: maybe. Because when our robot overlords comb through the records and find this post, they'll know that I've always been fully supportive of their cold, steely, logical reign. [Science via Wired]
Memory [Forever] is our week-long consideration of what it really means when our memories, encoded in bits, flow in a million directions, and might truly live forever.


text:
RICHMOND, Va. (AP) — A judge on Wednesday blocked a federal requirement that would have begun forcing U.S. tobacco companies to put large graphic images on their cigarette packages later this year to show the dangers of smoking and encouraging smokers to quit lighting up.
U.S. District Judge Richard Leon in Washington ruled that the federal mandate to put the images, which include a sewn-up corpse of a smoker and a picture of diseased lungs, on cigarette packs violates the free speech amendment to the Constitution.
He had temporarily blocked the requirement in November, saying it was likely cigarette makers will succeed in a lawsuit, which could take years to resolve. That decision already is being appealed by the government.
Some of the largest U.S. tobacco companies, including R.J. Reynolds Tobacco Co. and Lorillard Tobacco Co., had questioned the constitutionality of the labels, saying the warnings don't simply convey facts to inform people's decision whether to smoke but instead force the cigarette makers to display government anti-smoking advocacy more prominently than their own branding. They also say that changing cigarette packaging will cost millions of dollars.
Meanwhile, the Food and Drug Administration has said that the public interest in conveying the dangers of smoking outweighs the companies' free speech rights.
In his ruling Wednesday, Leon wrote that the graphic images "were neither designed to protect the consumer from confusion or deception, nor to increase consumer awareness of smoking risks; rather, they were crafted to evoke a strong emotional response calculated to provoke the viewer to quit or never start smoking."
"While the line between the constitutionally permissible dissemination of factual information and the impermissible expropriation of a company's advertising space for government advocacy can be frustratingly blurry, here the line seems quite clear," Leon wrote.
The judge also pointed out alternatives for the federal government to curb tobacco use, such as increasing anti-smoking advertisements, raising tobacco taxes, reducing the size and changing content of the labels, and improving efforts to reduce youth access to tobacco products.
The FDA and the Justice Department declined to comment Wednesday. But the Department of Health and Human Services released a statement late Wednesday saying the administration is determined to do everything it can to warn young people of smoking's dangers.
"This public health initiative will be an effective tool in our efforts to stop teenagers from starting in the first place and taking up this deadly habit," the statement said. "We are confident that efforts to stop these important warnings from going forward will ultimately fail."
Floyd Abrams, a lawyer representing Lorillard in the case, said he was pleased with Wednesday's ruling.
"The government, as the court said, is free to speak for itself, but it may not, except in the rarest circumstance, require others to mouth its position," Abrams said.
While the government, public health officials, tobacco companies and others "share a responsibility to provide tobacco consumers with accurate information about the various health risks associated with smoking ... the goal of informing the public about the risks of tobacco use can and should be accomplished consistent with the U.S. Constitution," Martin L. Holton III, executive vice president and general counsel for R.J. Reynolds, said in a statement.
Matthew L. Myers, president of the Campaign for Tobacco-Free Kids, called Leon's ruling "wrong on the science and the law."
"(The warnings) unequivocally tell the truth about cigarette smoking — that it is addictive, harms children, causes fatal lung disease, cancer, strokes and heart disease, and can kill you. What isn't factual or accurate about these warnings? Not even the tobacco industry disputes these facts," Myers said in a statement.
The nine graphic images approved by the FDA in June include color images of a man exhaling cigarette smoke through a tracheotomy hole in his throat; a plume of cigarette smoke enveloping an infant receiving a mother's kiss; a pair of diseased lungs next to a pair of healthy lungs; a diseased mouth afflicted with what appears to be cancerous lesions; a man breathing into an oxygen mask; a cadaver on a table with post-autopsy chest staples; a woman weeping; a premature baby in an incubator; and a man wearing a T-shirt that features a "No Smoking" symbol and the words "I Quit."
The FDA requirement said the labels were to cover the entire top half of cigarette packs, front and back and include a number for a stop-smoking hotline. The labels were to constitute 20 percent of cigarette advertising, and marketers were to rotate use of the images.
Joining North Carolina-based R.J. Reynolds, owned by Reynolds American Inc., and Lorillard Tobacco, owned by Lorillard Inc., in the lawsuit are Commonwealth Brands Inc., Liggett Group LLC and Santa Fe Natural Tobacco Company Inc.
Richmond, Va.-based Altria Group Inc., parent company of the nation's largest cigarette maker, Philip Morris USA, which makes the top-selling Marlboro brand, is not a part of the lawsuit.
The free speech lawsuit is separate from a lawsuit by several of the same companies over the Family Smoking Prevention and Tobacco Control Act. That law, which took effect in 2009, cleared the way for the more graphic warning labels and other marketing restrictions. But it also allowed the FDA to limit nicotine and banned tobacco companies from sponsoring athletic or social events or giving away free samples or branded merchandise.
A federal judge upheld many parts of the law, but the case is now pending before the U.S. 6th Circuit Court of Appeals in Cincinnati.
While the tobacco industry's latest legal challenge may not hold up, it could delay the new warning labels for years. And that is likely to save cigarette makers millions of dollars in lost sales and increased packaging costs.
Tobacco companies are increasingly relying on their packaging to build brand loyalty and grab consumers. It's one of few advertising levers left to them after the government curbed their presence in magazines, billboards and TV.
Michael Felberbaum can be reached at http://www.twitter.com/MLFelberbaum.


text: June 18, 2014 – If you practice patent law, you certainly know about so-called "patent trolls." If not, you may have heard the term – most recently in relation to high-profile cases involving big corporations or federal and state patent law legislation. For instance, Wisconsin recently enacted 2013 Wisconsin Act 339, which relates to notifications and communications concerning the assertion of patent rights. The law is designed to deter so-called "patent trolls" from threatening businesses with meritless patent infringement suits that can cost big money to fight. For lawyers who represent businesses in Wisconsin, the law is an important tool to understand. This article provides a basic overview of Wisconsin's new anti-patent troll law. But first, it provides a brief explanation on the rise of so-called patent trolls, and the issues that have sparked debate, legislation, and litigation aimed at balancing the patent paradigm. What is a Patent Troll? Peter Detkin, then assistant general counsel for Intel Corporation, coined the term "patent troll" in the late 1990s with emergence of software and other technology. Detkin was referring to the relatively unknown software companies in Silicon Valley that had threatened Intel with patent infringement lawsuits. In general, the term refers to entities that acquire portfolios of patents and then seek license fees or legal judgments for patent infringement against businesses. Patent trolls came into the spotlight in the 2000s amidst legal controversies involving companies that developed products using patented components or functions held by entities that acquired the patent rights but did not practice the patented invention. Research in Motion (RIM), the company that owns BlackBerry®, was sued for patent infringement in 2006 by a patent holding company. At the time, BlackBerry's popularity was increasing among professionals. The question became: could patent law really cut off a communication lifeline for attorneys, business people, and government officials? Don't Miss the Ninth Annual Door County Intellectual Property Academy For cutting-edge analysis of today's hottest IP issues, attend the Intellectual Property Academy July 17-18, at the State Harbor Resort and Conference Center in Sturgeon Bay, presented by the State Bar's Intellectual Property and Technology Law Section. This year's IP Academy will feature world-renowned speakers, including a chief judge, a USPTO Official, leading in-house counselors, and IP subject matter experts, all presenting best-in-class IP CLE sessions. Bring the family too! Register by June 27 and receive a $50 early-bird discount off tuition rates. Learn more and register As that litigation moved toward settlement, a dispute between eBay and MercExchange made its way to the U.S. Supreme Court over the issue of patent injunctions in 2006. Patents posed threats not only to Blackberry device users but also functions of Internet auctions (and possibly other web sites). With these consumer concerns in mind, the U.S. Supreme Court ruled that patent injunctions were not mandatory, but discretionary. While the individual justices differed on how courts should determine whether to grant an injunction, the policy of preventing interference by patent owners with the marketing and sales of an established product came out in the various opinions authored by the justices. Judicious grant of injunctions was one way to limit the harm to consumers from patent enforcement by patent owners that hold patents for the sole purpose of litigation. Forms of Patent Trolls Ever since these controversies, the figure of the "patent troll" has taken on different forms. The basic traits include ownership of a patent for the sole purpose of litigation without manufacturing a product or providing a service. However, this description only captures some aspects of patent owners that are now generally described as "trolls." A nonpracticing entity (NPE) has been a popular and less offensive term than trolls. NPEs are entities that own patents but do not manufacture the patented inventions. Intellectual Ventures, a company that purchases patents, is the most common example of an NPE. But the University of Wisconsin-Madison, and most universities, would be considered nonpracticing entities, too. Universities do not manufacture patented inventions for good reason. Their business is teaching and research, not manufacturing. Nonetheless, universities do generate income from patents through royalties and enforcement of patent rights in litigation. For instance, the Wisconsin Alumni Research Foundation (WARF), U.W.-Madison's patent management arm, sued Apple in federal court in February, claiming Apple used WARF's patented technology in its products. Other new labels emphasize some of the benefits from entities that own but do not practice the patented invention in terms of using the patent in a product or service. Patent Aggregation Entities (PEAs) purchase patents granted to disparate inventors and entities in order to create patent packages that combine complementary technologies. Acacia Research holds several hundred patents across a wide range of technologies which are licensed to such companies as Microsoft, Walt Disney, and Nokia. Acacia also is aggressive in bringing lawsuits to enforce its acquired patent rights. Another label is Patent Monetization Entity (PME), which licenses patent portfolios and generates revenues that sometimes benefit inventors and original patent owners. Parsing Patent Trolls This alphabet soup (NPE, PAE, PME) reveals the complexity of what Detkin generically labeled "patent trolls." Detkin coined the term to disparage entities that used patents for litigation purposes alone. But so called trolls can have benefits. Not all patents can be practiced, but licensing is an important function of patent ownership. Furthermore, enforcement of patent rights through litigation supports and encourages licensing. Licensing is the main legal mechanism through which patents can be monetized, generating income and wealth for inventors and patent owners. The new labels for patent trolls emphasize these benefits, raising the question: what's wrong with an entity owning a patent solely for the purpose of litigation? Shubha Ghosh is a Vilas Research Professor of Law at U.W. Law School. He teaches courses on intellectual property law and transactions and lectures on patent law issues at a number of universities. During the next academic year, he will be the inaugural American Association for the Advancement of Science (AAAS) Law & Science Fellow at the Federal Judicial Center in Washington, D.C. Reach him by email or by phone at (608) 262-1679. Critics of patent trolls, whatever the label, point to the fact that much litigation might be extortionate. Some patent owners use the threat of litigation to extract a settlement. This type of trolling behavior is reflected in the practice of mass mailing of cease and desist letters to any company, no matter how small, claiming patent infringement and encouraging a settlement payment. While such behavior serves to monetize patents, it does so at the expense of small businesses and entities that may in fact not be infringing. Critics also point out that many patents, especially vague software patents, may not be valid. Settlements make legal challenges to patent validity impossible, allowing trolls of all stripes to exploit a defective patent system through the federal courts. Furthermore, litigation costs hurt small businesses more than large entities, and the conventional wisdom is that patent trolls have been preying on small entities through its practices. Much more needs to be known, but nonetheless the view among policymakers and legislators is that failed patent law and problems in the litigation system have created an environment that allows for abuses by patent owners. Legal reform of various kinds has been the consequence of this pervasive viewpoint. Patent Reforms The State of Wisconsin's recent enactment of anti-patent troll legislation is one example of the wide ranging federal and state law reforms. At the federal level, proposed changes include reforms to the patent system and the rules of civil litigation. The U.S. Supreme Court has considered over a dozen cases involving changes to the patent system which would make it less likely for the granting of invalid patents. Congress has considered changes to civil litigation, such as changes in the joinder rules, pleading requirements, and the rules for shifting attorney's fees, all aimed at making it more difficult to bring patent litigation. States have no jurisdiction over patent law or federal courts and consequently have pursued reforms aimed at deceptive and abusive practices by patent owners as they pursue their litigation strategies. Wisconsin's new legislation fits into this mold. 2013 Wisconsin Act 339 Act 339 applies to "patent notifications" received after April 25, 2014. A patent notification is a "letter, email, or other written communication attempting in any manner to enforce or assert rights in connection with a patent of pending patent." Every patent notification must contain specific information or it is deemed incomplete. No patent notification may contain false, misleading, or deceptive information. The information that the patent notification must contain includes the following: The number of each patent or patent application that is the subject of the patent notification; A physical or electronic copy of each patent or pending patent; The name and physical address of the owner of each patent or pending patent and all other persons having a right to enforce the patent or pending patent; An identification of each claim of each patent or pending patent being asserted and the target's product, service, process, or technology to which that claim relates; Factual allegations and an analysis setting forth in detail the person's theory of each claim identified under subd. 4., if any, and how that claim relates to the target's product, service, process or technology; and An identification of each pending or completed court or administrative proceeding, including any proceeding before the U.S. patent and trademark office, concerning each patent or pending patent. If the patent notification does not contain all this information, the target may notify the person who sent the notification that it is incomplete. Within 30 days, a notification must provide the target with the information required in order for the target to respond. Patent notifications that do not contain required information or contain false, misleading, or deceptive information are subject to a $50,000 fine for each violation. Aggrieved parties may commence actions seeking damages with a right to reasonable attorney's fees, in addition to punitive damages not exceeding $50,000 for each violation or three times the aggregate amount awarded for all violations, whichever is greater. Certain patent notifications are exempt from the law, including: notifications sent from institutions of higher education; notifications sent from health care or research institutions; notifications concerning patents or pending patents subject to approval by the federal food and drug administration or the federal department of agriculture; and patent notifications attempting to enforce or assert a right under 35 U.S.C. § 271(e)(2) or 42 U.S.C. § 262. Conclusion Other states are making similar efforts to deter patent trolls from threatening to bring lawsuits that induce businesses to settle with sometimes weak or baseless claims of patent infringement. And recent cases are changing patent and procedural rules in order to curb abusive litigation. While licensing is an important function of patent ownership, and enforcing patent rights is a cornerstone of the U.S. patent system, limiting abuses will improve the system. Lawyers on both sides of the issue will benefit from staying informed in this area. Editor's Note: State Bar of Wisconsin Legal Writer Joe Forward contributed the section on "2013 Wisconsin Act 339."


text:
Integration with Decathlon is a two-way integration that offers downloading orders from the marketplace to the BaseLinker panel, as well as listing and synchronizing offers. For listing you can use your store's warehouse, BaseLinker warehouse, wholesaler or external ERP system. Orders from Decathlon can be handled in the BaseLinker Order Manager or forwarded to the store / ERP. The number of Decathlon connected accounts is unlimited - you can add as many accounts as you need within your business, without affecting the subscription amount.
Integrating BaseLinker with Decathlon offers:
Integrating BaseLinker account with Dextrum allows you to control and manage your fulfillment orders in one intuitive system. Fulfillment as a form of outsourcing logistics services is becoming more and more popular amongst retailers. Outsourcing the logistics process to an external company saves time, eliminates the fixed costs associated with renting a warehouse, and reduces packing or shipping mistakes. The range of services offered can vary from one provider to another.
By connecting via API, BaseLinker and the Dextrum system are able to exchange information on new orders appearing on your website or marketplace account. BaseLinker x Dextrum integration is provided by a third-party company - please contact the supplier before adding it to your panel.
Integrating a Dextrum with BaseLinker enables:
Decathlon + Marketplace
Decathlon + Shops
Decathlon + Couriers
Decathlon + Accounting systems
Decathlon + SMS applications
Decathlon + Other
Decathlon + Fulfillment


text:
Julie Walters Biography
Julie Waltersactress
Born: 2/22/1950
Birthplace: Birmingham, England
Walters left nursing to pursue an acting career. She got her start singing, dancing, and acting in several British stage productions. She won a Tony Award for her portrayal of a contemporary Eliza Doolittle in Broadway's Educating Rita. She earned Oscar nominations for the 1983 film adaptation of the play and for her role as a dance teacher in Billy Elliot (2000). Her other film credits include Personal Services (1987) and Stepping Out (1991).
|Barbara Walters
|Sam Wanamaker
See also:
Here are the facts and trivia that people are buzzing about.


text:
RALEIGH, N.C. – A concert event organized by atheist, agnostic and other non-theist soldiers has been cleared by the Army to take place next spring at Fort Bragg, concert organizers and a spokesman for the post said Monday.
Organizers planned to hold the Rock Beyond Belief event this year, but they canceled after saying Bragg leadership was not providing the same support it gave to an evangelical Christian concert last fall.
Supporters hailed the Army's decision.
"You know those goosebumps you get when your favorite song hits that sweet spot? I got those," said Sgt. Justin Griffith, main organizer of the event and the military director of American Atheists, in an email. "I was overcome with joy and a sense of vindication."
The plan is to hold the event on March 31 at the main parade field at Fort Bragg, where the Christian-themed Rock the Fort concert was held. Famed atheist Richard Dawkins is scheduled to appear, along with musicians, speakers and other entertainment.
"This just might be the turning point in our struggle for acceptance," Griffith said. "I mean it. I get letters daily from service members asking for advice on how to 'do something like what's going on at Fort Bragg'."
Final approval for the event came last week, Bragg spokesman Ben Abel said. The festival will get the same treatment from Bragg that other groups receive, he said.
"Our logistical support will be the same as what we did for Rock the Fort," he said, meaning Bragg will provide the venue, security and basic utilities. "That's what we provide for any private organization."
The event had its origin in the Rock the Fort concert last fall, which was organized by the Billy Graham Evangelistic Association. Groups like Americans United for the Separation of Church and State opposed the event, saying it was an unconstitutional use of military resources aimed at winning converts to Christianity. Military leaders at the time said any private event, regardless of religious orientation, would receive the same level of support, and Griffith, stationed at Bragg, decided to take them up on that.
The initial Rock Beyond Belief concert was scheduled to happen in April, but Griffith called it off after saying Bragg leadership wasn't offering the same support it had given to the Christian event, which Bragg leaders denied. There were disagreements over the venue, the potential size of the crowd and promotional materials, but especially on the subject of funding.
This time around, organizers of the secular festival raised $50,000 for the event, which will pay for speakers and entertainers and other expenses.
"There is no going back in to the 'atheist closet,'" wrote Griffith, who has also organized a local chapter of Military Atheists and Secular Humanists for like-minded soldiers and veterans. "We're going to be supported on post for the first time."
Bragg, home to the U.S. Army Airborne and Special Forces, is one of the military's largest bases. It has about 58,000 uniformed military personnel and roughly 13,000 civilian workers. The surrounding community, like much of North Carolina, is home to countless churches, including some with dedicated military ministries and pastors who participated in the Rock the Fort event.
But the Army's decision to allow Rock Beyond Belief shouldn't be seen as threatening to religious belief, said Mikey Weinstein, president of the Military Religious Freedom Foundation, which had promised to file a lawsuit if the concert wasn't allowed to go ahead.
"It's not a victory for atheism or agnosticism over any type of religion, it's a victory for the Constitution," he said.
Weinstein, who is scheduled to speak at the event, said that while he's happy with the Army's decision, his group is waiting to make sure the concert happens as planned before celebrating.
"I'm going to believe it when I see it," he said. "We've been down this path before. It reminds me of Lucy pulling the football away from Charlie Brown at the last minute."