Extended R&R for 15-Month Deployments
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Houston Paparazzi
Tom Hariel & Neon Boots Office Manager Justin Bryan Earnest Mcdowell enjoying the Galloway playing pool on Sunday Texans vs. Tennessee Titans game on Sunday houston paparazzi Fun @ Neon Boots trodding the boards Pamela Robinson & friends having ...from 30 a birthday party easy, but more experienced directors don’t always pull it off this well. And she wisely guides her cast into line-readings that give some of the overwritten passages a know- ing, ironic edge. As Chandler, a young man with a big imagination who may be too smart for his own good, recent UNO graduate Mason Joiner gives a remarkable performance, projecting the requisite intelligence when talking about astronomical events and other scientific subjects. Yet he makes plain the emotional brittleness that his upbringing First night of dance lessons has engendered and Chandler’s desper- ate yearning to free himself from the stric- tures his mother has imposed. He’s like a colt with an IQ of 180 eager to play in new pastures (even if he still sleeps on Star Neon Boots Live! ~ Houston, Texas Wars sheets). I can imagine a Shivaree, who seems to have traveled the world at a young age, either a bit more earth-mothery and weatherbeaten than Ashton Akridge or, conversely, more diaphanous and gamine- like. Akridge seems to split the difference, a kind of minor league Sally Bowles with a Former Mr. BRB Craig Sanford & syrupy Southern accent, innocently seduc- Donnie Pledger-Manzano having a ing with an appealing down-to-earth pres- few before dance class ence that camouflages a toughened spine. -
Billy Bob Thornton Interview
A Conversation with Billy Bob Thornton by Frank Goodman Puremusic 1/2002 I had known that Billy Bob was slated to star in the new Travis Tritt video, “Modern Day Bonnie and Clyde.” Brother JB is our publisher, and he and my brother-in-law Gary Falcon manage Travis, so I’d been privy to the video developments. Everybody was up about it, it was obviously not going to be your average Country video. It doesn’t take much to get me to pack a suitcase and go almost anywhere, my gypsy ways never changed. So when it occurred to JB that flying me out to L.A. might land us a Puremusic interview with Billy Bob Thornton about his new record, I was basically in the air. I didn’t mind waiting for JB to turn up at LAX a couple of hours after me, I was engrossed in Ann Patchett’s The Magician’s Assistant, and having a big time. We got out to the high desert location, outside Palmdale. There’s an old abandoned little motel out there called The Four Aces, it’s used exclusively for videos and movies today. The desert’s funny like that. Something goes out of business, they just leave it there and walk away, let the elements have at it. I took some pictures of this old Spanish-style mortuary, I liked the sign that said “Open.” I really enjoyed the record, Private Radio. I know, we don’t usually cotton to records by actors. Visions of William Shatner singing “Lucy in the Sky with Diamonds” or the shocking crooning of Jim Nabors comes to mind. -
PUBLIC NOTICE Federal Communications Commission Th News Media Information 202 / 418-0500 445 12 St., S.W
PUBLIC NOTICE Federal Communications Commission th News Media Information 202 / 418-0500 445 12 St., S.W. Internet: https://www.fcc.gov Washington, D.C. 20554 TTY: 1-888-835-5322 DA 20-699 Released: July 1, 2020 ENFORCEMENT BUREAU ANNOUNCES DEADLINE FOR MVPDS TO FILE EEO PROGRAM ANNUAL REPORTS (FCC FORM 396-C) AND IDENTIFIES THOSE THAT MUST RESPOND TO SUPPLEMENTARY INVESTIGATION QUESTIONS Pursuant to Section 76.77 of the Commission’s rules, 47 CFR § 76.77, by September 30 of each year multichannel video program distributors (MVPDs) must file with the Commission an FCC Form 396-C, MultiChannel Video Programming Distributor EEO Program Annual Report, for employment units with six or more full-time employees. By this Notice, we remind MVPDs of this recurring obligation, provide details on the filing process, and identify those MVPDs that must complete the Supplementary Investigation Sheet portion of the form. Filers that need additional time to submit the form may request an extension of time by e-mail to [email protected]. Form 396-C can be accessed via the electronic filing system on the Commission’s website at: https://licensing.fcc.gov/cgi-bin/ws.exe/prod/cdbs/forms/prod/cdbsmenu.hts. Paper versions of the form will not be accepted unless accompanied by an appropriate request for waiver of the electronic filing requirement. Such waivers will not be routinely granted. The requesting party must plead with particularity the facts and circumstances warranting the relief sought. Instructions for use of the electronic filing system are available in the CDBS User’s Guide, which can be accessed at https://licensing.fcc.gov/prod/cdbs/forms/prod/cdbs_ug.htm. -
October 29, 2013 (XXVII:10) Jim Jarmusch, DEAD MAN (1995, 121 Min)
October 29, 2013 (XXVII:10) Jim Jarmusch, DEAD MAN (1995, 121 min) Directed by Jim Jarmusch Original Music by Neil Young Cinematography by Robby Müller Johnny Depp...William Blake Gary Farmer...Nobody Crispin Glover...Train Fireman John Hurt...John Scholfield Robert Mitchum...John Dickinson Iggy Pop...Salvatore 'Sally' Jenko Gabriel Byrne...Charlie Dickinson Billy Bob Thornton...Big George Drakoulious Alfred Molina...Trading Post Missionary JIM JARMUSCH (Director) (b. James R. Jarmusch, January 22, 1981 Silence of the North, 1978 The Last Waltz, 1978 Coming 1953 in Akron, Ohio) directed 19 films, including 2013 Only Home, 1975 Shampoo, 1972 Memoirs of a Madam, 1970 The Lovers Left Alive, 2009 The Limits of Control, 2005 Broken Strawberry Statement, and 1967 Go!!! (TV Movie). He has also Flowers, 2003 Coffee and Cigarettes, 1999 Ghost Dog: The Way composed original music for 9 films and television shows: 2012 of the Samurai, 1997 Year of the Horse, 1995 Dead Man, 1991 “Interview” (TV Movie), 2011 Neil Young Journeys, 2008 Night on Earth, 1989 Mystery Train, 1986 Down by Law, 1984 CSNY/Déjà Vu, 2006 Neil Young: Heart of Gold, 2003 Stranger Than Paradise, and 1980 Permanent Vacation. He Greendale, 2003 Live at Vicar St., 1997 Year of the Horse, 1995 wrote the screenplays for all his feature films and also had acting Dead Man, and 1980 Where the Buffalo Roam. In addition to his roles in 10 films: 1996 Sling Blade, 1995 Blue in the Face, 1994 musical contributions, Young produced 7 films (some as Bernard Iron Horsemen, 1992 In the Soup, 1990 The Golden Boat, 1989 Shakey): 2011 Neil Young Journeys, 2006 Neil Young: Heart of Leningrad Cowboys Go America, 1988 Candy Mountain, 1987 Gold, 2003 Greendale, 2003 Live at Vicar St., 2000 Neil Young: Helsinki-Naples All Night Long, 1986 Straight to Hell, and 1984 Silver and Gold, 1997 Year of the Horse, and 1984 Solo Trans. -
Gorinski2018.Pdf
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Automatic Movie Analysis and Summarisation Philip John Gorinski I V N E R U S E I T H Y T O H F G E R D I N B U Doctor of Philosophy Institute for Language, Cognition and Computation School of Informatics University of Edinburgh 2017 Abstract Automatic movie analysis is the task of employing Machine Learning methods to the field of screenplays, movie scripts, and motion pictures to facilitate or enable vari- ous tasks throughout the entirety of a movie’s life-cycle. From helping with making informed decisions about a new movie script with respect to aspects such as its origi- nality, similarity to other movies, or even commercial viability, all the way to offering consumers new and interesting ways of viewing the final movie, many stages in the life-cycle of a movie stand to benefit from Machine Learning techniques that promise to reduce human effort, time, or both. -
62. for Each of the Company's Cable Systems, State the Number Of
REDACTED - FOR PUBLICINSPECTION 62. For each of the Company's Cable Systems, state the number of communities that have either specifically requested or agreed to the migration of PEG content to a digital platform. The following systems serve communities that have either specifically requested or agreed to the migration ofPEG content to a digital platform:49 West Bay, CA system 6 communities Denver, CO system I community Carbondale, CO system I community Naples, FL system 4 communities Jacksonville, FL system I community Boca Raton/Del Ray Beach, FL system 44 communities Tallahassee, FL system I community Atlanta, GA system 5 communities Augusta, GA system 2 communities North Chicago, IL system 6 communities South Chicago, IL system 13 communities West Chicago, IL system 8 communities New Hampshire, ME 4 communities Sema Region, MA I community West New England system 3 communities York, PA system I community Philadelphia, PA system I community Three Rivers East, PA system 10 communities Chattanooga, TN system 1 community Knoxville, TN system 2 communities Nashville, TN system I community Houston, TX system 1 community South Puget Sound, WA system 2 communities 63. Provide copies of all strategic plans, analyses or models for switched digital video ("SDV") deployment on any of the Company's Cable Systems. Any responsive documents have been produced herewith. In the response submitted on June 11,2010, Comcast indicated tbat there were 224 communities that have requested or agreed to digital PEG carriage. The lower number here reflects the fact that certain FCC registered communities that were counted in the June 11,2010, response are in unincorporated areas or other areas that are not separately franchised communities. -
Stories for a Global Audience
T:225 mm C A N A D A T:290 mm + Y O U STORIES Talent and stories that are far reaching. = Canada has a wealth of talent, stunning FOR A locations and many funding options to help create stories that appeal to audiences GLOBAL around the world. Work with Canada and leverage business opportunities that can AUDIENCE take your next project to a new place. Discover more at CMF-FMC.CA Brought to you by the Government of Canada and Canada’s cable, satellite and IPTV distributors. WWW.PRENSARIO.TV WWW.PRENSARIO.TV CMF_20128_Prensario_FP_SEPT13_Ad_FNL.indd 1 2019-09-11 4:34 PM Job # CMF_20128 File Name CMF_20128_Prensario_FP_SEPT13_Ad_FNL.indd Modified 9-11-2019 4:34 PM Created 9-11-2019 4:34 PM Station SOS Daniel iMac Client Contact Emmanuelle Publication Prensario CMYK Helvetica Neue LT Std Designer Shravan Insertion Date September 13, 2019 Production Sarah Ad Due Date September 13, 2019 INKS Account Manager Sarah Bleed 235 mm x 300 mm FONTS PERSONNEL Production Artist Daniel SPECIFICATIONS Trim 225 mm x 290 mm Comments None Safety 205 mm x 270 mm 64x60 WWW.PRENSARIO.TV WWW.PRENSARIO.TV Live: 205 Trim: 225 Bleed: 235 //// COMMENTARY NICOLÁS SMIRNOFF Mipcom: Truth or Dare Prensario International ©2018 EDITORIAL PRENSARIO SRL PAYMENTS TO THE ORDER OF EDITORIAL PRENSARIO SRL OR BY CREDIT CARD. REGISTRO NACIONAL DE DERECHO DE AUTOR Nº 10878 Mipcom 2018 is again the main content event Also through this print issue, you will see ‘the Argentina: Lavalle 1569, Of. 405 of the year, with about 13,000 participants, newest of the newest’ about trends: strategies, C1048 AAK 4,000 buyers and almost 2000 digital buyers. -
Arkansas Libraries Spring 2014.Indd
Arkansas Libraries Spring 2014 Volume 71, Number 1 In this issue... 2014 ALA Midwinter Meetings • ArLA Calling for Nominations • Love for Leslie Arkansas Library Association, 2014 Division Chairs Arkansas Association of School Librarians (AASL) Dr. Wendy Rickman Arkansas Library Paraprofessionals (ALPS) Erin Baber College and University Libraries (CULD) Offi cers Sherry Tinerella Public Libraries and Trustees President Ashley Burris Devona Pendergrass Reference Services Mountain Home High School Pamela Meridith [email protected] Resources and Technical Services Carolyn Baker President-Elect Special Libraries Dr. Jud Copeland Dwain Gordon University of Central Arkansas [email protected] Committee Chairs Secretary/Treasurer Jamie Melson Arkansas Libraries - Managing Editor Whitney Ivy Central Arkansas Library System Awards - Cathy Toney [email protected] Conference - Nicole Stroud (co-chair) Constitution - Jamie Melson Past President Executive - Devona Pendergrass Patricia “Trish” Miller Finance - Jamie Melson Remington College Intellectual Freedom - Freddy Hudson [email protected] Legislative - Heather Hays Membership - Patricia “Trish” Miller ALA Councilor Nominating - Dr. Jud Copeland Hadi Dudley Planning - Patricia “Trish” Miller Bentonville Public Library Publications - Chrissy Karafi t [email protected] Public Relations - Cassandra Barnett Scholarship - Diane Hughes (co-chair) Archivist - Bob Razer Website - Jon Goodell Roundtable Chairs Government Documents Rod Miller Arkansas Library Association -
VIA ECFS April 30, 2021 Marlene H. Dortch Secretary Federal
VIA ECFS April 30, 2021 Marlene H. Dortch Secretary Federal Communications Commission 45 L Street NE Washington, DC 20554 Re: Rural Digital Opportunity Fund Auction, AU Docket No. 20-34; Rural Digital Opportunity Fund, WC Docket No. 19-126; Connect America Fund, WC Docket No. 10-90 Dear Ms. Dortch: The Ensuring RDOF Integrity Coalition (“ERIC”)1 submits this ex parte letter to support prior requests that the Federal Communications Commission (“FCC” or “Commission”) expeditiously release a Public Notice that lists Rural Digital Opportunity Fund (“RDOF”) Phase I census block groups (“CBGs”) on which provisional winning bidders have defaulted. On April 23 , 2021, the New Mexico Public Regulation Commission (“NMPRC”) disclosed that AMG Technology Investment Group DBA Nextlink Internet (“Nextlink”) is no longer seeking eligible telecommunications carrier (“ETC”) status in New Mexico because Nextlink determined that it would be “relinquishing” (i.e., defaulting on) the New Mexico census blocks it had won in Auction 904.2 Significantly, the reason provided by Nextlink for its default is its determination that: …the small amount of assigned support for the small number of locations in these census blocks will be insufficient in relation to the costs of buildout and compliance over the 10‐year term. It is therefore not economically prudent for Nextlink Internet to move forward with respect to the above‐listed census blocks.3 ERIC is aware that following the RDOF reverse auction, some winning bidders may have defaulted on a few selective locations or census blocks within certain CBGs. In this case, however, Nextlink will effectively abandon its RDOF commitment throughout the entire State of 1 ERIC is a coalition consisting of rural broadband providers, rural Americans, and local government officials who have joined together to work to ensure that the Federal Communications Commission’s Rural Digital Opportunity Fund proceeding will result in timely broadband service to rural America. -
3-Device Universal Remote NS-RMT3D18
USER GUIDE 3-Device Universal Remote NS-RMT3D18 Before using your new product, please read these instructions to prevent any damage. PACKAGE CONTENTS • 3-Device Universal Remote • Quick Setup Guide FEATURES • Works with a TV and a cable, satellite, or streaming box, plus a Blu-ray or DVD player and a soundbar or other audio-only device • Programming by popular brand names for quick and easy setup • Extensive code library for less common brands and devices • Premium design, materials, and construction for rugged use INSTALLING BATTERIES • Insert two AAA batteries (not included) into the remote. Make sure that the + and – symbols match the + and – symbols in the battery compartment. Note: To set up your remote, follow the setup steps below, in order, and STOP as soon as your remote works correctly. PROGRAMMING YOUR REMOTE There are three ways to set up your remote: • Use “Setup method A: Popular brands” for pre-set popular brands. • Use “Setup method B: Direct code entry” if your device’s direct code is in the code list starting on page 13. • Use “Setup method C: Code search” to perform a code search for your device. Note: This remote comes pre-set for Insignia TVs and DVDs and Apple TV cable/satellite/streaming set-top boxes. Setup method A: Popular brands 1 Turn on your target device. 2 Press and hold SETUP until your remote’s LED blinks twice. 3 Press TELEVISION or CABLE / SATELLITE / STREAMING, or BLURAY/ DVD to select the mode you want to set up. The LED stays lit. 4 Press either 0 (for cable/satellite/ streaming), 1 (for TVs), or 2 (for Blu-ray/DVD) to select the device type you want to set up. -
Smart Cinema As Trans-Generic Mode: a Study of Industrial Transgression and Assimilation 1990-2005
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by DCU Online Research Access Service Smart cinema as trans-generic mode: a study of industrial transgression and assimilation 1990-2005 Laura Canning B.A., M.A. (Hons) This thesis is submitted to Dublin City University for the award of Ph.D in the Faculty of Humanities and Social Sciences. November 2013 School of Communications Supervisor: Dr. Pat Brereton 1 I hereby certify that that this material, which I now submit for assessment on the programme of study leading to the award of Ph.D is entirely my own work, and that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge breach any law of copyright, and has not been taken from the work of others save and to the extent that such work has been cited and acknowledged within the text of my work. Signed:_________________________________ (Candidate) ID No.: 58118276 Date: ________________ 2 Table of Contents Chapter One: Introduction p.6 Chapter Two: Literature Review p.27 Chapter Three: The industrial history of Smart cinema p.53 Chapter Four: Smart cinema, the auteur as commodity, and cult film p.82 Chapter Five: The Smart film, prestige, and ‘indie’ culture p.105 Chapter Six: Smart cinema and industrial categorisations p.137 Chapter Seven: ‘Double Coding’ and the Smart canon p.159 Chapter Eight: Smart inside and outside the system – two case studies p.210 Chapter Nine: Conclusions p.236 References and Bibliography p.259 3 Abstract Following from Sconce’s “Irony, nihilism, and the new American ‘smart’ film”, describing an American school of filmmaking that “survives (and at times thrives) at the symbolic and material intersection of ‘Hollywood’, the ‘indie’ scene and the vestiges of what cinephiles used to call ‘art films’” (Sconce, 2002, 351), I seek to link industrial and textual studies in order to explore Smart cinema as a transgeneric mode. -
Telecommunications Provider Locator
Telecommunications Provider Locator Industry Analysis & Technology Division Wireline Competition Bureau January 2010 This report is available for reference in the FCC’s Information Center at 445 12th Street, S.W., Courtyard Level. Copies may be purchased by contacting Best Copy and Printing, Inc., Portals II, 445 12th Street S.W., Room CY-B402, Washington, D.C. 20554, telephone 800-378-3160, facsimile 202-488-5563, or via e-mail at [email protected]. This report can be downloaded and interactively searched on the Wireline Competition Bureau Statistical Reports Internet site located at www.fcc.gov/wcb/iatd/locator.html. Telecommunications Provider Locator This report lists the contact information, primary telecommunications business and service(s) offered by 6,493 telecommunications providers. The last report was released March 13, 2009.1 The information in this report is drawn from providers’ Telecommunications Reporting Worksheets (FCC Form 499-A). It can be used by customers to identify and locate telecommunications providers, by telecommunications providers to identify and locate others in the industry, and by equipment vendors to identify potential customers. Virtually all providers of telecommunications must file FCC Form 499-A each year.2 These forms are not filed with the FCC but rather with the Universal Service Administrative Company (USAC), which serves as the data collection agent. The pool of filers contained in this edition consists of companies that operated and collected revenue during 2007, as well as new companies that file the form to fulfill the Commission’s registration requirement.3 Information from filings received by USAC after October 13, 2008, and from filings that were incomplete has been excluded from this report.