Area Standards Agreement of 2018
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Netflix's Bloodline
Economic Impacts of the Netflix Original Series Bloodline Prepared for the Monroe County Tourist Development Council December 2015 Monroe County Tourist Development Council Economic Impact Analysis of the Netflix Original Series Bloodline TABLE OF CONTENTS Summary of Results ................................................................................................. 2 Introduction .............................................................................................................. 4 Study Purpose .......................................................................................................... 4 Season 1 Production Spending in Florida ............................................................. 4 Season 1 Production Spending in Monroe County ............................................... 5 Economic Impacts of Production Spending .......................................................... 5 Film Induced Tourism Impacts ............................................................................... 6 Additional Impacts ................................................................................................... 7 Appendix A – Economic Impact Methodology ...................................................... 8 Appendix B – Share of Production Spending in Monroe County......................... 9 Appendix C – Comparison of Economic Impacts from Visitor Spending ......... 10 Page | i Monroe County Tourist Development Council Economic Impact Analysis of the Netflix Original Series Bloodline SUMMARY OF RESULTS The -
Co-Operatives Unleashed from the Grassroots
Co-operatives Unleashed from the grassroots July 2020 About CCIN and the Policy Labs The Co-operative Councils’ Innovation Network (CCIN) is a non-party political active hub, founded in 2012 to achieve co-operative policy development, innovation and advocacy which is: Action-focused: a vehicle for helping councils translate co-operative policy and principles into practice. Membership-based: funded by modest membership subscriptions from its member councils. Open to all UK councils: members share the belief that working co-operatively with communities holds the key to tackling today’s challenges. Part of the local government family: the network is a Special Interest Group registered with the Local Government Association (LGA) where we work to promote innovation in local government. Established in 2016, the Policy Lab programme is an opportunity for any CCIN Member to present an idea and receive funding for collaboration with other CCIN members to fund co-operative solutions to the challenges facing local government. To find out more about joining the CCIN contact: [email protected] CCIN Accountable Body: Oldham Council, Oldham Civic Centre, West Street, Oldham OL1 1UL T: 0161 770 5691 Acknowledgements As Author, I am indebted to the following people and organisations whose contributions have proved invaluable in compiling this report: Co-operatives UK Congress fringe event participants and Plymouth City Council colleagues across multiple departments who, provided the foundation for our understanding of the relationship between co-operatives and councils. CCIN members, including representatives of 15 member councils at the LGA conference stand and also colleagues from Oldham Council, Preston City Council, Rochdale Borough Council, Sunderland City Council and Glasgow City Council, who contributed case studies and gave their time for many detailed discussions. -
Fringe Benefits County of Los Angeles Memorandum of Understanding
SEIU Local 721 Fringe Benefits County of Los Angeles Memorandum of Understanding October 1, 2015, through September 30, 2018 721 FB MAS AMENDMENT NO. I MEMORANDUM OF UNDERSTANDING FOR JOINT SUBMISSION TO BOARD OF SUPERVISORS REGARDING THE FRINGE BENEFIT AGREEMENT THIS AMENDMENT NO. I TO THE MEMORANDUM OF UNDERSTANDING, made and entered into this j6th day of August, 2016; BY AND BETWEEN Authorized Management Representatives (hereinafter referred to as “Management”) of the County of Los Angeles (hereinafter referred to as County”) AND LOS ANGELES COUNTY EMPLOYEES ASSOCIATION, SEIU, LOCAL 721, CTW, CLC (hereinafter referred to as “UnionTM) WHEREAS, on the 1st day of October2015, the parties entered into a Memorandum of Understanding regarding the Fringe Benefits, which Memorandum of Understanding was subsequently approved and ordered implemented by the County’s Board of Supervisors: and 721 FB MAS WHEREAS, as a result of mutual agreement, the parties desire to amend the MOU Article as set forth hereafter: NOW, THEREFORE, the parties agree as follows: 1. Amend Article 27 — Commuting Problems, Paragraph 5 — The County will advance to the Green@Work Joint Labor Management Committee, as follows: MOU Term Year 201 5-2016 $200,000 August 2016 $ 25,000 (one-time gap funding) September 2016 $ 25,000 (one-time gap funding) MOU Term Year 2016-2017 $200,000 MOU Term Year 2017-2018 $200,000 These funds shall be used for the specific purpose of maximizing direct financial rideshare subsidies for employees, and enhancing alternative transportation systems, such as shuttle services, van pools, car pools, bicycle parking, other transit services and guaranteed tide home services. -
Fortune Again from CAST 25 Years of Experience in Customer Service and Marketing, Jeffery Is Maude
Premier Sponsor Associate Sponsors June 28 - July 14 June 21-23: by Deborah Zoe Laufer JUNE 14-23 Scenic Design Costume Design Lighting Design Sound Design Kent Goetz Mira Veikley† Deborah Constantine† Don Tindall Production Stage Manager Production Manager Kristin Loughry* Adam Zonder Directed by A BRIEF HISTORY OF AMERICA Deborah Zoe Laufer BY DIPIKA GUHA Haven’t subscribed yet? A BRIEF HISTORYDIRECTED BY OF KYLE AMERICAHADEN BY DIPIKA GUHA JUNE 21 & 22 There’s still time! DIRECTED BY KYLE HADEN JUNE 21 & 22 Originally Presented by Marin Theatre Company Lee Sankowich, Artistic Director, Gabriella Calicchio, Managing Director FAR AWAY FAR BY CARYL AWAY CHURCHILL BY DIRECTED CARYL CHURCHILL BY IVEY LOWE There will be one 10 minute intermission DIRECTED JULY 5 & 6BY IVEY LOWE JULY 5 & 6 The videotaping or other video or audio recording of this production is strictly prohibited. Partners In Flight AJAXAJAX BY BY SOPHOCLES SOPHOCLES TRANSLATION TRANSLATION BY BY JAMES JAMES SCULLY SCULLY DIRECTED DIRECTED BY BY JAKE JAKE BECKHARD BECKHARD JULYJULY 12 12 & & 13 13 * Member of Actor’s Equity † USA — Member of Association, the Union of United Scenic Artists DEATH COMES TO US ALL, MARY AGNES Professional Actors and Stage Local 829. BY CHRISTOPHER DEATH DURANGCOMES TO US ALL, MARY AGNES Managers in the United States. Partner in the Arts DIRECTED BY CHRISTOPHER BY CHRISTOPHER DURANG NÚÑEZ JULY DIRECTED 26 & 27 BY CHRISTOPHER NÚÑEZ JULY 26 & 27 ALL SHOWS AT 6 PM & 8 PM ALL SHOWSTHE CHERRY AT 6 PM ARTSPACE & 8 PM 102THE CHERRY CHERRY ST, ARTSPACE ITHACA, NY FREE102 ADMISSION CHERRY ST, AT ITHACA, THE DOOR NY FREE ADMISSION AT THE DOOR New to the Hangar Theatre Company.. -
CONTENTS August 2021
CONTENTS August 2021 I. EXECUTIVE ORDERS JBE 21-12 Bond Allocation 2021 Ceiling ..................................................................................................................... 1078 II. EMERGENCY RULES Children and Family Services Economic Stability Section—TANF NRST Benefits and Post-FITAP Transitional Assistance (LAC 67:III.1229, 5329, 5551, and 5729) ................................................................................................... 1079 Licensing Section—Sanctions and Child Placing Supervisory Visits—Residential Homes (Type IV), and Child Placing Agencies (LAC 67:V.7109, 7111, 7311, 7313, and 7321) ..................................................... 1081 Governor Division of Administration, Office of Broadband Development and Connectivity—Granting Unserved Municipalities Broadband Opportunities (GUMBO) (LAC 4:XXI.Chapters 1-7) .......................................... 1082 Health Bureau of Health Services Financing—Programs and Services Amendments due to the Coronavirus Disease 2019 (COVID-19) Public Health Emergency—Home and Community-Based Services Waivers and Long-Term Personal Care Services....................................................................................... 1095 Office of Aging and Adult Services—Programs and Services Amendments due to the Coronavirus Disease 2019 (COVID-19) Public Health Emergency—Home and Community-Based Services Waivers and Long-Term Personal Care Services....................................................................................... 1095 Office -
Fringe Knowledge for Beginners
Fringe Knowledge for Beginners Fringe Knowledge for Beginners By Montalk 2008 www.montalk.net [email protected] FRINGE KNOWLEDGE FOR BEGINNERS By Montalk 2008 montalk.net ISBN 978-1-60702-602-0 Version 1.0 » August 2008 Bound Hardcopies: http://www.lulu.com/content/584693 E-book and Related Articles: http://www.montalk.net Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 Unported License: You are free to copy, distribute and transmit the work under the following conditions: You must attribute the work in the manner specified by the author or licensor (but not in any way that suggests that they endorse you or your use of the work). You may not use this work for commercial purposes. You may not alter, transform, or build upon this work. Any of the above conditions can be waived if you get permission from the copyright holder (email: [email protected]). Nothing in this license impairs or restricts the author's moral rights. To view a full copy of this license, visit: http://creativecommons.org/licenses/by-nc-nd/3.0 This book is dedicated to my two younger brothers and my sister. Note: Footnotes in italics are key phrases to enter into web search engines. Contents FOREWORD....................................................................................................9 THE BASICS ..................................................................................................11 ETHERIC AND ASTRAL BODIES ........................................................12 CONSCIOUSNESS........................................................................................15 -
Becoming Legendary: Slate Financing and Hollywood Studio Partnership in Contemporary Filmmaking
Kimberly Owczarski Becoming Legendary: Slate Financing and Hollywood Studio Partnership in Contemporary Filmmaking In June 2005, Warner Bros. Pictures announced Are Marshall (2006), and Trick ‘r’ Treat (2006)2— a multi-film co-financing and co-production not a single one grossed more than $75 million agreement with Legendary Pictures, a new total worldwide at the box office. In 2007, though, company backed by $500 million in private 300 was a surprise hit at the box office and secured equity funding from corporate investors including Legendary’s footing in Hollywood (see Table 1 divisions of Bank of America and AIG.1 Slate for a breakdown of Legendary’s performance at financing, which involves an investment in a the box office). Since then, Legendary has been a specified number of studio films ranging from a partner on several high-profile Warner Bros. films mere handful to dozens of pictures, was hardly a including The Dark Knight, Inception, Watchmen, new phenomenon in Hollywood as several studios Clash of the Titans, and The Hangoverand its sequel. had these types of deals in place by 2005. But In an interview with the Wall Street Journal, the sheer size of the Legendary deal—twenty five Legendary founder Thomas Tull likened his films—was certainly ambitious for a nascent firm. company’s involvement in film production to The first film released as part of this deal wasBatman an entrepreneurial endeavor, stating: “We treat Begins (2005), a rebooting of Warner Bros.’ film each film like a start-up.”3 Tull’s equation of franchise. Although Batman Begins had a strong filmmaking with Wall Street investment is performance at the box office ($205 million in particularly apt, as each film poses the potential domestic theaters and $167 million in international for a great windfall or loss just as investing in a theaters), it was not until two years later that the new business enterprise does for stockholders. -
Image Processing Code for Sharpening Photoelastic Fringe Patterns and Its Usage in Determination of Stress Intensity Factors in a Sample Contact Problem
College of Engineering Society of Manufacturing University of Tehran Engineering of Iran 3rd International Conference on Manufacturing Engineering ICME2011, Tehran, Iran 27-29 December 2011 Image Processing Code for Sharpening Photoelastic Fringe Patterns and Its Usage in Determination of Stress Intensity Factors in a Sample Contact Problem S. Khaleghian*, A. Emami and N. Soltani School of Mechanical Engineering, College of Engineering, University of Tehran, Tehran, Iran Abstract This study presented a type of image processing code which is used for sharpening photoelastic fringe patterns of transparent materials in photoelastic experiences to determine the stress distribution. C-Sharp software was utilized for coding the algorithm of this image processing method. For evaluation of this code, the results of a photoelastic experience of a sample contact problem between a half-plane with an oblique edge crack and a tilted wedge using this image processing method was compared with the FEM results of the same problem in order to obtain the stress intensity factors (SIF) of the specimen. A good agreement between experimental results extracted from this method of image processing and computational results was observed. Keywords: Image processing; Photoelastic fringe patterns; Sharpening; Stress intensity factors 1. Introduction Later in 1998, S Yoneyama et al presented new A practical technique to experimentally obtain methods of photoelastic fringe analysis from a single stress distribution in transparent materials is image [4-5]. Afterwards, many other researchers like photoelasticity. However, in the photoelastic T.Y. Chen et al [6] and C.W. Chang et al [7-8] utilized experiments, the exact path of isochromatic fringes in digital image processing to determine stress distribution images captured by professional cameras can be hardly in some practical mechanical problems. -
August 06, 2021 To: Prospective Quoters Subject: Request for Quotations Number PR10122572 the Bureau of International Narcotics
EMBASSY OF THE UNITED STATES OF AMERICA U.S. Department of State Bureau of International Narcotics and Law Enforcement Affairs (INL) Bogotá, Colombia August 06, 2021 To: Prospective Quoters Subject: Request for Quotations number PR10122572 The Bureau of International Narcotics and Law Enforcement (INL) at the U.S. Embassy in Bogota invites you to submit a quotation for Software. Quotations must be submitted via email no later than August 16, 2021, at 16:00 hours (Bogota, Colombia) time. Refer to SF-1449 Continuation Pages, Section 3 (Solicitation Provisions), Subsection III (Addendum to FAR 52.212-1), Item 2.0 for complete submission instructions. To be considered for award, your quotation must include all information requested in SF-1449 Continuation Pages, Section 3 (Solicitation Provisions), Subsection III (Addendum to FAR 52.212-1), Item 3.0 and otherwise meet all other solicitation requirements. Questions pertaining to this solicitation, if any, must be received by the Government no later than August 10, 2021, at 16:00 hours (Bogota, Colombia). Refer to SF-1449 Continuation Pages, Section 3 (Solicitation Provisions), Subsection III (Addendum to FAR 52.212-1), Item 1.0 for complete instructions on submitting questions. The U.S. Government intends to award a purchase order to the responsible company submitting an acceptable quotation at the lowest price. We intend to award a contract based on initial quotations, without holding discussions, although we may hold discussions if it is in the best interest of the Government to do so. Unless an exception in FAR 4.1102 applies, your company must be registered in the System for Award Management (SAM) (www.sam.gov) in order to be eligible for award. -
ANDREA BECHERT Scenic Designer / Scenographer
ANDREA BECHERT USA local 829 SCENIC DESIGNER / SCENOGRAPHER [email protected] cell phone: 650-533-6059 WEBSITE: WWW.SCORPIONDESIGNS.NET CURRENT DESIGN PROJECTS TheatreWorks Finks (director: Giovanna Sardelli – opens June, 2018) Palo Alto, California Center Repertory Theatre Shirley Valentine (director: George Maguire – opens March, 2018) Walnut Creek, California San Jose State University As You Like It (director: Nancy Carlin – opens February, 2018) San Jose, California UC Davis Pippin (director: Mindy Cooper – opens February, 2018) Davis, California UC Berkeley Dream of the Kitamura (director: Philip Gotanda– opens April, 2018) Berkeley, California The Mountain Play Mamma Mia (director: Jay Manley – opens May, 2018) Marin, California Peninsula Youth Theatre A Christmas Story (director: Meg Venuti – opens November, 2017) Mountain View, California Beauty & the Beast (director: Brian Miller – opens March, 2018) Joseph … Technicolor Dreamcoat (director: Katie O’Bryon – opens May, 2018) Guys & Dolls (director: Loryn Hatten – opens July, 2018) RECENT DESIGN PROJECTS TheatreWorks Constellations (director: Robert Kelley – August, 2017) Palo Alto, California Chautauqua Theatre Romeo & Juliet (director: Dawn Monique Williams – August, 2017) Chautauqua, New York Douglas Morrison Theatre Arsenic & Old Lace (director: Dale Albright –August, 2016) Hayward, California Center Repertory Theatre Sisters Matsumoto (director: Mina Morita – April, 2017) Walnut Creek, CA The Mountain Play Beauty & the Beast (director: Jay Manley – May, 2017) Marin, -
The Business of Making Movies
Cover Story THE BUSINESS OF MAKING MOVIES B Y S. MARK Y OUNG,JAMES J. GONG, AND W IM A. V AN DER S TEDE The U.S. motion picture industry generates close to $100 billion in revenues, is one of the country’s largest exporters, and exerts enormous cultural influence worldwide. But today it also faces enormous pressures. 26 STRATEGIC FINANCE I F ebruary 2008 oing to the movies has always been one of ney Pictures, Warner Brothers Pictures, Paramount Pic- society’s most pleasurable pastimes. Over tures, Columbia Pictures, and Universal Pictures. The the past few years, though, enormous MPAA represents these studios internationally and plays a changes have occurred in the movie- number of roles: It advocates for the U.S. film industry, making business: escalating production protects producers from copyright theft, and fights pira- and marketing costs, the significant impact cy. In 2006, the MPAA studios released 203 films (34%), of increased piracy, the uncertainty in film and other, independent distributors released 396 (66%). financing, the proliferation of digital tech- Even though major studios have made their name in Gnology, and the increase in available entertainment Hollywood, large, vertically integrated conglomerates options for consumers. These and other factors have own them today. These conglomerates also incorporate a implications for the motion picture business, the types of number of other forms of entertainment and media, such movies it will produce, and how and where people will as radio stations, cable and network television stations, view them. Based on research sponsored by the Foundation for Applied Research (FAR) of the Institute of Management THE LARGEST DISTRIBUTORS OF Accountants (IMA®), this is the first in a series of articles on the U.S. -
Evidence from the Film Industry
Expected Returns on Real Investments: Evidence from the Film Industry Thomas Y. Powers∗ October 21, 2015 Abstract Using a proprietary, project-level dataset on the film industry, I study a cross-section of expected returns on real investments. Expected returns are in- creasing and concave in the idiosyncratic dollar variance of a film’s payoff, unlike in markets where such risk can be diversified. Expected returns are approxi- mately linear in dollar volatility. A $1 MM increase in volatility raises expected return by at least 43 basis points. I discuss theories from corporate finance that can rationalize the pricing of idiosyncratic risk, and I build a matching model between studios and films in which costly external finance can explain the facts. JEL Codes: G12, G32, L22. Keywords: Cross-sectional asset pricing, pricing real investments, project choice, managerial risk aversion, risk management ∗Harvard University, [email protected]. I am very grateful to John Campbell, Robin Greenwood, Victoria Ivashina, Diane Kahng, Steve Kovacs, Ari Levinson, Jean-Marie Meier, Filippo Mezzanotti, Vijay Narasiman, Jonathan Rhinesmith, David Scharfstein, Neil Shephard, Manpreet Singh, Erik Stafford, Luis Viceira, John Zhou, Eric Zwick, and the participants at the Harvard Finance Workshop and at the LBS Trans-Atlantic Doctoral Conference for their helpful comments. Additionally, I would like to thank Bruce Nash and OpusData for generously providing data and for feedback on my project. Introduction Businesses expect different returns on different projects, and these differences deter- mine which innovations are developed, which jobs are created, and which investments are available to savers. Nevertheless, despite its relevance, we know relatively little about which factors drive the cross-sectional variation in expected returns for real projects.