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We’d live in a 100% meritocracy where rich people are rich because they work hard and are creative hard thinkers. We’ll probably never get there but we can strive for this by rewarding hard work and creative thought and NOT rewarding lazy people and stupidity that is brought on by not wanting to learn. That gives me some time to research the archives for the post i mentioned earlier. This is why immigrants are often successful, that they either arrive with a great education or they make sure they or their kids get one just as soon as they get to the US. That’s why the current conversation around how useless a college degree is really bugs me. Even in the Great Recession, whether or not you have an advanced degree is a better predictor of how well you are weathering hard times than any other metric. What if we changed the wording and remove the trigger words. Less successful people believes they can’t afford to give. Less successful people think negatively about selling and promotion. He is holding an ART CONTEST to get promotional posters for “supporting American jobs”. That’s their prize. No money at all for their hard work. These are people who would never pay for your art anyway. I have also see a movement where the wise artists are not giving their art away. Their mind set is “I have a quality product and you want my quality product, so we need to negotiate what is a fair amount. .

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Or do you get involved with the people who are really doing something more immediate. Gorillas in the Mist let people know that gorillas are accessible beings, so everything helps in some way, I suppose, but eventually you get impatient with it all. You’re not willing to go through three years writing a script which may or may not be made as a movie, and which, even if it’s made, probably won’t make the slightest difference. So I prefer to give my time to movements like Poachers-Into-Protectors. It’s a race against time, and even though I don’t think it’s going to be won, I think you have to go down swinging. That doesn’t mean that I would never write about it, and maybe all of this is a cop-out, but I grew sick to death of talking about nothing but movies and being part of a community where film was more important than anything else in life— and where the movies became more and more about other movies and less and less about real life. The happiest times in my life have been the periods when I wasn’t living that way. I was happier in the army than I was in Hollywood, and I’m happier here in Seattle because I’m involved in real things, like my work at the zoo helping the gorillas. REBEL WITHOUT A CAUSE (1955) 59 Yes, but I also thought that you lost your confidence as a writer because so many people were forcing you to see things from their points of view that you started to feel as if you were writing what they wanted you to write, rather than what you wanted to write. I began to lose confidence in my own ability to make choices. People were so eager to make contributions before you were ready for them that you began to automatically assume that they were right about things and that you were not. Not necessarily financially, but I was always welcome on the set of every picture that I chose to be on, and, in many cases, I was there from the first casting interviews to the final cut. Only a few people in Hollywood had such opportunities, and I’m very grateful. And despite all of your Hollywood difficulties, you’ve always avoided falling into bitterness, and have always considered yourself very fortunate, even privileged. When you look back now, especially at your work on Rebel Without a Cause, what stands out among your most pleasurable recollections. STERN: Being with Jimmy at Arthur’s, night after night.

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I think the show will use it just because it's more chaos. Anybody remember other scenes that weren't in the books that were well played? Anybody remember other scenes that weren't in the books that were well played. Total knight to knight class, but still letting Mormont know he's done. His conviction and defiance of the odds is so convincing. Completely agree. Thorne in that episode was fantastically done. He also teased he is considering a big plot twist he had never thought of before involving a few characters that could not be put into the show because of the events that have already unfolded for a character. This just further makes me want the books regardless of whether the show outcome is still pretty much the same. Her father is the head of House Baratheon of Dragonstone and has declared himself King on the Iron Throne. Shireen is Stannis's only living daughter and therefore his heir presumptive. Normally considered a death sentence, Stannis refused to give up on her and called in every healer he could find from both sides of the Narrow Sea to try to cure her, and through the combination of their efforts they managed to succeed, though the left side of her face was left permanently scarred. Shireen, in turn, tries to avoid her mother, because she is frightened by Selyse's fanatical devotion to Melisandre and the Lord of Light. However, Shireen adores her father and he loves her deeply as well, though he is a dour man who doesn't often let it show through his stern exterior. She is also close friends with Stannis's most trusted advisor, Ser Davos Seaworth, who loves her like his own daughter. Selyse tries to dissuade Stannis from seeing Shireen, but he angrily insists upon seeing his daughter.

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Asthana of their powers, but the action of the new acting director, M. Nageswara Rao — who has trans- ferred many o? ers investigating cases against Mr. As- thana — exposes where its sym pathy li es. This has raised the question whether the government is adopt- ing strong-arm tactics against Mr. Verma, despite his te- nure and independence being protected by the law. The Central Vigilance Commission, in its order div- esting him of his o? e, has said that since the atmosph- ere within the agency had become vitiated due to a fac- tional feud, it had to intervene. It also charged Mr. Verma with not making available the records and ? es sought by the CVC in connection with a corruption complaint against him— an approach which it held was wilfully obstructionist. The sordid controversy has raised the important question of whether the statutory changes aimed at insulating the CBI Director’s o? e from political and administrative interference are adeq- uate. Section 4B of the Delhi Special Police Establish- ment Act assures the Director of a two-year tenure and makes it clear that he cannot be transferred except by the high-power committee — comprising the Prim e Mi- nister, the Leader of the Opposition and the Chief Jus- tice of India — that appointed him. It will also examine whether the CVC’s power of superintendence has been rightly invoked in the pre- sent case. But there are immediate and arguably more serious dimensions to this crisis.

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A little color theory helps explain these terms and why we need them. Real World Color Management, Second Edition The strengths and weaknesses of color management are rooted in our ability (or inability) to quantify human color vision accurately. If youunderstand this, your expectations will be more realistic. Understanding this helps you evaluate your results. You need to understand the instruments you may use with color man- agement. But we have to 'fess up to another reason for writing this chapter: color is just really darned interesting. While this chapter sets the stage and laysthe foundation for other chapters in this book, we hope it will also sparkyour curiosity about something you probably take for grantedyourability to see colors. If you're intimidated by scientific concepts, don't worrywe won't bombard you with obscure equations, or insist that youpass a graduate course in rocket science. It's not absolutely necessary to understand all of the issues we cover in this chapter to use color manage-ment. But a passing familiarity with these concepts and terms can oftencome in handy. This is the textbook counterclaim to the view of color as a property ot objects. This concept captures our imaginationwhen we encounter optical illusions such as afterimages, successive con- trast, and others that don't seem to originate in the objects we see. Color is something that originates in the eye or the brain of the observer. The correct answer, of course, is a blend of all three. All are partiallytrue, but you don't have to look far to find examples that show that none of the three statements, by itself, is a complete description of the experi- ence we call color. Color is an event that occurs among three participants: a light source,an object, and an observer.