The Supreme Court is just days away from deciding whether to take the Prop 8 case. Depending on how they rule, we could see marriages starting in California, Maine, Washington, and Maryland, all within the span of a few weeks. Plus with new survey data out this week, it's now been two and a half years since our opponent's last-held majority support in any major national poll. At the American Foundation for Equal Rights, I'm Matt Baume, and welcome to Marriage News Watch for November 19, 2012. It's just a few more days of suspense before the Supreme Court decides whether it will take the Prop 8 case. We had previously expected a decision by November 26, but now it's been pushed back a few days and could come on Friday, the 30th, or Monday, the 3rd. The court will also decide whether to take any of the four cases before it that involve the Defense of Marriage Act, and there's also a fifth case before it that involves domestic partnerships in Arizona. Depending on how the court rules, we could be close to marriage resuming in California, or we could be looking at oral arguments before the court and then a decision by the end of June. No matter what happens, AFER is ready to provide you with instant updates and analysis on what happened and how it affects you. Subscribe here on YouTube and at AFER.org to always be up to date. We're also close to the start of marriage in Washington State on December 6. Maryland marriages start on January 1, and we'll have a firm date for marriage in Maine as soon as the votes are finalized, but that should be starting up there before the end of the year. The percentage of the American population living in states with marriage equality will soon be at its highest point ever, even higher than it was when California briefly allowed marriage in 2008. And a new study by the Williams Institute at UCLA estimates that marriage spending in those three states alone will generate $166 million over the next three years. That estimate is for in-state residents only and doesn't include spending by tourists. And of course, public support for marriage continues to climb steadily upward. A new survey from the Washington Post shows 51 percent of Americans support marriage equality with 47 percent opposed. The last time any major national survey showed our opponents pulling over 50 percent was a Gallup survey in May of 2010. And even going back 15 years, the trend in support has only moved in one direction. Between the Prop 8 and DOMA cases, marriage winning on the ballot, and pro-equality legislators winning offices in multiple states, there's going to be lots of major news on freedom to marry over the next few months. Subscribe here on YouTube and at AFER.org so you can always be up to date with what's going on. At the American Foundation for Equal Rights, I'm Matt Baume. We'll see you next week.


Listen, that whistle is your signal for the signal oil program, the Whistler, rated tops in popularity for a longer period of time than any other West Coast program. And signal gasoline is tops too, tops in quality. It takes extra quality, you know, to give you extra mileage. And signal is the famous Go Farther gasoline, available wherever you see the signal circle sign in yellow and black that identifies independent signal dealers from Canada to Mexico. I'm the Whistler, and I know many things for I walk by night. I know many strange tales hidden in the hearts of men and women who have stepped into the shadows. Yes, I know the nameless terrors of which they dare not speak. And now the Whistler strange story. Cover up. As the coal gray dawn broke over the fog-shrouded coastal village of Benton Coal, death came to the big house on the hill. Moments after the chimes of the hall clock had echoed six times through the silent house. A door along the upstairs corridor closed quietly. And Joan Harper, white-faced, nervously twisting a handkerchief in her fingers, moved slowly down the great circular stairway. At the foot of the stairs she stopped, looked back over her shoulder for an instant, and then hurried into the library. As she picked up the phone, placed her call with the operator, her thoughts raced back to a moment two years ago, to a bright, warm spring morning in the garden when David Blaine had come to her. Hi, I'm David. Over here. Hard at work, I see. Well, all these plants certainly do need a lot of care. I don't suppose you'd be interested in some spade work, Mr. Blaine? Oh, it might be. Good. After that, I'll have something else for you to do. The hedge along the- Joan. Yes, David. I suppose you couldn't help over hearing that growl upstairs. Well, Adele's voice has a way of... No use, Joan. I've tried to make it work, but it just won't. I'll be leaving in a day or two, moving into an apartment in Los Angeles. I see. Of course, there'll be no divorce. If Adele was well and strong, that would be another matter, but she isn't, and well, I just- I know, David. I'll do all I can for Adele, of course. Adele has more than enough money to take care of everything. I just can't stay on here any longer. It wouldn't be good for Adele, either. You understand why I can't stay, don't you, Joan? Yes, I understand. David, I... Nothing. It's nothing. Yes, that was two years ago, wasn't it, Joan? Two long years. Yet you remember it well, don't you? You understood then quite clearly why it was impossible for him to stay here at the house, and at that moment you wanted to tell David that you were in love with him, too, but you couldn't, and you told yourself it would all work out for the best this way. David would go away, and there would be no divorce. Your sister Adele would always stand between you as long as she lived. Now, two years later, you're placing a call to David to tell him that Adele is dead. David, this is Joan. Joan, this is a surprise. How are you? David, I've been trying to reach you for the past two hours.  Joan, is something wrong? It's Adele. She's dead. Yes, sometime during the night. She shot herself. David, she was expecting you last night. Drive down this morning. I see. All right, David, you'll hurry? Yes. Yes, I'll leave right away. Your hand is trembling as you replace the receiver. There's a tight, hard knot in your throat. A mere sound of his voice can do that, can't it, Joan? But there's something else. David's manner, his excuse about not coming down, and that vague feeling that has persisted ever since you were awakened by the gunshot, in that confused, half-awake state. It sounded as if there was someone on the back stairs hurrying away, but you couldn't be sure. The thought keeps running through your mind now as you wait for David while you answer the many questions of Sheriff Quinn, and then it's all swept away as you meet David.  David helps with everything after he arrives, and you stand side by side at the funeral attended by a large gathering of friends, villagers. And when it's over, you walk from the family crypt down the tree-shaded path toward the road, in the waiting car. David? Yes. Have you made any plans about going back to the city? No, nothing definite. How about you, Joan? Oh, I suppose I'll stay on at the house with Mrs. Hastings. Joan. Yes? Who, who's that man walking up ahead, the one of the trench coat? Oh, that's Mark Quinn. He's the sheriff here. Sheriff? I see. Are they young, isn't he? Yes. Very capable, they say. Why do you ask? Oh, I, I couldn't help noticing doing the services back there. He seemed to take it all pretty badly. I've seen that look on a man's face before. Hard, drained of all color, little angry. Getcha know he's crying inside. He was in love with the devil, wasn't he? Yes, ever since high school. They were engaged once. Then I came along. Is that it? That's it.  She was something like that. I suppose he blames me for what's happened. Of course not, David. He didn't come around to offer his condolences. Perhaps he's going to do that now. What? He stopped at the gate I think he's waiting for him. Oh, yes, I think he is. Oh, Joan. Hello, Mark. I don't suppose I'm the first to say this, but well, if there's anything I can do. Thank you, Mark. Oh, you've never met David, have you? Hello, Mark. We met a long time ago, Mr. Blaine. I don't suppose you remember. I, uh, I was at the wedding. Oh, I see. Sorry, I... That's quite all right. Some people have a memory for faces. Others don't. I happen to have. Although, sometimes it plays tricks on me. That's so? Take the other night, for instance, Tuesday night. The night that Mrs. Blaine died. I could have sworn I saw you getting off the train here at the depot. Oh? Caught only a glimpse of the face. I was mistaken, of course. You couldn't have been on that train. No, I didn't arrive till the following morning. I drove down. Well, I know you're anxious to get back up the hill, Joan. I won't keep you. Remember if I can be of any help. What? Oh, yes, thank you, Mark. The fear has swept over you once again, hasn't it, Joan? The fear that points a finger of suspicion to David. And you wonder if Mark really did see David at the depot Tuesday night. Wonder if Mark actually believes he was mistaken.  You don't want to think about it. Try to force it from your mind, but you can. And you're afraid that what you suspect is true, that David was in the house the night your sister died. When you return to the house, you leave David downstairs in the library. Hurry up to your room. Pick up the phone. Moments later, you're talking to the telephone operator at David's business office. I'm sorry, Mr. Blaine is out of town. Oh, oh, yes, I remember now. He said something about going down to Benton Cove of when did he leave? He left Tuesday on the afternoon train. Tuesday afternoon? You're Satan? Yes, I'm quite certain. I made the reservation myself. I see. Thank you. He was here that night. David was here. With the prologue of cover-up, the signal oil company brings you another strange tale by the Whistler. But first a word about the amazing growth of signal oil company from a mere handful of stations in Southern California into a coast wide organization serving six western states from Canada to Mexico. That growth has in large measure been due to one policy, which signal has followed consistently for 17 years to make each product that bears the name signal even better and better. That goes not only for signal gasoline and signal premium compounded motor oil, but also for signals line of fine quality automotive accessories. For instance, take signals new deluxe batteries. Unlike ordinary batteries, which are guaranteed for only 12 or 18 months, signal deluxe batteries are guaranteed for a full 30 months on a service basis. And their improved all rubber separators, the finest type known to battery engineering, make signal deluxe batteries deliver up to 35% more power. So whether it's long life or dependable trouble-free performance you're interested in, you'll be wise to see your signal dealer before you buy any battery. Compare the low cost per month of a signal deluxe battery. Compare the generous trade-in signal dealers are now offering for old batteries. Compare their convenient credit terms. You'll see why from any angle today's best battery buy is the signal deluxe battery sold only at signal service station. And now back to the Whistler. There's little doubt in your mind now, is there, John? David was in the house the night a del died. You suspect the terrible reason as you wonder why he lied to you. You're afraid to think about it, afraid of what it can mean.  Finally, there's a knock on the door. Mrs. Hastings, the house can forever. Dinner will be ready in about an hour, Miss Jones. Dinner? Oh, I-I don't- Mr. David was wondering if you'd like to join him in the library for a cocktail? No. No, I-I don't think I'll come down tonight, Mrs. Hastings. I'm not feeling well. You really should have something, Miss Jones. I'll be all right. Perhaps after I rest a while. Very well. A moment after Mrs. Hastings leaves, you slip quietly down the back stairs, out into the cool night air, and start down the road to the village. You can't bear to face David now, can you? Not until you've had more time to think.  You're confused. That it'll all work out somehow. Then as you cross the small wooden bridge, a short distance from the house, you hear someone call. Oh, hello. Out for a little stroll? Oh, Mark. What are you doing here? Thought I'd take in a little night air. Beautiful evening, isn't it? Yes. Yes, it is. Going, uh, down the village? Uh, yes. Mind if I go along? No, of course not. I'm, uh, I'm sort of glad I ran into him. Oh. Yes, I've been wanting to talk to you about Adele. Of course, if you'd rather I didn't. No, no, it's quite all right, Mark. What? When you found her, you didn't touch anything. The gun, for instance. Gun? Oh, I know. No, I didn't even notice it until later after Dr. Kempston had arrived. It had fallen from her hand. Why do you ask? Well, there's something rather odd about the fingerprints on it. Adele's prints. What do you mean? The position of the prints is rather unusual. It would seem more like that gun had been placed in her hand than the hand had been closed tightly around the handle to make the print. Oh, I see. It doesn't seem natural to me the way the gun was held. Oh. But then, who knows? I guess it's entirely possible. Mark, I don't believe I'll go down to the village after all. I just remembered something. Oh. I'll have to go back to the house. You go on. Something important? Yes. Yes, it's quite important.  Yes. You've got to see David right away. You've got to know for certain. You hurry back to the house, to the library. David isn't there.  Knock on the door. No answer. David. David? You call his name softly, but sensing as you do that he's not in the room.  Then your eyes move to the top of the bureau, to a letter addressed to David. Your hand moves to it slowly, mechanically. And even as you tell yourself that it's wrong, you take the letter from its envelope, stare at the first page, at the letter head of doctors Ferguson and Dunby, physicians and surgeons. You know at once that old Dr. Ferguson, the executor of Adele's father's estate, wrote that letter. That isn't important, is it, John? It's what he tells David in the first paragraph. A brief paragraph, but so very important. And so, David, I feel at my duty to advise you that in the event of Adele's death, prior to yours, and while a state of marriage still exists, all of the monies and property involved in your late father-in-law's estate are bequeathed to you. Oh, no. Oh, David. Oh. I didn't know you were here. Oh, I thought David, uh, have you seen him? I believe he's out in the garden, Miss. Said something about taking a turn before dinner. I see. Thank you, Mrs. Hastings. You tremble as you go downstairs and out into the garden. It was wrong of you to be in David's room. Wrong to take his letter. But somehow you couldn't help it. And those words keep blurring in your mind as you walk quickly toward the Rose Arbor.  A strong one. And no matter how hard you try to fight down your fears, they persist. Suddenly, you're aware of David's voice. You step back, stand behind the protection of the Rose Arbor, listening as he questions old Ben in the garden. Don't say it, Ben. You didn't do as you were told that night. Well, Mr. David, I didn't mean to go against Miss Adele's wishes, but I was tired. I saw no reason why I should go into town. But all the other servants did go into town. Yes, sir. If only we had known what poor Miss Adele was planning to do to herself. It might have been prevented, yes. I thought I was wondering about Ben. From your cottage. Didn't you hear the shot? Yes, but I thought it was only a car backfire. You didn't go out to look around in the yard? You mean there might have been someone here, Mr. David, that it might not have been suicide? I'm asking the questions, Ben. Did you see or hear anyone? No, sir. No, sir. I didn't... That's all I want to know. But I guess there could have been someone, Mr. David. I had no idea anyone even suspected... No one does, Ben. Forget it. Forget we even discussed the matter. The tone of David's voice frightens you, doesn't it, Joan? You draw back into the shadows as the two men start away toward old Ben's cottage. Then you turn and hurry back to the house. Enter the library. The letter still clasped in your hand. You want to read that terrible, frightening paragraph again, but David suddenly calls your name. Joan! Joan! You whirl around, frantically wondering if he saw you, knows that you were listening outside. Then as you hear him coming toward the library, you remember the letter, know that you was tidied. You turn hurriedly, slip the letter behind a heavy oil painting on the mantelpiece. There you are, Joan. I've been wanting to talk to you. I was in the garden. Oh? David, is there anything special you want to tell me? Quite... yes. Joan, when everything is cleared up here, I'll be going away again. If I sent for you, say, in six months, would you come to me? I don't know, David. You don't know? No. No, I don't, David. It seems there are more important things we should be talking about. More important things? What could be more important than you and I? You know why I went away the first time. You must know now that I'd do anything for you. Yes, I... I believe you would do anything. What are you talking about, Joan? David, where were you the night Adele died? I told you. I was in Los Angeles. Joan, where are you going? Leave me alone, David. I've got to think. Goodness, Miss Joan, you've scarcely touched your breakfast. I'm sorry, I don't want any more. My dear, you simply must calm yourself. I know you didn't sleep at all well last night. Mrs. Hastings, I'm going to drive into town. If you have to reach me for any reason, I'll be at Dr. Ferguson's office. All right, Miss Joan. May I help you? I'm Joan Harper. I wanted to see Dr. Ferguson. Were you a patient of his? No, but you say he looked after my sister and handled her affairs. Dr. Ferguson passed away last week. Is this... Yes, pneumonia. Oh, I see. Could Dr. Dunby help you? No, no, I'm afraid not. It wasn't anything important anyway. Thank you. Yes, Mrs. Hastings? Goodness, Miss Joan, I didn't know whether to call you or not. But Mr. David has decided to leave. He's upstairs packing. Packing? No. Yes, I didn't know if he discussed it with you or not. It all seemed so sudden. I'll go up. David. Oh, it's you, Joan. I thought you... David, why are you going away? I told you. But only last night. You said you were going to wait until everything was cleared up. Everything's as clear as it'll ever be, Joan. Look, I just can't say why, but... Yes, David? Well, I can't stand it around here. This house, the memories. Is that all that bothers you, David? Joan, I wish that... In a minute, Mrs. Hastings. I'm sorry, but Sheriff Queen is downstairs. There's a man with him. He insists on seeing Mr. David. Sheriff. Oh, David, David. I'll go talk to him. No. I want to go with you, David. We'll talk to him together. Going down the stairs, you take his hand, grasp it tightly, reassuringly. But all the time, the fears of the past few days pound in your brain, telling you exactly what's going to happen when you walk into the living room with David to confront Sheriff Mark Quinn. Oh, uh, morning, Joan. Sorry to disturb you. It's all right, Mark. I understand you want to talk to David. Yes. Um, Mr. Blaine, this is Joe Larkin. Oh? Hey, hey, hey. Don't remember, I guess, Sheriff. The night your wife was killed, Mr. Blaine, Larkin's here was on a freight train that passed through Benton Cove on its way to Los Angeles. It's him all right. Can't be no mistake. He swung on the train, rode up to LA, and hopped off. Oh, David. Blaine, I had to hunch all along. You were in town. The night your wife was shot. Now I'd go a step further and say you were in this house. David, oh, David, tell them it isn't true. Tell them you never saw this man before. I'm sorry, Joan. There's no use pretending any longer. He saw me all right. I was on that freight. And I was here that night with Adele. The Whistler will return in just a moment with a strange ending to tonight's story. Meantime, since thorough scientific lubrication is even more important to your car during the rainy season, I'd like to tell you about some of the extras you get in a signal-loop job. You see, signal dealers, being in business for themselves, do go out of their way to give you the kind of job they're proud to stand back out. That's why, for instance, they take no chances on memory when they lubricate your car. Instead, they check against Signal's factory-recommended lubrication chart, which shows every lubrication point on your car. And they use nine specialized signal oils and greases, so each part will have the exact type of protection it needs. But do they stop there? No, sir. Just to make doubly sure not a single part has been overlooked, they check each point again, which is why it's called signal double-check lubrication. Now that's the kind of lube service you want if your car is to give you the long, trouble-free service that was built into it. And that's the kind of lubrication you get from friendly, independent signal dealers. And now back to the Whistler. It's all over, isn't it, John? In David's own words, there's no use pretending any longer. And you look from him to the quiet, accusing face of Sheriff Mark Quinn. There's no doubter question. David was in the house on the night Adele died. He had every reason to kill her. You know that from what you read in the letter you hid behind the painting on the mantelpiece. It can mean only one thing. David is guilty. And then you're suddenly aware of his voice, speaking quietly, futilely, telling Sheriff Quinn another version of what happened the night he came here to see Adele. I suppose there's a little use telling it. I knew how it would sound then. That's why I ran. Ran? You saw me all right that night at the station, Sheriff. I came down on the train. Adele had phoned that afternoon, asked me to come. Said she'd arranged for us to be alone so we could talk, get things straightened out once and for all. When I arrived at the house in Adele's room, she was dead. Go on, Mr. Blaine. She asked me to come here to frame me or not. Anyway, the gun was lying on the floor beside her. I picked it up without thinking. Then I realized I was going to look. I wiped the gun off, thrust it back into Adele's hand. Oh, David. An interesting story, Blaine. It's true. You knew about it, Quinn. It was all in that letter of Dr. Ferguson. Now, wait a minute. I don't know anything about any letter. You took it, Quinn. Knowing it would have saved me. Dr. Ferguson's letter. David, what are you saying? That letter makes everything worse. Your motive. Do you know anything about any letter, Joan? Yes, I... I hid it. Here, behind this picture, I'll get it. Joan, you did this for me? Oh, I knew it was wrong, David, but I couldn't help it. I just knew you didn't do it. I hid it to help you. Give me that letter. You didn't read it at all, did you, Joan? I read enough. Read the second page, Sheriff. That last paragraph. I tell you these things, David, because of the situation existing between you and your wife Adele. And because my most recent examination shows that she has less than a month to live. David? Well, I... I guess that does it, David. Nobody would kill someone who had only a month to live. Sorry, I caused you so much trouble. Oh, David. And I almost burned that letter. Let that whistle be your signal for the signal oil program, the Whistler. Each Sunday night at this same time, brought to you by the Signal Oil Company, marketers of signal gasoline and motor oil, and fine quality automotive accessories. Signal has asked me to remind you to get the most driving pleasure, drive at sensible speeds, be courteous, and obey traffic regulations. It may save a life, possibly your own. Featured in tonight's story were Lorette Phil Brandt and Netla Fever. The Whistler was produced and directed by George W. Allen, with story by Lewis Hampton and music by Wilbur Hatch, and was transmitted to our troops overseas by the Armed Forces Radio Service. Remember at this same time next Sunday another strange tale by the Whistler. Marvin Miller speaking. This is CBS, the Columbia Broadcasting System.


Microwave, MW, heating differs from conventional heating in the way heat is transferred, while MW treatment can modify natural fibres, NF, making them useful for developing polymeric biocomposites, biofuels, activated carbon and carbon nanostructures. This review summarizes advances of MW radiation treatment on NF, and assesses the relationship between MW reactor design, processing conditions, and dielectric properties of each fibre component. An overview of morphological and structural changes of NF after MW treatment is presented to suggest processing, methodologies for increasing reproducibility, functionality, applications, and industrial process scale-up. This article was authored by G. Y. Romero-Zuniga, P. Gonzales-Morrones, S. Sanchez-Valdes, and others.


Hello everyone today. We have a new subject. I I Feel like every time I I do one of these videos the background is getting messier and messier I really need to put it in order. Anyway today. I want to talk to you about your rates and I want to talk to you about raising your rates and this is something that I've touched upon in the past and you know, I've mentioned that you should never try to get business by providing lower rates by trying to do that race to the bottom because it's always just the downward spiral and It never works. Well, and this is true. You shouldn't do it the various other ways and I've covered them in other videos but today I want to talk to you about, you know Raising rates because no matter what at some point is going to happen Whether you did do it and you know You charge too little at some point to get the business and so you want to bring it up or just because and this is more Likely you're just going ahead with business and over the years You've realized that you're pretty much worth more in the market But that you still have clients that you really like and you work well with you'd like to keep working with those clients and they're steady clients but you you know, you think I'm worth a bit more than this in in the market and I can probably earn more than this and And you know, you should be doing that because let's face it If you've been doing this for a number of years and your rates have stayed the same Chances are, you know that you're a much better translator than you were say three years ago two years ago, whatever it might be and so you can earn a bit more and Anyway, obviously this It can differ on a case-by-case basis and you kind of have to see how it works for you but here are the methods that I feel are best for for raising rates and you know that are pretty much standard practice and that you should follow for for raising your rates because mainly because a lot of people do it the wrong way and One of the worst mistakes you can do is not announce anything and just try to slip it there under the radar that your rates have gone up because nobody no client wants to You know hire you and then They're used to working with you at a certain rate and then all of a sudden they get an invoice And it's had a different rate for all these jobs and they're like what the hell's going on so there's certain ways to go about it and The best way to do it is to prepare for it ahead of time. So let's get into that a bit what you should do so in terms of preparation this should start ahead of time and Ideally what you have is you have a number of clients that you've been translating for them for at least a year And this is because no client wants to hire you and then you know They hire you at a certain rate for ongoing jobs and then like a month or two later suddenly you raise the rate They don't like that because then they're thinking well a month or two after this They're gonna raise their great again, and who knows what will happen and it just seems very volatile They want more stability. So ideally you've been having these You've been having a number of your clients at least for at least a year And and you know that's pretty much a good cutoff point You can see how you feel better not obviously it also depends on how often you've been doing jobs for them, right? If they just hired you once during that year or if they hire or they're hiring you every week It can mean something different. So it is a judgment call, but I like to think at least a year and You also and also obviously the work that you're providing for them has to be good It has to be good quality I would say you're providing good work of good quality and ahead of schedule You always want to send it ahead of schedule if you're planning to do this to raise your race and to show that you're professional you should be If your deadlines on a Friday provide the work, you know a day or two ahead of time This just shows because what it what it does for the client as well is It shows I mean it shows you're on top of everything and then they can kind of work with you If they want to tweak it or do something along those lines I'd say by ahead of schedule by the way Yeah, about a day, you know more than more than that. It's There's no, you know, you don't want to rush what you're doing just to get it done ahead of time Right, but if you provided a day or so ahead of schedule, you know, just show that you're come You provide it by the deadline comfortably So, you know just a bit before anyway as long as you're doing good work and you're providing it ahead of schedule then you should be in a good situation and You can approach your clients by the way if you've been working for a number of clients for a year and other clients for just two months You can try approaching those clients for a year first and just wait on approaching those clients that have only been clients for two months You don't have to do it all at the same time. They're different, you know, some people decide okay from so-and-so date I'm only going to be doing jobs for this price other people do it client by client. It really depends on you. I I So the way I do it is I make sure that whatever client I can't I'm in contact with I've been working with for at least a certain amount of Time so if at the same time I have a brand new client I'm not going to tell them about the price change and And so I will wait it can make my life more complicated that way because you know I have to keep track of who I'm working with at what rate and I also feel like well You know, I'm working with people at a different rate But that's during a transition time if you will then once, you know Everything's established with these clients where I already changed your rate then I can work on the next one and you know See how that goes But anyway, make a schedule and just prepare it ahead of time Make sure you've been working for a decent amount of time. You've been doing a good job and you've been doing things on Schedule or ahead of schedule Okay, this is the preparation ahead of time now We're getting on to when you actually change it first of all like I mentioned before let your clients know you have to let your clients know Email them and make your case to them. I mean by make your case It's more of an announcement. You just want to announce that it's happening you don't want to ask them obviously you want to announce it and So you can send an email saying something along the lines of I wish to inform you that from now on my rates will be so-and-so you know higher than your rates before and And then you know, you can just continue the email say you You know this you will we will expect the same professional work that I've always provided or even more professional work All my translations are going to be reviewed and edited, you know by myself at and I'll make sure they're all top-notch quality I'll handle all the formatting for you. Whatever you feel comfortable adding on to there Do it and you know show everything you provide it might be everything you provided before but now you lay it out and you show them a bit more formally and And yeah, that's it and then see what and see what happens It was so basically you send that out and you just say it like fair complete like basically like This is what my rates are going to be from now on. I just wish to inform you or starting, you know next month You know if it's May now then starting June 1st starting July 1st, whatever, you know, you want to give them a week or two You know notice ahead of time, but you know say starting whatever date is going to be At this rate fine and Then that's it, you know at that point you wait and You need to realize a couple things first of all some clients may drop you like they might not want to deal with you No matter how much you deserve a new rate, they might not want to they might not be able to handle it They might not want to handle it. They might Want to shop around for another translator or something like that? You need to evaluate how this works for you. I recommend accepting this and accepting Whatever clients stick with you because these are ones who obviously do value you at that price And so they are presumably good clients to have and at that new price level you can try to search for other clients and You know at this this new profession more professional you let's say can find these new clients and And so then you can be at that rate and you kind of drop the people who pay you less and you get new clients that pay you more I recommend doing this However issues can happen What if none of your clients want to do business with you or something or you know We are main client maybe the one you care about the most doesn't want to do business with you or something like that Then how do you deal with that? There are certain ways to deal with it I so actually what happened to me was I got contacted by a translator said my rates are going up and this is what they're going to be and then I Can't remember about a month or two later. I got another email from the same translator said due to lack of activity My rates are going back down to what they were before and obviously I was happy to hear that on the other hand Now if he tries to raise his rates again, I might kind of want to wait it out and see if he you know Goes back down or something like that. I don't think I hired him during that time He had higher rates, but it's also because I didn't have any business for him during that time He wasn't one of my regular translators. I just use him every now and then and so so it can be risky But obviously it has been done So it's a judgment call once again for you if you raise your rates and they don't accept it or something like that You can always send an email. I wouldn't send an email say oh because you don't accept it I'll raise it back down just for you or anything like that. What I would say is like due to the market as a whole because at least there it sounds like you know Because otherwise they feel they have too much control over you let's say if they if you say oh because that's what you want Then I'll keep it down and they feel like okay This person obviously needs us and so we can control how the rates work No, you can say Due to overall market and due to the overall level ideally that doesn't happen And I do feel that if you stagger your new clients and new rates Then there's less chance of this happening because you can get an idea of which clients accepted before you approach all your clients with a With a rate hike anyway Yeah, that's that's pretty much it Once again, I think you should prepare for it ahead of time make the announcement Make it transparent and make it clear and then just kind of see what happens and adapt according to that based on that And also once again if you can stagger it with your clients, it might be better I understand that it kind of is more complicated depending on how many clients you have and how often you work for each of them So that's a judgment call once again, but see what works best for you However, I this is the method that I've seen used and that I have used in the past And I do think it's the best way and it works best for steady Pay raises. So, you know, basically keeping up with your level as it gets better and progresses If you've started at a really low rate just to get new clients and you're trying to raise it from there It usually doesn't work. They hired you just because you were really really cheap and so you want to raise your rate after that They'll just find someone new But ideally you've worked with clients who appreciate you and so if you have a new pay raise that you deserve Then they'll still want to work with you Yeah, and that's pretty much it. I hope you find this useful and I hope you're able to use it if and when you need to raise your rate at any point in time and There might be by the way, there might be some negotiation later like they might get back to you like Oh, can you do this? Can you do that? I've actually never had that happen to me Every single time that I've that I've done this I basically get no response and but I still get work from the clients and at least the regular clients and that's the way it goes So maybe I've just been lucky But it seems to me that they don't really try to negotiate much if they do try to negotiate I would negotiate as best you can just realize that if you do let them Pressure you into giving a lower rate again They'll know they have that control over you and so I kind of wouldn't really recommend it on the other hand You also don't want to lose a client. So it really is up to you and it depends on which client this is Once again, if you stagger it like I said before then you can start on some of the Maybe not so important clients and see how it works with them before you get to the main clients um, and uh, so once again if you can swing staggering it does work well, but uh, but yeah See what works best for you and let me know what works best for you because I'm curious to hear I know what has worked for me in terms of a translator and in terms of hiring translators But I'm sure there's other information out there that might be interesting. So Yeah, so feel free to let me know in the comments or uh, you know, if you have any other experience I'd love to hear about it. Otherwise, I will see you in the next video and uh, don't forget to subscribe if you haven't Please like this if you do and see you next time. Thanks. Bye


To ensure that all competitors adhere to the same high standards in representing this competition, XPRIZE has compiled a thorough branding and style guide, which can be downloaded through the resources page of the competition portal. This video tutorial highlights key information from that style guide. The guide provides the necessary information regarding branding and logo usage requirements of the adult literacy XPRIZE community's competition and XPRIZE. It also clearly spells out the flexibility each team has to appropriately recognize its own sponsors, donors, and partners for their contributions to your team's mission. Please read the style guide carefully. As stipulated in the community's competition guidelines, competitors must adhere to the guidance provided in the style guide whenever communicating publicly in print, digital, or other visual media about the competition, as well as in recruiting learners to download and use the qualified apps. The requirements it describes are not meant to be overly burdensome. Rather, they should serve as the basis for best practices and to demonstrate a foundation of respect for the various parties involved and to ensure the competition is successful. You can now download the branding and style guide by clicking on the link. The adult literacy XPRIZE community's competition is sponsored by the Barbara Bush Foundation for Family Literacy and the Dollar General Literacy Foundation. Competitors in the community's competition are free to recruit sponsors of their own. Note that a team sponsor is only a sponsor of your team. Team sponsors are not sponsors of the adult literacy XPRIZE, the adult literacy XPRIZE community's competition, or the XPRIZE Foundation. Please be clear in your initial conversations with prospective sponsors of your team. In all communications created about your team's association with your team sponsors, it must be clear that they are a sponsor of your team only and that your team is participating as a competitor in the adult literacy XPRIZE community's competition. The style guide also includes important information about use of the competition logo. We encourage you to read this section carefully. Here, we share some clear logo do's and don'ts. Do follow common practice for logo placement dependent on the piece, such as the front cover or back cover of a communications piece. Do maintain the proportions of the adult literacy XPRIZE community's competition marks. Do ensure that an adequate save zone exists between adult literacy XPRIZE community's competition marks and any other element, a joining copy or illustrations. Do not include the name of the adult literacy XPRIZE community's competition in the name of your team. Do not modify the files, documents, or logos, color, font, or change proportions of any of the competition marks. Do not rotate, change the logo elements, or positioning and size of their relationships. Do not superimpose anything on the logo or embellish it in any way. Do not make team sponsors or other third parties appear as formally affiliated with, endorsed by, or sponsors of, the Barber Bush Foundation, the Barber Bush Foundation Adult Literacy XPRIZE, the Dollar General Literacy Foundation, or the Adult Literacy XPRIZE Community's Competition or XPRIZE Foundation. Finally, do not use the terms endorsed, exclusive, official, certified, selected, or similar words to imply directly or indirectly, an endorsement of any product or service by the Adult Literacy XPRIZE Community's Competition. The style guide also includes helpful information on approved messaging, social media guidance, and some media's do's and don'ts if you are trying to get press coverage, including a sample press release. To compete, you must register your team by December 8th, 2018, and submit an application by December 21st. You can learn more about the Adult Literacy XPRIZE Community's Competition by visiting communities.xprize.org. You can also view other explainer videos about the competition on our YouTube channel. In the resources section of your team page on POP, you can view important competition documents such as the competition guidelines, scoring rubric, and an explanation of how judges scores are normalized to ensure fairness, as well as a PDF of the application form. Register to compete at communities.xprize.org. If you have more questions, email adult.literacy.xprize.org. Together, we can transform lives through literacy.


This time, I'm going to convert these four numbers into one's complement format. And again, I'm going to limit myself to a 16-bit representation. A 32 or 64-bit representation would just have more bits on the left-hand side. They look identical to whatever bits were generating anyway, so we won't really see much of a difference if we did have 32 bits. Since these are all decimal numbers, I'm going to start by converting them into binary, and then I'll put them into the one's complement format. So 73 in decimal is 64 plus 9 in binary. And this is a positive number. So for my positive number, I'm just going to write down my number in 16 bits. I have one more leading zero than I would have with the sign in magnitude format, but the result actually comes out looking the same. And this is 73 in the one's complement format. Our next number is negative 28. So this is a negative number, and 28 is 16 plus 8 plus 4. So I'm going to start again by writing out the magnitude of my number as a positive number. It has 16 bits, and if I wanted positive 28, I'd be done. But in this case, I want negative 28. So I'm going to go through, and everywhere I see a zero, I'm going to change it to a 1, and everywhere I see a 1, I'm going to change it to a 0. So this is negative 28 in the one's complement format. Our next number is positive 13, and that is 8 plus 4 plus 1. So there is our binary number. Again, this is a positive number, so I'm just going to write down this number with 16 bits. And there's my one's complement representation of 13. Our last number is negative 61. So negative 61 is 32 plus 16 gives me 48 plus 8 gives me 56. So I need five more. So there is my number in binary. I'm going to start by just writing my magnitude as a positive number. I'll use 16 bits. So there is positive 61, but I want negative 61. So I'm going to apply the one's complement operation to this number. I'm going to flip all of the bits, and that will give me negative 61. So there is my one's complement representation of negative 61.


Bismillah Khman Reem and Islamic in Pakistan. Good to see all of you back and we are looking at the different international interventions in corporate governance. We were earlier looking at the Cadby report and then we look at the Greenberry report and now we are going to be looking at the Hempel committee and the Combined Code report. So, there are so many reports and there are so many different angulations of corporate governance. But yeah, that is how this has developed in the past 25 to 30 years. There has been this rapid development in corporate governance, whereby we see that these corporate governance codes tend to ensure that there is good governance, that there is accountability, that there is better harmony and streamlining between the different stakeholders and the different hierarchies which exist within corporate sector. And thirdly, there is also cross accountability which ensures that everyone's rights and obligations are basically protected and followed. So, now when we look at the Hempel committee report and the Combined report, then we see that the Hempel committee was set up in November 1995 to promote high standards of corporate governance. The committee basically looked at the Cadby report and gave the following recommendations. The recommendations which basically emerged were that auditors should report on internal control privately to the directors. The directors maintain and review all but not just financial controls and the companies that do not already have an internal audit function should from time to time review their need to have one. So, again what we see, ladies and gentlemen, that the Hempel committee basically took all of the previous developments and further modernized and further streamlined and further made them more clear so that the board of directors and the directors would understand that their functionality was not only up to the financial controls, but they would be reviewing all the controls within the organization. And secondly, what we see is that those companies which do not have the internal audit mechanisms or do not have the internal audit departments, then they were from time to time review that do they need one? And if they needed one, then they would set up one and ensure that that internal audit department would be directly reporting to the board of directors and would not be intermingled or would not be streamlined with the top management. So, the internal department would basically be functioning independently within the corporate structure and reporting to the board of directors to ensure that they would be this trapeitite relationship of control mechanisms and of regulation and of reviewing. Now, what we see is is that through this committee, there was also the introduction of the combined code that consolidated the recommendations of earlier corporate governance reports as the Cadbury and Greenberry report and also the recommendations of the Hempel committee. And this combined code is now appended to the listing rules of the London Stock Exchange and the stipulations basically contained in them require that the board should maintain a sound system of internal control to safeguard shareholder investment and the company assets and the directors should at least annually conduct a review of the effectiveness of the group system of internal control covering all the controls. So, what we see ladies and gentlemen is that in this particular combined code, there are various aspects of ensuring that the investment of the shareholders is basically safeguarded that the company's assets do not tend to dwindle or do not tend to go to waste or do not tend to succumb to bad decision making. And at least on an annual level, the directors would conduct a review of the effectiveness of the group's system of internal controlling and systems that would be overlooking the internal control mechanism. So, this check became mandatory for the board to ensure that the whole corporate performance would be more sustainable and would be done in a more structured, more systemic and more standardized approach rather than being rudimentary or being something which would be optional. So, this combined code is now a part of the listings of the London Stock Exchange and based upon that we see that is now mandatory for all London Stock Exchange companies which are registered but is also being followed by other companies which are again registered as private limited or limited companies. So, this became a very essential part of the corporate governance code. Now, it was basically also observed that one common denominator behind the past failures in the corporate world was a lack of effective risk management and risk management are now seen as highly crucial to the achievement of business objectives by the corporate. So, something which further emerged in the combined code was that risk management basically gained prominence and many corporations developed risk management units or risk management departments and risk management was no more only a domain of the banking or financial sector but actually across the board all organizations were promoted and emphasized and encouraged to have their own effective risk management control mechanisms, their own risk management units and also their own risk management SOPs so that the company would not collapse as we have seen in the past. It was clear that the board of director was not only responsible but also needed guidance in reviewing the effectiveness of internal controls and also a show notes that all significant records had been reviewed. So, just to recapitulate all of that we see that one on one hand we are talking about corporate effectiveness and on the other hand we are talking about the element of risk and how we can look at our futures in a better way and ensure that there are lesser risk and we can hedge the company decisions and the company direction and the company products in such a way that the risk would be minimized. So, these became major areas of control within the whole corporate governance structure and the most important thing is that these different reports were basically dovetailed into each other and a combined code emerged which is now being practiced not only in England but in many countries around the world. Thank you so much.


And one thought I have in my head is that is it inappropriate to say, I'm a small nonprofit. Who would ever want to deal with me or hurt me is this are we just talking about like the national federated chapter kind of organizations are we talking about Miss Betty's bunny rescue and but guy I mean, where are we. I love, I love slogans like hackers are heartless. One of the other things I stated in ladies around where but hackers are lazy they're opportunistic. And so right, going after a big fish to try and get a multi million dollar ransomware takes a lot of time and effort. Small businesses and nonprofits of state, I'm too small to be attacked are are the target for most attackers, because it's a quicker payout and it might not be millions of dollars it could be 10 1520 $50,000, but that that is that is what a hacker wants to hear is I'm too smaller I'm not a target anymore. And so realistically speaking they are and and as we see about 50 to 60% of organizations have experienced a cyber attack in the last 12 months.