Sample teacher biographies

Biology Homework

2011.03.29 15:13 arabidopsis Biology Homework

A place to get help with your biology homework!

2024.05.21 10:51 b0bbyyyy [HIRE ME] ESL and Academic Tutor + Misc Services

Hi! Currently loooking for a project-based or part-time job for my college funds and rent for my boarding house and utilities.
What I offer: - Tutoring services (Pre-calculus to calculus, general and inorganic chemistry, physics, biology, fisheries, GIS, English) - 3 years experience as an online ESL teacher - Data Entry - Bookkeeping - Social Media MarketeManager - Virtual Assistant (willing to be trained) - SHS research consultation (oceanography, fisheries stock assessment, GIS mapping, aquaculture, and fisheries-related courses are my specialties) - Coaching for Research Oral Presentations (Best in Oral Presentation PAMS) - SEO content writing (can send samples of my work) - short-form video editing (AMV and edits)
If you have any leads for jobs I can apply for I can send my CV, portfolio, and resume for your reference.
Can work everyday 20 hours per week.
Any help would be greatly appreciated. Thanks!

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2024.05.21 10:24 silic0n_jesus Are we being excluded from this or am I a millennial

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2024.05.21 08:05 East-Engineering-617 Gen Xers know

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2024.05.21 07:42 b0bbyyyy [HIRE ME] ESL and Academic Tutor + Misc Services

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2024.05.21 06:57 b0bbyyyy [HIRE ME] ESL and Academic Tutor

Hi! Currently loooking for a project-based or part-time job for my college funds and rent for my boarding house and utilities.
What I offer: - Tutoring services (Pre-calculus to calculus, general and inorganic chemistry, physics, biology, fisheries, GIS, English) - 3 years experience as an online ESL teacher - Data Entry - Bookkeeping - Social Media MarketeManager (NSFW + SFW) - Virtual Assistant (willing to be trained) - OF chatter - SHS research consultation (oceanography, fisheries stock assessment, GIS mapping, aquaculture, and fisheries-related courses are my specialties) - Coaching for Research Oral Presentations (Best in Oral Presentation PAMS) - SEO content writing (can send samples of my work) - short-form video editing (AMV and edits)
If you have any leads for jobs I can apply for I can send my CV, portfolio, and resume for your reference.
Can work everyday 20 hours per week.
Any help would be greatly appreciated. Thanks!

submitted by b0bbyyyy to classifiedsph [link] [comments]

2024.05.21 04:42 NoChallenge6095 Gen Xers know

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2024.05.21 02:43 Ur_Anemone Will people finally start taking female sexual predators seriously?

If Rebecca Joynes had been male, no-one would have felt a “shred of sympathy”. Such was the contention of the prosecutor in the case of a teacher convicted on Friday of having sex with two male pupils. Joynes, 30, groomed both schoolboys from the age of 15, a jury at Manchester Crown Court heard.
Making the case against her, barrister Joe Allman sought to illuminate how differently society tends to view female teacher predators compared to their male counterparts. Had Rebecca been “Robert” instead, and the complainants girls not boys, the response would surely not have been the same, the prosecutor argued.
This thought experiment was more than a courtroom flourish. There is evidence to support the idea that society does indeed view female teachers who prey on male school pupils in an alternative light to how male teachers preying on girls are seen.
In a 2019 academic article, entitled Sexual Abuse by Educators, researchers suggested institutions may be less likely to grasp the potential for female teachers to abuse. “That over one-third of the male teachers [in a sample of 40 perpetrators] had received prior warnings due to their behaviour towards students but none of the female teachers had, was a notable finding potentially indicating a ‘gender blindness’ to inappropriate behaviour by women,” wrote Dr Andrea Darling from Durham University and Dr Larissa S Christensen from Australia’s University of the Sunshine Coast.
Yet the statistics make clear that the phenomenon of female teachers who abuse male pupils is both real and serious. In a 2014 study of abuse by teachers in south-eastern US states between 2007 and 2011, more than a quarter (26 per cent) of perpetrators were female – complicating the popular idea of the “pervy teacher” as a man.
“Contrary to earlier beliefs and prior depictions of romanticism in the media, females can inflict persistent psychological and physical impacts on victims,” wrote Darling and Christensen.
In the case of Joynes, senior prosecutor Jane Wilson was unflinching in her characterisation of what had occurred. “Rebecca Joynes is a sexual predator,” she said. “[She] was entrusted with the responsibility of teaching and safeguarding children. She abused her position to groom and ultimately sexually exploit schoolboys. Her behaviour has had a lasting impact on them.”
Joynes, from Salford, had been on bail for sexual activity with the first boy when she began having sex with the second boy, by whom she would become pregnant. After going through a messy break-up, she had been “flattered” by the teenagers’ attention, the court heard.
Jurors heard how she groomed one of them by taking him to the Trafford Centre and buying him a £345 Gucci belt before having sex with him in her flat.
She was convicted of six sexual offences against the two pupils. Two of these offences were carried out when she was in a position of trust. “Joynes decided to abuse her position,” said Detective Constable Beth Alexander of Greater Manchester Police’s child protection investigation unit, again making clear the seriousness of the offending.
Yet the cultural approach to such abuse of power by female teachers has tended towards the humorous nudge-and-a-wink response. In 2015, a Saturday Night Live sketch called Teacher Trial was criticised for making light of the idea of a female teacher raping her teenage male student. The fictional student (played in the American comedy show by Pete Davidson) refers to the attack as “the best day of my life”.
It’s hard to imagine a similar sketch with reversed gender roles making it onto the airwaves. But the attitudes it spoke to weren’t without some basis. When a former “Miss Kentucky”, Ramsey BethAnn Bearse, was sentenced to prison in 2020 after admitting exchanging sexual photos with a teenage student while working as a teacher, some of the responses to the story on USA Today’s Facebook page were telling. “What a lucky kid” wrote one reader.” “Best teacher of all time,” said another. A third correctly pointed out that “the comments… would be totally different if it was a male teacher and female student.”
The more gleeful responses to liaisons between female teachers and male pupils seem informed by the idea of schoolboy fantasy fulfilled. Less so by the idea that this constitutes actual abuse.
Old pop songs, such as Rod Stewart’s Maggie May (about a teen “used” by an older woman), have arguably helped romanticise inappropriate relationships between schoolboys and women. While the words “paedophile teacher” do appear in headlines about female perpetrators, the notion of a lascivious but essentially harmless Mrs Robinson figure endures.
This is despite findings that “the characteristics, motivations and modus operandi [are] broadly similar across the genders” when it comes to teachers who abuse pupils.
Analysis by Darling and others has indicated female perpetrators are “neither inexperienced naïve teachers nor fit the stereotype of females coerced by men to offend against young children”; that their motivations to abuse were to meet emotional needs, and for sexual gratification where these needs were not being met in other adult relationships.
Female teachers who abuse their charges do appear to differ in some ways from male equivalents. The 2014 American study found female teachers were more likely to commit offences against older students (aged 13 or over) than male teachers (who were more likely to abuse students aged 12 or under). A 2015 study of cases in Ontario, Canada, found female teachers were on average younger than offending male teachers (32 compared to 37 years old).
Darling and Christensen’s study of 20 women and 20 men who had sexually abused students while working as teachers in England between 2006 and 2016 found that while male teachers were more likely to engage in more severe abuse, female perpetrators were more likely to continue the abuse after it had been discovered.
“The importance of recognising the potential for female perpetration of such abuse in the same way as male perpetration has been identified,” the researchers argued. So why is a blind eye more likely to be turned to the former?
“Professionals who sexually abuse the children with whom they work will often say that their employers and colleagues were easy to manipulate as they generally trust that people who chose to work with children had their best interest at heart,” says Dr Joe Sullivan, a forensic psychologist. “This is particularly the case for female teachers, social workers and childcare workers who sexually exploit and abuse children.”
These are not irrational assumptions. The overwhelming majority of people prosecuted for sexual offences in general are men, and the overwhelming majority of survivors of sexual violence are girls and women. According to the charity Rape Crisis England & Wales, 91 per cent of those prosecuted for sexual offences are male over-18s. The Crime Survey for England and Wales ending March 2022 found the victim was female in 86 per cent of sexual offences.
But other data paints a more complex picture. Although the vast majority of paedophiles continued to be men, the number of female paedophiles almost doubled between 2015 and 2019, according to figures obtained under Freedom of Information laws by Radio 4’s File on 4 programme.
Campaigners attributed the increase to victims having more confidence to come forward.
“Most people have a hard time coming to terms with the fact that some women want to and do sexually harm children, and this societal denial is understood and exploited by female perpetrators,” says Sullivan, who has worked with police officers and educationalists to provide insights into the motivations and behaviours of child sex offenders. “Female teachers who target adolescent boys will often minimise and justify their intentions and actions by telling themselves that the child is nearly old enough to give consent. If a child responds to the teacher’s sexualisation of the relationship with curiosity or interest they will use this to further legitimise their conduct to themselves.”
Most professionals who work with children are not routinely given training about how sexual abusers behave, he says. “Hence, they do not generally know what to look for and consequently shy away from calling out unusual or concerning behaviour.”
Police and charities have warned that female-perpetrated abuse of boys remains a taboo subject, with victims suffering an extra stigma in such cases. It is thought this can inhibit some victims from coming forward. It could also lead to an underestimation of cases.
The conviction of Joynes – which follows the jailing of a number of other female school staff for sexual activity with pupils in recent years – may signal that things are changing.
Darling and Christensen have called for further discussion of female teachers abusing pupils, “to prevent such gender blindness and make victims of female-perpetrated sexual abuse more comfortable disclosing the abuse to a trusted adult.”
Sullivan, too, sees a need for greater understanding and education. He warns: “People who are seeking to sexualise their relationships with children thrive in organisations where staff are ill-informed.”

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2024.05.21 02:02 RiskingAllBiscuits [26/M/US] - dad joke enthusiast, looking for more jokes and conversation

Hello, hello!
I just finished my last day as a substitute teacher this year, and am ready to wind down with some good conversation and sharing a few dad jokes along the way. Here’s a facepalm-worthy sampling:
What do you get when you cross a snowman with a vampire? Frostbite.
I needed a password eight characters long, so I picked Snow White and the Seven Dwarfs.
Aside from my work, I’m interested in talking about video games, movies and television (watching The Twilight Zone as I type this), and have been getting into landscaping lately. Everyone from all nationalities is welcome to send me a DM if what they’re picking up what I’m putting down.
I’m looking forward to hearing from you!

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2024.05.20 23:21 eli_ashe Münecat on evolutionary psychology and the tragic state of science; misandry and irrational fears in sexual violence stats

Münecat’s, I Debunked Evolutionary Psychology; dig the musical score to this one btw.
Münecat’s video going over how the use and abuse of data and science to mislead people, is the same sort of problem that is being pointed out regarding sexual violence and domestic violence as it pertains to misandry and irrational fears.
I’d say her video is worth a watch for folks in this crowd as it has a lot of info in general as to how these sorts of things are used and abused. tho it is three hours long, so i'm going to provide something a bit shorter here.
I want to note that münecat points a lot towards problems with small sample sizes, which is a real problem, and oft imo glosses over too quickly the problems that stem from definitional biases, e.g. tailoring questions to suit one’s needs and purposes. She does mention them, I just want to really highlight that aspect because it is, I think, far more the problem with stats on sexual violence and domestic violence. Those areas are deeply gender coded in a misandristic way that reflects irrational fears bout men. Tho it is tru that if anyone bothers to really dig into the stats on those topics, you’re also going to find a shit ton of studies that suffer from the small sample size problem, the self-referential to one’s own work problem, the no replicability problem, and the we only speak to rich liberal university students problem.
Of those, I’d say that the ‘self-referential to one’s own work’ and the ‘we only speak to rich liberal university students’ are likely particularly damaging problems for studies and surveys on sexual violence and domestic violence, as the universities are the primary source for the ‘yes means yes’ puritanical consent cultists’ views that are undermining what the definitions of sexual violence and domestic violence even mean.
It’s pretty much exactly like asking a group of puritan cult members how many punny sexual offenses were committed, and they feed back to you ‘all 451 percent, just like our cult master informed us’.
I’m going to briefly go over two sections of münecat’s video that directly touch on the issues of misandry and irrational fears bout men in our understanding and stats of sexual violence and domestic violence.

Gender Similarities

In the section ‘gender similarities’, münecat notes that these kinds of scientific studies surrounding gender also tend to hurt men. Saying something like [due to overestimating the dangers that men pose; irrational fears of men] ‘for every woman fearful of being raped by a man, there is a man in a dark alleyway desperately trying to convince her that he’s not actually interested in raping her.’
Which is tru. Both the people there are being harmed by the rhetoric, but be clear that the rhetoric is deeply misandristic in form.
The section has a bit more to say on the topic, I'd suggest watching that section if the whole video is too long.
Note that judith butler says something similar, saying ‘we ought not be treating our sons, fathers, and brothers as if they were all potential rapists’. She doesn't say this, but she also should have added 'because doing so is deeply misandristic and irrational.'
Idk that either butler or münecat would necessarily be on board with the concerns bout the 451 percenters in the NISVS and the Istanbul Convention On Gendered Violence, but they are definitely echoing it witfully or not. If you take münecat’s concerns seriously, and you should, you also ought be taking the concerns bout the 451 percenters seriously, which you should be.
Note, not all feminists agree with the misandristic and puritanical bs that is permeating the topics of sexual violence and domestic violence. Targeting the NISVS and the Istanbul Convention On Gendered Violence are both excellent strategies to correct for those problems.

Why The Selfish Gene Is Wrong

In the ‘why the selfish gene is wrong’ section [which it is, it obviously is actually], münecat spends some time pointing out how folks erroneously graph on to skin color suppositions of traits, because skin color is an obvious characteristic which we can, erroneously, use to explain some less obvious trait. That’s called racism.
Sexism does a very similar thing, and gendered traits, or sexed traits (not parsing those out super much here atm) are relatively obvious. So the sexist, much like the racist, takes less obvious traits and erroneously graphs them on to the more obvious traits of sex. Münecat’s point is not my own here, but she is explaining the same kinds of things as are applicable to sexual violence and domestic violence in particular. Other things too, but here I am focusing on those aspects.
We take traits of masculinity, say physical strength, and erroneously graph on to them somewhat less obvious traits, like aggression. Women are, arguably at any rate, just as aggressive as men, but how that is expressed differs and because ‘men strong women weak’, we associate violence with men, so men must be aggressive.
It’s only logical!
This has a far greater impact on points regarding sexual violence, simply it that the association of masculinity with sexual violence is so prevalent, even tho there is no reason to suppose and very little evidence to suppose that men actually commit more sexual violence than women. We simply punish men and don’t punish women. We simply count men’s sexual violence and don’t count women’s sexual violence. In the currents, to be super clear on this point, any and all data on the matter is so biased that it isn’t really evidence of much of anything.
We, in other words, code the terms of sexual violence to masculinity. Taking a less obvious trait, sexual violence, and erroneously graphing it on to a more obvious trait, masculinity.
It’s entirely bs tho. As has been pointed out here, and here, and here, and here, and here, among the many places that these things have been pointed out, women do the exact same behaviors or at times some feminine version of the exact same behavior that would be considered a sexual violence if a man did it, and it simply is not so considered if a woman did it. If we look at a stat that shows more men than women are arrested for sexual crimes, bout the only thing this can’t be interpreted as is that men actually definitely commit more sexual crimes. Cause we literally only counted men.
The laws are not written to include feminine sexual crimes, they haven’t been so written for as far as I know throughout history for the most part at any rate, when they are written in gender neutral ways they are still de facto enforced to only target men, when data is gathered on them the questions used are gender geared to count masculine coded sexual violence, when ethics surrounding sexual violence are considered that too is coded to be bout masculine coded sexual violence, when people speak up bout sexual violence womens voices are allowed and amplified while mens voices are disallowed and hushed due to the circle rubbed out belief that they are a threat, and so on.
And crime data is likely the least misandrist set of data available of the subject, as at least with that data there is a judicial system in place that tries to suss out the false claims. Which ought be terrifying for anyone familiar with the stats there.
All the surveys and circle rubbed out beliefs merely work to reinforce each other, none of which even touches on the puritanical and fascistic bs that also permeate the stats on sexual violence in particular.
For that, see:
The Bear or the Man, Being In The Woods With A Pig And A Woman
The basic take down of these kinds of interlocking puritanical and fascistic beliefs and their reflections within the stats on sexual violence. Including the fairly standard feminist, gender, and racial theorists’ criticisms of said puritanical and fascistic beliefs. Tho here we are focusing on the misandry, puritanism, irrational fears, and racism
Historically it is integral to fascistic narratives to dehumanize a people by targeting the male populations with rhetoric surrounding supposed sexual violence.
The Puritanism of The CDC And Other Fascistic Fallacies Of The 451 Percenters
A more specific set of criticisms of NISVS and by extension the Istanbul Convention On Gendered Sexual Violence. Highlights the use of aesthetics in the stats to make ethically obligatory kinds of claims, which again, is fascism.
We cannot be so unwise as to correctly note that historically fascism focuses on a specific sexual and familial forms and elevates them to ethically obligatory stature, and yet fail to recognize that it isn't bout any specific sexual or familial form. It is bout the raising of an aesthetical ethical concern (sexual and familial form, preferences), to that of an ethically obligatory concern.
That is just called fascism.

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2024.05.20 21:35 erratic_hours I passed February 2024 (F24) as a multi repeat taker working full time - Resources I used, what changed for me, and some thoughts.

I passed the Bar in February 2024 in a UBE jurisdiction after failing multiple times. I told myself that if I ever passed (which to me me seemed like an unlikely miracle), I would pass on the resources that I used as a multi repeater working full time at a fairly demanding job. This post is to explain what resources I used, why they were helpful, and what changed from my failing tests to my passing test. I am just hoping this is helpful to someone.
I took the Bar in a non-UBE jx several times and failed, and once in a UBE jx for F24, where I passed with a 302. I was not a good law student, I work full time, I graduated 6 years ago. I understand there are people with more stuff going on than me (all the kudos to parents taking this test - you are amazing and you got this!), but I do genuinely believe I am nothing special for the purpose of passing this test. I did a few points better on the MEE/MPT's than I did on the MBE, but I got passing scores on both. My jx does not give the full breakdown, so I don't know induvial essay scores, just the MBE vs writing component scores.
Resources: The study resources I used in F24.
Note: I found this post from u/SingAndDrive that really made an impression on me. I used Barbri on my failing tests and it NEVER resonated with me. I also used AdaptiBar (more on this below). I knew I needed to figure out a non-traditional Bar prep that was budget friendly and worked with my 9-5 corporate job. The linked post was a great starting point for me, and I did end up using a few of the resources they used. P.S. shout out to u/SingAndDrive for that post, and for still responding to people asking follow up questions about their experience.
1. NCBE BarNow "Everything Pack" - This is for MEE and MPT's. I did over 70 essays total - 4-6 essays per topic (I recommend at least 5 per topic) tested on the MEE and then 5 MPT's (I always did ok on these so I was not worried. If you are, do more. This was invaluable and very budget friendly (maybe $130). It includes hundreds of real essays and MPT's and all of the corresponding grader's point sheets. At first I would read the essay, outline my answer a bit, and then literally copy the graders point sheet exactly. I did this for 4-5 essays before I felt I could actually try on my own. I timed my essays (30 min per essay in my jx) and treated it like a real test to the best of my ability. Sometimes I checked the grader sheet as I was writing.
2. SmartBarPrep UBE Smart Sheets - This is the only thing I used for remembering rules for the MEE's. What I like about it is that it focuses on the main things that are tested and tells you the highly and moderately tested rules. Does it cover literally everything ever test? No, but you do not need to know everything. The goal is not perfection - it's a passing score. I also love that it was $130. It has some resources about MPT's I found useful for formatting different types of MPT's and
3. NY sample essays for MEE essays - Free and helpful for a few reasons. First, if you look at the real essays by passing test-takers and refer back to the corresponding NCBE graders sheet you will see that great scores don't hit on every little point on the graders sheet. Sometimes passing scores come to the wrong conclusion. There is room for human error and perception in your responses. Second, it was so s helpful to me to see the format of passing essays. The MEE is all patterns (types of essays), do enough and you will begin to see patterns and patterns of how to format your response. I am very much a learn by watching person, and really needed the correct format laid out in front of me.
4. AdaptiBar - I used AdaptiBar during my failing tests, but the way I used it on my passing F24 test was very different. The big difference between my failing test and by passing test - a) I did wayyyy more questions on my passing test. In total, for F24 I completed around 1,600 questions. I'm sure I did like 600 on my failing tests. b) I reviewed every question I got wrong. For me this was reading the question again and then reading the full explanation of each answer. For one of the two tests you can take on AdaptiBar, I created an Excel sheet where I copied the question I got wrong in column A, the correct answer in column B, and the explanation in column C. I wish I did this for both tests. I don't know if I personally had time to do this for literally every question. I generally did 30 questions a day, all on one topic (more on my study schedule below). I reserved two Saturdays for a full 200 question test. MBE's are repetitive - they ask you a lot of the same base rules in different ways, and then stick these random niche exceptions/tiny rules in there. I highly recommend AtaptiBar or some other databank of NCBE questions with explanation. Do the licensed questions. It was the most expensive study aid I used by far, but I personally needed this resource to pass.
5. Goat Bar Prep - GoatBarPrep I wish I had found this subreddit sooner, but for the month I knew about it before the exam it was great. I read through the free megaposts for topics I needed help on. For example, I did not take Secured Transactions in law school and was starting from scratch. u/SnooGoats8671 is a wonderful teacher - he knows how to distill down complicated topics, and is an interesting and entertaining writer. Do not be fooled by the memes and silliness - this is the real deal. I did feel a bit like Alice falling down the rabbit hole and into insanity, but maybe that is part of the process. I personally bought a few additional resources from this tutor that specifically target tips and tricks on the MBE that gave me great results. For example, I saw a 10% increase in my Civil Procedure questions on AtaptiBar after using Goat Bar Prep MBE for Civ Pro resources. This was huge for me because I was basically hovering around 50% on Civ Pro (my worst MBE topic). I never directly reached out to u/SnooGoats8671, but others have stated he is very responsive and great to work with if you need a 1:1 tutor.
Failure vs Success: AKA, what changed?
While I did use (mostly) different resources, the biggest change was me - my attitude, my approach, and my effectiveness.
1. Passive vs Active Studying - I know you have heard this before, but it's the gospel truth - you NEED to practice active studying. Author Jessica Klein has some excellent thoughts on this in her book "Fck the Bar". Basically, you need to do the hard stuff. The extra un-fun stuff. Reading your rules is boring, but also passive. You need to write essays. Honestly, I didn't feel like I knew/started to memorize the rules for real until I starting writing essays. I started writing essays three months before test day, but didn't kick it in gear
2. My Study Schedule - I am someone who loves a schedule, so I made one in Excel that detailed what I was studying from December 2023 through the end of February 2024. I scheduled two wiggle-room days each month, but in December life and holidays happened and I missed a few days. In January and February my schedule would change a bit, but I never missed a day because I had scheduled two wiggle-room/life happens days. No topic left behind. I worked on a 14-day cycle, where each work day had one topic assigned to them and weekend days had two topics assigned to them. I generally stuck to the same 14-day loop of topics over and over again, so each topic was covered two times each month. I combined Agency and Partnership because they are best friends, and never studied Conflict of laws outside when it was on a combo MEE practice essay. I am not sure if this was unwise or a good move over all, but it gave me 13 topics for 13 days, and on the 14th day I worked on MPTs or full on MBE tests or I devoted that 14th day to a topic I was having trouble with. I did not do two-a-day topics until the last two weeks before the Bar. Again, I was studying full time and I didn't really have time to fully devote my day to two topics. Honestly, it was for the best because I always start of strong when studying and dwindle off and it gets later. Speaking of - I studied maybe 2-4 hours a day during the work week and 5-7 hours on the weekend. I was not nose-to-book the whole time I was studying, but I tried my best. It helps that my then boyfriend now fiancé looming over me playing FIFA in the same room I studied in. Every time I picked up my phone he would turn to me and ask, "What are you studying now?"
3. I Slept - No seriously. I went to sleep before 12AM. I never slept while studying for my failing tests. It sucked and I was a stressed mess. I was still a stressed mess this time, but I had way more brain function, wasn't burnt out, and felt physically better. For the record, I said "physically better", not "good". I did not feel "good". It was a lot of really hard, exhausting work and I never wan to do it again. It took me a month to gather myself up to even write all this. Anyways, get some sleep.
4. I was real with myself about why I kept failing - My multiple failures were a result of a few things. First, I was totally burnt out. Not sleeping, non-stop stress, and law school really sucked for me. I was just not in a good place. Before studying for F24, I had not studied for the Bar in at least two years. I was working full time, playing rec sports, had a boyfriend, and friends. I was in a good place. Second, I was studying ALL WRONG. All passive studying, nearly no active studying (see above). I FULLY believe I could have passed in the non-UBE jx I failed so many times in if I just did then what I did on F24. Finally, I acknowledged I was the problem, and decided to break the cycle. Better habits, new approach, worked within my schedule, and focused on discipline and consistency (Not my strong suite. Again, high recommend acquiring a FIFA playing study overlord - or an accountability buddy).
5. Test Day Mentality - I don't know if this is advice, but I walked into that testing center PUMPED UP. I was in a great mood - it was game day and I was ready to ball. A security person asked me how I was doing on Day 1, and I said, "GREAT!" and she said, "You are the only one." That is a true story. In retrospect I may have been losing my mind a bit, but hey, fake it until you make it, right? I tried my best to carry that mentality to Day 2. I also made a friend to hang with before, during lunch, and as we were leaving the test center - we still text! I am sure plenty of people need to be silent and alone to focus up, but for me, talking to someone (about work, life, whatever isn't test related) helped to keep my brain dynamic and awake. My friend was also a retaker who passed on F24, and I like to think having a friend helped them too.

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2024.05.20 19:36 Encubed I've had 24 jobs and side hustles over the last 23 years. AMA

In chronological order: - pushing carts at the grocery store - retail customer service at EB Games - convenience store clerk - after-school tutoglorified babysitter - handing samples out at grocery stores - retail sales for pool tables in store and at Costco roadshows - door-to-door salesman for donating to charity - call center outbound sales for shredding services - call center inbound customer service for mutual funds - training and documentation specialist for mutual funds processing - marketing summer intern (NGO) - internal consultant for HR & Information Systems (NGO) - transaction processing data entry for hedge funds - process improvement consultant (banking industry) - client experience improvement consultant (banking industry) - marketing manager for national telecom products - tutor for university students - Airbnb experiences tour guide for the geekiest bars in Toronto - ESL teacher for Chinese children over webcam - janitor at a local bar - gig worker for editing academic papers - gig worker for handyman stuff - owner of a handyman & tech support small business - business analyst for information systems (NGO)
Can you guess where in this timeline the pandemic started?

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2024.05.20 18:45 Advanced-Reveal6056 Upstaged by Marlon Brando( enjoy reading )

Upstaged by Marlon Brando
I thought I had the talent to be an actor. A mercurial classmate gave me second thoughts.
By Alan ShayneMay 20, 2023 Marlon Brando photographed sitting on a chair and holding a book in 1946. Photograph by Cecil Beaton I was eighteen, living in New York, and trying desperately to get work as an actor. It was 1943. I had been drafted, and the plan was to do my time, then study with the help of the G.I. Bill. I’d spent a summer doing Shakespeare but had just been fired from a production where I played a gross, blustering football star. I was a polite boy from Brookline, Massachusetts, and I just couldn’t work myself into the character: smacking men on the back, smearing a chocolate bar on my camel-hair coat. I realized that I had to learn the technique of acting. Everything I’d done so far was instinctive.
The day came for my physical. I went through the routine like an automaton, distancing myself from the hundreds of young men who stood self-consciously in their underwear. One of the doctors took a long time examining my ears. “Perforated eardrums,” he said.
I was free. I got a scholarship at the New School for Social Research, which had a prestigious drama workshop. On my first day, the registrar gave me my schedule: Theory of the Theatre, Acting, March of the Drama, Movement, and Makeup. I signed papers all morning, and then she took me to my group, which was already in session. Ten students were seated at small tables in front of standing mirrors, applying cosmetics to their faces. They stopped and stared as I walked in.
“Alan is joining your class, and I hope you’ll make him feel at home,” the registrar said.
Several boys got up to shake my hand; the girls said hello. One extremely handsome boy, who had drawn a line from the center of his forehead down to his chin, and who had made up half his face in garish war paint, walked over to me. I put out my hand, but he glared and walked out the door. Everyone giggled, and the registrar said, “Don’t mind him. That’s just Marlon trying to get attention.”
One of the boys lent me some makeup, and I sat applying it, looking in the mirror. I wondered if I’d made a mistake. After all, I had experience in a touring company, in summer stock. I’d put on makeup dozens of times. No, I thought, I’ve got to study—that crazy boy with the war paint had just brought me down.
Stella Adler, the most important acting teacher in the country, was coming to lead a class. I was terribly excited. She had been with the Group Theatre, the pioneering New York drama collective, and had actually studied with Konstantin Stanislavski, the originator of Method acting. I had been reading his book “My Life in Art” as if it were the Bible, but I still couldn’t make sense of the Method and how to do it. I was sure Stella Adler would teach me.
She was a half hour late, but no one seemed surprised. Everyone had been talking, sprawled on folding chairs or perched on a raised platform that took up one side of the room. Suddenly, it was quiet. The students shifted their positions and looked toward the double doors, like animals sensing an approach.
There was a waft of expensive perfume, and Miss Adler appeared. Hands rushed to take her umbrella, her bag, her fur coat. “Darlings,” she said, kissing and hugging the students closest to her. They guided her into an armchair, and she reached above her head. “What do you think of my chapeau?” she asked. It was a frothy black cap from which feathers danced whenever she moved. A girl said unctuously, “It’s beautiful, Miss Adler.” She was ignored as Miss Adler shed a suit jacket that revealed a filmy satin blouse. She looked at me. “You must be the new boy,” she said. I felt her eyes peel back the layers of my clothes. “Yes, Miss Adler,” I said. She reached out her hand, and I stumbled over to take it. “I hope you’re very talented,” she said. I stood awkwardly as she looked me over. “Sit down, darling,” she said, and I staggered back to my seat.
For half an hour, she discussed her clothes with the class. “Do you really think this suit is more becoming than the one I wore last week?” Then she listened to everyone’s comments about whether she was better in green or in blue. Finally, she said, as if we had delayed her, “Let’s get to work. Marlon, you lazy boy, get in that chair.”
Marlon hadn’t turned up in any of my other classes, but I had seen him sitting in the hall, playing bongo drums, surrounded by a coterie of admirers. He made a point of not looking at me. One of the students told me that his last name was Brando. The rumor was that he was being kept by a rich, older man and that he had a girlfriend named Blossom Plum.
The class watched as Marlon slumped across the room and fell into a folding chair. He looked as though he had crossed the desert without water. “Now, Marlon, peel an apple,” Miss Adler said. Marlon pantomimed the knife slipping under the skin, then began to peel. He did it so convincingly that it seemed to be in one long piece that kissed the floor. “Now, Marlon, I’m going to say some words to you, and I want you to react accordingly,” Miss Adler said. “Cold . . . hot . . . hungry . . . tired . . . depressed.” I couldn’t believe my eyes. Marlon continued to peel the apple, but each time he heard a word he seemed to change. The metamorphosis was nearly imperceptible, but he actually became cold or hot or hungry. I thought, My God, I’ll never be able to do that. The class applauded. Marlon slumped back to his chair.
“Our time is up,” Miss Adler sighed. “Now listen. I believe that every actor should be able to do something in addition to acting—like singing or dancing or telling a story. So next time, I want you all to come in with a story, or a poem, or whatever, and perform it as if you were in a cabaret. Is that clear?” There were murmurs of agreement, and then a shuffle of chairs as actors rushed to help Miss Adler with her coat. I sat for a moment in my seat. I knew what I would do: my rendition of “The Devil and Daniel Webster,” the short story by Stephen Vincent Benét, for which I’d won a speaking prize my senior year in high school. I’d show them Marlon wasn’t the only talented one.
The next class with Miss Adler had the palpable charge of opening night. No one would tell anyone what they were going to do. It was all a surprise.
After a show of hands, Miss Adler chose a lanky, blond girl to go first. I had learned her name was Elaine Stritch and that her uncle was high up in the Catholic church, in Chicago. She was wearing a trainman’s overalls and her hair was pulled back. She sat on the floor and strummed her guitar, singing in a haunting, simple voice: “I wonder as I wander out under the sky, how Jesus the Saviour did come for to die.” The class didn’t wait to gauge Miss Adler’s response. Everyone applauded loudly.
I waved my hand in front of Miss Adler’s face. “The new boy seems very eager,” she said. “All right darling, you go next.”
I stepped up onto the platform and was relieved to see that Marlon had left the room. I felt as if I were performing in front of the Queen and her courtiers. It had been two years since I had won the speaking prize, but I remembered every word of the Benét story. I was nervous in the beginning, but I felt a new authority as I acted out several different parts, all with different accents and personalities. I told the story of the Devil’s battle with Daniel Webster to possess a man’s soul. I grew more and more impassioned. I felt transported to the New England farm where the story took place, and I became very moved when Webster finally won at the end. I had hardly finished when Miss Adler’s voice trumpeted, “Excellent!” and the class applauded. I went to my seat feeling a camaraderie with the others for the first time.
As soon as I sat down, Miss Adler gestured in my direction. “Now, let’s not be confused that what he did was acting,” she said. “He told a story and put on voices for the different characters. That’s all right for cabaret, which was the assignment, but we mustn’t mix it up with real acting.” Everyone agreed. I didn’t see why it was necessary to diminish my performance in that way.
There was a sudden flurry of activity. The curtains on the platform were drawn and the lights went out. I could make out one of the actors dropping the arm on a record. As the music began, the actor rushed over and pulled the curtains. Standing in the center of the stage, in a pool of light, was a gorgeous woman in a velvet evening dress and long white gloves. The class gasped—it was Marlon in a blond wig. As Judy Garland began to sing—“Zing! Went the strings of my heart”—Marlon began to lip-synch. I realized the record was on at twice the speed so that the sound was comic, as if Marlon had Betty Boop’s voice. The class went to pieces. The students screamed and applauded; several of them slid off their chairs and rocked with laughter on the floor. Through it all, Marlon played it straight. Miss Adler collapsed in her chair. “The Devil and Daniel Webster” had been completely forgotten.
The cabaret incident was the last time I saw Stella Adler. She won a role in a play called “Pretty Little Parlor,” and coaxed her brother Luther into taking over the class. He had also been in the Group Theatre and was a renowned actor, having appeared many times on Broadway. He was in his forties, stocky and short, though he wore lifts in his shoes. He was all business but very warm and helpful. I was finally going to learn the Method that was beginning to be the basis of all good acting.
On his first day, Mr. Adler gave us an exercise in improvisation: we were all to be chickens in a barnyard. We would hear on the radio that war was declared, and we had to react as chickens—to decide whether we were married, leaving our chicken families to go off to war, or whether we were single and awaiting the draft. I looked around. Students started clucking as they moved on their knees toward each other. Some of the girls grabbed boys and acted as if they were their husbands. I had always been uncomfortable with improvisation, so I decided that I was a loner who didn’t like the other chickens. I sat and sulked and managed to get through the ordeal.
Around that time, auditions began for the big student play of the year: Shakespeare’s “Twelfth Night.” This was very exciting. I’d acted in “Much Ado About Nothing” in Boston, learning the rudiments of doing Shakespeare, and I’d got my scholarship by reciting one of his soliloquies. I went to the audition feeling confident, but discovered that all the boys were trying out for Duke Orsino, the part that I wanted. Everyone had to read for the director, Erwin Piscator, who was also the head of the workshop. He was a slight man, around fifty, beautifully dressed and with meticulously combed silver hair. He had been famous in Germany for doing epic theatre, a movement that stressed the political content of drama. He had escaped the Nazis and now sat hunched at the front of the auditorium.
I was startled to see Marlon, who hadn’t been around much. I’d heard that he’d been raving about “Good Night, Sweet Prince,” a biography of John Barrymore, the renowned Shakespearean actor, that had just been published. He was laughing at rumors that Barrymore, a known alcoholic, had peed on the floor of his dressing room when people came to praise a performance. I thought it was sad that a great actor resorted to such low tricks for attention, but I wasn’t surprised that Marlon was taken in by them. As usual, he looked right through me as we waited in the wings. I couldn’t understand why I annoyed him, but I put it out of my head. I could hear the boys who went before me, and none of them seemed exciting. Marlon was the worst. He mumbled his way through, making no sense of the words or the iambic pentameter. When my turn arrived, I forgot about the others, succumbing to the thrill of being onstage, the pleasure of reading such beautiful lines. Piscator thanked each of us. A few days later, a cast list was posted. I was Duke Orsino.
On the first day of rehearsal, we were all a little nervous. Piscator had directed the greats of Europe, and we were just kids trying to find our way. He settled in the front row and looked up. “Alright, begin,” he said. I started to speak the opening lines, and Piscator jumped out of his seat. “No, no, no,” he shouted. “You Americans are so afraid of the poetry.” He came onstage and walked over to me. “You have one of the most beautiful speeches in Shakespeare,” he said. “It must be like a rhapsody. Your voice should sound like a cello. Now begin again.”
After weeks of rehearsal, we were ready. There were two opening shows: one in the afternoon, for the school, friends, and agents, and an official première in the evening. Around noon, I began putting on makeup backstage. My costume was stunning: a red doublet with a diamond pattern, red tights, a navy-blue blouse with puffed sleeves, and a silver cape. I was just finishing combing my hair when Piscator walked into the dressing room. “Good afternoon, Mr. Piscator,” everyone said. “Good afternoon,” he replied. “I just came to say merde.” The French word for “shit’” was traditional in the theatre for wishing someone luck. It made us feel very professional.
Piscator walked over and stood beside my chair. “There’s been a bit of a problem,” he said, “but I think we’ve solved it very well.” I asked him what it was. “You see,” he said, “Stuart’s mother is very ill, so he had to go to Washington last night, and he can’t get back in time for the performance. He’ll be here tonight, but we had to get someone to take his part this afternoon. Of course, it’s only eight lines, so it’s not that difficult.” I blanched. Stuart’s part was the priest—the hardest moment in the play for me. It was the scene when the Duke finds out that the woman he loves has apparently just married his manservant, who seems to be in love with the Duke. All hell breaks loose, and the priest is summoned to confirm the ceremony.
“Who’s going to play it?” I asked. The director beamed. “Marlon has been good enough to help us out,” he said. “It’s very nice of him.”
Of all the actors, I thought. “Can we rehearse before the curtain?”
“There’s no time, unfortunately,” he said. “He’s in the costume department now, but he knows his spot onstage. I’m sure he’ll be fine.”
I went onstage, sat on my throne, and listened to the first swells of music. When the curtain rose, I filled my voice with an exhausted yearning. “If music be the food of love, play on . . . .” I nailed the opening scene, striking just the right balance between honest emotion and the beauty of the poetry. As I made my exit—“Away before me to sweet beds of flowers: love-thoughts lie rich when canopied with bowers”—there was a tremendous sound of applause.
The rest of the play went splendidly. Near the end, when I discovered that Olivia, my love interest, had married Cesario, my servant, the priest was sent for. I was deep in character, acting out the conflict between my desire to kill Cesario and my suspicion that he was in love with me, when I heard the audience start to laugh. I turned to see the priest. There was Marlon in a pair of tights, into which he had stuffed a small drum that made him look pregnant. He beat out a rhythm as he mumbled lines that no one could hear. The audience went wild. They laughed. They cheered. They egged him on until he performed a frenzied drum solo. The other actors onstage laughed, too, but I was livid. It was as if the play were totally forgotten. When Marlon finally finished, he left the stage to an ovation, and I had to wait until everyone quieted down. As I spoke, the audience started to laugh again.
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Somehow, we finished the play. I walked to the dressing room in a fury. I thought of my past year in New York: never having enough food; losing a tooth because I couldn’t afford a dentist; being self-conscious about my smile; never being warm enough in my thin coat; and waiting on tables for people who seldom even gave me a tip. All to be in the theatre that I loved. But this wasn’t the theatre that I had read and dreamed about. When I entered the dressing room, Marlon was sprawled on a chair with cold cream all over his face.
“How dare you,” I said. “How dare you ruin this play!”
Marlon said nothing. “Aren’t you even going to say you’re sorry?” I asked. Marlon looked away. My frustration was building. “I’ll do everything in my power to keep you off Broadway,” I said. I went to my dressing table and sank into my chair. Piscator whooshed in. “Wonderful, wonderful,” he said. I got up and walked over to him. “Are you going to say anything to Marlon?” I asked.
“My dear, it was wrong, but it was just high spirits,” the director said. “Tonight is the most important performance, and Stuart will be here for it.” I looked at him. He no longer seemed like a great international director. “If you don’t reprimand him for his unprofessional behavior,” I said, “I’m going to leave the school.” Piscator raised his hand in a deprecating gesture, then left the room.
I did the evening performance and never went back again. Marlon Brando was on Broadway within a few months. ♦
This is drawn from “The Star Dressing Room: Portrait of an Actor.”

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2024.05.20 18:30 FaithlessnessLast159 Kristell Therese Gimantog BSED ENGLISH 3A

Collaborative research in English means working together with others to study and explore different topics or questions using the English language. Let's break it down. Imagine you're in school, and your teacher gives you a project to study animals. Instead of working alone, you team up with your classmates. Each person takes on a specific part of the project. One student might research lions, another might look into birds, and so on. You all gather information and share what you find.
Collaborative research is like that, but on a bigger scale and often in more detail. It happens in universities, laboratories, and even online communities. People with different skills, backgrounds, and expertise come together to investigate a particular topic or solve a problem.
Now, why English? English is a global language. When people from different countries and cultures want to work together, they often use English to communicate. It's like a common language that everyone can understand, making collaboration smoother.
So, how does collaborative research in English work? Let's say scientists want to study climate change. Researchers from various countries team up to gather data, analyze trends, and propose solutions—all using English to share their findings. They might conduct experiments, collect samples, or survey communities affected by climate change.
Communication is key in collaborative research. Researchers regularly discuss their progress, share insights, and brainstorm ideas—all in English. They might hold meetings, write reports, or even publish papers together in English-language journals to reach a wider audience.
Collaborative research in English isn't just about sharing ideas; it's about learning from each other too. Imagine a scientist from India sharing traditional farming practices with researchers from the United States. By collaborating, they combine their knowledge to develop sustainable agriculture methods that benefit both communities.
In summary, collaborative research in English brings people together to explore topics, solve problems, and make discoveries using the English language as a bridge. It's about teamwork, communication, and sharing knowledge to make a positive impact on the world.

LanguageLearning

CollaborativeResearch

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2024.05.20 14:29 Appropriate-Let-3226 Signals and Systems Final

How would y'all rate this final exam's difficulty on a scale of 10.

submitted by Appropriate-Let-3226 to ElectricalEngineering [link] [comments]

2024.05.20 10:04 sgtjohnson4president Is it normal for college students to go back to their hometown at the weekends?

I'm off to college in September and a lot of people I speak to assume I'd be coming home at the weekends, pretty much all of the teachers on my PLC, my boss, many people I end up speaking to.
Is this normal? I don't really have a large sample size for this as I live in commuting distance of Galway, so pretty much all of my friends still live at home.

submitted by sgtjohnson4president to AskIreland [link] [comments]

2024.05.20 09:53 ShackleDestroyer How the Jewish Conspiracy became popularized by Jesuits

https://ageofrevolutions.com/2023/01/16/the-dissolution-of-the-jesuits-and-the-birth-of-an-anti-semitic-conspiracy-theory-in-the-age-of-enlightenment/
According to this article written by a postdoctoral researcher the popularization of the "ITS THE JEWS" theory in the world is attributed to the propagation of antijewish articles published in Jesuitical magazines, focusing on the Jesuit periodical La Civiltà Cattolica (Catholic Civilization).
La Civiltà Cattolica is a magazine produced by the Jesuits that in the 19th/20th century, along with the supposed likes of other Catholic periodicals, publicized on a wide scale antijewish conspiracies inspired by traditional catholic antijewish legends and tropes, and by the writings of former Jesuit Termanini in the 18th century. Several articles published within took from Termanini's biography of Jesuit Francesco Pepe in which he intentionally deviated from historical sources by reimagining Pepe's encounters with the Jewish community in Naples and presented Jews as a sinister force undermining social order and gender norms. In his writings Termanini linked Jews with Enlightenment reformists, depicting them as a "modern sect" driven by greed and plotting against traditional Christian values to fit the narrative that: the Jews orchestrated the Jesuit dissolution, a "Jewish plot" was behind events like the French and Russian Revolutions, and the Jews were ultimately behind the worldwide protest against the Church.
Termanini was a Jesuit and worked as a teacher in Jesuit institutions. It was only after Pope Clement XIV suppressed the Jesuits in 1773 that Termanini's situation became precarious, leading him to turn to writing hagiographies and biographies that promoted an esprit de corps among former Jesuits like himself.
The magazine is the unofficial voice of the Holy See with it's purpose being "to promote a catholic culture, thought, and civilization in the world." It pushed antijewish sentiment without protest from the Church, and because it was widely promoted it helped to embed those ideas into traditional Catholic thought and indirectly to some of the general masses all the way up until today where we see places like conspiracy, /pol/, bitchute, and people like Adam Green, Stew Peters, Nick Fuentes, etc., propagating these same ideals.
But was the Church's antijewish sentiment justified?
Grievances about Jews undermining "Christianity" were Catholic tradition and have been around which helped to promote the conspiracy during the 19th/20th century, but there is a lack of historical evidence that Jews as a group actively undermined Christian societies or purposefully worked against Christian institutions and values.
The claims from Trad Cats (Traditional Catholics) and Jew-Baiters (non-Catholics who blame the Jews) about Jews subverting or threatening Christian civilization were largely rooted in myths, scapegoating, and the perpetuation of antijewish stereotypes - not factual evidence of an organized Jewish effort to undermine Christianity.
The Jews did not have the means to do any kind of real damage to the Church:

Jews were a small, widely persecuted minority in Christian-ruled lands for centuries. They lacked any real power or ability to significantly "undermine" the dominant Christian power structures.
Jewish communities tended to be highly insular and segregated, focusing on just preserving their culture and religion under harsh conditions - not subverting their hosts.
Blood libels and claims of Jews desecrating communion hosts were entirely made-up without any credible evidence behind them.
Claims of deicide (being Christ-killers) were theological in nature, not evidence of active undermining.
Economic success in fields like moneylending stemmed from being excluded from many other professions by Christians (mostly Catholics) themselves.
While some Jews were seculairreligious, in those times the vast majority remained deeply devoted to their faith - not participating in the civil business world (most did not even have legal surnames until they were forced to in the 17th/18th century), not aiming to subvert any kind of people.

Biblically, the Church was wrong in their antijewish sentiment and persecutions considering Romans 11 implies we are to have mercy on them and to provoke them to jealousy.

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2024.05.20 08:18 New_Adhesiveness_825 "A Brush with Growth: Projecting the Evolution of the Paints and Coatings Market by 2030"

Global Paints and Coatings Market size was valued at USD 196.53 Bn in 2023 and is expected to reach USD 271.75 Bn by 2030, at a CAGR of 4.16 %.
Paints and Coatings Market Overview: The Paints and Coatings Market research report provides a comprehensive analysis of the market's position over the forecast period. This thorough investigation focuses on primary and secondary drivers, market share, leading segments, and geographical analysis. The study also examines key players, major collaborations, mergers and acquisitions, as well as innovative trends and corporate strategies.
Sample Report Link:https://www.maximizemarketresearch.com/request-sample/14908
**Market Scope:*\* We conducted an in-depth investigation of the Paints and Coatings Market using both primary and secondary research methods. This approach helped us understand current market dynamics, including supply-demand imbalances, price trends, product preferences, and consumer behaviors. The data is compiled and analyzed using various market estimation and data validation techniques. Additionally, we employ an in-house data forecasting model to predict market growth through 2030.
**Segmentation:*\*
by Resin
Acrylic Alkyd Epoxy Polyester Polyurethane Vinyl Fluoropolymer Others
by Technology
Waterborne Solventborne Powder Coatings Others
by End-User
Architectural Industrial Others
**Key Players:*\*
The report also focuses on the global key industry players in the Paints and Coatings Market, providing details such as company biographies, product images and specifications, capacity, production, price, cost, revenue, and contact information. It examines the Paints and Coatings Market Trend, volume, and value at global, regional, and corporate levels. By analyzing historical data and future prospects, the study illustrates the total Paints and Coatings Market Size from a global perspective. Leading Paints and Coatings market companies are evaluated for their market rankings. Highlighted players in this report include:
Europe 1. BASF SE (Germany) 2. Jotun A/S (Norway) 3. Akzo Nobel N.V (Netherlands) 4. Backers Group (Germany) 5. TIKKURILA OYJ (Finland)
North America 6. The Valspar Corporation (United States) 7. Dow Corning (United States) 8. The Sherwin-Williams Company (United States) 9. PPG Industries, Inc. (United States) 10. Axalta Coating Systems (United States) 11. RPM International Inc. (United States) 12. Masco Corporation (United States) 13. Diamond Vogel (United States)
Asia Pacific 14. Asian Paints Limited (India) 15. Kansai Paint Co., Ltd. (Japan) 16. KKC Corporation (South Korea) 17. Berger Paints India Limited (India) 18. Nippon Paint Holdings Co., Ltd. (Japan) 19. Hellos Group (China)
Know more about the report:https://www.maximizemarketresearch.com/market-report/paints-coatings-market/14908/
**Regional Analysis:*\* The study offers a detailed overview of the sector, including both qualitative and quantitative data. It provides an overview and forecast of the global Paints and Coatings market by segment and offers market size and forecast projections for five key regions: North America, Europe, Asia-Pacific, the Middle East & Africa, and South America, from 2024 to 2030. Each region's Paints and Coatings market is further subdivided by respective regions and segments. The research analyzes and forecasts different countries, considering existing trends and prospects in the region.
**Key Questions Answered in the Paints and Coatings Market Report:*\* - What are some of the most promising high-growth opportunities in the global Paints and Coatings market by product type, end-user, and region? - Which Paints and Coatings market segments will expand the fastest, and why? - Which regions will develop quicker, and why? - What are the primary elements influencing Paints and Coatings market dynamics? What are the market drivers and challenges for the Paints and Coatings market? - What are the Paints and Coatings market's business risks and threats?
**About Us*\* Maximize Market Research is one of the fastest-growing market research and business consulting firms, serving clients globally. Our revenue impact and focused, growth-driven research initiatives make us a proud partner of the majority of Fortune 500 companies. We have a diversified portfolio and serve various industries such as IT & telecom, chemical, food & beverage, aerospace & defense, healthcare, and others.
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2024.05.20 07:36 IndicationNo6581 Arabic B HL help

Hello, i'm planning to do my EE in arabic which my school said, it was never done before in our school. So there isnt anyone who can help me and the resources online arent helping since theyre all either arabic A or really old samples. im begging anyone whos doing arabic B to ask their teachers if they have ANY samples, since my teacher isnt helping. Thanks!

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2024.05.20 07:13 New_Adhesiveness_825 Explosive Growth in Allogeneic Cell Therapy: Market to Hit USD 2.13 Billion by 2030

Allogeneic Cell Therapy Market was valued at USD 0.46 Bn. in 2023 and is estimated to grow at a CAGR of 24.5% in the forecasted period. The forecasted revenue hints at a growth of around 2.13 Bn. USD by 2030.
Allogeneic Cell Therapy Market Overview: The Allogeneic Cell Therapy Market research report provides a comprehensive analysis of the market's position over the forecast period. This thorough investigation focuses on primary and secondary drivers, market share, leading segments, and geographical analysis. The study also examines key players, major collaborations, mergers and acquisitions, as well as innovative trends and corporate strategies.
Sample Report Link:https://www.maximizemarketresearch.com/request-sample/187518
**Market Scope:*\* We conducted an in-depth investigation of the Allogeneic Cell Therapy Market using both primary and secondary research methods. This approach helped us understand current market dynamics, including supply-demand imbalances, price trends, product preferences, and consumer behaviors. The data is compiled and analyzed using various market estimation and data validation techniques. Additionally, we employ an in-house data forecasting model to predict market growth through 2030.
**Segmentation:*\*
By Type
Stem Cell Therapies Hematopoietic Stem Cell Therapies Mesenchymal Stem Cell Therapies Non-stem Cell Therapies Keratinocytes & Fibroblast-based Therapies Others
By Therapeutic Area
Haematological disorders Dermatologic
By End User
Hospitals Speciality Clinics Research Organisations
**Key Players:*\* The report also focuses on the global key industry players in the Allogeneic Cell Therapy Market, providing details such as company biographies, product images and specifications, capacity, production, price, cost, revenue, and contact information. It examines the Allogeneic Cell Therapy Market Trend, volume, and value at global, regional, and corporate levels. By analyzing historical data and future prospects, the study illustrates the total Allogeneic Cell Therapy Market Size from a global perspective. Leading Allogeneic Cell Therapy market companies are evaluated for their market rankings. Highlighted players in this report include:
North America 1. Allogene Therapeutics 2. Bluebird Bio 3. Mustang Bio 4. Nkarta Therapeutics 5. Precision BioSciences 6. Sangamo Therapeutics - United States 7. WindMIL Therapeutics 8. Gilead Sciences 9. Iovance Biotherapeutics 10. Gamida Cell 11. MaxCyte 12. Poseida Therapeutics 13. eureka therapeutics inc.
Europe 14. Adaptimmune Therapeutics 15. Cellectis 16. Celyad Oncology 17. TC Biopharm 18. autolus
APAC 19. CRISPR Therapeutics 20. Mesoblast
Middle East and Africa 21. aspen pharmacare ltd
South America 22. Biovac
Know more about the report:https://www.maximizemarketresearch.com/market-report/allogeneic-cell-therapy-market/187518/
**Regional Analysis:*\* The study offers a detailed overview of the sector, including both qualitative and quantitative data. It provides an overview and forecast of the global Allogeneic Cell Therapy market by segment and offers market size and forecast projections for five key regions: North America, Europe, Asia-Pacific, the Middle East & Africa, and South America, from 2024 to 2030. Each region's Allogeneic Cell Therapy market is further subdivided by respective regions and segments. The research analyzes and forecasts different countries, considering existing trends and prospects in the region.
**Key Questions Answered in the Allogeneic Cell Therapy Market Report:*\* - What are some of the most promising high-growth opportunities in the global Allogeneic Cell Therapy market by product type, end-user, and region? - Which Allogeneic Cell Therapy market segments will expand the fastest, and why? - Which regions will develop quicker, and why? - What are the primary elements influencing Allogeneic Cell Therapy market dynamics? What are the market drivers and challenges for the Allogeneic Cell Therapy market? - What are the Allogeneic Cell Therapy market's business risks and threats?
**About Us*\* Maximize Market Research is one of the fastest-growing market research and business consulting firms, serving clients globally. Our revenue impact and focused, growth-driven research initiatives make us a proud partner of the majority of Fortune 500 companies. We have a diversified portfolio and serve various industries such as IT & telecom, chemical, food & beverage, aerospace & defense, healthcare, and others.
**Our Address*\* Maximize Market Research Pvt. Ltd. 3rd Floor, Navale IT Park Phase 2, Pune Bangalore Highway, Narhe, Pune, Maharashtra 411041, India. ✆ +91 9607365656 🖂 [sales@maximizemarketresearch.com](mailto:sales@maximizemarketresearch.com) 🌐 www.maximizemarketresearch.com

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2024.05.20 06:48 New_Adhesiveness_825 Future of Geosynthetics: Market Expected to Reach $25.88 Billion by 2030

The Global Geosynthetics was valued at USD 17.05 billion in 2023 and the total Geosynthetics Market revenue is expected to grow at a CAGR of 6.14% from 2024 to 2030, reaching nearly USD 25.88 billion.
Geosynthetics Market Overview: The Geosynthetics Market research report provides a comprehensive analysis of the market's position over the forecast period. This thorough investigation focuses on primary and secondary drivers, market share, leading segments, and geographical analysis. The study also examines key players, major collaborations, mergers and acquisitions, as well as innovative trends and corporate strategies.
Sample Report Link: https://www.maximizemarketresearch.com/request-sample/30009markethttps://www.maximizemarketresearch.com/request-sample/30009
**Market Scope:*\* We conducted an in-depth investigation of the Geosynthetics Market using both primary and secondary research methods. This approach helped us understand current market dynamics, including supply-demand imbalances, price trends, product preferences, and consumer behaviors. The data is compiled and analyzed using various market estimation and data validation techniques. Additionally, we employ an in-house data forecasting model to predict market growth through 2030.
**Segmentation:*\*
by Product Type
Geotextiles Geomembranes Geogrids Geofoam Geonets Others
by Application
Waste Management Water Management Transportation Infrastructure Civil Construction Others
by Material
Polyethylene Polystyrene Polyvinyl Chloride Polyester Others
**Key Players:*\* The report also focuses on the global key industry players in the geosynthetics market, providing details such as company biographies, product images and specifications, capacity, production, price, cost, revenue, and contact information. It examines the geosynthetics market trend, volume, and value at global, regional, and corporate levels. By analyzing historical data and future prospects, the study illustrates the total geosynthetics market size from a global perspective. Leading geosynthetics market companies are evaluated for their market rankings. Highlighted players in this report include:

ABG Ltd
ACE Geosynthetics
ACH Foam Technologies
Advanced Drainage Systems, Inc.,
AGRU America
Asahi Kasei Advance Corporation
Belton Industries, Inc.
Berry Global Inc
Carthage Mills, Inc.,
Cetco Lining Technologies
Contech Engineered Solutions LLC
CTM Geosynthetics
Enviro Geosynthetics Pvt. Ltd.
Fibertex Nonwovens A/S,
Fibromat (M) Sdn Bhd.
Freudenberg Group
Garware Technical Fibres Ltd.

Know more about the report: https://www.maximizemarketresearch.com/market-report/global-geosynthetics-market/30009/Industries,https://www.maximizemarketresearch.com/market-report/global-geosynthetics-market/30009/
**Regional Analysis:*\* The study offers a detailed overview of the sector, including both qualitative and quantitative data. It provides an overview and forecast of the global Geosynthetics market by segment and offers market size and forecast projections for five key regions: North America, Europe, Asia-Pacific, the Middle East & Africa, and South America, from 2024 to 2030. Each region's Geosynthetics market is further subdivided by respective regions and segments. The research analyzes and forecasts different countries, considering existing trends and prospects in the region.
**Key Questions Answered in the Geosynthetics Market Report:*\* What are some of the most promising high-growth opportunities in the global Geosynthetics market by product type, end-user, and region? Which Geosynthetics market segments will expand the fastest, and why? Which regions will develop quicker, and why? What are the primary elements influencing Geosynthetics market dynamics? What are the market drivers and challenges for the Geosynthetics market? What are the Geosynthetics market's business risks and threats?
**About Us*\* Maximize Market Research is one of the fastest-growing market research and business consulting firms, serving clients globally. Our revenue impact and focused, growth-driven research initiatives make us a proud partner of the majority of Fortune 500 companies. We have a diversified portfolio and serve various industries such as IT & telecom, chemical, food & beverage, aerospace & defense, healthcare, and others.
**Our Address*\* Maximize Market Research Pvt. Ltd. 3rd Floor, Navale IT Park Phase 2, Pune Bangalore Highway, Narhe, Pune, Maharashtra 411041, India. ✆ +91 9607365656 🖂 [sales@maximizemarketresearch.com](mailto:sales@maximizemarketresearch.com) 🌐 www.maximizemarketresearch.com -

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2024.05.20 06:19 New_Adhesiveness_825 "Forecasting 2030: Computer Vision Market Set to Soar to $29.43 Billion"

The Global Computer Vision Market size was valued at USD 17.39 Billion in 2023 and the total Computer Version revenue is expected to grow at a CAGR of 7.8% from 2024 to 2030, reaching nearly USD 29.43 Billion by 2030.
Computer Vision Market Overview: The Computer Vision Market research report provides a comprehensive analysis of the market's position over the forecast period. This thorough investigation focuses on primary and secondary drivers, market share, leading segments, and geographical analysis. The study also examines key players, major collaborations, mergers and acquisitions, as well as innovative trends and corporate strategies.
Sample Report Link:https://www.maximizemarketresearch.com/request-sample/3034
**Market Scope:*\* We conducted an in-depth investigation of the Computer Vision Market using both primary and secondary research methods. This approach helped us understand current market dynamics, including supply-demand imbalances, price trends, product preferences, and consumer behaviors. The data is compiled and analyzed using various market estimation and data validation techniques. Additionally, we employ an in-house data forecasting model to predict market growth through 2030.
**Segmentation:*\*
by Component
Hardware Software Service
by Product
PC-based Computer Vision Systems Smart Cameras-based Computer Vision Systems
by Application
Quality Assurance and Inspection Positioning and Guidance Measurement Identification Predictive Maintenance
by End-User
Industrial Non-industrial
**Key Players:*\* The report also focuses on the global key industry players in the Computer Vision Market, providing details such as company biographies, product images and specifications, capacity, production, price, cost, revenue, and contact information. It examines the Computer Vision Market Trend, volume, and value at global, regional, and corporate levels. By analyzing historical data and future prospects, the study illustrates the total Computer Vision Market Size from a global perspective. Leading Computer Vision market companies are evaluated for their market rankings. Highlighted players in this report include:
North America: 1. NVIDIA Corporation 2. Intel Corporation 3. Microsoft Corporation 4. Amazon Web Services (AWS) 5. IBM Corporation 6. Google LLC 7. Facebook, Inc. (Meta Platforms) 8. Apple Inc. 9. Qualcomm Incorporated 10. Cognex Corporation 11. Xilinx, Inc.
Europe: 12. ARM Limited 13. Graphcore Ltd. 14. Basler AG 15. Bosch Sensortec 16. Dassault Systèmes 17. Thales Group
Asia-Pacific: 18. SenseTime 19. Dahua Technology 20. Hikvision 21. Alibaba Group 22. Samsung Electronics Co., Ltd. 23. Wipro Limited 24. TATA Consultancy Services (TCS) 25. Infosys Limited
Latin America: 26. Embraer SA
Know more about the report:https://www.maximizemarketresearch.com/market-report/computer-vision-market/3034/
**Regional Analysis:*\* The study offers a detailed overview of the sector, including both qualitative and quantitative data. It provides an overview and forecast of the global Computer Vision market by segment and offers market size and forecast projections for five key regions: North America, Europe, Asia-Pacific, the Middle East & Africa, and South America, from 2024 to 2030. Each region's Computer Vision market is further subdivided by respective regions and segments. The research analyzes and forecasts different countries, considering existing trends and prospects in the region.
**Key Questions Answered in the Computer Vision Market Report:*\* - What are some of the most promising high-growth opportunities in the global Computer Vision market by product type, end-user, and region? - Which Computer Vision market segments will expand the fastest, and why? - Which regions will develop quicker, and why? - What are the primary elements influencing Computer Vision market dynamics? What are the market drivers and challenges for the Computer Vision market? - What are the Computer Vision market's business risks and threats?
**About Us*\* Maximize Market Research is one of the fastest-growing market research and business consulting firms, serving clients globally. Our revenue impact and focused, growth-driven research initiatives make us a proud partner of the majority of Fortune 500 companies. We have a diversified portfolio and serve various industries such as IT & telecom, chemical, food & beverage, aerospace & defense, healthcare, and others.
**Our Address*\* Maximize Market Research Pvt. Ltd. 3rd Floor, Navale IT Park Phase 2, Pune Bangalore Highway, Narhe, Pune, Maharashtra 411041, India. ✆ +91 9607365656 🖂 [sales@maximizemarketresearch.com](mailto:sales@maximizemarketresearch.com) 🌐 www.maximizemarketresearch.com

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2024.05.20 04:07 musicorloseittv Contest Rules For Best Song Of The Month • Updated May 19th, 2024

Contest Rules For Best Song Of The Month • Updated May 19th, 2024

Click here to see summary of changes.

Best Song Of The Month Contest

Music Or Lose It hosts a monthly Best Song Of The Month contest at this musicorloseittv subreddit community. There is no cash or monetary value prize at this time. This contest is simply just for fun. Winners earn the enjoyment of being voted the best. Winners may cite the win in their biographies and social media posts.
The moderator (mod) is available to help music creators with the entry process, eligibility requirements, and deadlines. Music creators are allowed to contact the mod to ask questions about the contest anytime and mod will reply as soon as possible.
Definitions
Music creator: refers to a solo creator, band, group, choir, orchestra, or duo.
Brand identity: refers to how a creator presents themselves as an entertainer making music for the general public. For example, Simon & Garfunkel as a duo is one brand identity. Paul Simon solo is another brand identity.

Process & Deadlines

🟡 Round 1
1) Discovery ◦ Each month, moderator keeps track of songs shared at this musicorloseittv community.
2) Notifying Music Creators ◦ When a likely eligible song is seen, the u/musicorloseittv profile or u/themusicfanman profile will notify the music creator of likely eligibility within the qualifying song’s post. The reply will indicate, “⏳ This song appears eligible for the Best Song Of The Month contest. Please provide the following information…” If the song is confirmed to be eligible by a mod, the mod will make a reply “🟨 This is confirmation notifying you that this song is eligible and in consideration for the Best Song Of The Month contest…” within the qualifying song’s post.
3) Determining Contestants ◦ The Music Fan man will evaluate all eligible songs by the month’s eligibility deadline. He will then at his discretion choose up to 5 songs to compete.
3) Finalists Post ◦ At this musicorloseittv community, the musicorloseittv profile will announce the top finalists (up to 5) in a post tiled “Contest: Best Song Of The Month Finalists (Insert Month & Year).” This announcement will be done in a post made 4 days before the final day of the month. The post will be made sometime in the morning. The songs will be listed within the post in a manner most representative of music diversity as determined by the musicorloseittv profile mod. All songs available on YouTube will be included in a playlist titled “Best Song Of The Month Contestants • (Insert Month & Year)” hosted by the musicorloseittv channel on YouTube. Songs not available on YouTube will be excluded from the playlist. The playlist will be mentioned in this post. The available playlist will help voters get familiar with the songs.
The u/musicorloseittv profile or u/themusicfanman profile will notify the music creators of qualifying for the contest in their post of the song. The reply will indicate, “✅ Congratulations. Your song qualifies for the Best Song Of The Month contest…”
4) Voting ◦ The “Contest: Best Song Of The Month Finalists (Insert Month & Year)” post will specify a duration of 3 consecutive dates during which music fans can vote for only 1 of the top finalists. Voting occurs by the voters making a reply to the post in the following manner: “🗳️ I vote for….” Failing to vote in this manner will result in vote not being counted. To best ensure vote accuracy, voters must not use the “🗳️” emoji anywhere else in the post’s comments section. Music creators may vote for another music creator yet may not vote for themselves. For music creators, it’s “word of honor” voting. The top vote earning song within these three days will become the winner.
‣ Community moderator profiles musicorloseittv and onesongoftheday will abstain from voting. Also, themusicfanman and any special judge involved will also abstain from voting - unless they’re needed to serve as a tie breaker, in the event of a tie preventing a clear winner. If themusicfanman and any special judge involved are needed as a tie breaker, they must come to a consensus to achieve tie breaking. If no special judge is involved, then themusicfanman alone will serve as the tie breaker.
🟢 Winner Declaration!
Declaration Post ◦ At this musicorloseittv community, on the final day of the month, the musicorloseittv profile will announce the winner in a post tiled “Congratulations! 🎉 Best Song Of The Month Winner (Insert Month & Year)” in a post dedicated to celebrating the song. Using the sticky-post feature, the post will be prominently displayed the home page of the musicorloseittv subreddit community for ≈ 24 hours.
Achievement ◦ The contest winner may promote their song as:
My song “Song Title” won:
🏅Best Song Of The Month By Community Vote
(Insert Month & Year)
At The Music Or Lose It Community
The winner may promote themselves and the song as the winner at venues like X/Twitter, Facebook, Threads, or their YouTube channel’s Community feed. The winner may also cite the win in their biographies online including their personal website.
🏆 Song Of The Year
A similar Song Of The Year vote will occur in December. It will be similarly organized and scheduled to conclude on the final day of the year. To determine a Song Of The Year by the end of the year, December’s monthly contest will only be ≈ 2 weeks. Why? Because we need time to conclude The Song Of The Year vote by the end of the year. Additionally, this is a busy time of year for many people. What’s more, non-Christmas music released in December is typically overshadowed by Christmas music. It seems to be a bad idea to release new-original music in late December. See opinion commentary: The Best And Worst Months To Release Music.
Achievement ◦ The contest winner may promote their song as:
🏆 Best Song Of The Year By Community Vote
(Insert Year)
At The Music Or Lose It Community
The winner may promote themselves and the song as the winner at venues like X/Twitter, Facebook, Threads, or their YouTube channel’s Community feed. The winner may also cite the win in their biographies online including their personal website.

Eligibility

Here are the rules for the Best Song Of The Month contest organized by Music Or Lose It just for fun. The eligibility rules are intended to make this contest as fair as possible to the music creator participants.
**👤 Personal: **
Requirements:
✔️ Must be an actual human.
✔️ Must be 17 years of age or older.
✔️ Must be a music creator abiding by the rules of this musicorloseittv subreddit community.
✔️ Must be a music creator posting using either your personal profile or your brand profile as a music entertainer.
Ineligible:
🚫 Profiles run by publicists, music labels, or channels hosting performers.
🚫 People posing as other humans using imitation avatar type creations by artificial intelligence (AI).
**🗿 Music creator’s stature status: **
Eligible:
✔️ Unsigned amateur or unsigned professional yet lesser known.
✔️ Lesser known music creators who have not yet achieved two different songs with over 500,000 views/listens and are signed to deals with small to medium-sized record companies or seeming one-song-per-time type distributors.
✔️ Lesser known music creators who have not yet achieved two different songs with over 500,000 views/listens and are signed to deals with to a major label.
**📅 Release date: **
Eligible:
✔️ Your song must be published and accessible to the masses anytime between November 15^th of the prior year and 5 days before the final day of the current month.
**💽 Songwriting, singing, & recording: **
Requirements:
✔️ You must be the copyright owner of the song (lyrics and sound recording) or authorized/licensed to perform the song by the copyright owner as the first original performer.
✔️ An exception is made if your song is an authorized/licensed remix or includes authorized/licensed interpolation or sampling content by the copyright owner in collaboration with any other amateur music creator(s) or unsigned professional yet lesser known music creator(s). The aforementioned release date also applies to any remix, interpolation, or sampling content.
✔️ Collaborations within the aforementioned rules are allowed so long as the song is entered into the contest by the lead. Lead refers to the first person named in the collaboration.
Ineligible:
🚫 Copyright/trademark violations.
🚫 Songs written by artificial intelligence (AI).
🚫 Songs primarily generated artificial intelligence (AI).
🚫 Cover, parody, nor artificial intelligence (AI) imitation.
🚫 Songs likely to be very divisive for political or religious/anti-religious reasons.
🚫 Collaborations within deceased music creators akin to “Unforgettable” by Natalie Cole featuring Nat "King" Cole.
🚫 Interpolations, remixes, or samplings of a song by a creator signed to a record company of any size or signed to a one-song-per-time type distributor.
🚫 Song with hard cussing. No variations of F word, S word, C word, D word, N word (er or a), ahole word(s), or sexually vulgar words.
🚫 Extremely sexual, gang promoting, violent, or especially scary/gory/maleficent/evil aesthetic content.
🚫 Songs primarily about brands. For example: “I Love Driving Such-And-Such Brand Name Trucks.”
**👂 Recording quality: **
Allowed:
✔️ Professional quality recordings (live or studio).
✔️ Amateur quality (including songs record in a bedroom, car, outdoors, etc…) yet reasonably pleasant sounding.
✔️ Demos are welcome.
Ineligible:
🚫 Live records with too much interfering audience noise.
🚫 Recordings with excessively poor sound quality (abrasive on the ears, difficult to hear).
**📏 Song length: **
Requirement:
✔️ Minimum of 01:15 minutes up to 10:00 minutes.
**💻 Distribution venues: **
Requirements:
✔️ A song published and accessible to the general public masses at a well-known music website such as YouTube, SoundCloud, or Bandcamp.
✔️ A song uploaded to a channel hosting live performances is allowed so long as the song is entered into the contest directly by the creator and so long as the creator confirms permission by the channel. Confirmation can be done in either your original upload URL link source or at this community within your posts’ body-text section or a reply to the post.
✔️ The song’s upload date must be visible at the distribution venue website.
⚠️ If you enter this contest with a Spotify or TikTok URL link, ensure you’ve provided a link for the entire song (not a teasesampler) in a manner that does not require login; ensure the publish date is visible; and be weary of looping flashing visuals necessitating a “⚠️Possible Seizure Trigger Risk Warning.” Failing to do this will result in ineligibility.
Ineligible:
🚫 Login required to access the song.
🚫 Payment required to access the song.
🚫 Uploads of songs directly to Reddit.
🚫 Links not fully available to the public such as an “unlisted” YouTube video.
**🖼️ Song’s artwork: **
Definition: artwork refers to the image/drawing/photo/visuals accompanying your individual song at a music distribution venue such as YouTube, SoundCloud, or Bandcamp. It is sometimes referred to as “cover art.”
Requirements:
✔️ You must be the original creator of the song’s accompanying artwork.
✔️ Alternatively, you must be the copyright owner of the artwork if you paid to have it made. Otherwise you must be authorized/licensed to publish the artwork as part of the presentation of your song.
✔️ Artwork primarily generated by artificial intelligence (AI) is allowed so long as you are authorized/licensed by the AI source to publish the artwork as part of your song’s public presentation. However this is advised against because public sentiment may be hostile towards AI generated content.
✔️ If your song’s artwork uses aspects of copyrighted, creative commons, or “free” material content, you must confirm you’ve got authorization/licensing to use the content as part of your song’s public presentation. Confirmation can be done in either your original upload URL link source or at this community within your posts’ body-text section or a reply to the post.
✔️ Your own logo that you own the copyright to may be displayed in the song’s accompanying artwork (including on a person wearing a hat or T-shirt).
Ineligible:
🚫 Copyright/trademark violations.
🚫 Parody notably displayed in the artwork.
🚫 Visible logos of any brand other than your own logo as a music entertainer.
🚫 Extremely sexual, gang promoting, violent, or especially scary/gory/maleficent/evil aesthetic content.
**🎥 Song’s music video (optional): **
Including a link to a music video is optional.
Requirements:
✔️ You must be the original creator of the song’s music video visuals including: animation; moving graphics; prominently featured still artwork or photos.
✔️ Alternatively, you must be the copyright owner of all the video’s visuals if you paid to have them made. Otherwise you must be authorized/licensed to publish all the video’s visuals as part of the presentation of your song’s accompanying music video.
✔️ Visuals (including: animation; moving graphics; prominently featured still artwork or photos) primarily generated by artificial intelligence (AI) are allowed so long as you are authorized/licensed by the AI source to publish the artwork as part of your song’s public presentation. However this is advised against because public sentiment may be hostile towards AI generated content.
✔️ If your song’s accompanying music video uses aspects of copyrighted, creative commons or “free” material, you must confirm you’ve got authorization/licensing to use the copyrighted material as part of your song’s public presentation within the accompanying music video. Confirmation can be done in either your original upload URL link source or at this community within your posts’ body-text section or a reply to the post.
✔️ Your own logo that you own the copyright to may be displayed in the video (including on a person wearing a hat or T-shirt).
✔️ Allowed music videos include “Official Music Video,” “Live Performance,” “Dance Video Version,” “Animated Video,” or “Lyrics Video.”
✔️ If you opt for an “Animated Video” or a “Lyrics Video,” you must be authorized/licensed to publish all the video’s visuals as part of the presentation of your song’s accompanying music video. If you hire an animator or use AI or an app/software designed to create music video lyrics, you must be authorized/licensed by the animator or AI source or app/software creator to publish the animation and/or lyrics as part of the presentation of your song’s accompanying music video.
✔️ If you opt for a “Dance Video Version,” the dancing and/or choreography must be originally created for your song’s accompanying music video. If you hire a choreographer and/or dancers or collaborate for free or for barter, you must be authorized/licensed by the choreographer and/or dancers to publish the video’s dancing/choreography visuals as part of the presentation of your song’s accompanying music video.
✔️ “Official Audio” type music videos are allowed so long as an accompanying still image complies with the aforementioned “Song’s artwork” rules. Alternatively, if the “Official Audio” music videos has moving visuals, it must comply with these above-mentioned “Song’s music video” rules.
✔️ “Live Performance” music videos may be made from your home/cafield (pretty much anywhere decent and reasonable) or from one of your well-recorded performances from a show. Be sure to avoid copyright and trademark violations in the video.
⚠️ Brief uses of music distribution venue logos at the end or start of a music video may be allowed at mod’s discretion, when the intent is to inform the viewer of venue availability of the song. This is however discouraged unless the distribution venue, at their website, specifies this is allowed. Music videos that display any trademark logos (other than the music creator’s own copyrighted logo) entirely throughout are ineligible.
Ineligible:
🚫 Copyright/trademark violations.
🚫 Notable use of virtual reality program recordings.
🚫 Notable use of filters from apps/websites similar to Snapchat.
🚫 Parody of intellectual property characters prominently displayed in the video.
🚫 Notably visible logos of any brand other than your own logo as a music entertainer.
🚫 Notable display of brand products with visible logos including but not limited to toys, stuffed animals, autos, hats, T-Shirts.
🚫 Extremely sexual, gang promoting, violent, or especially scary/gory/maleficent/evil aesthetic content.
🚫 Limitations on involving minors (under 18 yo): no minors doing dangerous stunts; no depictions of minors participating in drugs/drinking/smoking or very sexual behavior (including sexual dancing); do not prominently feature children that are not your own in the video (exception may be made if a relative only allows you to involve their children).
⚖️ Quantities:
Requirements:
✔️ One song per music creator’s brand identity.
✔️ If a music creator uploads more than one of their brands’ potentially eligible songs, the music creator must inform mod which song they prefer to be included in the contest.
✔️ A music creator may win this Song Of The Month contest up to three consecutive times. If this happens, thereafter the creator must abstain from the contest for the next month and then may return to the contest after that 1-month eligibility hiatus.
Ineligible:
🚫 Every collaboration will not automatically be considered a new brand. For example, Robert Plant and Alison Krauss collaborating one time should not be considered a brand. Robert Plant & Alison Krauss making an entire album together should be considered a brand. Music creators attempting to enter multiple songs under multiple brand names will be scrutinized. If there is no social media presence for any additional brands, their songs will likely be rejected as “also eligible” by mods. If this happens, the music creator will have to enter only 1 song.
**🖱️ Accounts you may post from: **
Requirements:
✔️ Your post must be made directly from either your personal Reddit account profile or your brand’s Reddit account profile.
✔️ If you have a medical condition necessitating aid, on your behalf, you may appoint a publicist, manager, caretaker, helper, spouse, partner, friend, guardian, or family member to post from either your personal Reddit account profile or your brand’s Reddit account profile.
✔️ If your song is from a band, group, choir, orchestra, or duo brand, the post must be made directly from either from one of the members’ personal Reddit account profiles or from your brand’s Reddit account profile.
✔️ If your song is collaboration, the post must be made directly from either the lead’s personal Reddit account profile or from the lead’s brand Reddit account profile.
✔️ If you want another song to be a part of the contest from another brand identity you are involved with, the song must be posted by a Reddit account profile for that separate brand – or one of the brand collaborators’ personal Reddit account profile.
👩🏾‍🏫 Presentation at this musicorloseittv community:
Requirements:
✔️ You must post a link to the song at this musicorloseittv community by tapping “+” on smartphone or clicking “+Create a post” on desktop/laptop. You must select the “My Song” flair.
✔️ Your post must be done by the “Title & Link Share Only method.”
✔️ The song’s URL you provide must be of the standalone song upload - not part of a playlist URL link.
✔️ You may post an audio only upload URL link (such as an individual song published at SoundCloud or Bandcamp). Alternatively, you may post a music video link from a venue like YouTube.
✔️ You may include a smartlink for the individual song (not album or playlist) within your posts’ body-text section or a reply to the post.
✔️ You may title the post whatever you want within the community’s rules and the contest’s rules. Remember: no vague titles; limit post title emojis to no more than 2 (if you decide to use them); and don’t request feedback.
✔️ Your post title may be done in the style of “Entertainer - Song Tile” (or something similar). Alternatively, the post title may be more elaborate. For example: “This Is My Latest Song. It’s About A Wonderful Time I Fell In Love.”
✔️ In your posts’ body-text section or in a reply comment, optionally you may share details about the song that you feel the audience would enjoy knowing.
**📝 Needed information: **
Requirements:
✔️ Within either your posts’ body-text section or within a reply comment at your post, provide the following information – as is:
❇️ Contest entry for your consideration:
• Entertainer's Name - Song Title:
• Published on: [Insert date & year. Refers to date published at your URL link source]
• Genre:
• I am an independent creator unsigned I am signed to [insert label name]
• Interpolations/remixes/samplings disclosure: N/A this song contains authorized/licensed interpolations/remixes/samplings [specify] of another song released since 11/15 of the prior year in collaboration with other unsigned music creator(s)[specify]. The link to the original song is [insert URL link – publish date from URL link source must be visible].
• Al disclosure: N/A. A portion of this [song/artwork/music video] is created by Al. Explanation: [specify if this applies to song/artwork/music video].
• Copyright disclosure for song: I confirm I’m the copyright owner of all the contents of this song (lyrics and recording) as it is presented including the artwork [(if applicable) and music video]
Copyrighted content I am authorized/licensed to use commercially in the promotion of my song include: [insert details]
• [optional/voluntary] Confirmation of substantial human involvement: A real human substantially arranged/compose this music. [Note: This type disclosure is strongly encouraged by creators who use instrument sounds and beats from apps/software in substation of instruments played live at the time of recording. This is especially encouraged for music creators who do not show their face and/or don’t show themselves creating the music in a music video or behind the scenes video. For music fans opposed to music primarily created by AI, this type of disclosure can be helpful and assuring.]
• Lyrics: [insert URL link or embed URL link into “Lyrics” text] [note if the lyrics are available at the upload source] [only if you're the copyright owner of the lyrics, you may entirely include them] [type “vocalized” or “instrumental” if applicable]
Ineligible:
🚫 Uploads of songs to Reddit.
🚫 No engagement pleas disguised as feedback requests in post titles nor in your posts’ body-text section. No feedback requests.
**👨🏼‍⚖️ Copyright/trademark compliance: **
‣ Important note: Aforementioned rules already state you either must be the copyright owner of the content you enter for this contest or you must be authorized/licensed to commercially use the content by the copyright owner. Aforementioned rules already state you must disclose use of copyrighted, creative commons, or “free” material. Mods reserve the right to ask for additional proof for confirmation. Suspected violations will be removed at mod’s discretion. You are strongly encouraged to upload your best, newest, utmost original content.
‣ Resources:
U.S. Copyright Office, Copyright in General https://www.copyright.gov/help/faq/faq-general.html
What Musicians Should Know about Copyright by U.S. Copyright Office https://www.copyright.gov/engage/musicians
U.S. Copyright Office Fair Use Index by U.S. Copyright Office https://www.copyright.gov/fair-use
**🤝 Mutual Support **
Requirements:
✔️ You must be active in the musicorloseittv community regarding mutual support and engagement with other posts. You must post a comment reply to at least two other posts of any kind at the musicorloseittv community before the final day of the month. Failing to do so will result in disqualification.
Ineligible:
🚫 Posting then ghosting the community.
**😎👍 Encouraging fans to vote: **
Ineligible:
🚫 You are not allowed to ask for votes in anywhere in the musicorloseittv community’s comments section.
🚫 Music creators may not offer anything to anyone whatsoever in exchange for voting for them.
Allowed:
✔️ If you see a music fan has voted for you, you may thank them in a reply comment.
✔️ You may make social media posts at venues like X/Twitter, Facebook, Threads or your YouTube channel’s Community feed to encourage your fans to join this musicorloseittv subreddit community and vote for your song.
Example post:
My song “Song Title” is a finalist for Best Song Of The Month at the musicorloseittv community at Reddit. At [insert URL link] please vote for me and my song. Thank you.
**📜 Rules adherence: **
‣ Important note: If you are new to the musicorloseittv community as either a music fan voting or music creator entering the contest, latitude may be given as you get familiar here. It’s up to mod’s discretion.
‣ Important note: This contest is just for fun. Likewise playing boardgames or cards with friends is also just for fun yet people expect rules to be followed.
**🕊️ Truthfulness: **
Requirements:
✔️ Contestants and voters are expected to behave honorably and ethically.
Ineligible:
🚫 If anyone is ever discovered cheating or being dishonest akin to author James Frey or music entertainers Milli Vanilli, they will be disqualified and also likely be banned from this community.
Additional Info
If you do not want to be in the contest yet want to continue sharing your songs in this community, it is totally ok. Please inform the moderator. A “Message the mods” option is at the homepage.
In circumstances where uncertainty arises due to an unforeseen issue not addressed here in this outline of rules, moderators reserve the right to approve or disapprove eligibility. Moderators reserve the right to disqualify any song for any reason. Unfortunately, not every contest can perfectly satisfy all participant hopefuls.
Just do your best, don’t take it too seriously, and have fun.
Thank you.
END

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