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Health A Sista Out Group

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Mike George
Mike George

The Office - Night O...



Back in Scranton, the rest of the employees are going to be forced to work on a Saturday to record their own sales as the website's sales, which is, according to Ryan, "a temporary procedure to increase the legitimacy of the website." Jim Halpert (John Krasinski) suggests everyone stay in the office late instead of coming in for the Saturday. They all agree to the plan, but Jim forgets to tell the security guard they are staying late. After working until 9:00 pm, they find the parking lot gates locked, and are unable to return to the office because Pam Beesly (Jenna Fischer) locked the door from the inside, and Dwight has both the spare and master keys. Jim calls Hank the security guard (Hugh Dane), who puts off coming to let them out because Jim neglected to collect money for his last annual tip. Pam accidentally injures Meredith by hitting her head with a football that was found in the parking lot. Sitting in the lobby area waiting for the security guard to arrive, the employees vote by a show of hands that Andy and Angela are a better couple than Jim and Pam.




The Office - Night O...



Most of "Night Out" was shot during the night. The scene that has Toby putting his hand on Pam's knee was shot at 2:30 am on a Friday. The scene was shot about eight times because according to Kaling, "everyone kept breaking because Toby was so vulnerable and awkward." Kate Flannery did her stunts in the scene where Pam throws a football and hits Customer and Supplier Relations worker Meredith Palmer (Flannery) in the face. Flannery had a stunt double on the set, but she was never needed for the scene. Kate recalls that she "didn't get a scratch in all 14 takes that we shot." Lieberstein on the other hand used a stunt double for the scene in which Toby climbs over the fence. Although Lieberstein offered to do the stunt himself, executive producer and show runner Greg Daniels decided against it.[7]


In September 2017, Mayor Bill de Blasio signed legislation to establish the first ever Office of Nightlife in New York City, a bill sponsored by Council Member Rafael Espinal. The establishment of this new Office recognizes and respects the nightlife community's contributions to NYC's energy and creative spirit and to its image worldwide as the "city that never sleeps." Nightlife provides New Yorkers from all five boroughs with places to come together, celebrate and find community. In March of 2018, Ariel Palitz was appointed as the first-ever Founding Director of New York City's Office of Nightlife at the Mayor's Office of Media and Entertainment.The formation of the Office of Nightlife cements New York's position as a global leader in a growing movement of more than 40 major cities around the world working to proactively manage life at night. Similar efforts in cities such as Amsterdam, London, Paris, and Berlin have yielded social benefits such as reductions in crime and noise complaints, and healthier, more productive nighttime economies.Although the Office of Nightlife is not a reporting or enforcement agency, we are committed to working with nightlife operators, workers, performers, patrons and residents to address their challenges. Working with our partner agencies across City and State government, the Office of Nightlife is committed to promoting safe spaces and social justice, protecting grassroots cultural spaces, streamlining red tape and regulations, working with agencies to develop recommendations that help to ensure fair and proportionate enforcement, and advancing quality of life for all New Yorkers.


The Office of Nightlife at the Mayor's Office of Media and Entertainment is led by the first-ever Founding Director, Ariel Palitz, a lifelong New Yorker and nightlife professional. Palitz comes to the role with deep experience in both nightlife and community building. She owned and operated Sutra, a nightclub on the Lower East Side, for ten years; served on Community Board 3 for over six years and spent three years before her current appointment helping entrepreneurs open nightlife establishments in NYC through her consulting company Venue Advisors.


As a complement to the newly formed Office of Nightlife, this all-volunteer, 14-member independent body, will advise the Mayor and the City Council on issues affecting the nightlife industry. Read more about the Nightlife Advisory Board.


Another critic observes, "In this painting Hopper offers more clues to a narrative than he ordinarily does. To the left of the desk is a piece of paper the woman has just seen. One assumes that when this voluptuous female reaches for the paper, her action will arouse the man. On the back wall Hopper has painted a section of artificial light, which in turn dramatizes the point where the man and woman will interact with each other."[7] This is certainly one possibility, but another option is to interpret this painting as being one of a series about lost opportunities. Perhaps the woman will bend down and, like the nightgown-clad woman seen bending over in Night Windows (1928),[8] reveal her desirability to voyeuristic strangers on the elevated railroad, still unobserved and unappreciated by her male companion.


As in other nighttime scenes, Hopper had to realistically recreate the complexity of a room lit by multiple, overlapping sources of varying brightness. In this painting as in Nighthawks, his mastery of this problem is a key to his success. In Office at Night, the light comes from three sources: an overhead light, the lamp on the man's desk, which sheds a small puddle of intense light, and from a street-light shining in the open window on the right-hand side. Hopper reported that the overlap of the light from the ceiling fixture and the light from the exterior created particular technical difficulties, since they required him to use different shades of white to convey the idea of degrees of shadow.[6] A careful examination of the corner behind the woman reveals the faint shadow that she casts in the weak light of the ceiling fixture, almost lost by the sharply etched shadow of the filing cabinet in the brighter light of the street lamp.


The next evening, Edward declared (as Levin puts it) "that he needed to go out to 'meditate' a new picture". His journey around town seems to have included a trip on the elevated train. A day after this, on January 27, he made another trip, to purchase canvas, indicating that he had conceived his new painting and would soon be ready to begin. Jo's diary for this date notes that "he has a black and white drawing of a man at a desk in an office & a girl to left side of room & an effect of lighting."[11]


Unlike raffles and bingo, there is NO exception to the gambling law in Texas for nonprofits to hold poker or casino night fundraising events. The gambling law, Chapter 47 of the Penal Code, applies to nonprofits and to for-profits equally. See Tex. Pen. Code Ann. 47 (Vernon 2003).


Under certain statutory conditions, it is legal for individuals to play poker or other casino activities in a private place, defined as "a place to which the public does not have access." They can bet money and win money. However, all money must be redistributed to the participants. The host organization or individual cannot keep any portion of the proceeds that are bet and won in these private poker or casino nights.


Night shift differential is paid for regularly scheduled work performed at night. This generally means work scheduled before the beginning of the administrative workweek. Overtime hours do not count toward an employee's entitlement to receive a night shift differential.


A prevailing rate employee regularly assigned to a day shift who is temporarily assigned to a night shift will be paid a night shift differential for any leave with pay taken when scheduled to work night shifts.


A prevailing rate employee assigned to a regular rotating schedule involving work on both day and night shifts will be paid a night shift differential for any leave with pay taken when scheduled to work night shifts.


A prevailing rate employee who is not regularly assigned to a day shift or a night shift but whose shift is changed at irregular intervals will be paid a night shift differential during leave with pay if the employee received a night shift differential for the last shift worked preceding the leave with pay.


A prevailing rate employee is entitled to the night shift differential for periods of excused absence on a holiday, while in official travel status during the hours of the employee's regular night shift, or on court leave.


A prevailing rate employee who works on a regularly scheduled shift of less than 8 hours duration (such as a part-time or intermittent employee) is entitled to a night shift differential if a majority of the employee's hours are worked during a period in which a night shift differential is payable.


There is no authority to permit a splitting of the night shift differential. An employee will either receive a 7 percent differential for an entire shift or a 10 percent differential for an entire shift if a majority of hours worked occur during the hours authorized for a night shift differential.


Meal breaks of 1 hour or less that occur when a night shift differential is authorized should be included for purposes of determining a prevailing rate employee's entitlement to a night shift differential. Thus, when an employee works from 11:30 a.m. to 8 p.m., with a meal break from 3:30 p.m. to 4 p.m., the 30-minute meal break is included to determine that a majority of hours of work occur during the second shift and a 7 percent night shift differential is payable.


Night shift differential will not be paid solely because a prevailing rate employee elects to work credit hours, or elects a time of arrival or departure at a time of day when night shift differential is otherwise authorized, except that prevailing rate employees are entitled to night shift differential for regularly scheduled nonovertime work when a majority of the hours of a flexible work schedule for a daily tour of duty occur during the night. 041b061a72


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