Sentences with phrase «friends in the industry what»

Not exact matches

Most people use Twitter to follow news events or hear what friends and industry experts have to say about things, but did you know you can also use the social networking site to make money in the market?

Do you support a sound and yes environmentally responsible oil industry in Canada or do you support what your new friend Suzuki wants and that is to shut down the oil sands?

My friends in the industry say this is a ludicrous oversimplification for a number of reasons including (1) Kenney's valuation is based on what he called the «current global market value» ($ 60 / barrel) which doesn't apply to bitumen, (2) he hasn't included the cost of extraction or the fact producers would never dump that much oil onto the market at once and (3) Albertans only get royalties, not the entire amount.

«Ministers should stop doing what their friends in the landlord industry tell them to, and reimpose Labour's regulations.»

That's the best we can do as the FDA is too bogged down with issues like the dairy industry trying to sneak sugar into milk without labeling it and the constant craziness with Big Pharma — I have friends who do or have worked there, there's no «extra» money for the FDA to go around figuring out exactly what all the compounds in a glass of milk do inside your body.

My friend Brad Pilon, who worked in the supplement industry for years pushing protein powders, eventually left the position when he discovered that the protein he'd been pushing wasn't doing what it promised.

The article delves into the subject of what he calls the industry's «dirtiest secret», and is even granted a rare interview with Andrew Conru, the founder and owner of Adult Friend Finder, who wants to «blow the whistle on the widespread use of sexbots in the business.»

That is why this article is just an opinion based on the experience of working in the dating industry for considerable time, having lots of female friends looking for a foreign spouse, personally trying this, collecting the public opinion, having some general observation in the society and studying what mass media and Internet presents about this topic.

They are also what all of my friends in the food industry wear for serving.»

Personally, I don't believe in most of green / alternative energy industry myself — I just consume far less All I really need is plenty of books, music, and dinners / drinks with family & friends — who cares what the Jones are doing.

In recent years, there has been a growing focus in the industry on what cat owners are feeding their feline friendIn recent years, there has been a growing focus in the industry on what cat owners are feeding their feline friendin the industry on what cat owners are feeding their feline friends.

- Getting emotional and posting the Facebook message to his family and friends explaining his situation (and mostly beating himself up over what he did) and not switching his settings to private was 100 % a bad move that is probably going to make it tougher for him to ever get future employment in the industry — hence why the post was quickly deleted.

Having worked in the video game industry for closing in on a decade, I've heard a lot of common misconceptions from my friends and family regarding exactly what it is that I do as my job.

2004 Post Coverage of Games and Game Consoles • Game and Software Reviews From The Post, Sorted by Title • Playing With TV: This Year's Hot Toys Take «Interactive» to a New Level • Dual Screens Give Gamers New Options • Video Game Makers Rush To Cash In On Top Titles • Half - Life 2's Real Battle: Theft, Lawsuits Made Getting It to Market A Daunting Task • Halo 2 Ready to Run Rings Around Video Game Industry • Screen Sizzlers: Video Gaming Industry's Hottest New Titles Aim At Generation XXX • Problems You Can Shake a Joystick At: War Room to Sickroom, Video Games Are Red - Hot • He's Got Games: Bing Gordon Knows What Plays in the Interactive Video World • MTV, Gamers Hope Video Clicks With Young Voters • Addicted Gamers, Losing Their Way • Madden NFL Scores Again • A New Player at The Video Screen: Gaming Industry Discovers Girls • Play Fast And Loose: New Portable Game Systems Are Close at Hand • Virtual War, Among Friends: With Cyber Cafes, Games Are No Longer a Solitary Pursuit • GameSpy Sees Room to Play • Video Cards Are Big Players • Handheld Lets Kids Leap Into Learning • Redesigns Add Variety To Games • Games Go Boom: Electronic Entertainment Exposition Showcases A $ 10 Billion Industry • Game Firms Think Small: In a Recent First, No Hot New Console Is Part of E3 • Welcome (BackIn On Top Titles • Half - Life 2's Real Battle: Theft, Lawsuits Made Getting It to Market A Daunting Task • Halo 2 Ready to Run Rings Around Video Game Industry • Screen Sizzlers: Video Gaming Industry's Hottest New Titles Aim At Generation XXX • Problems You Can Shake a Joystick At: War Room to Sickroom, Video Games Are Red - Hot • He's Got Games: Bing Gordon Knows What Plays in the Interactive Video World • MTV, Gamers Hope Video Clicks With Young Voters • Addicted Gamers, Losing Their Way • Madden NFL Scores Again • A New Player at The Video Screen: Gaming Industry Discovers Girls • Play Fast And Loose: New Portable Game Systems Are Close at Hand • Virtual War, Among Friends: With Cyber Cafes, Games Are No Longer a Solitary Pursuit • GameSpy Sees Room to Play • Video Cards Are Big Players • Handheld Lets Kids Leap Into Learning • Redesigns Add Variety To Games • Games Go Boom: Electronic Entertainment Exposition Showcases A $ 10 Billion Industry • Game Firms Think Small: In a Recent First, No Hot New Console Is Part of E3 • Welcome (Backin the Interactive Video World • MTV, Gamers Hope Video Clicks With Young Voters • Addicted Gamers, Losing Their Way • Madden NFL Scores Again • A New Player at The Video Screen: Gaming Industry Discovers Girls • Play Fast And Loose: New Portable Game Systems Are Close at Hand • Virtual War, Among Friends: With Cyber Cafes, Games Are No Longer a Solitary Pursuit • GameSpy Sees Room to Play • Video Cards Are Big Players • Handheld Lets Kids Leap Into Learning • Redesigns Add Variety To Games • Games Go Boom: Electronic Entertainment Exposition Showcases A $ 10 Billion Industry • Game Firms Think Small: In a Recent First, No Hot New Console Is Part of E3 • Welcome (BackIn a Recent First, No Hot New Console Is Part of E3 • Welcome (Back?)

In 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greateIn 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein its lesser relationship to the greater.

The European Parliament tonight voted to approve Miguel Arias Cañete as the new EU Commissioner for Climate and Energy in what Friends of the Earth Europe has described as a victory for polluting industry and vested interests.

We produce an annual report to our clients and friends of the firm each year that is entitled «Looking Forward», which includes observations from all of our practice groups about what we think may lie ahead based upon the securities regulators» priorities and emerging trends in financial industry litigation.

What we discovered is that about 100 of our industry friends and contacts — law firm partners, general counsel, legal ops professionals, law school deans and professors, NewLaw and legaltech entrepreneurs, and others — were interested in the topic.

I know that when friends I trust in the industry recommend someone, I take a really hard look at them because I know the recommendation comes from a trusted source and one who knows what the job requires to succeed.»

The whole industry is like that one crazy - ass friend you had in high school who would do anything, and never gave a shit about the consequences or what anyone thought.

Also ask your career or alumni office, friends, parents, and professors to introduce you to people in your area of interest (marketing, banking, energy, etc.) and tell them you are a student wanting to learn more about what they do, how they got into their industry.

What worked for your friend or spouse may not work for you if you're in a different industry or have a different communication style.

Not only did I learn a lot about what prospective employers were looking for and what questions they would ask, but the people I had lunch with usually liked me, and were willing to shop my resume around to other friends in the industry.

What exactly do some of us in this industry have against part - timers who perhaps are semi-retired and choose perhaps to represent family, friends, themself, or even the REALTOR who chose the profession to represent themself in their investment pursuits?

and typically «well meaning» is code for «God bless his heart, he's trying to help but he's wrong» - what you mean to say is «my friend who's a professional in the industry and well respected on these forums, but I don't like his answer and I'm hoping like Hell he's wrong, so I'm going to keep asking the general public until I find the one person who says what I want them to say, in order to confirm my hopes...»

We had such a good natter about friends and foes in the industry and what they were up to these days.