Audit Related Quotes

I needed no convincing of the fatal possibilities of government overreach, of the way the fatalities told the story of who the nation considered expendable, but, even after the low points of the previous decade, I believed in government, or at least believed in it more than the alternative. That my country might always expect me to audition for my life I accepted as fact, but I trusted the public charter of national government more than I trusted average white citizens acting unchecked.

I take pride in playing immigrant characters. I've come across people who had a negative opinion about playing Asian characters that have an accent. I've even met Asian actors who won't audition for a role that has an Asian accent. They believe these accented characters reinforce the stereotype of an Asian being the constant foreigner. Frankly, I can't relate. I was an immigrant. And no matter how Americanized I become, no matter how much Jay-Z I listen to, I'll always be an immigrant. Just because I don't speak English with an accent anymore doesn't mean that I'm better than the people who do. My job as an actor is not to judge anyone and to portray a character with humanity. There are real people with real Asian accents in the real world. I used to be one of them. And I'm damn proud of it.

Even then, when time decelerates and the relative importance of our lives, of our hurry, undergoes a sudden, essential audit; even then, our heart never stops.

Bud, you had to bribe the shit out of numerous Shanghai cops. There was no reason to economize here. Bud had a rich and boundless career ahead of him, vaulting up a hierarchy of extremely dangerous drug-related occupations for which decoy served as a paid audition of sorts. A start weapons system was a wise investment.

Matters of judgment differ from matters of opinion or taste, in which unresolved differences are entirely acceptable. The insurance executives who were shocked by the result of the noise audit would have no problem if claims adjusters were sharply divided over the relative merits of the Beatles and the Rolling Stones, or of salmon and tuna.

Much of what bureaucrats do, after all, is evaluate things. They are continually assessing, auditing, measuring, weighing the relative merits of different plans, proposals, applications, courses of action, or candidates for promotion. Market reforms only reinforce this tendency. This happens on every level. It is felt most cruelly by the poor, who are constantly monitored by an intrusive army of moralistic box-tickers assessing their child-rearing skills, inspecting their food cabinets to see if they are really cohabiting with their partners, determining whether they have been trying hard enough to find a job, or whether their medical conditions are really sufficiently sever to disqualify them from physical labor. All rich countries now employ legions of functionaries whose primary function is to make poor people feel bad about themselves. (p. 41)

For example, in 2009 the British Government published, online, 700,000 individual documents that related to the expenses of British MPs. In response, the Guardian newspaper built an online platform to host these documents, and asked readers collectively to sift through them, a task too large for one person alone, and flag those that might be of interest, adding analysis if need be. A community of over 20,000 individuals engaged in what was, in effect, a public audit.

I had no idea, when I was first asked by my agents to audition for a film called Harry Potter and the Philosopher’s Stone, that it would be any different in terms of scale to the jobs I’d done previously. In my mind it was another Borrowers: a relatively high-budget film with lots of children and, if I played my cards right, a part for me. But if I didn’t get a part? That was okay too. It wasn’t the be-all and end-all. There was a good chance something else would come along.

Poor is relative, of course. None of you were rich or had any dreams of being rich or even knew anyone rich. But the widest gulf in the world is the distance between getting by and not quite getting by. Crossing that gap can happen in a hundred ways, almost all by accident. Bad day at work and/or kid has a fever and/or miss the bus and consequently ten minutes late to the audition which equals you don’t get to play the part of Background Oriental with Downtrodden Face. Which equals, stretch the dollar that week, boil chicken bones twice for a watery soup, make the bottom of the bag of rice last another dinner or three.

Acts related to the importance of the protection of whistleblowers - Act on Prevention of Divulgence and Protection of Industrial Technology - Act on External Audit of Stock Companies

of Education and other concerned agencies (October 2013) to stipulate the external audit obligation in the related law and to officially announce the details, in the

ahead of ICAO audit By Tarun Shukla | 527 words New Delhi: India's civil aviation regulator has decided to restructure its safety board and hire airline safety professionals ahead of an audit by the UN's aviation watchdog ICAO (International Civil Aviation Organization). The Directorate General of Civil Aviation (DGCA) announced its intent, and advertised the positions on its website. ICAO told the Indian regulator recently that it would come down to India to conduct an audit, its third in just over a decade, Mint reported on 12 February. Previous ICAO audits had highlighted the paucity of safety inspectors in DGCA. After its 2006 and 2012 audits, ICAO had placed the country in its list of 13 worst-performing nations. US regulator Federal Aviation Authority followed ICAO's 2012 audit with its own and downgraded India, effectively barring new flights to the US by Indian airlines. FAA is expected to visit India in the summer to review its downgrade. The result of the ICAO and FAA audits will have a bearing on the ability of existing Indian airlines to operate more flights to the US and some international destinations and on new airlines' ability to start flights to these destinations. The regulator plans to hire three directors of safety on short-term contracts to be part of the accident investigation board, according to the information on DGCA's website. This is first time the DGCA is hiring external staff for this board, which is critical to ascertain the reasoning for any crashes, misses or other safety related events in the country. These officers, the DGCA said on its website, must have at least 12 years of experience in aviation, specifically on the technical aspects, and have a degree in aeronautical engineering. DGCA has been asked by international regulators to hire at least 75 flight inspectors. It has only 51. India's private airlines offer better pay and perks to inspectors compared with DGCA. The aviation ministry told DGCA in January to speed up the recruitment and do whatever was necessary to get more inspectors on board, a government official said, speaking on condition of anonymity. DGCA has also announced it will hire flight operations inspectors as consultants on a short-term basis for a period of one year with a fixed remuneration of `1.25 lakh per month. "There will be a review after six months and subsequent continuation will be decided on the basis of outcome of the review," DGCA said in its advertisement. The remuneration of `1.25 lakh is higher than the salary of many existing DGCA officers. In its 2006 audit, ICAO said it found that "a number of final reports of accident and serious incident investigations carried out by the DGCA were not sent to the (member) states concerned or to ICAO when it was applicable". DGCA had also "not established a voluntary incident reporting system to facilitate the collection of safety information that may not otherwise be captured by the state's mandatory incident reporting system". In response, DGCA "submitted a corrective action plan which was never implemented", said Mohan Ranganthan, an aviation safety analyst and former member of government appointed safety council, said of DGCA. He added that the regulator will be caught out this time. Restructuring DGCA is the key to better air safety, said former director general of civil aviation M.R. Sivaraman. Hotel industry growth is expected to strengthen to 9-11% in 2015-16: Icra By P.R. Sanjai | 304 words Mumbai: Rating agency Icra Ltd on Monday said Indian hotel industry revenue growth is expected to strengthen to 9-11% in 2015-16, driven by a modest increase in occupancy and small increase in rates. "Industry wide revenues are expected to grow by 5-8% in 2014-15. Over the next 12 months, Icra expects RevPAR (revenue per available room) to improve by 7-8% driven by up to 5% pickup in occupancies and 2-3% growth in average room rates (ARR)," Icra said. Further, margins are expected to remain largely flat for 2014-15 while

extremely dangerous drug-related occupations for which decoy served as a paid audition of sorts. A start weapons system was a wise investment. The

In the meanwhile, much Company effort was diverted to the East India School. This free school, planned to have dependence on Henrico College, was projected for Charles City. Although emphasis was on the education of the Indian, it seems clear that the colonists' children were likewise a consideration. There is specific comment on this as it related to the East India School. Donations in money and kind such as books and communion service continued to be forthcoming in England. An audit of the Company books early in 1622 showed college receipts to the extent of £2,043 and expenditures of £1,477. In Virginia, George Thorpe continued to encourage peace and friendship with the Indians setting an excellent personal example in this. He did what he could, too, to develop the College lands even planting vines to the number of 10,000.

The arguments of M. Despine,' who is the principal representative of this conception, appear all questionable to us. The ' Despine, Psychologie naturelU, l868, i., p. 490 et seq. ; Ktude scUn-tijique sur U somnambulisme, 1880. unity, the co-ordination of these muscular contractions, their complication, their unquestionable relation with tactile, auditive, or visual impressions, the electivity, the intelligence, in a word, so constantly manifested in them, appear to us, first of all, psychological phenomena. If there is no sensation, no thought connected with it, we do not understand how an arm can keep the delicate position we give it; can distinguish the touch of our hand, obey it, and not obey the touch of other hands; can repeat outward movements which can be known only by hearing or sight, etc. All these acts are conscious, the consequences of a sensation, of a vision, of a hearing, of a preference.

The two companies also clashed over creative control. Marvel wanted guarantees, for instance, that Peter Parker would be a heterosexual male who didn’t lose his virginity before age sixteen and never slept with anyone under sixteen (which Sony agreed to) and that he would be a Caucasian of average height who doesn’t smoke, drink, use drugs, or curse (which Sony would not accept). Both sides were regularly auditing each other, and Sony eventually formed a committee that met weekly just to deal with the nonstop barrage of Marvel-related issues.

The most notable thing about the show in all its forms was the commercial. Since 1933, when the first “Calllll for Philip Mor-raisss!” spot went over the air, millions of cigarettes had been sold by a four-foot midget with an uncanny ability to hit a perfect B-flat every time. Johnny Roventini was a $15-a-week bellhop at the Hotel New Yorker when a chance encounter changed his life. Milton Biow, head of the agency handling the Philip Morris account, arrived at the hotel, saw Roventini, and had a stroke of pure advertising genius. Roventini was auditioned there in the hotel lobby: under Biow’s direction, he walked through the hotel paging Philip Morris, and he was soon in show business at $20,000 a year. As the brilliance of the ads became apparent to all, he was given a lifetime contract that was still in effect decades after the last “call” for Philip Morris left the air. He was a walking public relations campaign, reminding people of the product wherever he appeared. “Johnny” ads were prominent on billboards and in magazines. Always in his red bellhop’s uniform, he was “stepping out of storefronts all over America” to remind smokers that they got “no cigarette hangover” with Philip Morris. When MGM’s Leo the Lion died, it was said that Roventini was the only remaining living trademark.

I’ve come face-to-face with these two questions countless times as a writer, an entrepreneur, a painter, a musician, and even a lawyer. On a more immediate level, the questions relate to the project you’re working on. If you’re a painter creating a collection of work, you may start to feel the questions arise as you explore whether a canvas or the collection is taking shape as you have envisioned it. On a more expansive level, the question emerges in the context of whether you should even be a painter or a writer, a coder, an entrepreneur, a CEO. I’ve seen actors struggle to build careers for decades, never coming close to earning enough to cover their bills. Yet they keep on keeping on, because their big break could be one audition away. And this is what they feel called to do. These are some of the most difficult and defining moments every creator faces. I’ve been told by legendary entrepreneurs, “If you have to ask, assume it’s resistance and soldier on.” They claim that you just know whether or not a project is meant to be. But I’ve witnessed countless people commit to perpetually unsuccessful projects or careers or, on the other side of the spectrum, come a breath away from what would’ve been breakthrough success had they just held on a bit longer. So I began to explore a more systematic process, a set of benchmarks, tests, and questions that might better guide these moments and help people decide whether to keep leaning into the journey, alter their course, or walk away and do something entirely different. We start by asking, “What was your inciting motivation?” What made you undertake this endeavor to begin with. Was it, in some form, the expression of a calling? Was it something to keep you busy? Was it about serving a group of people, solving a problem, or serving up a delight? Was it about money or doing anything you could to get your parents off your back and avoid grad school? Begin by going back to the time surrounding your decision to create whatever it is you’re creating and answer this question. Then move on to the next question. In light of the information and experiences you’ve had along the journey to date, does that original motive still hold true? Are you still equally or even more determined to make it happen? And given what you now know, do you believe you can make it happen?

It's true; I have a skill and it's... it has not related to acting, it's not related to auditions, it's not related to studios, not related to public whim. It's whether I'm funny or not and whether I can entertain people.

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J'ai cité dans Chez soi les très belles lignes de Serge Rezvani sur les « surprises de la répétition », sur l'intérêt merveilleux qu'on peut trouver à renouveler chaque jour des gestes et des rituels qui sont chargés de sens à nos yeux, en apprenant à apprécier leurs plus infimes variations, comme une palette qu'on élargit et enrichit sans cesse. J'en trouve un autre éloge chez la philosophe Séverine Auffret : « Un accroissement continuel de jouissance nous vient de l'audition répétée d'une musique. La première audition n'emporte pas notre adhésion. C'est à la deuxième, à la troisième, à la suivante que le plaisir s'affirme, semblable à ce rythme propre du corps tout de scansion, de répétition : parcours d'un même espace, réitération d'un même geste ; cette demande qu'on fait dans le coït, comme le petit enfant qu'on berce, jette en l'air, soulève, balance : "Encore !" » (p. 46)