This is how to beat Google on search: the way Google+ is beating Facebook!
Like anyone serious about business, I spend time trying to figure out how Google's search algorythm works. Because if you are serious about business you care about communication. And if you care about communication you have to care about the way most of the world now discovers information.
Yesterday I was surprised to notice that my main computer produced absolutely no Greek website results for "champions league" or "Europa league". Not even on the twentieth results page! Both of my reference machines (different setups, not logged in to a Google account, not using Google Chrome) had their first page full of Greek results. Obviously Google has been tracking the fact that I am not interested in football. But no matter how hard I search, there is nowhere in my Google customization, preferences or other location where I can untick a box to change this.
At the same time I have been admiring Google+ . You are much more in control of the experience than Facebook. It is much, much less prone to scams, false profiles and spam of all sorts. For anyone who has lived in the uncertain world of trying to do Facebook marketing over the past years it is a breath of fresh air.
And that is exactly how Bing, Yahoo or any other search engine can overtake Google. Bear open your secret sauce. Show us the workings of your algorythms and let us tweak them. Let me, the search users, decide what I want to attach weight to. We could even swap tweaks, like my "don't care about football but like outdoor stuff and sport in general" attitude. It would be something you nurture through time, like a farm on Farmville; your searches and clicks create your own unique version of the search algorythm, your own "magic soup". Many users would love it. At least those who care about what they see, the discerning users who are probably more interesting for advertisers too in the long term.


So far this past week was a busy one for those at the FDA's device office focused on mobile medical app regulation. No, it didn't release its final guidance document yet, even though Congress gave the agency a verbal lashing more than three months ago now. Still, the agency has had an unusually busy week.
Apart from the typical -- like Rock Health alum Nephosity securing FDA 510(k) clearance for its iPad-based imaging app -- the FDA likely read the news Tuesday morning that tricorder-like medical device maker Scanadu launched a crowdfunding campaign through IndieGoGo that will put a pre-FDA clearance device into the hands of consumers as a means to crowdtest the device and gather some of the needed data to secure that FDA clearance.
Scanadu's CEO Walter DeBrouwer understands that this might be an unprecedented move, but he also believes that crowdsourcing platforms are going to push industry to rethink old processes. Scanadu's Scout device isn't likely to ship until at least March 2014 so it will take some time before we see how this one plays out, but after less than two hours of the crowdfunding campaign going live, Scanadu hit its goal of $100,000 raised.
The FDA hasn't reacted to the Scanadu news, but it did finally get around to a urine analysis app that made headlines after being demo'd in a TED talk earlier this year. The FDA rarely makes a public show of proactively enforcing its mobile medical app regulations, but this week the agency made what was perhaps an unprecedented move by sending the app developer a letter informing it that its app might require 510(k) clearance or at least should be registered as a Class 1 device.
Biosense's urinanalysis app uChek was using other medical devices -- urine test strips -- that were only cleared to be interpreted by the human eye, not a smartphone app's camera or algorithm. EpsteinBecker's Bradley Merrill Thompson, who is also the co-founder of the mHealth Regulatory Coalition and a longtime MobiHealthNews columnist, has been pointing to the uChek app for the past few months as an example of an app that the FDA should be enforcing its medical device guidelines against. Thompson even made mention of the app during his testimony at a congressional hearing in February.
One official announcement made by the FDA this past week was a posting in the Federal Register that declared "ingestible event markers" (IEMs), commonly called digital pills, to be Class II medical devices with some special controls. The new categorization is a result of the 510(k) clearance of Proteus Digital Health's IEM paving the way with its clearance last summer.
While the post in the Federal Register is high profile, it's really just a formality. Digital pills have been designated as a Class II device category since July 2012 thanks to Proteus, so the Federal Register posting is just a reminder that digital pills really arrived as a new regulated device category almost a year ago now. So, all you other digital pill developers, you have your predicate device.
Speaking of decisions that should have been made years ago... where are those final guidelines?


'Tis the Season for Strawberries!
I figured since we are in Strawberry season that it would only be fitting to write about all the different ways we can incorporate the wonderful taste of fresh strawberries into easy and healthy recipes. There is nothing better than taking a bite into a fresh juicy strawberry but that freshness doesn't last too long and we are forced to think of other ways to get our strawberry fix.
I absolutely love making these and they are super easy and make a great statement when you are entertaining. Strawberry mint balsamic ice cubes are one of my favorites and I will use this in my sparkling water, spring water and cocktails as this creates a visually beautiful drink.
Fill cubes halfway with water and then add 2-3 drops of Cindy's Strawberry Balsamic.
My favourite way to use these cubes are in my water and in a Sangria! YUMMY!
Nothing says summer like a cold refreshing popsicle. I love making these yummy treats for my kids in the summer and year round. Popsicles are as simple as can be and this requires minimal effort. You can create mouthwatering frozen desserts any time you want!
Place strawberries and sugar in a food processor and pulse until the mixture is finely chopped and juicy, but still chunky as you don't want a smooth puree.
Transfer to a bowl and stir in the balsamic vinegar and a few grinds of pepper if you choose.
Spoon the mixture into the ice pop molds and insert sticks in the middle.
Freeze until firm, approximately 6-8 hours.
To un-mold the pops, run hot water over the outside of the molds for a few seconds, then gently pull the sticks.
I am always trying to get creative with my non-alcoholic drinks so that my kids can enjoy them with me and these drinks are sweetened naturally as well with the Balsamic. This lemonade mocktails is one of my favorited in the summer months.
Pour over ice and garnish with fresh lemon and strawberries.
Every year I cannot wait to take advantage of all the fruit stands out in Kinsgville and the surrounding areas. With fresh berries always available I love making this refreshing and delightful fruit salad. This also works great when you pour this salad over angel food cake, top your Greek yogurt as well as your salads.
This really brings out the sweetness of the fruits for a unique and incredibly delicious fruit salad. If you really want to dress this up, place a dollup of whip cream on top or even put some premium French Vanilla ice cream on top.
In one of my tastings we did at the store I had made an Italian Strawberry Granita. This is a very simple recipe and is fabulous as a pallet cleanser or just a great refreshing dessert on a hot day. My kids go crazy for this recipe and you can mix up the flavors depending on your taste.
Pulse several times to get mixture moving, then blend until smooth. About 1 minute.
Lightly comb the mixture with a fork or wavy knife and place back in the freezer for another 45 minutes.
Take the mixture out again and run your fork through the mixture breaking up the crystals.
Continue this for a few hours until you have the consistency that you want.
Place in small bowls or tiny cups and garnish with fresh fruit and enjoy!
Please keep in mind that all these recipes can be made with any fruity type of balsamic found at Cindy's. I hope to see you soon and happy cooking this summer!


Macedon, NY: Fleischer's Bagels, Inc. is pleased to announce its recertification as a SQF2000 Level 3 facility. For the second year in a row, the company received an "Excellent" rating (the highest facility rating possible).
As part of Fleischer's continued commitment to quality and food safety, a cross functional team is developing a new "Quality Cell" initiative that will drive even more aggressive quality and sanitation processes throughout the bakery. To help facilitate this, and further enhance product recall capabilities, Fleischer's will be implementing a variety of wireless data collection technologies throughout its facility in late 2010.
ABOUT SQF*: The SQF (Safe Quality Food) Program is a leading, global food safety and quality certification program and management system, designed to meet the needs of buyers and suppliers worldwide. The Program provides independent certification that a supplier's food safety and quality management system complies with international and domestic food safety regulations. This enables suppliers to assure their customers that food has been produced, processed, prepared and handled according to the highest possible standards, at all levels of the supply chain.


The Olde Towne East Trash to Treasure Yard Sale will be held on Saturday, June 8, 2019, starting at 8 a.m. throughout the Olde Towne East community.
There will be a lot of residents participating and some are already listed. Olde Towne East is close to downtown, near east off of E Broad Street, Bryden Road, Franklin Ave, and Oak Street. Check back closer to the date to see the map of participating homes.
Residents have until June 5 to register to be included on the map. Details here.
Click here for other festivals and fairs in Columbus throughout the year!


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Santo Ângelo er en brasiliansk by i den sydlige del af landet, med 76.304 indbyggere (2010). Og dets oprindelse går tilbage til den spanske periode som værende i nærheden bosættelser i den spanske jesuit missionærer.

Se også
 Jesuit reduktioner

Byer i Brasilien

redpajama_set_name: RedPajamaWikipedia


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BCArc Conference for People with Disabilities Helps Families and Individuals Develop a "Vision for a Good Life"
Panel Moves Crowd to Tears with Care-Taker Stories
Information, advice, and heartwarming stories were shared by more than 100 families, providers, self-advocates and others at BCArc's Family Support Conference at the Country Club of Pittsfield. The "Family Support Conference 2019: Person-Centered Thinking: Caring about Your Family," presented by the Berkshire County Arc, featured keynote speaker Sophia Johansson, who offered an overview of "Charting the LifeCourse," a framework to help families discover the elements needed to determine their own futures.
During the Lifelines family panel:
Rebecca Harrington told of her lifelong commitment to care for her brother Michael, and the joy she felt when realizing support was necessary and available. "We shopped around to 12 different programs before making a choice."
Robert Perkins, a self-advocate, described with pride his successful move into his own apartment and the independence he feels, with the support of his team.
Maren Jacobs explained how she came to make the painful decision to transition her daughter Lisa into residential care, and how it turned out to be a great—and smooth—transition for both of them.
Gerry Hurley described the challenges her family overcame with the support of her son Drew's team and the help of local agencies.
Lindy Haczela and Nancy Burt talked about how they secured the needed services and supports for each of their sons to succeed in the school system.
"We think individuals and families of all abilities and all ages deserve to have rich, happy lives," said Kenneth Singer, president and CEO of BCArc, "and we wanted the day to help families set goals that can help them to achieve desired outcomes."
A series of workshops and a family panel during the day addressed topics that included: Charting the LifeCourse framework; mindful movement; Department of Developmental Services 101; How to tell your story; and more.
Presenters included practitioners, program managers, representatives from the Commonwealth, self-advocate, and family members.
Other speakers and panelists included:
Kenneth Singer, President & CEO of Berkshire County Arc
Maryann Hyatt, Chief Operating Officer, Berkshire County Arc
Sonja Stewart, Director of Family Support and Advocacy, Berkshire County Arc
Kerry Mahoney, Director of Education and Outreach, The Arc of Massachusetts
Herb Cabral, Family Educator/Facilitator in the Advocacy Alliance program, The Arc of Massachusetts
Ingrid Flory, Director of Family Support for the Department of Developmental Services Central/West Region
Pamela Hickey, Self-Direction Manager for Central/West, Department of Developmental Services
Christine Singer, president, Your Personal Best: Workshops for Success
Barbara Pastie, Shake Your Soul® instructor
Conference exhibitors included: Berkshire County Arc, Department of Developmental Services, Berkshire County Arc's Down Syndrome Family Group, Ad lib, BFAIR, Autism Connections, United Cerebral Palsy of Western States, and Berkshire Community Action Council.
About Berkshire County Arc
Founded in 1954, Berkshire County Arc provides a broad range of community-based services to 1,000-plus individuals with developmental disabilities, brain injuries, and autism throughout Berkshire and Hampden Counties in Massachusetts. With nearly 800 employees, the agency offers four day-programs, 39 residential programs, employment services, citizen- and self-advocacy programs, respite services, family support services, community-based day services, transitional services, an adult family care program, and a mail business called Zip-n-Sort Mail Services, partly staffed by individuals with disabilities.
www.bcarc.org
Director of Communications and Marketing
Berkshire County Arc
dsinger@bcarc.org
David Singer2019-06-16T08:35:08-04:00April 18th, 2019|

redpajama_set_name: RedPajamaCommonCrawl


Download the Inter-State Studios picture form PDF here.
One listed for HOME, one listed for AWAY. Usually boys and girls teams alternate yearly by traveling to Seymour/Bedford.
Welcome to the Home of the Cutters!
We hope you enjoy your visit to the web home of Bedford Middle School, a grades 6-8 public school in the Hoosier hills of Southern Indiana. BMS is committed to creating an environment that meets the intellectual, physical, social and emotional need of every student.
Please use the links above and to the right to navigate the site. Our News link will provide information about the most up-to-date BMS happenings via the Newletter and Weekly Bulletin. The school calendars can be found at the Calendar page. A helpful Resources page is available for homework help. Our Contact page will connect you with the email addresses and web sites of BMS's faculty and staff. To learn more about the teaming concept practiced at BMS, visit our Teams page. To find out more about BMS activities, visit the Athletics and Swimming link. Finally, to find information about our school improvement initiatives, visit the School Plans page.
The weekly bulletin is sent electronically to parents every Friday. It outlines school events for the coming week such as athletic games, club meetings, special convocations, and other school events. Additionally, the weekly bulletin is uploaded to this web site every week by the BMS office staff. Click on the red text above to access the weekly bulletin.
Want To Receive Information At Home?
Please visit this link to see what supplies your child will need for the school year.
Visit the North Lawrence Community Schools web site for corporation-wide news.
4:00-6:00 P.M. BMS Cheer Clinic & Tryouts Gym 1 – MUST HAVE SPORTS PHYSICAL ON FILE!!
CANCELLED All Areas, All Grades TUTORING --- CANCELLED THIS WEEK!!
5:00-7:00 P.M. BMS Cheer Clinic & Tryouts, Gym 1 – MUST HAVE SPORTS PHYSICAL ON FILE!!!
MS Girls Tennis Meet @ Brownstown – Only 7 – 9 will attend.
▪ BMS collects BOX TOPS for EDUCATION!!! Give to Mr. Neff please!
returning the yearbook envelope to school with your payment.
above is not received, medications are not permitted to be released off school property.
May 28, 2019 8th Grade Recognition @ 1:00 P.M.
May 29, 2019 6th & 7th Grade Honor Day @ 1:00 P.M.


"Observation is perhaps the most powerful tool we have to unlocking the power of natural systems. Though our own observational skills may be limited, we can use techniques and tools to enhance our skills. Over time and with experience, reading the landscape becomes easier."


The Imperial TIE (Twin Ion Engine) Fighter is one of many iconic symbols of the evil Galactic Empire. TIE Fighters are single-pilot starfighters and at only 8.99 meters long, they were designed for the fast paced dogfights with the Rebellion's X-Wing starfighters. The short ranged TIE Fighters were stationed on Star Destroyers and the Empire's ultimate symbol of oppression, the Death Star, so that they can be easily deployed throughout the galaxy.
The Standard TIE Fighter was the basis for other variants of the TIE series of starfighters including Darth Vader's TIE, also seen in A New Hope, the TIE Bomber in The Empire Strikes Back and the TIE Interceptor seen in Return of the Jedi.
Base: 17 1/16" x 18 1/16"


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! You know, if it's anything like this, I want to see that movie ;)
(somehow I don't think this version is quite accurate though :P)", "url": "https://zorbathut.livejournal.com/139499.html", "image": { "@type": "ImageObject", "url": "https://l-stat.livejournal.net/img/sign.png" }, "author": { "@type": "Person", "name": "Zorba the Hutt", "image": "https://l-userpic.livejournal.com/51973/41747" }, "publisher": { "@type": "Organization", "name": "Journal zorbathut", "logo": { "@type": "ImageObject", "url": "https://zorbathut.livejournal.com", "contentUrl": "https://l-userpic.livejournal.com/51973/41747" } } }
It's the Matrix 2 Script! You know, if it's anything like this, I want to see that movie ;)
(somehow I don't think this version is quite accurate though :P)


are in the midst of their HSC exams.
the journey from the beginning of high school.
messages to the younger students.
of the Good Samaritan values they have developed.
for the week that followed.
to their House and to their Homeroom.


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Blue Collar Task Force suggests gas tax, more borrowing to fund infrastructure projects
Delaware lawmakers should consider raising the state's gas tax and authorizing additional borrowing to fund road and ...
Blue Collar Task Force suggests gas tax, more borrowing to fund infrastructure projects Delaware lawmakers should consider raising the state's gas tax and authorizing additional borrowing to fund road and ... Check out this story on delawareonline.com: http://delonline.us/1f1LTSv
The News Journal Published 11:25 p.m. ET Jan. 20, 2014
Sen. Robert Marshall, D-Wilmington West, and Rep. Michael Mulrooney, D-Pennwood, are members of a task force that on Monday released a report offering ways to increase blue-collar jobs in Delaware. (Photo: KYLE GRANTHAM/THE NEWS JOURNAL)Buy Photo
Delaware lawmakers should consider raising the state's gas tax and authorizing additional borrowing to fund road and waterway infrastructure projects that would create jobs, according to a report issued Monday by a task force chaired by two Democratic state lawmakers.
Gov. Jack Markell is expected to use his State of the State speech on Thursday to call for additional infrastructure spending and propose ways to fund new projects. Monday's report from the Blue Collar Task Force – co-chaired by Sen. Robert Marshall, D-Wilmington West, and Rep. Michael Mulrooney, D-Pennwood – did not offer specific plans to fund new projects, but provided an outline that Markell could build on later this week.
The report was sent to Markell's office and members of the General Assembly. Business and labor leaders also worked on the task force and signed off on its recommendations.
"People have been suffering for too long, people who are highly motivated and seeking employment but simply can't find work," Marshall said. "This is all about addressing that particular need in our economy now."
Last June, Markell floated increases in Delaware's gas tax, as well as higher tolls, vehicle registration fees, and rental taxes on beach properties to pay for roadway and parks improvements. But lawmakers could not agree on higher taxes and fees, and plans fell through in early closed-door discussions between Markell and lawmakers.
Some lawmakers, including Markell, are now contemplating a combination of higher taxes and new debt to fund infrastructure projects that could immediately create jobs.
Monday's task force report included recommendations on a broad range of topics. The panel said the Markell administration should explore building a natural gas pipeline into Kent and Sussex Counties to lower energy costs; direct more economic development money to small businesses; develop a plan to send additional support to the Port of Wilmington; and streamline licensing and permitting for businesses.
But the recommendation likely to get the most attention in the coming days is the one urging lawmakers to spend more on "existing and vetted" infrastructure projects that could immediately put Delawareans to work.
The task force also sent Markell and lawmakers a list of approved projects, many of which Markell himself circulated during early infrastructure discussions last year. Those projects floated last year included improvements to state parks, waterway dredging projects and roadway improvements broken down by legislative district.
Monday's report offered few detailed proposals on how to pay for the projects, but said lawmakers should consider upping the state's 23-cent-per-gallon gas tax, issuing new debt or dedicating existing revenue to fund approved projects.
Markell has shown reluctance to authorize new borrowing to pay for additional infrastructure, a proposal championed by Rep. Dennis Williams, D-Talleyville. The state borrows money every year to pay for school construction, natural resources projects and other improvements. Lawmakers authorized $187 million in new bonding authority in its capital budget last year. Williams and others want to increase the state's borrowing cap to allow for new spending.
Sam Lathem, a member of the task force and president of the Delaware AFL-CIO, the union group, said he expects Markell on Thursday to fill in the blanks and offer specific proposals on how to fund new projects. "Nobody wants to jump the gun, so we'll wait for the State of the State to see what he has in mind," Lathem said.
Judy Diogo, another panel member and president of the Central Delaware Chamber of Commerce, urged lawmakers to consider larger projects, like a natural gas pipeline, that could pay off over the long term. "In order for us to grow and have a very strong economy, we're going to have to put some money into our infrastructure," Diogo said. "At some point, we have to stop talking about it and we have to start doing it."
Contact Jonathan Starkey at (302) 983-6756, on Twitter @jwstarkey or at jstarkey@delawareonline.com.
Read or Share this story: http://delonline.us/1f1LTSv


Published: Feb 16 at 1:07 a.m.
Kevin Mandolese stopped all 18 shots he faced as the Cape Breton Screaming Eagles shutout the Blainville-Boisbriand Armada 4-0 in Quebec Major Junior Hockey League action at Centre d'excellence Sports Rousseau on Friday.
Mitchel Balmas, Isiah Campbell, Olivier Bourret and Egor Sokolov scored goals for the Screaming Eagles (33-16-1-4) in front of 2,096 fans in Boisbriand, Que.
Cape Breton opened the scoring in the first period with Balmas and Campbell finding the back of the net, giving the visitors a 2-0 lead going into the first intermission.
Bourret added to the Screaming Eagles lead in the second period, scoring his eighth goal of the season. Sokolov would add a goal just past the 13-minute mark of the final stanza, making the contest 4-0.
The Screaming Eagles outshot the Armada 38-18 while going 0-for-3 on the power play. Blainville-Boisbriand also went 0-for-3 with the man-advantage.
Cape Breton will return to action on Saturday when they play the Drummondville Voltigeurs at 8 p.m. Atlantic time at the Centre Marcel-Dionne in Drummondville, Que.


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You are here: Home / 2013 / Archives for October 2013
The Super Fun Run: A 5K For Heroes
October 28, 2013 by Aaron Einhorn
Vito Nocero was a community activist, a good friend to many, and a huge fan of superheroes. He wanted to help kids learn to read, and to be happy. He died unexpectedly last year at the far too young age of 26. I didn't know Vito, but I have a lot of friends in Columbus who did.
Vito's mother, along with members of the community, organized the first "The Super Fun Run: A 5K For Heroes" this past Saturday in memory of Vito, and to raise money and awareness for Marburn Academy, a school with an emphasis on high-functioning students with ADHD and Dyslexia, which Vito had attended. The members of Heroes Alliance Ohio were only too overjoyed to be able to be a part of the event, and turned out in force with nine heroes present. Marburn is a great school, and one that Christina and I had actually considered for Cordy.
Superman, Batman, Robin, Batgirl, Catwoman, Green Lantern, Doctor Fate, Rogue and Thor were in attendance on behalf of the Heroes Alliance, and were joined there by a visiting Iron Man. We also saw a ton of costumes on the kids there, along with several adults who got in on the fun.
Despite the freezing temperatures, the event was well attended, and a great deal of fun was had by all.
Special thanks to Stephen Blanzaco for photography and out of costume support.
Marburn Academy has been built on the belief that a school program could be designed which would enable bright students with learning differences such as dyslexia and ADHD to attain their full potential in academic, social, and affective development. The goals of Marburn's school programs are to develop the students' academic and cognitive skills, to build strong work habits, to teach the values of persistence and courage in overcoming challenges, to build effective social interaction and problem solving patterns, and to strengthen their self-image so they may successfully return to their local schools, prepare for college or other post-secondary schooling, and pursue rewarding careers. To learn more about Marburn Academy, visit their website at: http://www.marburnacademy.org/
To find out more about the Heroes Alliance, visit http://www.heroesalliance.org
The race begins!
The Bat Family!
Thor finds his mini-me.
Batman admires this youngster's athleticism. "Have you ever thought about being a Robin?"
The Heroes spelled out Vito's name.
"We don't come out during the day!"
Filed Under: Costuming, Heroes Alliance Ohio
Marvel Brings Out Wave Two of "Marvel Now"
So, Marvel made some serious waves a little over a year ago when they launched "Marvel Now," an imprint seen by many as a direct response to DC's "New 52." The differences between the two launches were plentiful – Marvel was not rebooting their continuity, and not every title was getting a re-number. But we were seeing some of the longest running titles get relaunched with fresh creative teams. And by and large, at least in my opinion, the relaunch has been successful.
Last weekend, during New York Comic Con, Marvel unveiled the "All-New Marvel NOW!" Many titles are getting the "NOW" treatment, including a few that already were relaunched under the Marvel NOW! banner.
Ahead of the convention, Marvel had already announced Avengers #24.NOW, All-New Invaders #1, Inhuman #1 and She-Hulk #1. During the con, the also announced the following titles:
All-New Ghost Rider #1
All-New X-Factor #1
All-New X-Men #22.NOW (All-New X-Men #1 in All-New Marvel NOW!)
Avengers A.I. #8.NOW (Avengers A.I. #1 in All-New Marvel NOW!)
Avengers Undercover #1
Avengers World #1
Black Widow #1
Captain America #16.NOW (Captain America #1 in All-New Marvel NOW!)
Elektra #1
Guardians of the Galaxy #11.NOW (Guardians of the Galaxy #1 in All-New Marvel NOW!)
Iron Patriot #1
Loki: Agent of Asgard #1
New Warriors #1
Punisher #1
Savage Wolverine #14.NOW (Savage Wolverine #1 in All-New Marvel NOW!)
Secret Avengers #1
Silver Surfer #1
Superior Spider-Man #27.NOW (Superior Spider-Man #1 in All-New Marvel NOW!)
Thunderbolts #20.NOW (Thunderbolts #1 in All-New Marvel NOW!)
I'll confess to being a little baffled by some of the numbering plans. Why do Captain America, Guardians of the Galaxy, Superior Spider-Man and Thunderbolts get to keep their numbers while Secret Avengers and Captain Marvel just get a straight-up new #1 issue? Not that it really matters, but it's an odd choice.
The more exciting part of this announcement though is that every first issue (at least) bearing the "All New Marvel NOW!" branding will include a code for a Free Digital Copy (already standard for all of Marvel's $3.99 titles), and select .NOW titles will come with a digital code for the entire first COLLECTION of that series.
The covers and creative teams for the newly announced titles follow.
All-New X-Factor #1 By Peter David (Writer) & Carmine DiGiandomenico (Artist) January 2014
All-New X-Men #22.NOW (=All-New X-Men #1 in All-New Marvel NOW!) By Brian Michael Bendis (Writer) & Stuart Immonen (Artist) January 2014
Avengers A.I. #8.NOW (=Avengers A.I. #1 in All-New Marvel NOW!) By Sam Humphries (Writer) & Andre Araujo (Artist) January 2014
Avengers Undercover #1 By Dennis Hopeless (Writer) & Kev Walker (Artist) March 2014
Avengers World #1 By Jonathan Hickman (Writer), Nick Spencer (Writer) & Stefano Caselli (Artist) January 2014
Black Widow #1 By Nathan Edmondson (Writer) & Phil Noto (Artist) January 2014
Captain America #16.NOW (=Captain America #1 in All-New Marvel NOW!) By Rick Remender (Writer), Pascal Alixie (Artist) & Nic Klein (Artist) February 2014
Captain Marvel #1 By Kelly-Sue DeConnick (Writer) & David Lopez (Artist) March 2014
Elektra #1 By Zeb Wells (Writer) & Mike Del Mundo (Artist) March 2014
Guardians of the Galaxy #11.NOW (=Guardians of the Galaxy #1 in All-New Marvel NOW!) By Brian Michael Bendis (Writer) & Sara Pichelli (Artist) January 2014
Iron Patriot #1 By Ales Kot (Writer) & Garry Brown (Artist) April 2013
Loki: Agent of Asgard #1 By Al Ewing (Writer) & Lee Garbett (Artist)
New Warriors #1 By Christopher Yost (Writer) and Marcus To (Artist) February 2014
All-New Ghost Rider #1 By Felipe Smith (Writer) & Tradd Moore (Artist) March 2014
Punisher #1 By Nathan Edmondson (Writer) & Mitch Gerads (Artist) February 2014
Savage Wolverine 14.NOW (=Savage Wolverine #1 in All-New Marvel NOW!) By Richard Isanove (Writer & Artist) January 2014
Secret Avengers #1 By Ales Kot (Writer) & Michael Walsh (Artist) March 2014
Silver Surfer #1 By Dan Slott (Writer) & Mike Allred (Artist) March 2014
Superior Spider-Man 27.NOW (=Superior Spider-Man #1 in All-New Marvel NOW!) By Dan Slott (Writer) & Giuseppe Camunicoli (Artist) February 2014
Thunderbolts 20.NOW (=Thunderbolts #1 in All-New Marvel NOW!) By Charles Soule (Writer) & Carlo Barberi (Artist) February 2014
Call To Action! Report This Page!
I wouldn't normally post something like this, but part of the reason for the migration from Comic Hero News to this site was so that I could do a little bit more personal activity in this blog.
Facebook has become, for many of us, a kind of second life. Many of us keep in touch with friends through Facebook, we follow celebrities, and we take part in group discussions about our favorite fandoms. I have become friends with many costumers through Facebook, which let me have at least a basis for going up and talking to them when I attended DragonCon this past August.
For those of you not wanting to follow the link, here's a screenshot.
That's right. It's a Facebook page called "Fat Costumers," and despite the "disclaimer" that everything here is a joke, it is anything but.
I hesitated to post anything about this page, because the last thing I want to do is give the… people… running this page any more attention. But the truth is, this sort of thing should not stand. So I urge all of my friends, family, fellow costumers and other decent humans to go to this page (for the love of God, don't "like" it) and report them.
I'm overweight. Not obese, but overweight. And every time I put on my costumes, all I can see in the pictures is the belly roll or double chin. But I do it anyhow because I love the characters, and I love putting smiles on the faces of children.
People like the ones who run this page represent all that is the worst in us, and make it that much harder for any of us who don't have a perfect comic-book physique to gather up the courage to express ourselves, our fandom, or our love for the characters.
Don't let them get away with it for one second longer.
Fat Superman
Filed Under: Costuming
Marvel to (Finally) Publish Miracleman!
Several years ago at San Diego Comic Con, Marvel announced that they had obtained the rights to Marvelman/Miracleman.
For those not in the know, Marvelman began as a way for Warrior Magazine to continue making Captain Marvel stories after the licensing agreement with Fawcett Comics went kaput. A quick reskin of the character, change "Shazam" into "Kimota," and voila, all new hero.
But what went from being a Captain Marvel rip-off became a whole new thing in the hands of Alan Moore and company, and then later on, Neil Gaiman.
(This is a horrid oversimplification. Read the full details here.)
I was in the crowd in 2009 when Marvel made that announcement, and I went nuts over it. I had been loaned a copy of the individual issues for Miracleman and loved the story. So, I was eager to see what Marvel would do with the character. After all, used properly, Marvelman could be a powerhouse and an icon on par with Superman. And he even had Marvel's name in his title.
Of course, the licensing rights to Miracleman are a mess. And so, we got a few reprints of the original Mick Anglo stories, and then… nothing. For years. And most people assumed that the rights would be a part of Marvel/Disney's portfolio and nothing would happen.
Then during Age of Ultron, it seemed like we would see Marvelman appear at the series' conclusion. Instead, we got Angela, who Neil Gaiman still owned after creating her for Todd McFarlane's Spawn. Nothing against Angela as a character, but her inclusion was somewhat anti-climactic to many. In a world without Hellspawn, her existence is confusing at best. It's not that she can't be retrofit to work in Marvel Comics, but is she needed?
(For the record? I am reading Guardians of the Galaxy, and I enjoy Angela's presence there just fine. But I wanted to see Miracleman, dang it.)
Well, now, at least according to what was revealed at NYCC 2013, it seems like Miracleman is finally set to return.
According to a release put out today by Marvel, starting in January, we will see the Warrior/Eclipse comics series of Miracleman reprinted, and just as importantly, we will then see the series finished.
Because the sad truth is that Miracleman #25 was never printed. It was written, it was illustrated and it was ready to go, but it was never seen. And now, if all is to be believed, that final issue will also be printed and available.
Of course, I find it very interesting and curious that Alan Moore's name is never listed in the press release. Hopefully that just means that Moore's name can't be used to promote it, and not that something weird is happening with his writing.
I'm thrilled, personally. I loved reading Miracleman, and am eager to own the issues myself. You can check out the full press release below, following a gallery of some of the covers that will be printed with the reprints.
Miracleman #1 Quesada Cover
Miracleman #1 Buckingham Variant
Miracleman #1 Cassady Variant
Miracleman #1 Yu Variant
Miracleman #1 Young Variant
Miracleman #2 Davis Variant
Miracleman #2 McKone Variant
Miracleman #2 Perkins Variant
MIRACLEMAN RETURNS! MARVEL TO PUBLISH GROUND-BREAKING ORIGINAL SERIES AND NEW STORIES BY NEIL GAIMAN!
"[Miracleman's] heights are highs Watchmen cannot touch. It's that good. It's that important." –Sequart.org
It was the series that changed comics forever. With the utterance of one word, Michael Moran transformed from the ordinary into the extraordinary – and Miracleman was born!
Long out of print, Marvel Comics is pleased to announce that the earth-shattering stories that injected new levels of sophistication into the super hero genre will finally see the light of day once again! Starting this January, Marvel will begin publishing the legendary run of Miraclemanby the original creators that began in Warrior Magazine and continued under now defunct publisher Eclipse Comics!
Fans lucky enough to have read these trailblazing stories when they were originally produced have often referred to this legendary run on Miracleman as "the lost Watchmen," and Marvel is proud to finally bring these incredible comics to an audience that has clamored for them.
"The wait is over," says Editor In Chief Axel Alonso. "Marvel will finally be bringing these timeless, ground-breaking stories to a whole new generation of reader."
"We've been working with the Miracleman artists to obtain original artwork or photostats in every instance possible, and then applying the same painstaking restoration methods and rigorous quality standards that are utilized on the Marvel Masterworks line. The Marvel Special Projects team have even been developing some new techniques specifically for this project. These Miraclemanissues will receive the most advanced restoration possible to ensure the most authentic reading experience," says SVP of Marvel Publishing David Gabriel. "The art is crisp, clear, and looks as good – if not better than the day it was published! Also, the stories are being completely relettered to meet today's standards."
Making these stories available to an entirely new generation is one thing – but following the original groundbreaking run, the epic more than 30 years in the making will reach its cataclysmic conclusion! You heard correctly – Marvel will also be publishing all-new Miraclemanstories from legendary creators Neil Gaiman and Mark Buckingham! Long left unfinished, Gaiman and Buckingham's famous storyline will ultimately see the light of day!
"The tragedy of Miracleman was that we published two issues, wrote three and a half – and then it all stopped," Gaiman said, in an interview with Marvel.com. "And Miracleman #25has been sitting in the darkness – nobody has seen it. It was drawn, it was written, it was lettered over 20 years ago."
"I love the idea that I will get to finish this story," added Gaiman.
"That Neil and Bucky can finally finish the story they started, is a great relief to still-gasping fans — myself among them," says Alonso.
Re-presented in serialized form, each issue of Miracleman features additional content including new art, interviews with the creators as well as new covers from some of the industry's most legendary artists! Look for Miracleman #1 in print and digital this January!
Filed Under: News Tagged With: Marvelman, Miracleman, Neil Gaiman
Columbus Walk Now For Autism Speaks 2013
Autism is the fastest-growing serious developmental disorder in the United States, and with that in mind, Heroes Alliance Ohio was only too happy to join Autism Speaks at the 2013 Columbus Walk Now For Autism Speaks this past weekend. Speaking on an entirely personal level, my oldest daughter is on the Autism Spectrum, so of all the charities that we're able to support, this is the one that probably means the most to me. Similarly, I know that our new Thor also has a family member on the spectrum.
Superman, Supergirl, Thor and Wonder Woman were on hand to support children with autism and their families as Autism Speaks raised money to research treatments for autism. The event drew over 20,000 people, mostly children with Autism and their families, and in addition to the team of the Heroes Alliance (working alongside the Ohio 501st and other costumed characters), the event contained a massive resource fair to provide information about services to Autism Families, arts, crafts, food, drink and entertainment.
The Walk took place at Huntington Park in Columbus, Ohio, and raised just shy of a million dollars to support the cause.
Special Thanks to Stephen Blanzaco and Christina McMenemy for out-of-costume support and picture taking. You'll notice that Christina also brought the girls out to the event – appropriately, since Cordy is the entire reason I am aware of Autism Speaks.
Autism Speaks is dedicated to increasing awareness of autism spectrum disorders, to funding research into the causes, prevention and treatments for autism, and to advocating for the needs of individuals with autism and their families. To learn more about Autism Speaks, please visit www.autismspeaks.org.
To learn more about the Heroes Alliance, visit
Filed Under: Family Life, Heroes Alliance Ohio
Marvel and Disney Come Together Under the "Disney Kingdoms" Banner!
October 8, 2013 by Aaron Einhorn
I am not one of those fans who was scared by the Disney acquisition of Marvel. Why? Well, because I had already lived through the full integration of Pixar under the Mouse. I never thought that Disney would do any harm to Marvel, and that we would in fact see Marvel able to benefit from the increased marketing dollars from their new owners.
I did, however, figure that there would be some changes with licensed properties, both for the good and for the bad. And there was some bad. I still mourn the death of Spectacular Spider-Man from the airwaves. Similarly, I suspect that the day is not too far off when Universal Orlando will have to rebrand their Marvel Adventure Island as Disney World opens their own Marvel attractions.
(Especially in light of this news.)
What I was not expecting, but am really excited to see, is Marvel comics based on Disney attractions. But not necessarily the ones you would expect.
It turns out that Disney and Marvel are creating a new line "Disney Kingdoms," which promises "new and exciting adventures expanding upon already beloved lands, attractions, characters and worlds of Walt Disney Parks and Resorts."
This is an interesting idea, and something Disney has certainly played with before, but not quite like this. We've seen movies based on Disney attractions already (some successful, and some less so). Similarly, we've seen Ridley Parson's Kingdom Keepers novels, which take us into a world where the Disney attractions come to life at night, and a gang of teenagers are responsible for protecting the magic. (I began reading them with Cordy, and they're quite enjoyable.)
So, what will the first comic under this imprint be? Will it be based on Expedition: Everest? How about an intergalactic adventure based around Mission: Space?
Well, no. Instead it will be based on an attraction that was never constructed. But what an attraction they picked.
Famed Imagineer Rolly Crump envisioned the Museum of the Weird back in 1965, designed to be a collection of mystical curiosities unearthed from all around the globe. This was conceived as a spooky walk-through attraction to be connected to the Haunted Mansion, but was left unrealized following Walt's passing.
Using the concepts behind this attraction, Marvel and Disney will be bringing us Disney Kingdoms: Seekers of the Weird. Written by Brandon Seifert (Witch Doctor) and illustrated by Karl Moline (Avengers Arena), Seekers of the Weird will focus on teens Maxwell and Melody who find themselves working alongside their strange uncle as they race through the world's strangest and most dangerous museum following the kidnapping of their parents. An evil secret society opposes them, and the teens will discover their "wild and weird" destiny along the way.
Seekers of the Weird will be a five-issue miniseries, and I hope it does well, because this sounds like it could be a lot of fun. I've been disappointed that we never saw more of Marvel's last experimental line of mini-series in the form of the Crossgen titles, so I'd love to see this one do well.
Fans at this weekend's New York Comic Con will be able to see a preview of Seekers of the Weird at the Saturday "Cup of Joe" panel. In the meantime, you can read Marvel's press release. Disney Kingdoms: Seekers of the Weird #1 will hit shelves in January of 2014.
MARVEL AND WALT DISNEY IMAGINEERING PRESENT DISNEY KINGDOMS!
All-New Comic Series Starting With "SEEKERS OF THE WEIRD"
Marvel & Disney are proud to present your first look at Disney Kingdoms: Seekers of the Weird #1, the first comic series published under the all-new Disney Kingdoms banner! Created in close partnership with designers, producers, and creative directors from Walt Disney Imagineering, the Disney Kingdoms line promises new and exciting adventures expanding upon already beloved lands, attractions, characters, and worlds of Walt Disney Parks and Resorts.
This January, experience the first all-new adventure inspired by Disney's legendary – but never constructed – Museum of the Weird! Dreamed up by famous Imagineer Rolly Crump in 1965, the Museum of the Weird was home to a collection of mystical curiosities said to have been unearthed from all corners of the globe. Originally conceived as a spooky walk-through attraction connected to the Haunted Mansion, Crump's innovative designs were left on the drawing board following the passing of Walt Disney….until now!
"We're thrilled to be part of this historic launch that taps into the immense creativity of Walt Disney Imagineering to create background stories for so many beloved attractions," said SVP of Marvel Publishing David Gabriel. "Grounded in rich Disney history, Disney Kingdoms is a great way to link Disney fans and Marvel fans!"
"Disney Kingdoms is the ultimate team-up for fans of Disney and Marvel," said Editor Bill Rosemann. "Working hand-in-hand with the world-famous Walt Disney Imagineers, Marvel's best and brightest creators will unleash entire worlds inspired by and built around the attractions and characters that you've always known—but will experience for the very first time!"
Written by Brandon Seifert (Witch Doctor) and drawn by Karl Moline (Avengers Arena) – when their parents are kidnapped, teens Maxwell and Melody are thrust into a thrilling race through the world's strangest – and most dangerous museum! Together, they must join forces with their mysterious and swashbuckling uncle as they attempt to rescue their family and save the world from an evil secret society! And they just might discover the truth behind their wild and weird destiny along the way!
What terrifying secrets lie inside the mysterious Museum of the Weird? Find out this January as the harrowing journey begins in Disney Kingdoms: Seekers of the Weird #1!
Disney Kingdoms: Seekers of the Weird #1 (of 5)
Written by BRANDON SEIFERT
Art by KARL MOLINE
Cover by MIKE DEL MUNDO
Variant Cover by WALT DISNEY IMAGINEER BRIAN CROSBY
On-Sale In Print & Digital This January!
Why I Take What The Heroes Alliance Does Seriously
In recent days, the Heroes Alliance Ohio branch has had a lot of discussion as we've been doing some internal reviews about some of the rules that the organization has in it's Standard Operating Procedures. These discussions have focused mainly on conduct during events and on quality of costumes, and it's led to some hurt feelings.
One person said to me "You're a cool guy, but you're taking this free group a little too serious for me."
This hurt. A lot. It left me wondering if maybe I was making a mistake. Maybe I shouldn't be taking this seriously. Maybe I'm the wrong guy to be the Branch Leader. I'm not married to the position – I was happy to get the group started, but I'd be happy to step aside.
But the more I thought about it, the more I realized that he was wrong.
Yes, I do take the Heroes Alliance very seriously. I am very concerned with making sure that the organization is seen in the best possible light and that we are doing the most possible good in our communities.
I take a lot of pride when I see mission reports from any of the teams across the country, and it makes me feel really good to see all of the "Likes" and comments on Facebook.
The last thing I ever want to do is make it not fun for our team members – we're all volunteers, after all. But do I take it seriously? Yeah, I do. And here's why.
In 2012, I was lucky enough to be able to attend the press conference for Iron Man 3 at SDCC. In the crowd there was a young kid in a Tony Stark Cosplay (like, 7 or 8 years old, with eyeliner-pencil goatee).
Near the middle of the Q&A with the press, Robert Downey Jr. stopped to say "Ok, I want to know when we get to hear from the young Tony Stark," to which the moderator assured that they would get to him. The Q&A continued, and then it was time for the last question. "Well, then, it has to go to the kid," Robert said.
The moderator laughed, and said, "Ok, well, this pretty much better be the best question in history. Go ahead," and the mic was given to the child.
"This question is for Robert," the kid said, "I want to know what it's like to be a hero."
The room went silent until the moderator laughed and said, "Well, Robert, this pretty much better be the answer in history." This broke the tension for all of us, but Robert took a moment to actually think about his answer.
Robert took a moment and said "I think I speak for any of us who get to live in this world. There was just one of these photo things with a bunch of kids where they dressed up as Iron Man. There were a couple of War Machines, too. There's something about it that's just … wow, a great opportunity. It's an odd thing. I take this as seriously as Shakespeare."
Most kids will never get to meet Robert Downey Jr., or Chris Evans, or Chris Hemsworth or Henry Cavil, or Andrew Garfield, or Ben Affleck. So when kids at the Walk For Wishes, or Give Kids the World, or at Wolfson's Children's Hospital get to meet the members of the Heroes Alliance, that is their opportunity to meet Iron Man or Captain America or Thor or Superman or Spider-Man or Batman.
If Robert Downey Jr. takes it as seriously as Shakespeare, how can we possibly do any less?
Filed Under: Heroes Alliance Ohio
Superhero Day at Books & Co.
One of the greatest gifts we can give to children is the gift of reading, and with that in mind, Heroes Alliance Ohio was overjoyed to come out to Books & Company in Beavercreek, Ohio for their Superhero Day in conjunction with their LEGO club.
Superman, Batman, Thor and Ms. Marvel were on hand to help pass out LEGO starter kits to the kids, assist them in building their creations, and to encourage them to read. The store expected roughly 75 kids, but were overwhelmed with over 100 children and their parents.
Special thanks to Andrew Merola for out-of-costume support and picture taking.
To find out more about Books & Company and the special events they have at their location, check out http://www.booksandco.com/
To learn more about the Heroes Alliance, visit http://www.heroesalliance.org/


Barlean's Omega Swirl is a delicious, fish oil supplement. The formula contains 730 mg of EPA/DHA in each serving. Omega Swirl is the perfect additive to smoothies and other beverages. The taste of many fish oil supplements is simply unbearable, but Omega Swirl is sweetened with Xylitol flavoring. You will actually enjoy the mango peach taste of this product.
The health benefits of Omega Swirl include lower cholesterol levels, reduced inflammation, more energy, improved skin quality, increased joint mobility, and promotes heart health. Fish oil is simply one ot the most effective and affordable supplements available.
Shake Well prior to dispensing. 2 tsp. daily. Can be taken straight or mixed into juice, yogurt or blended beverages. Refrigerate.
Other Ingredients: Moleculary distilled cod liver oil, water, xylitol, glycerine, gum arabic, natural flavors, citric acid, xanthan gum, guar gum, turmeric (for color), ascorbyl palmitate.


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Paris turns into Olympic park as part of push to host 2024 Games
PARIS, June 23 (Reuters) - A diver plunged into the Seine while the mayor of Paris took to the river in a kayak, as the French capital transformed itself on Friday into a giant Olympic park as part of its final push to win the rights to host the 2024 Games.
Paris and U.S. rival Los Angeles are the only two cities bidding to stage the 2024 Olympics, and the French capital is running a series of events over the weekend to promote its credentials.
Canoes and kayaks filled the Seine just outside Notre Dame cathedral, while the diver jumped into the river from one of the city's bridges.
"This is a great opportunity for us to give a taster of what the Games will be like here in 2024," said former Olympic gold medal canoeist Tony Estanguet, who is leading Paris' bid to host the event.
Paris Mayor Anne Hidalgo also turned up alongside Estanguet, with the two of them taking to the Seine in a kayak, not far from where sprinters pelted along a floating athletics track.
Paris last hosted the Olympics in 1924, while Los Angeles has held it twice - most recently in 1984.
In July 2005 in Singapore, London pipped an over-confident Paris, which had lost out to Beijing for the 2008 Games, to win the right to stage the 2012 Summer Olympics, triggering tears in the French camp when the results were announced. (Reporting by Reuters Television; Writing by Sudip Kar-Gupta; Editing by Alison Williams)


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As part of the Cirrus Cirrus International Cirrus Certification Center (CTC) worldwide community, our instructor pool has been individually instructed and assessed by Cirrus Aircraft Central Aircraft experts. The Cirrus workout line-up includes new and improved Garmin and Avidyne fiberglass dashboards, enhanced security and aerodynamics, and the Cirrus Airframe Parachute System (CAPS?).
The Skyhawk as well as the SR20 are perfect exercise stations for those who are looking for personal pilots or instruments. This is the best-selling airplane in its category. State-of-the-art airplane and our most favorite workout pod. More efficient workout.
SR20 is an excellent aircraft for most flight trainings. As a four-seater mono-engined aircraft, the SR20 incorporates some of the most progressive technologies available today. Intermediate flyers can consider using an SR22. The SR20 is the SR20 and has a 310 hp motor that takes you to 185kts.
In addition, the SR22 offers more petrol, anti -freeze and real A/C. Flying the most safe and progressive aircraft on the market and adhering to stringent guidelines. Non-owner coverage is also necessary and can be taken out at the moment of rental. The Cirrus's large leg room makes it convenient for large grown-ups.
SR20 is an aircraft perfect for most pilot and perfect for schooling. As a four-seater mono-engined aircraft, the SR20 incorporates some of the most progressive technologies available today. With a 200 hp powerplant, 2 GPS-Garmin 430 and Avidyne display, the SR20 provides state-of-the-art technologies in a luxury environment. Flying the most safe and progressive aircraft on the market and adhering to stringent guidelines.
All our aircraft are new and are meticulously serviced right here at FBO, where the only authorized Cirrus repair center is now. If you are a more advanced pilots you can consider using an SR22. The SR20 is a 310 hp motor that will take you 185 kts from New York to Chicago in about 3.5 hrs. This car is similar in look to the SR20.
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Contacts for emergencies will be provided at the moment of rental. Aircraft are all provided with fill tank to the lugs (unless you wish otherwise) and fill with oils, also known as net rental. Refuelling cards are inserted in the aircraft for your use.


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Impact Women Owned
Small Business. Big Impact.
We are proud of our clients who add vibrancy to our communities while creating a pathway to prosperity for themselves, their families and their employees.
At LiftFund 86% of our clients are entrepreneurs of color, 40% are women and 26% are startups contributing to the local economy and making a difference in their communities.
Read about our clients' entrepreneurial journey and get inspired by their passion, commitment and resiliency.
Kemah N. Duopo
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Kemah began her journey when she moved from Minneapolis, Minnesota to Los Angeles, California. She felt she could not reach her full potential in her hometown and aimed to gain more opportunities. Instead, the big change led to new challenges and in 2018, she got laid off. However, that would soon turn into a blessing.
Even though Kemah was struggling, she still had the opportunity to get her nails done, which had been …
Susan Lynn Prather
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After struggling with an illness that doctors and specialists couldn't understand, Susan Lynn Prather decided to take a more holistic approach to her health — changing her diet, lifestyle and adding new wellness treatments — and began to see real, positive results.
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Yanbin Che grew up in the mountain village of Anxi Fujian, which many refer to as the "tea capital of China," where for many families in the region, tea farming is a source of sustenance, culture and tradition.
When Yanbin moved to the US, she wanted to share her love and knowledge of tea with what she hoped would be an open and accepting customer base. However, upon entry Yabin experienced a few challenges, as she disco…
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In my last post Software Estimate: What you're doing wrong I explained why people tend to create inaccurate software estimates. In this post I'll outline what's necessary to create an accurate software estimate.
Give you an understanding of risk and unknowns.
Be something that you can base a big decision on.
Be refined as new information becomes available.
Be a range with a 90% confidence interval.
Let's take a deeper dive into each of these areas with the goal of helping you to understand what information you need to gather to accurately estimate your software.
Being blocked by another project.
Requirements or scope that haven't been defined.
If we understand the areas that pose risk to our project we can use that information to inform our estimate. Your project may need additional time to coordinate with another team. You may need to account for another projects schedule and/or risk.
While blocking another project many not sound like something that needs to be taken into account when estimating software it can actually be the source of unexpected work. The other project may have requirements for your software that you're unaware of. You may have to make last minute changes to your software to account for these requirements. This is especially true if the other project is a higher priority project for the company than yours.
It's important from an estimation standpoint to understand if there are other projects that need to consume your software. If so, how well is the dependency between your project and theirs defined? Does the other project take direct dependencies on your software (for example by compiling against your library)? If you're providing a service how well is the service contract defined?
When you update your software what are the downstream effects on consumers of your software? Does your software require versioning?
What other components, libraries, or services does your software depend on? Have they already been shipped? If so how do you deal with updates to the software? If the software hasn't already shipped, are their milestones known?
What happens if they can't deliver or aren't able to deliver in time for your project to meet it's goals? Do features in your software get removed? How long will it take to remove or update the affected components?
Blocking another project or being blocked by another project are not the only sources of undefined requirements. Additional requirements many come from your product owners due to under-defined user experiences or user interactions.
Are there mock ups of the user experience and user interaction? Have static web based mocks that people can touch and feel been built? Are all the transitions defined? What state does your application need or maintain?
While attrition is often difficult to account for in the actual estimate, asking yourself some attrition related questions will help you identify work that should be accounted for in your estimate.
Does your software require a specialized skillset or tools? How long does it take to aquire the tools? What's the ramp up time to learn the skillset? What's the lead time that it takes to hire someone with the needed skills or platform knowledge?
In my next post I'll explain how to quantify the work that is known.


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Q: python JSON for loop every time i run it it gives me only the last value of social_score, while I want to get all the social_score values in the json API and store the output to an #iterated list to calculate with the valueI

help on this JSON
url = requests.get("https://api2.lunarcrush.com/v2?data=assets&symbol=xrp&data_points=730&interval=day&change=max").json()

def get_data():
    for data in url['data']:
        result = data['social_score']
        print(result)

get_data()

A: Store the intermediate results in a list variable:
url = requests.get("https://api2.lunarcrush.com/v2?data=assets&symbol=xrp&data_points=730&interval=day&change=max").json()

def get_data():
    results = []
    for data in url['data']:
        result = data['social_score']
        results.append(result)
    return results

result = get_data()

redpajama_set_name: RedPajamaStackExchange


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An Interview with Lisa McNulty
February 7, 2017 February 15, 2017 Victoria Myers 6335 Views artistic director, lisa mcnulty, women's project
Written by Victoria Myers
Photography by Sofia Colvin
In 2014, Lisa McNulty became the fourth Artistic Director of WP Theater (Women's Project Theater), which is the country's oldest company dedicated to producing and developing work by women. Since then, she's expanded WP's programing both on and off stage with their Pipeline Festival, becoming one of the city's most popular programs for emerging female-identified artists. Prior to becoming Artistic Director of Women's Project, Lisa was Artistic Line Producer at Manhattan Theatre Club and also worked at 13P and the McCarter Theatre Center. She was also previously the Literary Manager and Associate Artistic Director at Women's Project. We visited Lisa at her office on the Upper West Side to talk about the role of an artistic director, the perception of work by women, and how she sees WP continuing to evolve.
I'm not sure if a lot of people know what an artistic director does. What is your day like, especially at this point in WP's year?
I'm new at this job. I'm about a third of the way through my third season here. I had not been an artistic director before taking this job. I'm learning a lot about what it means to be an artistic director and what the job actually is. A lot more of the job is fundraising than one actually realizes, particularly when a new artistic director comes into the job. For me, it's been an education to learn how to fundraise and how much of one's time is spent fundraising, particularly for an institution in transition. Right now, our big fundraiser for the year is coming up in March and so a lot of my time is spent prepping for that. Figuring out what the event's going to be, who's going to participate, that kind of thing. Right now, I'm spending a lot of time on that and not as much time on programming the work for next season. I think, for me, that was the discovery: trying to find time to carve out space to do the art part of your job.
For season planning, how far in advance do you usually like to plan ahead?
When I arrived we needed to announce a season six weeks later. I feel like I long to get to a time when I'm planning in advance. Right now, I feel like I'm responding in real time. I'm the only member of the artistic staff. I think I am more reactive right now. When you say, "Hey, what's your schedule? How do you plan it out?" I would say, "I look forward to a time when I can plan it out and when I do have a schedule." Right now things bubble up. There are artists that I love and I'm always in communication with. Sometimes things will just float into my orbit. But that kind of focused, proactive programming, I feel like I'm a couple years away from that. I feel really lucky because the stuff that's been floating into my orbit or the artists that I have long-term relationships with or the artists I've been lucky enough to work with in the lab have given me the ability to program in a way that I'm excited about. I look forward to having five projects in the pipeline that we can then launch into the world once we've developed them here and they're ready. I just think that the reality of somebody coming new into an institution at a time of redefinition is that you're dealing with what's in front of you all the time, and it takes you a while to get to that other, more measured way of operating.
Do you feel that there are any advantages to that? In the sense that sometimes having things so planned in advance gives no flexibility to respond to world events and what the cultural pulse is at the moment.
That's an amazing way to spin that into a positive. Certainly when somebody picks up the phone and calls me about something, I have an ability to deal with it in real time. In this moment of cultural change and conflict, it gives me a real ability to go, "Okay, where are we now and what kind of stories do we want to be telling right now?" Yet, I would like to combine that with a pipeline of work that we have ready and developed. I think the grass is probably always greener on both sides. I would like to have a combination of both. It certainly is freeing to be able to try on the ideas that you have had throughout your career as a person watching other folks program and watching how other people occupy this job—to be able to throw things against the wall yourself and see what sticks. Some things will fail epically, and then other things will succeed. I think it's really great to be thrown back on your resources that way.
What is your philosophy like for finding the balance between coming into a theatre that has a mission statement and a set goal, and as a person with ideas and artistic tastes?
This is the third time I've worked at WP. The founder, Julia Miles, gave me my first paying job a very long time ago. Then I came back and I worked here again in 2004. In some ways this institution was kind of the making of me, formed who I am as a person of the theatre. It wasn't me showing up fresh and going, "What is this organization? How does it connect to who I am as a person of the theatre?" It was more like a homecoming. Certainly whenever a new person comes to an institution, the institution in some way starts to reflect who that person is. As well as, for me, the questions I was asking were, "Well, what does it mean to be a women's theatre now? What does it mean to be a woman right now? What does it mean to have an institution that is thinking about gender?" I've tried to reflect that questioning in the programming. When I arrived, we changed the mission to say that we were for female-identified artists. We've started to reflect a slightly more multidisciplinary and artist-focused approach. We're working more in partnership with other organizations. All of that reflects who I am as a person in the theatre. As well as my own notion about how I serve the mission, which is providing more access to as many artists as possible. Opening the doors to trans artists or wanting to bring in smaller companies and provide access to production opportunities to them.
One of WP's new programs is working with other companies around the country who have similar missions. Could you talk a little about that?
I started thinking about, what are our challenges and our assets? The challenge we have, like everybody, is [that] our budget is limited. The asset is we have a pretty great space on the Upper West Side. How do I then make use of the asset? I thought, well, let's provide the space at a small subsidy to companies who are making work that allies with ours, as well as [provide] marketing support and ticketing support and other kinds of support that's manageable for us. I think everything works better when it has a slightly amusing name, so I called it the "Domestic Partners Program." I've been really pleased with how that's been working out. Our Domestic Partners this year are Monica Bill Barnes & Company, which is exciting to me because I think multidisciplinary work is really important. I think it's the way that the field is headed. To meet them and support them at that place feels really important. Pop UP Theatrics is our other Domestic Partner. The cool thing about them is that they're about occupying spaces in untraditional ways. They're using our lobby space and they're using our stairwell and they're activating our space in ways that are making me more thoughtful about the way we use the space. I really want the programming to make me more thoughtful. The way they are making us think about the way we make work is really invigorating to me as a programmer and as a producer. I think it's a thing that is practical and useful for us, but also shakes things up for the institution in a cool way.
We did a feature on the women involved with the Pipeline Festival last spring, and I wanted to ask you to talk a little about that program.
There are lots of things that are cool about it, but a thing that I think is very cool is that it's putting writers, directors, and producers together. I don't actually know of another program that does that. I love the idea that every two years we're launching 15 badass women out into the world as a cohort to be each other's primary collaborators going forward. That feels really powerful to me. I think a thing that women struggle with is they're existing in kind of an old boys networks. There's a kind of established mentorship for male artists where they lift up the next generation. I don't see that necessarily those [same] structures are in place for female-identified artists. I already see the way in which lab artists are providing opportunities for each other, being each other's professional network, and previous lab cohorts mentoring the next generation lab cohorts. That feels really cool to me. Also, I love the idea that we're providing all this stuff, like collaborating work and skills building. We bring in headhunters and executive coaches and people who help people occupy their careers in ways that feel powerful to them. Also, at the end of the two years we plant our flag with the Pipeline Festival and say, "Okay, American theatre, you say you want to be making work by female-identified and trans artists, but you don't know where to find them? Here's where you can find them. Come and see this work. It's all here." I'd like to get to a place where we have two labs running simultaneously so that every year we have a festival. We have a ways to go before we can afford it. It's a strong priority of mine because we had an insane amount of incredible people apply to the lab. It felt like we're making a thing that people find valuable, but also it was a heartbreak not to be able to provide this to 150 people a year.
Do you ever feel that you have to play the industry game and that might not always match up with exactly what you want to do or where you want to push boundaries?
I don't feel that as much. I think the lovely thing is that we've been able to do both in ways that have been exciting to me. I feel more of a responsibility to reflect the spectrum of work that female-identified artists are making right now. Women are making all kinds of work. I spent a lot of time thinking about the mission. I'm envious sometimes of Susan Bernfield [Artistic Director of New Georges] who's able to have an aesthetic mandate that I don't think is actually appropriate for this institution. This institution is about the spectrum of work, and I try to do that both in an individual season as well as in the overarching idea of our programming. In the first season, it was really exciting for me to be able to put Kate Benson and Lee Sunday Evans next to Tanya Barfield and Leigh Silverman, or in the season after that, Laura Eason and Kirsten Kelly. Then to put the Pipeline Festival and Martyna Majok's New York debut next to a play by Sarah Ruhl and directed by Kate Whoriskey. That feels, to me, like the sweet spot of who we are and what we should be. Those tough decisions are less about what's going to sell than it is about are we telling the full story of what kind of work women and female-identified artists are making?
I did want to ask a marketing question. When I was talking to Susan Bernfield she said, at New Georges, their marketing philosophy has always been to not make "a play by a woman!" a big part of their marketing. Is that something you think about?
I think about it a lot. I went through a process of rebranding—well, that indicates I hired a firm and spent a lot of money and really I just worked with a couple people and we made a new logo. It ties into a thing that I found when I first got the job. I found that there were a lot of people reaching out to me saying, "I have the perfect play for WP." I thought that was really interesting because it gave me a moment to go, "Oh, what do people think WP is?" I found that they were sending me plays that were largely about a sad lady in a kitchen with a problem. And they weren't always written by women. They would say, "Oh, but it's about a woman." I thought, "That's interesting to me because I feel like it's about the artists." In some ways, what the women are writing about is less interesting to me than who they are. It was also a moment where I sort of discovered what people's biases are, what they think it means to be a women's theatre. They think the work is domestic, it's not entertaining, it's not funny, that it's like, "come to the theatre and eat your vegetables but you're not actually going to have a good time." That was interesting to me. That was not my experience of the work that I was seeing by those artists. In terms of the marketing, we changed the name of the theatre to WP Theatre. We've been Women's Project for a very long time. We were called Women's Project because when the institution was formed we were a sub-project of The American Place Theatre. I thought, well we're not that anymore. We're a theatre on our own. Also, I used to work at MTC. If MTC can be MTC, why can't we be WP, right? We made that change. Our women artists or female-identified artists or trans artists—they're artists, right? I don't call them that [women artists] ever. Maybe I do in grants, but I certainly don't in marketing materials because I find it reductive. In terms of the marketing, I suppose we sell the work as the work, we don't sell the mission. The mission is implicit. If you look at our materials, there aren't any dudes. For the most part, I'm really just trying to sell the work as the work, which I think is probably the most feminist thing I can do.
Do you think that there's a problem with how the work is talked about in reviews or press?
I've definitely seen it. There was the review of Sweet Charity that was so difficult. I've certainly seen a bias in criticism. I don't know that in the two and a half seasons I've been here that we've had a bad experience. I don't know that we won't. We have our eyes open for it. I'm not quite sure how to break through that because I don't know that the circumstance changes when you actually have a female reviewer. I think it's a cultural bias, I don't think it's necessarily tied to the fact that most of the reviewers are male. If that's the case, I actually don't know what to do about it other than continuing to call people out for it. In that way, I think as a culture at large we're becoming more aware of our cultural biases, or to be conscious of our own biases, and as a field, being rigorous with the critical community when they're exposing their biases. A good example: Lucy Thurber is a good friend of mine and I remember for a long time folks would review her plays as though they weren't coming from her experience. They couldn't conceive of the fact that she was writing about coming from a working or poverty class background. I just thought, "What's going on here?" Is it because they cannot imagine that a person who is having a really vibrant career in New York theatre could have come from a poverty class background? That seems bananas to me. I think we need to be having that conversation all the time because theatres live and die by these reviews and they tell people how to receive work. I struggle with it all the time.
Do you think part of the problem is also how we talk about the artists themselves? Observationally, one of the things I've noticed is that women are not given the same autonomy that men are given in terms of anything in the public sphere. Men get to talk about the work more, but also their individual personalities are embraced, whereas women are seen as a group or representing a group.
I think in society at large, what is normal is to be a white male, and to be anything else deviates from the norm. African American writers are seen as a group. Writers of color. Women or trans writers. I feel like that's not just a problem for women. I think something that's very specifically female, that I'm trying to figure out how to address in our programming and advocacy, is that I think male writers get to a certain point and they are received in the community as masters, whereas women disappear. Obviously there are fewer of them, but there are really, really fine women who would be heralded as masters of the form, and they just disappear. Their work doesn't get done and they aren't invited to panels where they get to opine. I find that really frustrating. We're trying to think about what's the next step for us, what kind of programming are we going to do, how are we going to define ourselves going forward. I start thinking about the individual issues that plague women and trans writers at different points in their career. It's harder for them to get the first production because it takes longer for institutions to perceive them as ready than it does their male collaborators. There's the issue at mid-career of support for child care or support for other kinds of financial issues Then this late career issue. Just trying to think about the sweep of a career and how we can be the touch point for people at each point in a career. We're hoping to kind of combat that lack of visibility, lack of access, lack of institutional support. We're in this moment right now where folks are aware they should be doing work by women and female-identified artists, but then you see the work going to festivals, to the second stage, to readings or workshops, not getting the same kind of resources, women not being able to get the big bite to do the large budget project on the main stage.
Do you ever feel like there's more pressure or more of a microscope on your programming choices than at theatres that don't have a female-driven mission statement?
I don't know, maybe. I think right now, we should all be investigating those choices and investigating our programming with a pretty serious lens. Nobody's going to give me as hard a time as I give myself about that stuff. Particularly right now I'm spending so much time thinking about, what do I do, how do I make the work we're doing really important, how do I investigate the choices, how do I make sure that we're really serving the community and really telling stories that matter right now? I think it's important for all of us to hold everyone really, really accountable right now.
I wanted to ask a little bit about fundraising too. You mentioned that being a big part of a job. I think it's an aspect that people don't know a lot about and perhaps don't realize that things take a lot of money.
Things take money. Budgeting, and how much money it takes to run an organization, it's bigger than I understood in a really physical way. You understand it in your head, and then you land in the chair where the buck really stops with you and you understand it differently. It really lives and dies on how charming you are on a certain day or how good a case you make in a particular grant. That was an important discovery for me. Also, that it takes longer than you realize. You sort of feel like you're going to make the rounds and do a bunch of grant applications and you're going to talk to some folks and start to grow your board and that you'll figure things out in a couple of years. Really, things take two or three times longer than you think. That was a surprise to me. I think these jobs test your mettle in certain ways. This job requires every part of who I am. You have to bring yourself really fully to the job. Essentially, you tell the story of your organization everyday. You have to figure out how to be good at that, even if you're not necessarily. I always say, "I would be better at my job if I was about 75% more charming or if my social circle were about 75% bigger." In a small institution like this—we have four full-time employees—everybody's working at capacity every second. You are always just trying to be a little bit bigger and a little bit better than you are.
Feeling like this would be better if I was this, that, or the other thing, is something that I'm not sure a male artistic director would feel so much.
I don't know. I actually have never worked really intimately with a male artistic director. I've been really lucky—I worked with Emily Mann, Julia Miles (the founder of Women's Project), and I worked with Lynne Meadow for a number of years. Women who have planted their flag and made huge institutions and made them really successful. I struggled a lot when I arrived here because I started out as a literary manager. I grew into a producer, which is what I do and what I love. My MO as a producer was, I always felt like the more invisible I was, the better I am at my job. Now I'm in a position where if I am invisible, I am ineffective. It's been a real process for me to grow into that position where, in order to be effective, the institution reflects me in some way.
In terms of the economics, do you feel like people are worried about fundraising now more than ever because of what's going on politically? Both in the macro sense of what's going on politically and also in the sense that maybe a lot of people who would normally give small donations are now giving those donations to the ACLU, etc.?
My wife's a journalist, and she's actually written about the way people are responding philanthropically to the current social and political climate. I think the fact that we have a social justice mission as well as an artistic mission actually helps us, because folks understand that we commit to bringing the voices of underserved communities to a really public forum. That feels important to people right now. I think it's a little too soon to say. I think everybody's worried about fundraising at all times. I think our mission feels more powerful and I think people are more aware of why the mission feels important. I think everybody's aware that not everybody's going to have a seat at the table and the places that preserve those access points are going to be even more important. Fingers crossed.
If you could change something about the economic structure of theatre, what would it be?
I came from a working-class background and I've always felt a little outside of the structures of theatre because I don't have those "friends from school," I didn't get a graduate degree. I also don't see a lot of people like myself in the professional theatre because it takes a certain amount of cash to get here. I would like to see more people with a different kind of background in the theatre. I would like to see those stories represented from a place of experience. It was really important for me to produce Martyna's play Ironbound, and that's why I think Lucy Thurber's work is so important. I would be excited by a theatre that provided space for the kid from the public school in the Ozarks. I think it's important, and maybe more important than ever, right now. I think it's not a thing we're very comfortable talking about as a culture. Is that specifically an economic structure of theatre? It's a thing that's important to me. There's a kind of background that most artistic leadership comes from, and I'd be curious what the landscape would look like if that changed a little bit.
Do you have ideas on how to help change that?
I think there's the education piece. I think all of us need to be reaching out into our community and outside of our immediate communities. I think it's hard. This is a business that is all about relationships, and how do we extend those relationships? I think we need to reach outside of our comfort zones in terms of the artists that we give access to. I feel like that's a thing I need to get better at, certainly. When I have 500 people applying to the Lab, folks with a kind of pedigree are going to rise to the top, and how do I get past my own biases in that way? I also think if we don't talk about it, it's not going to change.
In 2017, if you could tell the industry to do one thing to make things better for women what would it be?
Do the plays, dude. They exist. I go to so many things where folks say, "How do we create a structure for diversity?" If you cannot find the plays, you're not looking.
People have been saying that for a while though, but it's 2017 and people still aren't doing it.
Here's the thing: I call the Pipeline Festival the Pipeline Festival for a reason. [You say] There are no good plays in the pipeline? You know what? Here's the pipeline, come and see the plays, come and put that work on stage. I just said, "Listen, we're not going to get to a place where the only female designer in the team is a costume designer, we're not going to do it." All you have to do in the process when you're putting together a creative team is say, "Hey guys, we're not going to get there, let's think a little bit more deeply." If you say that and you believe it and you mean it, then you don't make a creative team that only has a female costume designer. I sort of don't understand when institutions say that they have a value towards racial and gender diversity and then it isn't reflected on stage. I sort of think, "Well if it's not actually translating on stage then it's not of value, right?" Then you need to say that it's not of value. I just don't understand the mysteriousness. Also, if you look at the numbers, the work that does get to major productions by women and female-identified artists actually is very financially successful. There isn't even a financial reason for a barrier. If people cannot find a play by a lady or a lady-adjacent person that they would like to put on their stage, they can give me a call. I've got a nice long list. I'll happily pass it along. The work exists. You just need to make the commitment to put it onto your main stage and provide the same amount of resources that you would for a male writer.
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Making a difference in the lives of people far from home, eight MDC students recently traveled to Nicaragua to volunteer at an orphanage in an impoverished rural village.
Eight MDC students recently traveled to Nicaragua to make a positive impact on the lives of orphans in an impoverished rural village. What they couldn't predict was how forceful the trip's impact would be on their own lives.
This MDC faculty-led service immersion program was organized in collaboration with the nonprofit Panorama Service Expeditions and directed by Dr. Arlen García, associate professor of psychology and student life skills, and Prof. Jaime Anzalotta, who specializes in social work and human services and currently is serving as interim dean of students at Wolfson Campus. The students who participated in this program were active officers or members of the Psychology Club and/or the ASPIRA Leadership Organization at North Campus. Students' pathways of study ranged from psychology and criminal justice to education.
"The purpose of this program was to expose students beyond the classroom while integrating the College's 10 Learning Outcomes, the College's strategic plan for achieving the goal of fostering global citizenship and North Campus' Human Rights Awareness campaign," said Anzalotta.
The main target of the service immersion was Hogar Siervas del Divino Rostro, an orphanage and school in El Crucero, Managua, that looks after 20 children and educates 180 more from the area. MDC students, who made it to Nicaragua through their own grassroots fundraising combined with contributions from the College's Student Life department, brought more than 350 pounds of clothing and school supplies for the children. They applied the lessons in social work and human services acquired at MDC while interacting with the kids in various ways, from playing football to helping them with schoolwork and arts and crafts.
But they also bore witness to the children's day-to-day struggles, including the lack of running water, frequent power outages and a general scarcity of basic necessities. In addition, García and Anzalotta provided psychology and education workshops to parents and teachers in the community. Topics covered included anti-bullying and parenting skills.
"The level of poverty was so humbling," said MDC student Stelzon Anaya. "The orphans were sleeping on wood with two thin bedspreads as mattresses." This spurred the MDC team into action once again. With funds they had collected, they purchased new mattresses for all 20 orphans. They also were able to pay for a new roof to replace the leaky one that was rotting from years of decay caused by sulfuric acid and ash from a nearby volcano.
"When we brought them the beds the day before we departed, it was very emotional," said Anaya. "One boy asked me to hug him. He said, 'Thank you for the bed.' It filled me with joy that we were able to do so much with them, and they were able to teach us so much." The MDC students also painted two murals in a kindergarten and third-grade classroom, leaving the children with encouraging and positive messages to remember.
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text:
Track workers dive clear from train after safety blunder
October 4, 2021 Geraldine Neil
Two track workers had a near miss from a passenger train following a mix-up over line possession.
A Rail Accident Investigation Branch report into the incident in July detailed the circumstances behind the near miss at Eccles station.
The workers were on the westbound track in the early hours under the protection of a line blockage organised by the Controller of Site Safety (COSS).
The pair had been standing on the track to paint a white line along the edge of Platform 2 and had just been told to stop work and were preparing to leave the track when an empty passenger train approached on its way to the depot.
The driver spotted their reflective clothing and sounded his horn. They jumped clear with seconds to spare as the train passed at 69 mph.
The incident occurred because the COSS had given up the line blockage before informing the track workers that they had to move clear of the line and making sure that they had done so.
The work on the platform was being undertaken on behalf of Northern Trains Ltd, the operator of Eccles station. It was contracted to TMT Commercial Contractors Ltd, who planned the white-lining task and employed the track workers.
TMT Commercial Contractors Ltd subcontracted the provision of safety-critical staff and the planning of the safe system of work to Trackwork Ltd. The COSS was a contractor who was supplied to Trackwork Ltd by an agency, Spectrum Rail Ltd. He had been certified as competent to undertake the role of COSS for approximately ten years and regularly acted in the role.
The COSS was also the nominated Person In Charge and therefore had overall responsibility for safely delivering the work.
For a full report into the incident click here.
https://www.drupalcamppa.org/?p=577
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