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The Intellectual
Nonprofit Spotlight: Claris Health Provides Women With Sexual Health Resources
Posted on September 25, 2020 November 23, 2020
byStephanie Taylor
At Darling, we are passionate about cultural, environmental and social issues impacting women and girls. "Nonprofit Spotlight" shines a light on nonprofits that are doing impactful work on the ground level. Each month, we will spotlight a charitable organization in order to educate and encourage advocacy and action.
The word "claris" means clarity or brightness and that is exactly what people receive with Claris Health. In the last decade, Claris has provided services to more than 13,000 women and their families as they make pertinent decisions surrounding pregnancy.
Claris Health is a Los Angeles-based nonprofit Community Care Clinic focused on providing free and affordable medical, mental health and support services to women at-risk of or facing an unintended pregnancy, as well as families with children under the age of 5. Started by a group of women more than 40 years ago, the heart of Claris is to offer care before, during and after pregnancy and sexual-health choices.
Darling got to chat with Claris Health CEO, Talitha Phillips, who was originally introduced to Claris Health as a client. Today, she has served as the CEO for 19 years and is in charge of vision casting, leadership, organizational development and fundraising. Talitha shared about the mission of Claris Health and why she is passionate about the work they do.
Some say that a passion is either something you love or something that breaks your heart enough that you are compelled to change it. What was the passion behind joining Claris?
I think my heart was actually already broken when I first heard about Claris, and they were a big part of my "mending" story. As a young adult, I faced an unintended pregnancy. I felt extremely trapped by my situation and chose an abortion to try to hide and escape. The experience led to quite a few painful years with many more regrettable decisions.
Learning about Claris was the first time I realized that I wasn't alone. I joined one of their support groups and met many other women with unique but similar stories. We processed and, in many ways, we healed together. It changed my life in the most unexpected way, and my heart continued to break for all the other women who had already experienced something similar or who might one day face an unintended pregnancy.
Learning about Claris was the first time I realized that I wasn't alone.
My passion continued to grow as I better understood the complexities of these situations. I got to know and to care for the lives behind the stories. I saw how these circumstances affect not only the women but often her extended family. I witnessed how great the need is for holistic, wrap-around services before, during and after a pregnancy or sexual-health choice. Perhaps the greatest passion that grew in me was to create a place and a model of care that helps people believe that they do not have to be trapped by their circumstances, that their life has incredible value and that they are not alone.
How does Claris uniquely speak to the issue of women's sexual health and provide services for pregnancy and sexual health decisions?
Claris offers services before, during and after pregnancy and sexual health choices. Our West and South LA clinics and mobile medical unit provide pregnancy and STD testing, female health screenings and group-based prenatal care, as well as on-going case management and support through the decision-making process.
In the months and years that follow a pregnancy decision, we provide on-going support through therapy, pregnancy loss and adoption support groups and our parenting program that offers classes, mentorship and material support to pregnant women and families with children under the age of 5. Claris specializes in providing a safe, non-judgmental space for people to explore their options and feel supported regardless of the choices or choice made.
Claris specializes in providing a safe, non-judgmental space for women and their families to explore their options and feel supported regardless of the choices or choice made.
Is there anything exciting coming up with the organization that Darling readers should know about?
On Saturday, Oct. 17, Claris will be offering a unique gala fundraising experience blending at-home parties with a live-streamed gala program and a 24-hour crowdfunding opportunity. Anyone can tune in that night to learn more and all funds raised that day will be quadrupled thanks to generous sponsors. You can learn more at our events page.
What are some practical ways Darling readers can support Claris?
Darling readers can help spread the word and tune into our live gala event. Readers who are local to the Los Angeles area can volunteer with us for food distribution events with our mobile clinic or sponsor a family for our end of year Adopt-A-Family event. For more information on ways to get involved visit our volunteer page.
What is your favorite part of the work that Claris does for women and families?
I personally love journeying with people through the highs and the lows. As a doula, I'm privileged to be a part of so many birth stories. There's nothing more incredible than holding the hand or the leg of a new mom as she hears her baby take its first breath. I love being invited into the moments that change someone's life!
I personally love journeying with people through the highs and the lows.
We've helped plan baby showers and watched weddings. We've celebrated new jobs, new homes and many small and large victories. We've also helped plan funerals, grieved with birth moms who've placed babies up for adoption and come alongside families experiencing homelessness and domestic violence. It's an incredible gift to be a part of such intimate moments of celebration and loss.
What are three words you would use to describe the work you do at Claris?
Care. Community. Value.
To learn more about Claris Health, follow them on Instagram. Also, to donate to the RISE event and help provide resources to women and families, click here for details about the Oct. 17 virtual event.
Is there a nonprofit that is doing important work to support and empower women and girls? Leave a comment below to let us know who to feature next!
Images via Claris Health
Stephanie Taylor
Stephanie, who affectionately goes by Stevie, is a walking paradox. A vagabond soul who craves adventure (she's crossed off 35 states on her travel list) but has a longing for a sense of home more than anything else. A lover of style, but adverse to shopping and price tags. A vegetarian with an appreciation for the smell of bacon. She has lived a number of lives from event assistant to creative writing teacher to the former Online Managing Editor at Darling.
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Allie Marie Smith says:
I'm so grateful for the valuable work Claris is doing. What a worthy cause and wonderful organization.
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Volle maan is de vierde lp van Urbanus en kwam uit in 1978. Tekst en muziek zijn geschreven door Urbanus. De productie is van Jan De Wilde, de arrangementen van Jean Blaute.
De plaat is niet apart op cd verschenen, maar verscheen op de Urbanus Verzamelbox, met uitzondering van het nummer 'De Reutelvogel'.

Tracks
kant A:
1. Plezant Liedje Voor Lud
2. De Reutelvogel
3. Zieltje
4. De Kampioen
5. De Voetbalmatch

kant B:
1. Lieve Jongen
2. De Vledermuis
3. Serieus Liedje Voor Lud
4. Disco-bar
5. De Verloving

Muzikanten
 Urbanus: zang en akoestische gitaar
 Jean Blaute: elektrische gitaar, akoestische gitaar, piano, polymoog en accordeon
 Mich Verbelen: bas
 Stoy Stoffelen: drums
 Lieve Van Steenbergen: bas in 'De Vledermuis'
 Andre Van De Velde: gitaar in 'De Vledermuis'
 Jan De Wilde: Tweede Stem, Negerstem, Enzonogvanalleswa
 Daniel Delmotte: marimba en xylofoon
 Peter Van Eyck: banjo en dobro
 John Sluzny: pedal steel
 Marc Mestrez (Mercine), Nicolas Fissette, François Hendrickx en Edmond Harnie: kopers

Muziekalbum uit 1978
Muziekalbum van Urbanus

redpajama_set_name: RedPajamaWikipedia


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Lupita Nyong'o Opens Up About Embracing Her Skin Color
by Jason_Pham
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January 29, 2018 at 1:08pm PM EST
Emma McIntyre/Getty Images
For Lupita Nyong'o, accepting her insecurities isn't a one-time deal — it's an ongoing process. She recently opened up about lingering insecurities concerning her appearance, including her skin color, and how a part of her "will always feel unattractive."
Related story How to Unapologetically Love Your Body During Diet Season
Nyong'o landed on the topic of insecurities after dishing to The Hollywood Reporter about her upcoming children's book, Sulwe. The book, which was born out of a speech Nyong'o gave about accepting herself and "seeing beauty in [her] complexion," follows a young girl's similar journey to embracing her skin color.
"Sulwe is a young Kenyan girl who, though her name means star [in Luo], her skin is the color of midnight," Nyong'o said. "And she's uncomfortable because she's the darkest in her family and goes about trying to change that, then she has this adventure that leads her to accept herself."
More: Grazia U.K. Apologizes for Photoshopping Lupita Nyong'o's Natural Hair
Please remain seated with your seat belts fastened. The #BlackPanther ride is about to take off! @HollywoodReporter
A post shared by Lupita Nyong'o (@lupitanyongo) on Jan 25, 2018 at 9:36am PST
The conversation led Nyong'o to open up about remaining insecurities with her appearance. Though Nyong'o has progressed leaps and bounds in accepting herself for who she is, she is content with not seeing herself as perfect.
"There is a part of me that will always feel unattractive," she said. "That's OK, because it will keep me grounded. I don't need to be so full of myself that I feel I am without flaw. I can feel beautiful and imperfect at the same time. I have a healthy relationship with my aesthetic insecurities."
More: Brie Larson & Lupita Nyong'o Totally Failed While Presenting at the SAG Awards
No matter how confident you become, insecurities are difficult to shed completely. We appreciate Nyong'o for opening up and showing us that seeing insecurities in yourself is normal and potentially healthy.
Originally posted on StyleCaster.

redpajama_set_name: RedPajamaCommonCrawl


Start with accurate measurements of your Beagle. When you place your order for a Voyagers K9 Apparel breed-specific dog coat, you'll need your dog's weight, length, chest and neck circumference. Watch the following video where Eng of Voyagers K9 Apparel and Greta the Greyhound show you how to measure your dog. After measuring your Beagle, select the dog coat size that most closely matches your Beagle's measurements.
If your dog's chest girth falls outside the parameters of the size you choose, the coat will not fit. Verify the way you are measuring your dog and view our Beagle Size Chart with measuring tips for more information. If your dog has unusual proportions, order a Custom Dog Coat to fit your Beagle's unique body size and shape. If you have other questions, please contact us.
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Finding a quality coat to fit your dog can be difficult. That's why Voyagers K9 Apparel makes quality, breed-specific dog apparel to provide active dogs protection and comfort in the outdoors. Every dog coat we make is cut and sewn to exact specifications that ensure the best possible fit for your Beagle, tailored to the unique size and shape of the breed so your dog feels great! Easy to put on and keep on, we design our dog coats so active dogs can move about freely. Our focus on design, durable construction, and the use of quality materials means your Beagle will enjoy comfortable clothing for many seasons to come. Read on and see how our dog gear protects your best friend for comfort and style in the great outdoors.
Start with accurate measurements of your Beagle. To order Voyagers K9 Apparel dog coats, you'll need your dog's weight, length, and chest circumference.
Before you select a size, determine your dog's measurements. Watch the following video where Eng of Voyagers K9 Apparel and Greta the Greyhound show you how to measure your dog. After measuring your dog, select the dog coat size that most closely matches your Beagle's measurements.
If your dog's chest girth falls outside the parameters of the size you choose, the coat will not fit. Verify the way you are measuring your dog. If your dog has unusual proportions, order Custom Dog Coats to fit your Beagle's unique body size and shape. View our Beagle Size Chart with measuring tips for more information. If you have other questions, please contact us.


Once upon a time, there was a rich merchant with three daughters. The two older daughters were very conceited and not at all beautiful, while the youngest daughter was called Belle because of her stunning beauty. She was a girl with a pure heart, whose kind nature could melt even the coldest of hearts.
The merchant's business began to deteriorate little by little, until one day he and his daughters had to leave behind their life of luxury and move to a small cottage. The worst thing about having been accustomed to a finer life is that, if you become poor, you don't want to adjust to a simpler life. This was the case of the two older daughters of the merchant, who didn't just continue to buy expensive dresses but also refused to help their padre with housework. Unlike her sisters, Belle was a simpler girl and helped her father as much as she could.
Once his work was finished and he was returning home, the merchant got lost in the forest, and decided to climb the tallest tree he could see to try to find the path home. He didn't find the path, but instead saw a grand castle, and decided to go there to ask the owners for help. When he arrived to the castle, the doors were open, and he went right in. He ate dinner and slept in the softest bed in the castle but, strangely, never saw a single person.
The next morning, after waking, he found breakfast was ready and waiting to be eaten. He later decided to take a stroll through the lovely castle garden. It was there that he saw a beautiful rose and remembered the gift for his youngest daughter, and reached down to cut the rose. It was then that a monstrous beast appeared, yelling at him, "Accursed! I have given you food and a place to rest, and you repay me by stealing my roses!" The beast sentenced the merchant to death, but after some reflection, decided to make a deal.
"I forgive you, but only in exchange for sending me the first person who comes to greet you when you return home". The merchant agreed, thinking that when he arrived home he would send nobody, as the beast didn't really know where he lived and he could easily save himself.
When he arrived home, the merchant told everything that had happened to Belle, who was the first to come out to greet him. The merchant told her that she shouldn't go through with it, as the beast didn't know where they lived, but the girl was so pure of heart that she decided to go to the castle to keep her father's promise.
She met the beast and at first rejected him, but decided to honor her father's promise and stay to live by his side. As the days passed, she grew fond of him, since he treated her like a queen, like no one else had ever treated her. But when he spoke of love, she withdrew from him.
Some time later, Belle learned that her father was ill, and she asked the beast if she could go to see him. The beast agreed, giving her a ring with magic powers that would help to make him well again. Her father improved just from having his youngest daughter by his side, and Belle did not return to the castle until several days later, when she realized she really missed the beast.
When she returned to the castle, she found that the beast was dying of sorrow. Belle kissed him and said, "I love you!" and suddenly the beast began to turn into a handsome man. They married and had several children.
Info: This book, written by Madame Le Prince de Beaumont is really lovely as it has an important message: the most pure beauty is that which cannot be seen. This beauty is none other than the beauty of the good hearted.


We were appointed by the client to take the approved planning drawings through to completion on site. We worked with the original design and added production information to achieve building warrant and construction details. We carried out site inspections from inception through to completion, working closely with the client and contractor to realise the project.


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Whole Note
Artist's Interviews
Sideman Interviews
CD Releases & Charts
Euge's latest album hit the top of the charts upon release and was voted album of the year by the prestigious JazzTrax. Two tracks have already done well, the title track hit #1, and had the second most spins (times it is played on radio and in public) for 2007, as Chillaxin from Just Feels Right did in 2006. Baby If You Only Knew was chosen the Jazz Trax Vocal Song of the Year and has continued to chart proving once again that Euge is always in the groove. Known for delivering one hit after another he has delivered another home run! His enthusiasm and passion for all of his projects is more evident in his live performance where he has learned to read his audience and tailor the performance to them.
Writing, arranging, and programming almost every track himself, Euge's accomplishments have earned him a slew of awards including, Radio and Records Breakout Artist of the Year, JazzTrax Debut Artist, and a Prism Award nomination. Co-producing with the award winning Paul Brown, he continues to receive such accolades as his career unfolds.
Steven Eugene Grove was born on November 27, 1962 in Hagerstown, Maryland. His Mom played piano and led the church children's choir, so it was natural for Euge to gravitate towards music. Euge started singing in the choir at age five, taking piano lessons at age seven and the started saxophone at nine in the school band, all with a strict classical influence. Introduced to jazz in high school, and then at the University of Miami, School of Music in the early eighties, Euge incorporated his vast classic knowledge with jazz to develop his own signature style.
SJN: People always ask about your stage name and we have heard several different versions, so we thought that we would ask you for the record?
Euge: My middle name is Eugene so it got shortened to 'Euge' by my brother in-law about 20 years ago and it just kinda caught on. Then 'Groove' is just a mispronunciation of 'Grove' because I was working a lot in Europe and I guess in the romantic language they say 'Grove' and they pronounce it 'Groove'. So the 'Euge Groove' thing just came out of that.
SJN: Do your friends call you Euge or Steve?
Euge: 'Mr. Groove' (laughs) I have some friends that call me 'Steve', it's kind of a mood thing, you can change the mood by what name you go under.
SJN: What does your wife call you?
Euge: 'Honey', (laughs) it's the same thing, she'll call me 'Steve'. She'll call me 'Euge', she'll call me 'Grover', that was my first nickname as a kid, 'Grover'.
SJN: Your fifth CD in seven years, Born2Groove, is doing very well. It was named Jazz Trax album of the year, among other accolades. Things are going well…
Euge: Yeah, it's scary. I don't know what to do next, normally I have a plan as to what to record next. Everybody's asking me when the next CD is coming out, good Lord this one hasn't been out six months and people are asking when the next one is coming out. It feels like doing five CD's in seven, eight years time, it was kind of a marathon. That's a lot of work because you have to write the CD, I write material all the time, six months to write the CD, then producing and making the CD, then touring to support it. After a couple of months of touring to support the CD you've got to start working on the next one. I can't really enjoy the moment and kind of take it all in. I think after doing this one, I kind of beat myself up in a lot of ways making this record and really trying to stick to certain things and not let things slide that I normally would let slide and it kind of beat me up physically and mentally. So I'm just kind of happy taking time for a second and seeing what's next.
SJN: You again hooked up with Paul Brown and you used HD audio for the first time. What did you think of this new format and will you use it again?
Euge: Yeah, I'll definitely do that. I was never a big fan of digital stuff before. I've done my first couple of albums in just straight analog, I've always been an analog guy. I like working and editing on the computer, I do all my writing on there and stuff, but I've never been crazy about the sound of it. The third album, we did that completely in ProTools, that was the old system, and it felt like something was always missing for me. So we went back to all analog again for the fourth album and then this one, finally the computers were up to speed to be able to do the whole album in HD because it really is processor intensive. To me it just sounds beautiful, it's just so open and clean and a really distinct sounding. It presented a lot of troubles, there was a big learning curve for me on how to deal with that, now I feel comfortable with it, I'll never go back.
SJN: We notice that you have always stretched the envelope with choice of guest artists on your CD's. You obviously do this on purpose, do you feel it has enhanced your success?
Euge: I don't do it on purpose to be honest, I really don't. In fact, compared to a lot of guys I have less guest artists than most. I've never picked someone for namesake, like this will be beneficial to me if I only had so and so, it kind of has to make sense musically for me to have the person on. If Peter White comes on I can't think of a better nylon string guitar player than Peter White, so you call Peter White to get that done. This time some of the singers, we agonized over, especially 'I Love You More Than You'll Ever Know', that vocal track we agonized over which singer to have. There were ten or fifteen singers that we had considered and really thought hard about getting to do the track, it is a very special track, covering something that Donny Hathaway made famous is hollowed ground and to get Ollie Woodson to do it was totally the right call. He was the right man for the job. The song I wrote with Jeffrey Osborne, that was actually going to be an instrumental song but I just kind of throw it out to him by chance, he's such a great writer and it kind of reminded me of that period when he was doing LTD, that kind of vibe and he just killed it so bad, I can't imagine anyone else doing it. It's never been grabbing someone for namesake, it's always what they musically do, the right person for the job.
SJN: You have worked as a sideman for some of the best in the industry, Tower of Power, Tina Turner, Richard Marx, Joe Cocker, Huey Lewis, Bonnie Raitt, Aaron Neville, the Eurythmics and Elton John, …which artists influenced you the most?
Euge: Probably the ones I worked with long enough. You mentioned some of them where I was in and out of the studio and barely shook hands, I really didn't get a vibe off them. Doing a year long tour with Tina Turner or four world tours with Joe Cocker you get to be kind of intimate with these people. Sharing a tour bus, you really get to know them and see what they're about. They always have great lessons to teach you, even if they don't know they're teaching. It's always been my thing to really pay attention and try to analyze what they do and I really learned so much from these guys. Tina had such class and how she meticulously controlled everything, she wouldn't let things slide, she knew what she wanted and she was very diligent about getting her way, but making everyone comfortable about that. And Cocker, he's just pure passion. Richard Marx was an amazing songwriter and really analyzing how he went about writing songs. They all had lessons to teach.
SJN; What other artists have influenced you in your career?
Euge: I guess when I was growing up and studying and listening to different sax players, through my parents and geographically where I lived, back in Maryland, growing up, there was a lot of country music and one of the first sax players to influence me was Boots Randolph. Everybody thinks of him as Yacketty Sax, he was such a master technician of the horn, an amazing player, impeccable intonation, technique, and a lot of things to learn from him. I studied a lot of classical music when I was growing up and there was a French saxophonist, Marcel Mule, who was incredible, he sounded like violas playing the alto, just a beautiful tone and technique. Later, as I got into college I kind of got more into the rock and roll guys. I didn't discover the straight ahead jazz guys till much later in my life, the Coltranes, or Charlie Parker, those kind of guys, not until much later, out of school, I kind of missed that first, I always went for the pop sound. I always went for guys like King Curtis or Jr. Walker, I loved Jr. Walker.
SJN: You have replaced several renown artists in bands, Richard Elliot in Tower of Power, Dave Koz in Richard Marx. What an honor, large shoes to fill, how did you handle that?
Euge: Back in those days it was probably large hair to fill, (everyone laughs) you've got the right hair, it was all hair bands back in the eighties. It was cool, again, I learned a lot from those guys, coming in, anyone who has had a gig for a long time like that, they had it for a reason and the smart man would figure out what that reason was and that's what I always did. I always tried to figure out what it was about Richard Elliot that made him so successful in Tower of Power. I learned a lot from him, I emulated him a lot and still to this day there are a lot of licks I steal from Richard Elliot. That's the key to it; it's trying to figure out what you want to keep and what you can bring in new.
SJN: You have played the largest venues in the world as a sideman and opening act, and medium to small venues as a Smooth Jazz headliner. Which is more fulfilling?
Euge: I think, different venues for different things. It's usually the people, I love the smooth jazz cruises; that has to be my favorite thing. You're pulling people from all parts of the world that are really tuned into the smooth jazz scene. They know everything and they're an easy crowd and a really tough crowd all at the same time. They want to be entertained but they know if you messed up, they know that something's not right and they want it a certain way, that makes it a great gig. I love those venues, it's a great sized venue, about a thousand seats and to me that's the perfect sized venue. Wineries are great too. People buy the season concert tickets and you have a community of people that are so passionate about the events that happen there that they're season ticket holders. It's more about the people than it is about the location. . Being here at Yoshi's, what a great environment, there's not a bad seat in the room, the sound is really good here , the stage is the perfect size and the sushi is unbelievable.
SJN: While in college, you had a summer job at Disneyland. What a dream job! This must have been a once in a lifetime experience…can you tell us about it?
Euge: (laughs) There's a lot of aspects of that summer of learning, some of whom were the five cent Pabst Blue Ribbon nights that we used to go to in downtown Orlando, those were a lot of fun. Disney had a lot of educators come in and teach us about the business. They were really doing it to kind of groom college kids to maybe come work for them after they graduated. There was a lot to learn about the music business there.
SJN: You of all artists know the power of the internet…..
Euge: You're referring to the songs I put up on MP3.com back in 1999! I was on the road with Joe Cocker that whole year of 1999 and kind of watching MP3 unfold and the possibilities of it. I really liked it. I did my entire first album and I was waiting for Paul Brown to mix it. He was really busy at the time and it took a couple of months to get with him so I put the songs up on MP3.com before that. That was the first time that I officially went under Euge Groove and it started taking off. I was getting tons of downloads, of course they were free at the time. You could buy the CD all over the world, it was really exciting. Now I think it's a complete mess, the internet is a complete mess and it has pretty much single handedly destroyed our business.
SJN: Do you think that CD's will disappear completely with the younger generation not having a need to hold it and look at the cover art?
Euge: I think that most definitely the CD will disappear, it should have disappeared a long time ago. The fact that it has stayed around this long, I can't for the life of me figure out why. It is such an antiquated medium, it makes no sense. You could put it on a flash drive or something, there are so many other mediums that are so much better and less destructible. You can scratch a CD and it's done, I never understood how it stuck around this long. I think people are always going to be into the artwork, there's going to be people who want it and people who don't care. I think it's only going to get better. Soon we will get everything on flash drives and display all of the artwork right on whatever player it's on.
SJN: What about the formatting of the CD where you have a dozen or so songs that often times tell a story. Do you think that formatting will disappear ?
Euge: I don't think so, it's kind of hard to say but I think that the tradition of making an album, of shooting for a sixty minute album, fifty or sixty minutes of music to try and tell a story will stay around. Certainly a lot of kids are picking and choosing and cherry picking what songs that they go after. I think that format will stay around. I think that some of these artists that come out with sixteen or seventeen, eighteen songs, that's crazy, there's going to be a lot of garbage in there and often there is. It's like everything else American, we always want a lot more, it's less of a quality and more of a quantity.
SJN: What is your take on the future of the music industry?
Euge: Hopefully it's going to be good, it's in really bad shape right now. The concerts and touring, all that stuff is great, but the record industry per se, records and radio too, they're all going through the same thing, it's turmoil right now. The whole essence of intellectual property, whoever owns it should be able to control it, it's a joke, I don't understand how songs can be passed along the internet for free for so long. The only way it's going to change is if the industry puts mandates on it and forbids it. I don't know if we'll ever get back to that point.
SJN: During the making of, Living Large, you sold your house in LA and moved the family to Italy to work for one of the most successful Italian singers and songwriters of all time, Eros Ramazotti. Please tell us about this experience?
Euge: It was great, it was great to pull the kids out, they were both in Jr. High, which is a really awful time for kids to be in school, so it was a really good time to pull them out. It was something we really wanted to do, it really shook our lives up, made us look at life differently. We got away from the TVs and video games, we had no car so we were walking everywhere and taking the bus. We really immersed ourselves into another culture and it certainly has forever changed us and we can't wait till we get to go back.
SJN: We have heard about your wonderful family, wife Bane, and kids, how are they doing?
Euge: Everyone's wonderful, no complaints.
SJN: The kids are how old now?
Euge: My oldest (Dax) is seventeen, he's out working with me, he's here today. I have a sixteen year old (Canyon) and my daughter (Lilah Belle) is ten, almost eleven.
SJN: Euge, when you do have free time, how do you spend it?
Euge: I'm on the board of my kids lacrosse board, that's all non-profit and I spend a lot of time dealing with that. We have eight hundred kids in that so it takes a lot of time. I practice diligently everyday and there's a lot of business and things going on, so not quite as much free time as you may think. I have more time at home than I've ever had before, from not doing the rock and roll tours where I'd be gone for months and months on end. The days are pretty full.
SJN: Do you have any hobbies ?
Euge: I don't, when the sunshine comes out I love to go to the beach, that's very relaxing for me. I love to cook.
SJN: Have you started working on a new CD?
Euge: I'll have to have something out the first quarter of next year. It's about every eighteen months.
SJN: What's next in your life, anything exciting coming up?
Euge: Lots of exciting things, lots of gigs coming up this year. I love going out and playing, each year I do more and more live gigs and it's fun for me, and I have two smooth jazz cruises coming up.
SJN: Thank you for interviewing with us, good luck and we hope that you have a great 2008.
Euge Groove
Yoshi's, Oakland, CA
March 8 Boulder Station Casino Las Vegas, NV
April 4 Rams Head Annopolis, MD
5 Berk's Jazz Festival Reading, PA
20 Seabreeze Jazz Festival Destin, FL
May 18 Newport Beach Jazz Festival
Hyatt Regency Newport Beach, CA
June 6 Hyatt Regency Newport Beach, CA
7 Thornton Winery Temecula, CA
22 Big Bear Jazz Festival Big Bear, CA
July 12 Hyatt Wastlake Plaza Westlake Village, CA
15 Wiggins Park Camden, NJ
25 Norfolk Jazz Fest. Norfork, VA
26 Lake Tahoe Music Festival Homewood, CA
August 9 River Raisin Jazz Fest Monroe, MI
10 Long Beach Jazz Festival Long Beach, CA
October 18 Catalina Jazz Festival Catalina Island, CA
November 2-9 Dave Koz and Friends at Sea Ft. Lauderdale, FL
22 Boulder Station Casino Las Vegas, NV
Born2Groove
Narada Jazz
Just Feels Right
Livin' Large
Find out more about Euge Groove at www.eugegroove.com
Yoshi's now has two locations, Oakland and San Francisco
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Appointments are definitely recommended; in that same regard walkins are always welcome!
Hi @tamelalee, I hope you are having an exquisite Sunday afternoon!
Stop by The Love Ranch North- your Pakistani Princess awaits!


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Home Entertainment "Adventure Time" returns, this time on HBO Max
"Adventure Time" returns, this time on HBO Max
Photo: YouTube | KittenWispy
HBO Max is pulling out all the stops when it comes to its animation ventures. The upcoming streamer dropped exciting news days after announcing its recently inked deal with Japanese animation studio, Studio Ghibli.
The streaming platform will now be home to the hit animated series "Adventure Time." HBO Max will be hosting four one-hour specials from Cartoon Network Studios. Two of which will be released exclusively on the video service.
Welcome back friends! Come along for new specials, Adventure Time: Distant Lands, premiering in the U.S. exclusively on @hbomax in 2020 🐝✨💕#CartoonNetwork #AdventureTime #HBOMax #TheFunWillNeverEnd pic.twitter.com/hMrcydEmcc
— Cartoon Network (@cartoonnetwork) October 23, 2019
"Adventure Time: Distant Lands" is the collective title for the lineup of specials. It will be bringing fans back to the enchanted Land of Ooo as Finn the Human and Jake the Dog continue their adventures. Familiar faces like Marceline, Princess Bubblegum and Beemo will also be joining the two best buddies.
Fans just couldn't get enough of the show after it wrapped up its 10-season run on its home network. The show aired on Cartoon Networks from April 5, 2010, before it ended on September 3, 2018.
In a statement to Variety, the streamer's head of original content Sarah Aubrey said about the matter:
"The enchanted world of 'Adventure Time' has mesmerized viewers and critics alike as Finn and Jake right wrongs and battle evil. The addition of these specials to the HBO Max kids and family programming lineup is sure to make kids everywhere say 'Slam-bam-in-a-can.'"
The first two specials, titled "BMO" and "Obsidian" are slated to debut in 2020. "BMO" will follow the endearing yet quirky sentient video game Beemo. On the other hand "Obsidian" will be seeing Princess Bubblegum and Marceline team up once again as they continue their journey to defend the Glass Kingdom.
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How Complete are Newspaper Corrections?: An Analysis of the 2005 "Regret the Error" Compilation
Media blogs increasingly have held traditional news outlets accountable for their errors. One such Web site, "Regret the Error" (http://www.regrettheerror.com/), holds media accountable for their corrections.
With all the talk lately about "relevance" as newsrooms become "information centers," we might acknowledge that accuracy plays a role in relevance and that information is correct or incorrect. To be relevant (and informative), newspapers also must be credible.
What the Internet does best is present a snapshot of the world or some aspect of it at any day or time. This study, then, is a snapshot of the state of corrections in U. S. newspapers based on the comprehensive work being done on that topic by Canadian freelance writer Craig Silverman.
Silverman, who founded his blog in October 2004, maintains in an e-mail interview that "[c]orrections are part of the fabric of journalism, yet they have become so entrenched that no one thinks to question their efficacy. It occurred to me that they were ripe for scrutiny, and a blog would be the perfect format to reprint the best/worst and start a discussion about errors, accuracy and corrections." While media blogs routinely question the credibility of newspapers, Silverman's aim reportedly is to enhance the practice of journalism. "Only by acknowledging the current flaws within news-gathering, reporting and publishing can we find a higher standard to strive for," he states, noting that the converging media environment demands accountability.1
Since its launch, "Regret the Error" has gained international recognition for its meticulous scrutiny of corrections, with acknowledgment as a Yahoo! Pick, a USA Today Hot Site Pick, a Good Housekeeping Site of the Day, and Forbes "Blogs that Matter" in that magazine's respected Best of The Web awards in summer 2005. Readers of Silverman's blog can send in published corrections, especially from local and smaller news outlets, which he then fact-checks. Additionally, he scans the corrections pages of 80 different media outlets and uses Google keyword tracking and Factiva database searches to read between 200 and 350 corrections daily and states, "I am fast approaching my 100,000th reading of a correction."
Despite the volume of corrections that Silverman analyzes, he notes that "corrections themselves differ from one publication to the next because there is no universal standard. For example, everyone is aware of the need for an expression of regret or apology at the end of each correction, but how this is actually printed is left to the respective publication." Some publications always state the incorrect information within the correction, he notes, "while others simply note the fix. Some place corrections within the section where the error occurred; others put them in the same place every day. If a correction was delayed, some publications will note why; others just run a normal correction. This lack of consistency can make the process seem haphazard."
In particular, Silverman observes that corrections increasingly lack explanations about how the error occurred or the steps taken to prevent errors in the future, leaving readers with the impression that the journalist's main concern is defending the publication rather than owning up to any error. This is why Silverman has called for "a wholesale reevaluation of how publications prevent, correct and communicate errors to their readers."
To evaluate the current state of newspaper corrections, we compiled criteria that indicated completeness, indirectly based on a watershed newspaper study done in 1986 for the Gannett Center for Media Studies by D. Charles Whitney:2
1.Identify the error (what it was, when/where it occurred).
2.Correct the record.
3.Do so as soon as possible.
4.Do so prominently.
5.Provide an explanation to the audience or clientele.
6.Disclose how the error could have been avoided and/or how it will be prevented in the future.
7.Issue an apology to those damaged by the false disclosure.
Inasmuch as this study focused on newspaper corrections posted on "Regret the Error," the list of criteria was sent to Craig Silverman for his opinion. He agreed in an e-mail that the list constituted completeness.
Data were gathered using a content analysis of U. S. newspaper corrections compiled during 2005 by "Regret the Error." The blog also compiles corrections found in other media, older corrections, articles and interviews. However, our study focused only on newspaper corrections so the unit of analysis was individual U. S. newspaper entries recorded in 2005 by this Web site. Some 631 corrections from 70 newspapers were examined.
We also classified errors into the categories of "objective" and "subjective." Objective mistakes contained factual or mechanical errors, such as misspelled names or misplaced headlines. Subjective errors were omissions, assumptions or errors in judgment. Fabricated/plagiarized material was placed in the subjective category because it reflected poor judgment, although examples may contain components of each category.
Limitations of the study obviously involve how Silverman searches for and compiles corrections. Beyond that, he noted in an interview, some publications, such as the Orange County Register, only place that day's correction on their corrections page and then remove it the next. Other newspapers keep a week's worth of corrections online, while still others keep it for a month. Many newspapers keep corrections permanently online, although they often charge for items in their archives after a certain amount of time. According to Silverman, "This scattered, non-standardized reality is unfortunate and demonstrates that the industry has not created an accepted manner for displaying and archiving corrections online."
Moreover, he notes, some publications archive corrections separately or link them to certain stories online. The New York Times and Washington Post place the correction within the article online and in the archived version of the article. Corrections are also placed on a static online corrections page, and each day's corrections are also archived as a separate article. This approach is the most comprehensive, states Silverman, who adds: "Yet I see many newspapers that will post a correction online and then neglect to correct the story itself. Many do not archive corrections on their own, which is also unfortunate."
Additionally, his research shows, some newspapers only publish corrections online for stories that are placed online. Some only update their online corrections every week or every few weeks. "The reality today is that online corrections are handled very differently across the board."
Naturally, these variables limit our study but do not negate its importance, primarily because "Regret the Error" remains the only nationwide barometer of major newspapers' treatment of corrections. As such, by compiling a year's worth of data, this study is as complete a snapshot as possible given the varied and scattershot print and online correction practices of newspapers.
The results illustrate a lack of consistency and the need for universal standards. Objective errors were the most
prominent, accounting for 83.7% of the sample of corrections. Subjective errors constituted 17.1 % of the total number of corrections (see Table 1). The location where the error occurred (article, headline, etc.) also was specified in most of the sample (see Table 2).
Javier Garcia-Albea
Both types of errors were most commonly present in articles (stories and reports) and editorials and columns. Interestingly, errors made in headlines, reviews, illustrations, and obituaries accounted for 20% of the total locations (see Table 2). In addition, 24 of the corrections included mistakes that happened in two places within the same issue; but only two corrections referred to an error found in three or more places.
When specifying when the error happened, only 30% identified the exact date (mm/dd/yy) of the mistake. More commonly, newspapers included a reference to a day of the week (140), "yesterday" (72), or "today's" errors (8) (see Table 3).
Some 60% of the entries included either section or the page number (the only identifying information in 91 instances). It is worthwhile to note that 28 errors occurred on the front page (see Table 3).
Silverman has asserted that newspapers often do not repeat the specific error but merely fix it. We found this conclusion not to be entirely accurate, as only about one-fifth (19.2%) omitted the original mistake with 80.8% identifying it (see Table 3). Most of the corrections were written to fix a single error. However, in 72 instances, or 11.6% of the sample, the correction was used to fix two mistakes and in 7 cases (1.1%) to correct three or more errors.
Rarely did the correction contain information about who discovered the mistake. Only 9 corrections credited a particular person for informing the newspaper about the error. On four of these occasions, readers alerted the medium. Three times a source contacted the medium. Police and another newspaper contacted the medium once apiece.
Corrections were also categorized based on the information cited to fix the error (see Table 4). Most of the time, and especially when dealing with factual errors, the corrections presented the right information as it should have been published (71.6%). Newspapers sometimes published a "clarification" to accompany the correction (5.9%). For subjective mistakes, the most common way to amend them was to publish a clarification (13.6%). On 4 occasions, the newspaper decided to publish an entire new story. Surprisingly, almost 5% of the corrections simply identified what was wrong and neither included the correct information nor provided a clarification.
While the majority of corrections do identify factual characteristics of the error, such as date, section, or location, most of them leave the question of how the error happened unanswered. Only 160 out of the 631 corrections explained why errors occurred: Editing and reporting were the most common mistakes followed by errors due to incorrect information supplied by a source (see Table 5).
A characteristic of almost the entire sample was the absence of information about how the error could have been prevented, and/or how it could be avoided in the future. Of the 631 corrections, only 10 included how the error could have been avoided (see Table 6) and only 9 how the paper anticipates similar errors will be prevented in the future (see Table 7).
Based on this 2005 sample, newspaper editors accept corrections as an important responsibility to readers that also serve to increase the newspaper's credibility. Corrections tell the readers that accuracy is important enough to call attention to errors and correct them. The corrections found on this Web site predominately referred to errors classified as factual or objective, and referred to very few subjective errors. The most likely reason for this is that objective errors are easier to identify and correct. It takes very little time and space to correct a wrong name or number. The subjective errors based on wrong assumptions or misguided suggestions, require more space and time to explain. In fact, some subjective error corrections require a complete rewrite of an article, which is something this study found happening only four times, or less than 1%.
Issuing an apology is so fundamental that "Regret the Error" is named after it. Apology or regret was expressed in only 24 instances (4%). The question of why it is so difficult for newspapers to apologize is the subject of much discussion. In some cases the absence of an apology might be traced to the advice of lawyers. However, in many cases the origin of the errors found in this and other studies is more likely to be attributed to someone or something outside of the newspaper or worse, to something "inadvertent."
Inadvertent errors on occasion can be viewed as negligent, something the editor or reporter should have known but overlooked. The problem with these substitutions for an apology is that, no matter with whom or where the origins of the error lie, mistakes more often than not track back to the actions or inactions of reporters and editors. As such, no justification can be considered a replacement for a clarification or, in the case of false information, an apology.
Also noticeably absent in the vast majority of cases analyzed was providing a reason why the error occurred and how it could have been avoided. To the extent that journalists attend to corrections, information about how the error could have been avoided and prevented would be valuable not only in terms of accuracy and credibility but also in the training and continuing education of journalists. It is logical that specific information about corrections is something that readers would want to know, particularly coming from a business based on the public's right to know. Such introspection on the part of the newspaper demonstrates to the reader the recognition that an apology without self-examination is incomplete.
Also of concern in this study were 9 cases of plagiarism and 3 cases of fabricated information. A stark indication of loss of credibility is that the number of newspapers correcting plagiarism occurs as often as corrections explaining why any sort of error had occurred. A discussion about plagiarism and fabrication is beyond the scope of this study. Suffice to say, however, that some errors needing correction are worse than others, and incidents of plagiarism and fabrication damage credibility far more than such mistakes as a misidentified job title or even a wrong attribution.
Newspapers generally performed well in correcting the record, in varying degrees and ways. For example, the overwhelming number, 575 (91%), corrected the record by publishing accurate information or providing clarity or both.
The seven components of completeness in corrections presented here can provide guidelines for newspapers and other media to improve the process and effects of corrections. As D. Charles Whitney states in his 1986 study, "any good corrections policy should include a systemic recording and regular review of corrections."3 Our recommendations embrace and go beyond Whitney's, focusing on completeness and transparency. Editors or ombudsmen should keep detailed records not only of corrections but also of their completeness. Monthly and yearly round-ups in columns detailing and regretting those errors also would have audience appeal and should have the cumulative effect of re-establishing credibility and re-instituting a culture of high standards and accountability in the newsroom.
Journalists take pride in holding public officials accountable. Reporters and editors can hold themselves accountable, not only by having their errors identified, corrected, explained, prevented and regretted in a timely and prominent manner, but also by publishing or posting:
The types of error (objective or subjective).
The number of errors presented in weekly, monthly, and annual round-ups.
The number of errors in each section of the newspaper (e.g., national, metro, business, sports, etc.).
Results of unannounced post-publication spot fact-checks in each section.
"Accuracy barometers" with graphics showing increases or decreases over time in number of errors needing correction.
We recognize that newspaper staffs, not to mention unions or organizations that often represent them, might object to publishing journalists' names and the number of errors committed by each. At the least, our guidelines can be applied internally, reducing the incidence of error.
Newspapers can also enhance credibility by rewarding reporters not only on "productivity" but on "accuracy," too, assessing performance based on the number of corrections, with those having fewer corrections receiving recognition for a job well done.
As our analysis documents, newspapers neither have become more vigilant nor transparent since Whitney's study in the mid-1980s. A communications revolution has occurred since then, expanding access to news available (online, in print, or in the broadcast/cable media) with editors struggling to integrate and "converge" media during an era of corporate downsizing. (The correlation of newsroom reductions and number of corrections annually per outlet can be the focus of a future study.)
In the end, as this study also demonstrates, the importance of complete corrections in advancing the credibility of newspapers is surpassed only by the importance of thoughtful evaluation of why the errors happened and the ways future errors might be prevented.
1 The Idea Grove, "Media Orchard Interviews Regret the Error's Craig Silverman," 13 January 2006; retrieved 16 March 2006 from the World Wide Web: http://www.ideagrove.com/blog /2006/01/media-orchard-interviews- regret-errors
2 D. Charles Whitney, "Begging Your Pardon: Corrections and Corrections Policies at Twelve U. S. Newspapers," Gannett Center for Media Studies, 1986.
3 Whitney, p. 13.
Michael Bugeja and Jane Peterson are director and associate director, respectively, of the Greenlee School of Journalism and Communication at Iowa State University. They may be reached at This email address is being protected from spambots. You need JavaScript enabled to view it. and This email address is being protected from spambots. You need JavaScript enabled to view it.
The above article was published in Media Ethics, Spring 2007 (18:2), pp.7,20-25.


The End Of An Era….
Any how, we are selling our house. It makes sense for us to do it for a number of practical reasons, but it is still like admitting that we aren't going to be going back to the mountains… ever. Of course I know this really. I mean, we have the farm, I have a job in town, we have made friends and put down roots here. We are here to stay, and I have known we are here to stay for over three years.
I think Country Boy have would have happily sold the house several years ago, but we held on to it for my benefit. So I could get used to the idea that I'm not going back.
I'm not really a sentimental person. I don't need to keep lots of objects given to me by loved ones. My memories are enough. But there is a little part of me that is sorry that we will no longer have our house in the mountains. With my parents and sister still there, as well as many friends, we will continue to visit often, but I guess I no longer have a mountains home.
I know I keep coming back to the idea of home on this blog. Home is a feeling. It is where my loved ones are found. It's our refuge from the busyness of life, and where our lives happen. So I guess this farm is now home. Despite the many things I may never understand about it. Its' quiet, yellow summers, and freezing cold winters, its' old farm house and big garden, the wide open spaces, and the long drives to anywhere.
What is home to you?
I have had the same feelings of joy of the new life and the sorrow of letting go the last part of the old. I still go back to my old house in my dreams at night sometimes. Home is a safe haven, place where you can be you and always appreciated the way you are. I have always kept my doors open and also in our new home since 2009 – my country life experiment:) – for friends to come and to stay, too, if they need a safe haven, too.
Probably…. I should change the name of my blog, but what too???
Mum and dad had adjacent houses at Lawson. One was built just after 1900 by friends of both sets of grandparents. The other was new on land next to the old place where we had holidayed since I was a child. I had no problem with Mum selling the new place but the old place was sold by my sister with no reference to the rest of the family. My family would have bought it, not just for the memories but also as a little holiday base. One bedroom, front and back verandah, kitchen with fuel and electric stove. Bathroom was a later addition outside down the stairs. I still have problems letting that place go.
Hope your house sells quickly while prices are still high.
Does this mean the country life experiment is just country life now?
Your blog does have a "home" feeling to me. Best of luck with the sale. I have moved so many times now, my idea of home is where my family is.


More than six centuries after the rodent-driven bubonic plague nearly wiped out Europe, you'd think science would have found a sure solution for vermin, but they are still around.
In fact, if the world were to end in a nuclear conflagration tomorrow, three organisms would survive — the real Axis of Evil: cockroaches, lice and mice. So we continue to fight rodents as best we can.
When our cat died and mice took shameful advantage of the situation by showing up in our garage, I did what any self-respecting homeowner would do and went after them.
I am no stranger to doing battle with rodents. I used to live in South America, where I once caught a monster house rat that measured — sit down if you are standing up — 18 inches from nose to tail tip. I almost needed a tractor to haul it out.
So when I discovered mice in my garage, I laughed at the diminutive creatures and headed off to a hardware store to get some traps.
There, I made a startling discovery: A whole lot has changed in the mouse trap world since my trembling fingers first splayed open the steel snap trap I laid for that South American beast.
Namely: We no longer seek to utterly destroy mice. Considering all the grief and pain rodents have wreaked upon the earth, total annihilation is my earnest personal preference. But judging from the traps being marketed today, it's apparent we now have mouse huggers among us who would treat mice more affectionately.
There among the traditional snap traps that kill mice instantly were instruments of peace: scent repellents that compassionately keep mice at bay with odors; sonic repellents that use sound to tenderly suggest rodents stay away; and most disturbing of all: catch-and-release traps.
I know we live in a catch-and-release culture when it comes to fly-fishing our Montana waters, but I didn't know it now applied to mice.
So this is what our society has come to: You don't kill mice, you catch them in a nice plastic house, then get in your car, drive 2 miles into the countryside, and lovingly release one of the world's most prolific killers into the wild.
I can bet you our ranchers would not be too happy with the catch-and-release approach — they have enough problems with barn mice already.
And I'm not too happy, either. If you're going to trap mice in a mouse doll house, for crying out loud, don't go releasing them near my home.


In recent years there has been a surge of interest in affect and emotion. Scholars want to discover how people are moved, and understand embodied social action, feelings and passions. How do social formations 'grab' people? How do roller coasters of contempt, patriotism, hate and euphoria power public life? This book systematically reviews research on affect and emotion in neuroscience, social psychology, sociology, and political science. It develops a critique of the 'turn to affect' and argues for an approach based on affective practice. It provides new analyses to explain how affect travels, settles, circulates and coalesces.
Absolutely essential reading for those wanting to understand the recent 'turn' to affect. Offering an extensive analysis of all the perspectives available, including the psycho, neuro, bio and social, Margie Wetherell treads a magisterial path through the radically different offerings, one that illuminates key ideas and will save the uninitiated wandering down many pointless avenues. A path-setting book.
Engagingly well written and using up-to-the-minute research, this book will be indispensible for those who want a comprehensive overview of 'where we are now' in research on emotions. But more than this, by developing an original model of 'affective practices', which focuses on the affective assemblages operating in concrete situations, it suggests a way forward that will prove inspirational for new research in this field.
The book is a valuable addition not only to the study of affect and emotion, but also to the rest of social science research. Emphasizing the importance of social interaction, it embarks on an ambitious debate on the subject. Readers already familiar with the field will get the most out of this title.
This important book is a brilliant corrective to some of the careless, poorly psychologically informed work on affect. It is essential reading for all those seriously interested in the topic.


Contrary to what you may think, the quality of your portfolio is often defined by its weakest image. This is why becoming adept at choosing the images that communicate to potential clients a consistent message of quality is critical. More is not better. Rather, try to shrink your portfolio with the goal of it representing only the most impressive images that you have ever shot. Your portfolio should never really contain more than a dozen or two images. If it does, the time has come to cull then moving forward whenever you create new work that belongs in your portfolio make a point of removing the weakest image.
The era of the generalist photographer over. Clients expect specialization. There is nothing wrong with dabbling in other disciplines but when it comes to your portfolio you should present a unified message of being an expert of a specific niche. Furthermore, your portfolio should speak to a level of cohesion in terms of artistic direction. Each image should look like it was taken by the same photographer who is able to deploy a consistent and unique creative vision.
By attempting to sell what you are unable to do, you only create a road to disappointment for your potential clients. If you took the best photo of your life at a workshop where the teacher did most of the setup and lighting then you need to master those techniques on your own before that image deserves to be in your portfolio. The same goes for situations where a healthy dose of luck led to creating a particularly special photo. Make the effort to learn exactly what led to your creating that shot so that, if needed, you can reproduce it. Until you do, the photo has no business being in your portfolio.
In a social media driven world the idea that we only need a digital presence tends to often become too prevalent. The challenge, however, with online, is that it often exposes you to the wrong audience (such as people on the other side of the world) while forcing you to compete with virtually every photographer in your space, globally. By also wielding the power of a printed portfolio you can isolate your sales pitch to target only potential, real-world clients in situations where they aren't distracted by the normal blizzard of digital noise that we live within online.
Your portfolio is the first impression that you put out in the world. A poorly constructed one can create the impression that you may lack attention to detail or fail to meet the level of professionalism that a high-end client expects. Don't let a a weak portfolio pull your work down when it can be easily used to elevate instead. Consider this a call to action and take some time to take a long, hard look at your portfolio with a critical eye. Is it up to snuff? If not, fix it!
I don't know of any photographer who randomly dumps pix into a portfolio in order to build up the quantity.
The trick is to open strong, close strong and if you have any weaker shots that are included put them in the middle, not everyone hits a home run every time. A couple solid triples if they tell a story will be ok. But if you don't love it, leave it home.
It is best to specialize but in smaller lower budget markets like direct to client being a generalist is not a bad thing until you develop a strong core of specialization. Ad Agencies and bigger pubs want specialists, until they don't.
Pictures shot at a work shop should not be in your book as it's like batting practice (to continue the baseball metaphor) it's not the real world. However if the best picture you have was "luck" show it! If you were there and were able to take the picture it's only half luck, still your shot. It might make a good story by explaining the serendipity of the image.
Very few photographers I know in the commercial adv editorial world are using printed portfolios these days. Fifteen years ago we all did. The last time I showed my book was probably 10 years ago.
Art buyers love a very well made custom built portfolio (no plastic pages) something that has a feel that reflects your work a rustic outdoorsy photographer should have a different boot than a hard edged studio shooter. The big agencies call in portfolios after they narrowed it down to 3 or 4 choices, usually the online presence is enough. The days of a hallway with 50 black leather portfolios piled up is long gone.
I have seen online portfolios with more that 200 images, I think they figure there is one chance to show the work so they better show everything...maybe it works. I dunno.
I have no instagram presence because I am over 50. Sadly that is how a lot of clients find photogs.
Last thing in my long post is to have someone who you trust look at your portfolio. Ask them what your strongest and weakest shots are. They may think your favorites stink. You may love them because it was a fun shoot.
All good advice from Mr Cooper and Mr Hogwallop. I would add one advice: give it time. Don't decide if the image you just shot belongs in your portfolio. Wait at least a few weeks, then look at it with a fresh eye. Chances are, you will be ready to judge the picture on its own merits then.
Who is your portfolio for? Answer that question, and you no longer need to read the article.
What is your genre? Is it one? two? twelve? If you claim a genre, your portfolio needs to show it.
Are you limited to studio portraits? Or are you an outdoorsy type never using the studio? Again, you need to showcase your abilities in different situations. If you claim to be a wedding photographer, your clients may think you should have plenty of images relating to weddings. But what it you also do senior pictures? Don't forget to cover those sorts of shots at different location, including the studio. Now if you are trying to squeeze some executive portraits, don't forget to show both a formal portrait and one capturing the exec at more relaxed at work. Product photography, too? Love shooting fashion and models? May need more than one or three of each to show you mastered the genre, rather than "Here's my best shot." This is getting messy. And you might want a few more than "a dozen or two" images in that portfolio.
The author should explain his scope of genres. Then others can realize what works for specialized photographers is not necessarily the same as a generalist. Not everyone is submitting to a rag.


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Published on Louisville.com (https://archive.louisville.com)
Home > 21 Qs with David K. Karem, Former President of the Waterfront Development Corp.
21 Questions [1]
21 Qs with David K. Karem, Former President of the Waterfront Development Corp. [2]
Posted On: 21 Aug 2019 - 3:00pm
By Staff [3]
David Karem, 75, who for more than three decades served as president of the Waterfront Development Corp., recently announced his retirement. He lives in the Cherokee Triangle.
What would be the title if Actors Theatre staged a production about your life?
"A Walk in the Park."
"Shorts, because it's hotter than hell in Louisville right now."
Describe the space you're in.
"My office, which is overflowing with memorabilia and a dog bed and toys. I have a near obsession with toys, which people have given to me over the years and have been picked up in the park. Reproductions of wind-up robots, a wood version of the Belle of Louisville, this really cool penguin that has no motor but walks down a slanted plank. You press the belly of one of the toys and he says, 'Here, you take the remote. As long as I'm with you, I don't care what we watch.' He's the perfect husband. Nunzilla shoots sparks out of her mouth when you wind her up."
Favorite possession?
"I have too many toys to pick from and don't want to offend any of them."
Earliest childhood memory?
"A big dog biting me in the butt while walking down Transylvania Beach near Prospect."
When/where are you most creative?
"When my head is on the pillow at nighttime."
If you could be mayor of Louisville for a day, what would you do?
"Fund Waterfront Park at the same level as all other Metro Parks."
When you were younger, what did you want to be when you grew up?
"Doctor. Toy doctor kits fascinated me, and at Christmas I would look through the Sears catalog for the fanciest one."
What's on your nightstand?
"Magazines like Consumer Reports and Food & Wine and books. Marlene Grissom, who has raised a lot of money for Waterfront Park over almost 30 years, gives me all her old New Yorkers. I read all the cartoons and the book reviews."
The most unusual benefit of your job?
"Being surrounded by dogs in the office every day."
First thing on your bucket list?
"Spending at least a week in Barcelona, visiting Antoni Gaudi's architectural masterpieces."
Something unexpected you love in Louisville?
"Mid City Mall — the quirkiest collection of stores, restaurants, a movie theater, a library."
Do you believe in ghosts?
"Absolutely. When Anne and I were first married, we had two cats and lived in an apartment on Douglass Boulevard off Bardstown Road. One night there was no question that a ghost of a woman was in the doorway of our bedroom. At the same time, both cats reared up and hissed at her."
Superstitions?
"I don't believe in superstitions and purposely walk under ladders and step on cracks in the sidewalk."
Best book you've read over the past year?
"Any of The No. 1 Ladies' Detective Agency novels by Alexander McCall Smith. The series is about Mma Ramotswe, the only woman who's a detective in Botswana. I own and have read every one in the series and just last week finished the newest one."
Secret talent?
"Unfortunately, and my wife would tell you it's true, I have predicted numerous divorces before they happened."
Least-favorite word?
"Shut up. That phrase irritates me unbelievably, and I taught my children not to say it. I charge my staff one dollar if I hear them say it. We call it the Shut Up Fund."
What three people (living or dead) would be on the guest list to your ideal dinner party?
"Poet Kahlil Gibran, Abraham Lincoln, Queen Elizabeth I."
What makes somebody a Louisvillian?
"They understand they do not live too far north or too far south, and they appreciate diversity and tolerance."
Biggest regret?
"Frankly, I really don't have time to worry about regrets at my age."
If you could write it yourself, what would your headstone say?
"He dead."
PLUS 8 MORE
How'd you make your first dollar?
"Baking cheesecakes as a teenager."
Can't-miss TV show?
Favorite movie scene?
"Diner scene, Pulp Fiction."
Greatest movie ending?
"The Princess Bride."
Would you rather sleep or work?
Your drink?
"Gin and tonic. Only three ice cubes, please."
What song is stuck in your head?
"'Down to the River to Pray,' by Alison Krauss."
All-time-favorite album?
"Bridge Over Troubled Water, by Simon & Garfunkel. I'm sensing a water theme…."
This originally appeared in the August 2019 issue of Louisville Magazine as the 21 Questions. To subscribe to Louisville Magazine, click here. [4] To find us on newsstands, click here. [5]
Illustration by Shae Goodlett, shaedraws.com [6]
David K. Karem [8]
Waterfront Development Corporation [9]
Source URL: https://archive.louisville.com/content/21-qs-david-k-karem-president-waterfront-development-corp
[1] https://archive.louisville.com/category/21-questions
[2] https://archive.louisville.com/content/21-qs-david-k-karem-president-waterfront-development-corp
[3] https://archive.louisville.com/users/staff
[4] https://www.louisville.com/subscriptions
[5] https://www.louisville.com/where-find-louisville-magazine
[6] https://www.shaedraws.com/
[7] https://archive.louisville.com/tags/21-questions
[8] https://archive.louisville.com/tags/david-k-karem
[9] https://archive.louisville.com/tags/waterfront-development-corporation


Welcome to Paddles and Pedals. We are proudly serving customers in Big Bear Lake, Ca. At Paddles and Pedals we offer bikes, kayaks and stand up paddle boards for rent. Conveniently located on the north shore of Big Bear Lake, we provide very easy access to the lake, the pedal path or the mountain bike trails. If you want to ride the scenic bike path of Big Bear Lake, please come see us. We are the only store with direct access to the path. Come paddle board Big Bear Lake with us! Come kayak Big Bear Lake with us! Come bike Big Bear with us! We do it all.
We suggest that you bring the following gear with you if you are going out on the water: waterproof phone case or drybag, swimwear or a change of clothes, towel, sunscreen, sandals or water shoes.
909 936 2907 Call or Text Please call ahead for hours. Open daily, but hours depend on conditions.
Lighthouse Trailer Resort **Please call or text before coming during non summer days or if it is cold or windy.


Today I was inspired to get a super head start planning my flower/herb garden. I'm glad I did because it's a waaaaay bigger job than I thought it would be. I want to be efficient and keep good records, so giving myself time to plan and research should leave me sitting pretty.


text:
package org.apache.ignite.internal.util.worker;

import java.util.*;

/**
 * This interface defines worker listener.
 */
public interface GridWorkerListener extends EventListener {
    /**
     * @param w Started worker.
     */
    public void onStarted(GridWorker w);

    /**
     * @param w Stopped worker.
     */
    public void onStopped(GridWorker w);
}

redpajama_set_name: RedPajamaGithub


text:
"Ohio students can trust Sherrod to stand with us."
By: Team Sherrod
It's no secret that the cost of college (and the massive debt that often follows) can have life-changing consequences for families in Ohio and beyond.
Sherrod has fought hard to put higher education within reach for anyone who wants to attend college—not just those who can afford it. He's led efforts to expand access to federal student aid. He's stood up to predatory lenders and so-called "for-profit" schools. And he's pushed to make college campuses safer by addressing sexual assault and gun violence.
Meanwhile, his opponent, Congressman Jim Renacci, has consistently put corporate profits ahead of students' well-being, catering to Wall Street, wealthy donors, and for-profit school executives. He has also remained silent on Secretary of Education Betsy DeVos and this administration's efforts to weaken protections for sexual assault survivors, and to make it easier for shady predatory lenders to take advantage of borrowers.
At events at the University of Cincinnati and Kent State University this week, students and elected officials emphasized who's looking out for Ohio students—and who is not.
"None of us—whether we receive federal student loans, get grants from our school, or pay full tuition—deserve a Senator who puts special interests ahead of students," Xavier College Democrats President Sam Peters said. "Senator Sherrod Brown understands that it's the government's job to give people a hand when they need it. Ohio students can trust him to stand with us."
Attendees at both events focused on the large role student debt has played in their own experiences, and why it's so important to have a Senator fighting to make college more accessible.
For Kent State College Democrats President Maddie Newingham, being a triplet (and one of five kids, total), made college affordability an issue in her family.
"I wouldn't be here without financial aid, scholarships, and many student loans," she said. "Two-thirds of us graduate with student loan debt—it's very common to be paying back student loans into your 40s and 50s. It's mind-boggling to me that Jim Renacci would support the continuity of this."
Students have @SherrodBrown's back because he's had their back. Who's back has Jim Renacci had? Definitely not Ohio's students. pic.twitter.com/s7f1tANpPZ
— P.G. Sittenfeld (@PGSittenfeld) September 5, 2018
As Cincinnati City Councilman P.G. Sittenfeld put it, "Senator Sherrod Brown is working to make sure that loans aren't insurmountable obstacles, that students aren't defined by how much they owe. While Sherrod has worked to make sure students can earn a degree and graduate with peace of mind, his opponent has taken nearly every opportunity to put that goal further out of reach."


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text:
Journalism BA Honours
Part of Journalism, Digital Media and PR
Harrow, North-West London
UCAS Code P500
Campus Harrow, North-West London
At the University of Westminster we want you to be a voice of clarity for your generation. We'll help you to develop the skills you need to shine a light on what matters to you. Let your voice be heard.
This course focuses on teaching multimedia and online techniques alongside traditional journalistic skills such as research, reporting and writing.
This is a practice-based course with a strong academic background. It is focused on teaching multimedia and online techniques alongside traditional journalistic skills such as research, reporting and writing.
You will be taught by professional journalists and internationally renowned academics and, as well as enabling you to become a better journalist, the course will also equip you with transferable skills that will help you whatever media career path you choose. Our students have a very high success rate in gaining employment in the media industries, and recent graduates have gone on to network radio, national newspapers and magazines, respected websites, top PR agencies and major television companies.
The course has creativity, flexibility, innovation and entrepreneurship at its core. It focuses on online and cross-media skills throughout, since they are now central to everything modern journalists do, not just an add-on or afterthought.
There are three key strands to the course:
Journalism practice, which focuses on key journalistic skills, production techniques, and a final project module including running a live online site.
Journalism in context, which helps students to understand the social, political, economic, legal, regulatory and ethical contexts within which journalists operate.
Media and communications research, which develops students' understanding of the social and cultural uses of mediated communication.
The Journalism BA has a flexible structure which, while it focuses on core journalistic and critical and analytic skills, also allows students to choose specialist options and take control of their studies.
Learning takes place through a combination of face-to-face teaching and independent study, including lectures and seminars, practical workshops, group and individual projects, and presentations.
The majority of assessment is of coursework, including journalistic news stories and features, video and audio packages, multimedia stories, blogs and blog posts, and research reports and industry case studies.
The following subjects are indicative of what you will study on this course.
Digital First: Introduction to Producing Online/Multimedia Journalism
Introduction to Consumer and Lifestyle Journalism
Introduction to Journalism
Journalism: Stories and Histories
Media and Globalisation
Media and Society
News, Features, Comment
Journalism, Politics and the Media
Media Law and Ethics
Pitch, Produce, Publish: Creating Modern Magazines
Theories of Media and Communication
Researching Media and Communication
Specialist Journalism (students choose from pathways on Fashion Journalism, Sports Jounalism, International Journalism and Literary Journalism)
Multimedia Storytelling and Production (students choose from Broadcast and Online pathways)
Diversity and the Media
Final Journalism Project
Media Futures
Specialist Journalism (students choose from pathways on Arts and Entertainment Journalism, Technology and Video Games Journalism and Investigative and Data Journalism)
Jim McClellan
Assistant Head of School
Jim began his career in magazines in the 1980s and was Contributing Editor at i-D and The Face before becoming an internet specialist during the 1990s. He covered technology and culture for The Guardian, The Observer, Esquire, Arena, Wired UK and Adbusters, regularly appearing on TV and radio to talk about the net and new media. He wrote several internet guides for The Guardian before going on to develop new media projects with the BBC, where he was the interactive writer-in-residence (2004/5) and edited 'Hacking the BBC', an ebook about the corporation's Open Data activities (2009). Jim began teaching in 2005 and joined Westminster as Journalism course leader in 2008, where he has overseen a series of changes designed to give the degree a more online and digital focus and a more flexible structure that allows students to customize the course so that it works more effectively for them and their long-term career aims.
This is not your standard Journalism degree. We are a creative course on a very creative campus. We're looking for people who think differently, who want to create the new kinds of journalism people need so much right now.
David Lancaster - Senior Lecturer
Patrick Stoddart - Senior Lecturer
Dr Ed Bracho-Polanco - Lecturer
Dr Anastasia Denisova - Lecturer in Journalism
EU/International
A Levels – BBC to ABB
BTEC Extended Diploma – DMM to DDM
BTEC Diploma – D*D to D*D*
Access – 112 to 128 UCAS Tariff points from the Access course
GCSE English Language grade 4/C – IB grade 4 Higher Level, GCSE Maths Pass
If your first language is not English, you will need an IELTS of 6.5 overall with at least 6.0 in writing and speaking.
We also welcome applications from students who are taking a combinations of qualifications listed above. For further information, please contact Course Enquiries.
Our students graduate with the skills they need to find work in traditional news media and publishing organisations, often on the online side, at the newer generation of online-only journalistic outlets and at trade and B2B publications.
But they are also well suited to work in the creative media in general, in fields like broadcast-based research and production and traditional PR and marketing. And many now find work in the online content creation sector. This could encompass everything from running social media channels for big brands, creating content for branded websites and online community building to sponsored content and native advertising and online and digital marketing.
Some of our graduates stay in academia, pursuing postgraduate and doctorate-level study and the course allows students with interests in this area to specialise in theory to prepare themselves better for research in this area.
Our recent graduates have found work at The Guardian, The Independent, The BBC, CNN, Radio One Newsbeat, Al-Jazeera, Buzzfeed, The Evening Standard, The Huffington Post, Google News, Cosmopolitan, Sky Sports News, T3, The Week, Grazia, Bloomberg, T3, Music Week, Share Radio, MSN UK and India Today.
Some work in online content and marketing for companies like Topshop and ASOS. Others have started their own media sites and businesses – for example Wareable and the data journalism non-profit Hei-Da.org.
The course is well respected within the news media business and regularly hosts talks by high-level professional journalists. Our network of alumni, especially our recent graduates, keep our connections with industry current and up to date and we often bring them in to teach students and offer advice on building their careers.
Jimmy Blake
Broadcast Journalist for BBC Radio 1/1Xtra/Newsbeat
"The course gave me a place to learn and hone skills that you can't necessarily develop in the outside world. I did Smoke Radio [Westminster's student radio] - I had my own show. Skills I learned here are skills I use now. If I hadn't done Smoke Radio, getting into the industry would be so much harder."
Marie Le Conte
Political Journalist and Author
Marie writes for various publications – Politico, Time, the Guardian – and appears on TV and radio. Her book about politics, scandal and gossip came out in September 2019. Speaking of the course, she says, "It gave me the space and knowledge that journalism is really what I wanted to do. It reinforced that feeling."
Yasmin Jeffery
Digital Journalist/Producer for the Australian Broadcasting Company
Yasmin interned at Vice and the Telegraph Media Group while studying. Speaking of the course, she says, "Westminster armed me with the skills needed to jump headfirst into the national news industry. The theoretical aspects sparked a thirst for further knowledge and the skills I amassed prepared me to embark on further academic study."
Katherine Cenaj
Journalism BA
Before I came to an open day at Westminster, I was still considering other universities. But the minute I walked through the doors of the campus, that was it. It was a feeling, I knew I wanted to be here. Also, the fact there is only one exam throughout three years is a bonus.
Sonakshi Sharma
I liked the idea of attending a university with people from all over the world, and Westminster's global student community helped me make the decision. When I finish the course, I will miss the open vibe of the campus, the professors, The QH [student newspaper], the Undercroft bar and every friend I made at Westminster.
Francesco Tamilia
I chose to study Journalism at Westminster because I was fascinated by how the course was organised, giving more importance to the practice rather than the theory. I enjoy having the freedom to write about what I want and the opportunity to work in a team.
The vibrant home of our creative, media and digital courses, the Harrow Campus offers one of the richest portfolios of creative industry research and learning in Europe. The recent redevelopment of the campus has seen the creation of fluid, informal learning spaces, dedicated project and gallery spaces and a revamped library. For more details, visit our Harrow Campus page.
Interview with Journalism BA Graduate
Interview with University of Westminster Journalism BA Honours graduate and Broadcast Journalist for BBC Radio 1 and BBC Newsbeat, Jimmy Blake.
Digital Media and Communication BA Honours
Campus Harrow
Public Relations and Advertising BA Honours


text:
package dgui.icon;

import dgui.GUIItem;
import dopengl.drawable.GLDrawableProvider;

/**
 * GUI item that just draws a GLDrawableProvider as an Icon.
 *
 * @author Derek Mulvihill - Jan 23, 2014
 */
public class Icon extends GUIItem {
    private static final IconDrawer drawer = new IconDrawer();
    public GLDrawableProvider Icon = null;
    /**
     * Zero or less (default), means that the Icon scales to fill the button bounds.

     * Greater than zero means the Icon will draw with that aspect ratio within the button bounds.

     * Ratio is width:height.
     */
    public float AspectRatio = -1;

    public Icon() {
        super(drawer);
    }

    public Icon(GLDrawableProvider icon) {
        super(drawer);
        this.Icon = icon;
    }
}


text:
Cop Was Dispatched to Bust Teen Dance Group after Noise Complaint. He Joined Them Instead
A sheriff's deputy stunned a young dance group when he arrived due to a noise complaint, but instead, accepted their challenge to a dance-off. And had the nerve to hold his own!
Deputy Romain Brissett of the Escambia County Sheriff's Office was dispatched to a Pensacola, Florida dance studio when a local resident mistook it for a nightclub. Daylight Savings Time was likely at fault for the mistake but as Deputy Brissett went inside to confirm his suspicions, he walked into the middle of dance practice.
On the floor were the girls of Pensacola Prancing Pirouettes. He spoke to the organizers, then asked the girls if they were any good – a challenge the group, known as "Three Ps", were excited to answer. After showing Deputy Brissett a small performance, the girls then gestured they were challenging him in return.
The deputy suddenly walked onto the floor. Coach Shay Daniels, 37, said she had no idea what was about to happen, but as the beat continued, Deputy Brissett suddenly broke out in matching choreography.
Little did they know that in 1998 Deputy Brissett joined all-male dance org while attending a HBCU Florida A&M in Tallahassee. He started out as a member, became president and then later artistic director with the group performing at homecoming, parades and events in local community. He even taught dance as part of after-school programs for middle and high schoolers, so as he began to dance the girls let out huge screams in shock sending the entire place crazy.


text:
Near-infrared spectroscropy reveals local ethnic cuisines are generally calorie-heavy, with Indian cuisine more calorie-dense than Chinese and Malay cuisines.
Surprising truths about hawker favourites
A*STAR researchers measure the caloric and nutritional profiles of popular local dishes, revealing that they may be more guilty pleasures than healthy staples.
Singaporeans with grumbling tummies often make a beeline to their nearest hawker centre, where mingling aromas of fried carrot cake, nasi lemak and biryani delight the senses. These and other local favourites are increasingly everyday staples for the multicultural Lion City; in 2019, only 40 percent of us ate home-cooked meals on most days, according to the Asia-Pacific Food Forward Trends Report II.
But with national obesity rates also creeping up in recent years, nutrition experts can't help but ask: could overindulging at our local eateries be partly to blame?
Christiani Jeyakumar Henry, Deputy Executive Director at A*STAR's Singapore Institute of Food and Biotechnology Innovation (SIFBI) says that having a sense of a dish's calorie content, or energy density, can influence whether a person will choose to eat it. Unfortunately, the calorie and macronutrient profiles of many local foods have yet to be extensively determined, making it difficult for people to make informed, healthy choices when it comes to their meals.
In their study, Henry and colleagues worked towards bridging this gap by first surveying popular meals among Chinese, Malay and Indian Singaporeans—the three largest ethnic groups in the country. The survey results were then narrowed down to a list of 15 food favourites per ethnic group, forming a representative cuisine list for each.
Next, the researchers used an instrument called the CalorieAnswer® to measure the calories, protein, fat and carbohydrates in these dishes. Unlike the traditional bomb calorimetry that is used for the estimation of the energy content of foods, the CalorieAnswer® uses near-infrared spectroscopy (NIR) which measures light scattering and absorption of the food. The energy content of the food is then computed using an algorithm.
"CalorieAnswer® gives values in what we call 'metabolisable energy', which more accurately represents the calorie content available to the human body from food when eaten," Henry explained.
The team discovered that while popular menu choices varied widely in their nutritional content, a common trait was being both calorie- and carbohydrate-heavy. Every 100 grams of Chinese and Malay cuisine packed an average of 661 and 652 kJ (a measure of calories). Indian cuisine was the most calorie-dense, averaging 723 kJ per 100 grams of food, and had relatively more fat and less protein compared to other cuisines.
Henry says this doesn't mean Singaporeans need to avoid roti prata and curry altogether—variety is the spice of life.
"We must keep the results of this study in perspective," Henry said. "Although Indian foods had greater calorie content and Malay foods had greater calorie variability, it is common in our society to indulge in various cuisines available in Singapore," adding that this could help strike a healthier balance.
Moving forward, Henry's team will work with government and industry partners to create new, healthier versions of classic local favourites. "Our next line of research aims to collaboratively develop lower-calorie recipes with an acceptable taste," said Henry.
The A*STAR-affiliated researchers contributing to this research are from the Singapore Institute of Food and Biotechnology Innovation (SIFBI).
nutrition Singapore Institute of Food and Biotechnology innovation (SIFBI) Human Health and Potential (HHP) Nutrient profile Singaporean food CalorieAnswer
Yeo, P.L.Q., Bi, X., Yeo, M.T.Y. and Henry, C.J. Energy Content and Nutrient Profiles of Frequently Consumed Meals in Singapore. Foods 10 , 1659 (2021). | article
Christiani Jeyakumar Henry
Singapore Institute of Food and Biotechnology Innovation (SIFBI)
Christiani Jeyakumar Henry is the Deputy Executive Director at A*STAR's Singapore Institute of Food and Biotechnology Innovation (SIFBI) and Director of A*STAR's Clinical Nutrition Research Centre (CNRC). He obtained a PhD degree in nutrition from the London School of Hygiene and Tropical Medicine. Henry's research focuses on translating nutrition research into food applications. In 2010, he was awarded the British Nutrition Foundation Prize for his outstanding contributions to nutrition, and in 2019, he was awarded the Kellogg's International award for food research that led to a global impact.
Disarming a deadly yeast
Scientists discover a potential therapeutic target to tackle a dangerous drug-resistant yeast strain.
Unleashing skin's healing superpowers
A protein called Agrin naturally produced in the skin could soon be the active ingredient in a treatment to boost skin repair in non-healing wounds.


CommScope offers a complete portfolio of copper and fiber NETCONNECT® structured cabling solutions for your enterprise connectivity. Our family of twisted-pair and fiber-optic cabling is engineered to create a solid and dependable network infrastructure that performs today but is also prepared for the inevitable migration to higher speeds.
Solutions guide for NETCONNECT structured cabling.
Solutions guide for NETCONNECT structured cabling om the Asia-Pacific region.
The Products that comprise the NETCONNECT System will meet or exceed the applicable component specifications of the ANSI/TIA-568, ISO/IEC 11801, CENELEC EN 50173 standards in effect on the Certification Date.
The CommScope NETCONNECT ordering guide for the CALA region contains commonly ordered copper and fiber structured cabling products.


Congress still has a lot to do before the end of the session, and the clock is ticking.
We may have to wait until 2018.
Originally for the military, it's now critical in medical and research labs.
Congress is enduring historically-low popularity ratings – so why do hordes of tourists still visit the Capitol?
The Supreme Court ruled that President Obama's health care mandate is constitutional. So what does that mean for citizens?