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Nandalal Bose
Nandalal Bose, born in 1882 in Bihar, is one of India's most celebrated 20th century artists, who was closely associated with the Bengal School. In 1976, he was declared one of the 'national treasures' of Indian Art by the Archaeological Survey of India, which disallowed his works from being sold or auctioned outside India from then on. Nandalal Bose was given the work of illustrating the Constitution of India, which was entirely handcrafted by artists of Santiniketan under his guidance. Jawaharlal Nehru also asked him to illustrate the emblems of Government of India's awards such as the Bharat Ratna and Padma Shri. He was the recipient of the Padma Vibhushan in 1954.
Nandalal Bose completely shunned the Western academic approach to art that prevailed in his time, and instead, rooted his work in Indian tradition. He had a lifelong friendship with Abanindranath Tagore, which was forged when he trained under him at the Calcutta School of Art in 1905. In 1920, Nandalal Bose joined Kala Bhavan, Santiniketan as a teacher, where he taught many eminent modern artists of India, including K.G. Subramanyan.
A master draughtsman, he explored different media throughout his career, including woodcuts, linocuts, dry point, etching and lithography. He also explored art techniques from the Far East, blending them with his Indian sensibilities. Additionally, he also worked in the wash technique, which he learnt from Japanese artists. Nandalal Bose often depicted women in his art, along with scenes from mythology and rural life. Whether depicting a cobbler at work or a farmer milking a cow, he demonstrated remarkable academic discipline with minimal strokes. Nandalal Bose passed away on 16 April 1966.
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In 1970, the mission was officially constituted with fifty-eight charter members under the name we bear today: West Side Baptist Church.
We invite you to roll up your sleeves and join us in these worthy endeavors as Christ would call you to do!


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Gymnobela guineensis é uma espécie de gastrópode do gênero Gymnobela, pertencente a família Raphitomidae.

Ligações externas

Raphitomidae
Espécies descritas em 1925

redpajama_set_name: RedPajamaWikipedia


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Home » USDA plans for third round of Farmers to Families Food Box program
Food WEST
USDA plans for third round of Farmers to Families Food Box program
07/29/20 6:10 AM By Noah Wicks
KEYWORDS Coronavirus Food Assistance Program Farmers to Families Food Box Sonny Perdue usda
USDA will execute a third round of its Farmers to Families Food Box Program from September 1 to October 31.
The program — a part of the Coronavirus Food Assistance Program — was set up to buy a total of $3 billion in fresh produce, dairy and meat for distribution through food banks, community and faith-based organizations and other nonprofits to people in need.
"This third round of Farmers to Families Food Box Program purchases is a testament to the great work done by vendors in support of American agriculture and the American people," Agriculture Secretary Sonny Purdue said in a release. "It is also a testament that the program is accomplishing what we intended — supporting U.S. farmers and distributors and getting food to those who need it most. It's a real trifecta, which is why we call it a win-win-win."
In the first round of the program from May 15 through June 30, the USDA bought more than $947 million in food, and the department plans to spend up to $1.47 billion for the second round, which started on July 1 and lasts until Aug. 31. That leaves about $583 million for the third round of boxes.
USDA adds $500M to food box program
Booker calls for massive conservation spending, return of Food Box program
USDA opens new, expanded round of COVID aid to farmers
Interested in more coverage and insights? Receive a free month of Agri-Pulse West.
The USDA stated that eligibility for distributors will be open to entities who can "meet the government's requirements and specifications." These entities can find more information on how to submit proposals on the program's website.

redpajama_set_name: RedPajamaCommonCrawl


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package Nodes.booleans;

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import Nodes.Node;

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	}

}

redpajama_set_name: RedPajamaGithub


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Medical Crisis Threatens to End Children's Education
"One of the best things to happen to me and my family is the SHI school feeding program. There is nothing more assuring for a parent than to wake up and never have to worry about what your children would eat before going to school." – Iddrisu
Iddrisu is a proud husband to Sawdatu and father to their five children. He worked very hard to provide for his family. He started off as a cab driver driving someone else's vehicle, and little by little, he saved up enough money to buy his own personal cab. As he earned more from his own cab, he even started a second business selling recharge cards in his rural community of Timeabu. He was able to provide for his wife and children. He had big dreams that his children would finish school and become responsible adults. Life was good.
But one fateful day, something terrible happened and he lost everything. Iddrisu was in a motor accident and because he had no health insurance, he had to sell all of his property to cover his medical bills – including his cab, his family's primary means of income. The family was left to rely on their one acre farm for both food and income. Feeding all seven family members became very difficult.
In cases such as Iddrisu's, it is quite common to pull children out of school to help on the farm, particularly older children, as Iddrisu couldn't engage in vigorous farm activities and also lacked the financial resources to hire the needed manpower. This is where Self-Help stepped in.
Self-help's feeding program provides breakfasts to schools like the one Iddrisu's children attend. Luckily, because of the school breakfasts, Iddrisu and Sawdatu have been able to keep all five children in school after the accident, instead of pulling them out to help work to provide enough food to go around. The boys do help on the family farm, but only during weekends and holidays so they don't fall behind in school.
Your support of Self-Help's school feeding program has helped Iddrisu and Sawdatu's children stay in school and better nourished during this tumultuous time. According to Iddrisu, "One of the best things to happen to me and my family is the SHI school feeding program. There is nothing more assuring for a parent than to wake up and never have to worry about what your children would eat before going to school."
To help make ends meet, Sawudatu has been linked to Self-Help's micro-credit program, so she can access training and micro-loans to start a trading business. As a micro-credit beneficiary, she will be able to access Ghana's national health insurance to protect the family against future major medical bills.
Thank you for your generous gift to end child hunger, which is helping families like Iddrisu and Sawdatu's help themselves.
Timeabu
Introducing Double Row Corn Technology to Nicaragua's Farmers
Teamwork Brings Ovens to La Venada


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Andrew Thomas Huang
Assembling universes with magic and motion
October 16, 2020 / Interview by Jamin Warren | Photography courtesy of Andrew Thomas Huang
Andrew Thomas Huang holds as much respect for craft as he does concept. With a background that meshes CGI animation with cinema, virtual reality, and puppetry, Huang molds singular worlds with their own tightly-sealed, labyrinthine logic, populated by bodies and landscapes, both familiar and unfamiliar.
Huang served as one of the creative directors for Björk's immersive VR experience, Björk Digital, made the Grammy-nominated video for FKA Twigs' cellophane, and is a current participant of Sundance's Screenwriters Lab, where he will develop his first feature film, Tiger Girl. We sat down with Andrew to speak about the childhood puppets that kickstarted his creative pursuit, how he will bring his animatronic skills into his forthcoming film, and the breaking from expectations placed on creators of color.
Self portrait by Andrew Thomas Huang.
Have you always been a creator, or was that something that came later in life? Where do you chart your initial journey into making things?
As a kid, I made shit all the time. It was compulsive—drawing and painting was my main thing. I also was obsessed with The Muppets. I wanted to be one of those animatronic people that made robotics—I would watch the Labyrinth behind-the-scenes video over and over. I got the steer from my neighbor, who had a boyfriend at the time that worked at an effects studio. Their advice was, You should really hone your art portfolio. You should learn to draw well if you want to go into effects. So I went to USC and studied fine art, but intending to be near the film school to help out.
At that point, I had done some digital filmmaking in high school and realized that I wanted to be in charge of my own thing. I made a short film outside of the curriculum while I was in college. I put it on YouTube, back when the site was only two years old, and they would feature like, five videos a week. It went viral and kickstarted my directing career. I didn't really know what directing was, but I knew that there were people that I admired that made music videos, like Chris Cunningham.
I thought, Maybe I could go into directing that way. I did music videos and commercials for four years, getting my hands dirty. I finally realized, You know what, I've learned enough. I want to scrap everything I've done. I want to come out with a new statement. I made a short film called Solipsist, an experimental film that involved puppetry, mixed media, and live-action. Björk saw it, and I worked with her and Thom Yorke that same year—it was a point at which everything crystallized. I've done a combination of music video, narrative, and interactive work since and have been able to do so on my own terms.
Self portraits by Andrew Thomas Huang.
Was there a Muppet, moment, or skit that sparked your interest in puppetry?
I was just such a nerd. I would tape all the Muppet show reruns from the 1970s on VHS. I also watched all of the Fraggle Rock series. It was the work that Jim Henson did in his later life that was more 'adult.' You could tell that he was crystallizing his artistic ways. He spent decades making family-friendly stuff, and then all of a sudden made bizarre, super-spiritual things like The Dark Crystal. In these projects, there are the goodies and the baddies, but it's hippy work. It's totally inspired by Jung and alchemy. As someone unaware of that, you feel that there's something magical about the universe.
One summer, the Henson company sent two puppeteers to schools in LA to do a puppet program. When I was nine, they came to my neighborhood and taught us how to cut foam patterns and work with some pretty industrial, toxic materials. I threw myself at it. I felt privileged to be growing up in LA; to have access to stuff like that. That was the first moment I thought, Oh, this is how you can sculpt actual puppets out of foam and use industrial materials to fabricate these things. Even though I was nine, I still was like, Tell me what you actually use to make this stuff.
Is there something about the craft of puppetry that has influenced your voice as a director?
Totally. As a gay Asian kid, I never saw myself represented. There was part of me that was a budding thespian—I wish I could act, but I was too shy. The idea of inhabiting something else by proxy was more comfortable. The Muppets are super-queer—they're beyond human; they're fuzzy. There's something that felt more truthful about being a weird creature. I identified with that.
Inhabiting something by proxy was an entry point for me and continues to be when I make work. I like that additional layer of speaking through this puppet to tell stories or inhabit a character.
That's what's so great about [The Muppets]. The mechanics are so awkward, technical, cumbersome, but the effect is so sleight-of-hand and seamless. I love when all the technicalities disappear, and you're totally enchanted by this living thing.
Concept art for BLACK LAKE. Photos courtesy of Andrew Thomas Huang.
There are things that puppeteers do to make something realistic or natural that are not necessarily intuitive. When you work with digital characters, do you find it challenging to make them look realistic or move believably?
For sure. When I work with digital tools, I always try to find some human input, whether that's motion capture or tracking a real performance. I get really upset when I see robotic, lazy CG animation. You see kids shows nowadays produced so quickly and cheaply, I'm like, Oh, kids are watching this stuff that has no life to it.
People get into animation because they like to see the way things move. They think, Why imitate real human kinesthetics? People make Looney Tunes, for example, to do all the squishy stretchy things—that is the art of animation.
When I see something that feels biologically believable—like when we shift our weight or make something through motion capture—there's a look to it because it's doing what kinetically, your body would do. To get that goosebumps feeling, you have to have some sort of visceral human-like input. It's challenging, but I think as long as you're mixing techniques and always involving some level of real performance, you're going to get some of that feeling.
Concept art for VULCINURA. Photo courtesy of Andrew Thomas Huang.
You're conversant in a variety of tools. When you're sitting down and figuring out what you would like to make next, where does the process begin?
Usually, it's drawing that comes native to me, but it depends. Sometimes, it's a combination of regular pen-to-paper writing and drawing or a lot of research. If I'm working with a musician or another collaborator, it's a lot of conversation. The music video industry is driven by these darts-on-a-board collaborations where they have multiple directors pitch on a track. I hate it when you see a video, and it has no real authentic threaded relationship with the artist. Whenever I enter a collaboration, I try to get to know them as people and understand what we're conceptually trying to achieve with their music. How can I align with that visually? That's when it becomes research, drafting, storyboarding, writing…I am a traditionalist in that way. I believe that writing—and, ultimately, pen-to-paper tools—are where I start.
One of the best pieces of advice anyone gave me was that when you make treatments or pitches, you want to create concept art that looks as if it had been plucked from the finished piece. So I go full-on. I'll collage stuff from Photoshop or find images online that just marry together to look like the finished video. Sometimes, we'll use that pitch and that artwork to raise money or guide the production. As a director, it helps if you give people a visual North Star for what your style is to be trying to achieve. Of course, there's a script, and every voice that comes on your project will have their own interpretation. But if you're doing something with world-building, you need the concept art to say, This is what we want this particular universe to feel like; this is what we're striving for.
Behind the scenes of STONEMILKER. Photos courtesy of Andrew Thomas Huang.
Regarding your collaborations with Björk, what is the process of building something interactive or multisite?
It's not like we started out at one moment and said, We're going to make Björk Digital. It was evolutionary. I made a video for her in 2012, and we reconvened a year later, and she wanted to do something different. She had a new album coming out, so we started with Black Lake, which was meant to be the center of her retrospective at the Museum of Modern Art. It was a combination of ideas and intuition on her part. She wanted to communicate what it was like to be truly in the center of this emotional experience, so she literally drew a stick figure and a dome around them.
We tried to make a 360° dome film in the museum, which was not possible financially because building a dome screen is extremely expensive. I shot Black Lake with an extensive tapestry format expecting to at least wrap it around a cylindrical screen. But it just didn't work out.
We finished the film, but we were not able to create this immersive experience that we wanted. At the same time, Chris Milk was starting Vrse. works at the time, which evolved into Within. My producer during that period also happened to start working with Chris. So they had a prototype of the 360° VR camera rig with the GoPros that they were trying out.
In the narrative of Vulcinura, Black Lake is the death song. It's the death of her relationship with Matthew Barney. In a way, it was almost appropriate that that was the last project we did in traditional film. For our next piece, it was like, Fuck trying to make a dome. We're going to make an immersive experience with a headset. And so we shot our first VR piece that way, and it was very much an experiment.
By that time, the technology was moving so fast. When we premiered that piece at MoMA PS1, it was like, Now volitional movement is more important—we have to build this in the Vive where you can actually move around. So for the next piece, we migrated to Unity and made it a proper game, but there was a conflict between the mechanics and making it a new musical narrative experience that changes through time.
"Inhabiting something by proxy was an entry point for me and continues to be when I make work."
Programming the landscape to change throughout the song on a particular beat was tricky. As a filmmaker, it was definitely frustrating and challenging. I'd think, Can't you just change the color at like one minute and 30 seconds? And they'd say, No, we have to program an interface to make that happen. Even then, it may not have occurred right on the beat because of the way the experience loads for everyone. Then there's, of course, the question of 4D audio—at that time, it was still a relatively beta version of Wwise, spatialized audio where you attach sounds to objects.
That experience was my first true game experience, and I need to credit two developers, Vince McKelvie and Peter Javidpour. They were incredible problem solvers and both artists in their own right. It was so much to figure out how people come in and experience these pieces. How do we create individual rooms where people can have their own little chambers? I had also heard that sometimes people would experience my piece, but the shaders or the lights wouldn't load. So as Family toured around, I wasn't sure if it was being experienced the way I wanted it to.
But we also had byproducts—these avatars made for the experience that can then be used as motion capture puppetry for Björk. I also uploaded FBX files of these avatars up to Sketchfab, and people could actually tumble around these things in real-time. So that was a nice experience of taking what we built and spin out our characters, models, and sculptures in ways that people could experience interactively beyond what we created.
Work-in-progress for VULCINURA album cover. Photo courtesy of Andrew Thomas Huang.
How are you defining a meaningful interaction for that work?
There are a couple of realizations that I had. One was how scale is viscerally impactful when you're wearing the headset. The other had to do with hands. The mechanic of Family is that you're sewing yourself through this journey, and we had these hands initially attached to the controller, but it felt like you were just holding them on a stick. I learned, though, that if you create a delay as you move the controller, the hand drifts, then it would feel like it was really your hand. If it's connected to the control of your body, there has to be a delay or some kind of disconnect for you to feel like you're actually controlling something that's yours. Psychologically, I found that bizarre.
When you're wearing the headset, there's this desire to inhabit a space. For me, the climax of the video is very much like an Easter story. Björk has died and is resurrected. And once you discover her tombstone in the cave, you ascend through that tombstone and emerge on a sulfur plane—then she emerges as a giant goddess. The climax is her walking through your space; you penetrate the mesh at the height of the song. And you're like, literally inside a giant Björk. I was touched to hear that people were in tears from that experience—they felt like they were really touching her in that performance and that moment.
In a way, that's just an issue of staging. You can move around, but in the end, you're still on this magical traveling carpet inside the ribbon sculpture that James Merry made. In a way, it's still a passive experience where a character walks through you, but at the same time, you can volitionally experience it—you turn your head, and you can look around within that moment of embodiment. I thought a bit more about the way you stage theater or film, how often at the climax of a scene, the camera suddenly flips directions. Bjork walks through you, and the space flips.
Still from FAMILY. Photo courtesy of Andrew Thomas Huang.
Can you talk more about the viewer's expectations coming into Björk Digital? They're probably Björk fans and are explicitly trying something new. What's interesting about coming from a non-interactive medium compared to one where users put energy into it?
It felt like designing a Disneyland ride. For instance, when you're riding through Pirates of the Caribbean, you're on a magic carpet, which is your boat, and there are many—Oh, I hate this word, but activation sites. Over there are the women chasing the pirates; over there is the animatronic chicken. And over there is the burning villa, you know? So there was pressure to fill in the blank page. When you have 360 degrees of volitional movement and space, there's this tendency to want to fill it, but we just can't, budgetarily speaking.
For Black Lake, we flew drones over all the sites in Iceland, and we also did photogrammetry scans of all the landscapes with a company called xRez. We thought, Oh, we might need these for visual effects purposes. But we also ended up using them for all the game landscapes in the VR piece. And that also became like when you experienced Björk digital—the home landing page. The photogrammetry scan on the landscape was enough for us spatially, and it was beautiful. I loved looking at the fine detail of this scan of a real location carved by a glacier—just letting the camera fly through.
In film, you're always prioritizing where the eye is looking within the frame…and it's no different in a game space. You can have an entire room that you enter, but there's an activation site—a priority space that you're calling for the game player to be drawn towards. For the latter half of the project, it was Björk's tombstone and walking avatar. The same is for immersive theater—you can look anywhere, but you're going to look where the action is happening. I think as long as you just prioritize what you're emotionally trying to convey—and spatially where you want the user to be looking—then you don't have to fill in everything. You can focus on what message you're trying to convey, the action you're trying to evoke.
Do you think that game makers are thinking more cinematically, or do you feel like directors are thinking more interactively?
I have so much reverence for game developers. They've been doing nonlinear storytelling for decades now. So hearing filmmakers be like, Oh, VR is a new pioneering way of storytelling, I'm like, What are you guys talking about!? Game designers have been doing this for so long. The only difference is that you're wearing something on your face [laughs]. My opinion is more directed at filmmakers because I am one and see some of that rhetoric being spouted.
Nonlinear storytelling has been around for a long time. I love watching Ghost of Tsushima. It's gorgeous, a total cinematic experience. I love seeing how Unreal is being used now in The Mandalorian to make virtual LED sets—that totally took my breath away with it when I first saw it. There's a really cool convergence happening. I get annoyed when people are like, Oh, this is the first time anyone's experiencing something like this. And I think, No, it's not—there've been pioneers doing this work already. I just think it's a common tendency for everyone in their respective sphere to have their head in the sand and not look at what other people are doing in other industries.
Stills from FKA twigs' CELLOPHANE. Photos courtesy of Andrew Thomas Huang.
Now, there are tools that bridge the gap between what game makers and filmmakers know their respective literacies. Sometimes the game makers can be too invested in making a thing that's simply an expression of a mechanic rather than trying to tell a good story, which can be just as simple.
Respective literacies is a good way of putting it. If anything, I get sad that VR is so difficult to share an experience with. After Björk Digital, I realized how difficult it is to disseminate that experience to as many people as possible. That's why I still really believe in browser-based—that's the most accessible, democratic way of sharing an experience.
Are you still working in Unity or Unreal?
The short answer is no. Unreal has been on my list of things I want to learn. I see so many people doing cool things in it, but I'm at a point where I just only have so much time to learn new tools, and right now, I've been just trying to get my feature film, Tiger Girl, made. Navigating into that space has been a whole new educational experience for me. My years working on Björk Digital was a great time of experimenting with this new platform.
I think about what they did with The Jungle Book where they built the entire forest in Unreal—it was such a cool application of the project. But I have to make a budgetable indie film before I can even get to that level.
Tiger Girl sounds so different, visually and narratively, from what you've made in the past. How do you see this as a new expression of your past work, as someone who's worked with digital characters, interactive characters, and puppetry?
I've had trouble making the first movie precisely because of that problem. My stuff is visual, which means it's expensive. It's just expensive to make fantasy stuff. I would like my first movie to be as rich as Labyrinth, but that's not going to happen.
There's also this dilemma in the way filmmakers of color are marketed and sold or positioned in these labs or fellowships. Sometimes I feel like we're only accepted into these if we're telling some confessional sob story about our immigrant background or a kitchen-sink, socially-realistic drama. That's not really what I want to do either.
So, I'm trying to merge these things. Why does telling a story about my family and their history have to be a social realist drama? Why can't it be as magical as something Jim Henson would do? Tiger Girl is about a Chinese girl in the 1960s who discovers the tiger in her attic. There's going to be a tiger—there's going to be a puppet, and it's going to be red, and we're going to do cool tricks; some CG fuckery. That's going to make it like mind-blowing, but I still have got to shoot with real people with believable emotions. Nothing's worse than wooden performances in a visually lush film, and I also really hate it when I see something told with no visual imagination or style at all. So I'm trying to thread that needle.
But now, what I have to do is make this a good movie with good writing and good acting. And it's hard! It's the same as game design; how do you make a compelling story with beautiful mechanics and an entire world that you've created? It's like learning to be ambidextrous. In order to do that, you have to kind of zigzag—I could stay in this territory where it's purely visual and technique-driven, but I gotta work on these other aspects. I know, though, that we're going to make it great.
I have friends that are so visually-minded and sensorial, then I have friends that are much more literary, who love narrative and acting. It's like a different way of thinking. So we're going to flip over to that territory and then try to marry this stuff together in the end, but it's going to take time.
That challenge on the representation side is eternal for creators of color—it's that balance between what kinds of things you're supposed to be making. Sometimes, that aligns with what you actually want to make, but sometimes it doesn't.
It's important to tell those personal stories and tell them authentically. I also hope to depict those stories in a visual way that we haven't seen before. Let's hope I get it right.
Edited and condensed for clarity.
Interview conducted by Jamin Warren in September, 2020.
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Fun and Creative Designs for you!
Hello, fellow crafters! My name is Lindsey, and I create all of the SVG Files here at Scarlett Rose Designs. I am a wife and mother to three adorable (and energetic) children, who always keep me moving. Like many stay at home moms, I was looking for a way to contribute to the family income, while still being able to stay home with my kids. In 2016, I decided to put my passion for design to use. All of my designs are unique to my own style and are usually created with one of my children in mind. I hope you enjoy using them as much as I loved designing them! Thank you so much for stopping by, and please let me know if I can ever assist you with any design needs!


Like our own, our dog's eyesight is very precious so we need to be observant if we are to recognize the signs of eye problems in our dogs at an early stage and before they have a chance to worsen.
I can't emphasize this enough, if you notice any of the above signs in your pet, it's very important that you take him to see his vet without delay.
The sooner your vet takes a look at your dog, the better - please don't wait a couple of day to 'see if it clears up' and don't try to diagnose the symptoms yourself, leave that to the professionals.


Tränenpalast call the citizen of Berlin the former border crossing at Friedrichstrasse. Officially it was in GDR times the departure hall of the border crossing station Friedrichstrasse station.
The Berlin zoo is famous for its elephant breeding. We saw by chance this fight.
kantega.de – elephant fight in the Berlin zoo from kantega.de on Vimeo.


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Fri, 26 September 2014
Wherein we discuss Dungeons & Dragons, Super Smash Bros. for 3DS, Gauntlet, the fall of Titan, the Gotham series premiere (spoilers!), Doctor Who (spoilers!), our favorite superhero movie scenes, and our favorite nonfiction books. Starring Ryan Scott, Adam Fitch, Justin Haywald, and Ryan Higgins.
Wed, 17 September 2014
Wherein we discuss Dungeons & Dragons, The Hobbit: The Battle of the Five Armies, Super Smash Bros. 4, Nintendo's weird naming conventions, Batman: Arkham Origins, Destiny, Doctor Who (spoiler warning!), our creative outlets, marathon vs. week-to-week TV shows, The Office, and bad sleep science. Starring Ryan Scott, Adam Fitch, and Ryan Higgins.
Wherein we discuss Justin's PAX Prime experience, Middle-earth: Shadow of Mordor, The Behemoth's next game, Don't Stop Talking, video game swag appraisal, Aussie rules football, Halloween, Dark Souls II, finally playing Diablo III's Adventure mode, Destiny, Doctor Who (spoiler warning!), and more of our favorite novels. Starring Ryan Scott, Adam Fitch, Justin Haywald, and Ryan Higgins.
Thu, 4 September 2014
Wherein we discuss PAX Prime, Dungeons & Dragons, the new Nintendo 3DS, Disney Infinity and Amiibo, Doctor Who (spoiler warning!), The Thick of It, our favorite novels, Kate Bush's return to live performances, our favorite anime, and the best TV shows we've never seen. Starring Ryan Scott and Ryan Higgins, with special guest April Scott.


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MLER SIG Research Agenda
National Middle Grades Research Program
Publishing Opportunities for Middle Grades Research
The Handbook of Research in Middle Level Education
The Handbook of Resources in Middle Level Education
The Chronicle of Middle Level Education Research
Middle Grades Research Journal
Mentoring Initiative
Graduate Student Award
Richard "Dick" Lipka Lifetime Achievement Award
Vincent A. Anfara, Jr. Outstanding Middle Level Education Research Award
Home » Program/Abstracts from AERA Annual Meetings » Abstracts from AERA 2004 Paper Sessions
Abstracts from AERA 2004 Paper Sessions
Making Middle Grades Work
Chair: Sandra L. Stacki, Hofstra University
Discussant: Richard P. Lipka,PittsburgStateUniversity
Comprehensive Middle School Reform: Early Findings from the Success for All Middle School Evaluation
Ceil Daniels, Success for all Foundation; Anne M. Chamberlain, Success for All Foundation; Nancy Madden, Success for All Foundation;Robert Slavin, Johns Hopkins University
This paper will present research results comparing reading outcomes of students in a comprehensive middle school reform, the Success for All Middle School, with students in matched control conditions. Data examining academic impact, as well as the implementation process of this new model, will be reported. Preliminary achievement data from state accountability measures show school-level reading gains made by Success for All Middle Schools to exceed gains made by control schools in six of seven pairs. These differences approach statistical significance (p<.06). Observation and interview data reveal unique challenges to implementing whole-school reform at the middle school level, as well as viable strategies for meeting those challenges, all aimed towards increasing student achievement. The Success for All Middle School design is one of few comprehensive, replicable models for middle schools serving many at-risk young adolescents. Consistent data indicating whether and how this model can be successfully replicated across a wide variety of circumstances will provide an important tool for educators concerned with the success of these children.
Improving Reading Proficiency in High-Poverty Middle Schools
Allen Ruby, Johns Hopkins University; Douglas J. Maciver, Johns Hopkins University; Vaughan Byrnes, Johns Hopkins University
High-poverty, high-minority middle schools are not overcoming the reading deficits of their students placing them at increased risk of dropping out. We examine the impact of an adolescent literacy program, Student Team Literature, on 2,794 students at 7 high-poverty middle schools in Philadelphia that were involved in the whole school reform Talent Development Middle School Model. Their change in reading proficiency level from 5th grade to 8th grade is compared against 9773 students at 23 similar schools in the District that did not use STL. Students using STL were 42% more likely to move up from the lowest reading proficiency level and 25% less likely to move down to it.
Explorations of Middle Schools
Predictors of Intrinsic Motivation Among Urban Middle School Students: The Mediating Role of Self-Worth Perceptions
L. Mickey Fenzel,Loyola College in Maryland
The present study examines three predictors of intrinsic motivation for school work and the mediating role that self-worth perceptions play in the process. Predictors include students' perceptions of school-related strain, parental support, and their academic competence. Participants include 62 young adolescents (69% African American) attending urban parochial middle schools. Results provide support for the mediating role of self-worth in predicting students' levels of intrinsic motivation, a finding that has particularly important implications for establishing effective learning environments for young urban adolescents of color. Results suggest that educators and parents form partnerships that help young adolescents succeed in school and help them navigate the host of stressors in the urban environment that mitigate against school success.
Promoting Culturally Responsive Teaching as Enacting an Ethic of Care in Middle Level Education
Constance Bauer,Rowan University
This study examines how school-wide change activities affect teachers' practices when teaching culturally diverse suburban middle school students. Research focuses on how implementation of a teacher study group affects understandings regarding teaching African American females. Data include observations of white male teachers' classes, interviews with teachers and students, field notes from study group meetings and teacher surveys. Data suggest that teachers whose attitudes and practices reflect and incorporate students' cultural backgrounds and interests are most effective with the African American girls. Findings indicate that teachers who learn about students' needs and interests demonstrate patience, provide opportunities for group work, and make learning relevant. The study has important implications for educational leaders striving to build a caring, culturally responsive school climate.
Career Readiness Typology and Typal Membership in Middle School
Patrick Akos, University of North Carolina at Chapel Hill; Timothy R. Konold, University of Virginia; Spencer Niles, Penn State University
Choices made in middle school begin to shape a career identity and represent pathways to potential careers. Career indecision may be developmentally appropriate in middle school and school counselors hold primary responsibility to facilitate career development and help students make related choices. This study examined the career readiness of 629 8th grade students using the Career Factors Inventory. Data revealed elevated needs for information, specifically self-knoweldge, as compared to normative samples in high school and college. Additionally, a career readiness typology demonstrates the heterogeneity of career development needs of 8th grade students and reveals little variance on sociodemographic factors. Implications for school counselors and school personnel are also presented.
Effects of Curriculum Variation on Structure in Middle School Mathematics
Robert M. Capraro, Texas A&M University; Victor L. Willson, Texas A&M University; Mary Margaret Capraro, Texas A&M University; Linda D. Wilson, American Association for the Advancement of Science
This paper explores changes in students' representations of number and algebra from pre test to posttest and examines differential changes due to instructional variation. Number (use, interpret and compare equivalent forms of fractions, decimals and percents) and algebra (equations summarizing time related change) were assessed for grades 6 through 8. The results reported here are from the first two years of a five-year longitudinal study being conducted in two states, involving 62 teachers, 8 school districts, 19 schools, and 4 textbook series. The findings illustrate that the two forms of each test are psychometrically equivalent. The number test more accurately replicates the co-variance matrix and provides one plausible fit for the construct. The algebra test is a marginal fit to the construct and provides insights when comparing the pre and posttest fit to the construct. While the posttest analysis of algebra indicates a plausible fit to the construct further investigation will provide added information about the interaction of the construct as measured by the test and it effects on the student performance on general algebra tasks and high stakes tests.
Multiliteracies in Action: Case Studies of Multiliteracies Classrooms
William R. Kist, Kent State University
This session will describe the efforts of an ongoing research study that is finding and describing "multiliteracies" classrooms across the U.S. and Canada. Student and teacher perceptions (as well as researcher perceptions) will be utilized to describe what an up-and-running "new literacy" classroom looks like overall, on a daily basis, and from a "local literacy" perspective. Six case studies have been completed. Thick descriptions of these "new literacy" classrooms have been developed and will be developed, including sample assignments and assessments used (with sample assignment sheets and rubrics.) Analysis of the data has also provided trends of "multiliteracies" teaching as well as significant local differences, which will be shared.
Learning from School Districts About Factors Related to Urban Middle School Teacher Effectiveness and Retention
Doris Williams-Smith, University of Houston
Research Question: Which factors lead to effective teaching in urban middle schools? Purpose: 1.To identify characteristics of effective urban middle school teachers. 2.To identify crucial elements of teacher preparation programs for preparing teachers to be effective in urban middle school settings. 3.To identify most effective recruitment strategies for urban middle schools. 4.To identify induction strategies that have proven to be most effective. 5.To identify factors that have had the most impact on retention of effective urban middle school teachers. Data Collection and analysis: was conducted in three phases – 1.focus groups of middle school principals and teachers, 2.development of survey instrument, and 3.factor analysis of survey results from 400 respondents from 49 middle schools in two urban districts.
Middle Schools: A Reform Movement at a Defining Moment
Michael L. Dalton, Oregon State University; P. Maureen Musser, Willamette University; Micki M. Caskey,(Portland State University; William Greene, Southern Oregon State University; Marilyn Olson, University of Oregon; Linda L. Samek, Western Baptist College
Currently there is confusion and controversy regarding the No Child Left Behind Act and what middle level teachers are authorized to teach. The purpose of this study was to investigate five questions:
How do current national policies related to content preparation align with middle level principals' recommendations for highly qualified teachers?
How are the national and state policies impacting the pool of potential middle school teachers?
How are the national (i.e., NCLB) and state licensure policies understood and applied by middle level principals?
How are the social-emotional needs of middle school students balanced with the growing academic/intellectual expectations for highly qualified middle level teachers?
How is the current climate of high stakes accountability limiting the development of interdisciplinary curriculum?
Issues in Middle Level Education
Chair: Micki M. Caskey, Portland State University
Discussant: Richard P. Lipka, Pittsburg State University
Assessing the Success of Turning Points in Boston Public Schools
Steve Mertens, CPRD, University of Illinois; Nancy Flowers, CPRD, University of Illinois
This paper examines the evidence of effectiveness of Turning Points, a middle-grades' Comprehensive School Reform (CSR) model. Utilizing a quasi-experimental design, two types of data and two control groups are used in evaluating the effectives of the reform model on a group of nine middle-grade schools in Boston, Massachusetts. The data consists of self-study data collected from teachers, principals, and students and school-level student achievement data. Teachers in Turning Points' schools report slightly higher levels of team and classroom practices, higher levels of decision-making, and their students report positive levels of self-esteem, efficacy, depression, and behavior problems. Student achievement results for Turning Points were comparable to the control group. Limited-English proficiency (LEP) students in Turning Points' schools, however, had higher student achievement scores in English as compared to the control group, the district, and the state. Finally, Turning Points' schools engaged in teaming with high levels of common planning time had higher English achievement scores compared to schools with low or no common planning time.
Relationship Between Criteria for Admission to Middle Childhood Education, Program Completion, and Performance in Teaching
Joanne M. Arhar, Kent State University; Elizabeth Goldthwait, Kent State University
A study of 88 graduates of a middle childhood teacher education program examined the relationship between entrance criteria, successful program completion, and performance in teaching. Entrance criteria include GPA, Praxis I, essay, and interview. Results indicate that GPA is related to subject matter knowledge, pedagogical content knowledge, and performance on some of the Praxis II tests, but not to student teaching evaluations or Praxis III. Praxis I scores and essay are unrelated to most other variables. Interview scores predict methods GPA. Most students who are admitted to the program successfully complete it. All students who took Praxis III passed it but none of the entrance criteria were found to be significantly related to either student teaching evaluations or Praxis III.
Middle School Teachers Talk About Their Teacher Preparation
Lillie R. Albert, Boston College; Marialice B.F. Curran, Boston College
This case study use interview and survey data to document the influence of teacher preparation programs on middle level teachers. The teachers participating in this study spoke and wrote about three specific types of practices: intellectual, teacher preparation, and affective. This study concludes that there is a difference between middle school students and students at other levels; therefore, this distinction should inform teacher preparation programs on how to best prepare prospective middle level teachers. Specifically designed middle level teacher preparation programs need to provide practicing teachers with a variety of practical experiences at the middle level, including both pre- and full- practicum experiences, as well as specific middle level coursework taught by professors who are ambassadors of the middle school.
Preservice Education of Middle School Teachers: A Contextual Teaching and Learning Approach
Shawn M. Glynn, University of Georgia; K. Denise Muth, University of Georgia; Elizabeth Pate, University of Georgia
One of the major goals of recent reform efforts in middle school education has been to insure that preservice teacher education prepares teachers effectively for classroom practice. Beginning middle school teachers often have difficulty relating various theories and methods taught in preservice courses to what actually happens in their daily teaching practice. This presentation describes a research study that applies a contextual teaching and learning (CTL) approach to the preservice education of middle school teachers at a large state university. Case studies of participating teachers and their students over two years supported the view that preservice education in CTL can accelerate the professional development of middle school teachers and, at the same time, foster their students' achievement and attitudes.
Examinations of Middle Schools
Nurturing a State-Wide Middle Level Education Movement: The Case of Hawai'i
Paul D. Deering, University of Hawaii
Hawai'i has taken a leap forward in the education of its early adolescents with the State Board of Education's recent adoption of the Middle Level Education Policy (HIDOE, 2001), which draws heavily upon the recommendations of the National Middle School Association (1982,1995) and the Carnegie Council on Adolescent Development (1989, 1995). While much of the US seems to be experiencing a backlash against the middle level education movement, Hawai'i has continued to progress, due in large part, to the nurturing of a state-wide middle level education movement. This paper will use case analysis (Merriam, 1998) to examine the growth of Hawai'i's middle level education movement and offer recommendations for the further advancement of the movement within and beyond the state.
A Cross-Cultural Study of Time Spent on Sports Activities
Weilin Dou, International Trade University of China; Zhenguo Yuan, Ministry of Education, PRC; Shu-ling Lai, Ling Tung College; Tai-Shent Chang, Ling Tung College; Renmin Ye, Houston ISD
This study discussed and compared the amount of time middle school students devote to playing sports after school, and the perception of how important these sports activities by students themselves, their mothers and their friends. The study represented the perceptions of subjects from sixteen different nations. It explored the differences of after school sport time between male and female students, as well as the relationships between time devoted to sport activities and students' academic achievement. The findings from this study would be meaningful for international comparative education, student sport activities and physical educational programs.
Capturing the Journey: A Case of Preparing a Middle Level Teacher
Micki M. Caskey, Portland State University
In response to strong evidence supporting the specialized preparation of teachers of young adolescents (Carnegie Council on Adolescent Development, 1989; McEwin & Dickinson, 1995; National Middle School Association, 1999), a graduate teacher education program in the Northwest United States developed a program dedicated to preparing middle level teachers. The journey of teachers in an emergent middle level program warrants examination. This case study is part of a larger study of twenty-three teachers who were specifically prepared to teach young adolescents in a middle level cohort. Components of the program were extensive field experience, interactive coursework and cohort structure. Data sources include surveys, interviews, and written reflections. This case will reveal one teacher's perceptions of his specialized middle level preparation.
Aligning State Reform with Middle School Needs: Contextualizing Accountability Pressure for School Renewal
Tariq T. Akmal, Washington State University; Donald E. Larsen, University of the Pacific
Despite the pressure of high stakes assessment, high-need schools can find ways to help children succeed. In the last three years, Lewis & Clark Middle School has become a school where both faculty and students have a sense of pride and purpose. In a school where 25 to 30% of the students are on IEPs, almost two-thirds are ethnic minorities, two-thirds are on free or reduced lunch, and 50 to 60% of the student population changes during the year, parental involvement soars, disciplinary actions decline, student achievement rises, and staff development flourishes. How? Unlike other schools identified as Schools Needing Improvement, LC welcomed state accountability mandates and obligations, thus illustrating how contextualizing school accountability pressure can help middle school renewal.
Exploring Motivation and Achievement in School Contexts: Sixth Graders Talk About Middle School Experiences
Erika Dale Daniels, University of San Diego, San Diego State University
This study highlights the dearth of young adolescents' voices in current research on motivation and academic achievement. In order for teachers to create motivating learning environments, they need to understand the factors that influence students' decisions to engage or not engage in school. This study uses a collective case study approach in order to explore the reasons sixth graders at the beginning of their middle school experiences choose either to engage or to disengage in school learning experiences. These decisions, in turn, affect their academic achievement. It is framed by sociocultural theory in order to explore how elements in the students' environment (language, gestures, interactions) influence students' motivation and identity construction.
Novel Readings: Exploring the Effects of Technology-Enhanced Activities on Adolescent Literature Engagement and Social Learning
Prudence H. Cuper, Keene State College; Hiller A. Spires, North Carolina State University
This case study examined the effects of technology-based activities (i.e., Internet research, Web discussions, and an interactive Web site) on the interplay of five 8th grade students' socially constructed learning and cognitive text engagement with young adult literature. Findings suggest that technology-based activities can facilitate collaborative meaning making and distributed expertise while fostering group-based critical evaluation of resources; and provide a unique means of exploring personal identity, a central developmental issue during adolescence. The grounded theoretical results of this study contribute to our understanding of emerging technology applications and their potential impact on adolescent literacy using non-standardized assessments. In order to encourage greater teacher technology use, future research should include standardized assessments as well.
Middle Level Teachers, Students, and Administrators
Discussant: Larry G Daniel – University of North Florida
Developmentally Responsive Leadership: A Look at the Middle School Principal
Kathleen Roney, University of North Carolina at Wilmington; Vincent A. Anafara, Jr., University of Tennessee; Claudia Smarkola, Temple University; Joseph P. Ducette, Temple University
If, indeed, educational excellence is inextricably coupled with effective school leadership, there is much to be gained from studying the experience of school leaders. Middle school principals who are serious about reforming their schools face a daunting challenge. They need to reconstruct core ideas about their role, and therefore, how they spend their time, set their priorities, seek new knowledge and skills, and situate themselves with respect to teachers and others in the educational community. This process is complicated, takes time, and requires models of good practice. Given the virtual absence of research specific to middle school leaders, this research provides us with the opportunity to learn from individuals as they live out their professional lives in schools.
Academic Competence of a Sample of Adolescents Retained in Grade Versus a Typically-Developing Sample
Stacey M. Neuharth-Pritchett, University of Georgia; Angela G. Fiske, University of Georgia
Despite the substantial body of literature that has accumulated against the practice of retention, schools in the United States continue to advance the practice as a sound educational choice for students (Mantzicopoulos, 1997). While there is an extensive view of the contributions of individual student-related variables to the numbers of students retained, few investigations have focused on adolescents' perceptions of their academic or scholastic competence and actual data from the students' standardized test scores. This study presents data from 266 adolescents indicating that retained students have lower competence as well as academic achievement. Implications for schools are provided.
Marginalized from School: Adolescents' Perceptions of Teachers Prior to the Transition to Middle School
Audra K. Parker, University of Georgia; Stacey M. Neuharth-Pritchett, University of Georgia
The transition from elementary school to middle school is a monumental step for young adolescents. In addition to physical, emotional, and environmental changes faced by this age group, they must also leave the nurturing, caring confines of the elementary school for larger, competitive, intimidating middle schools. Recent research has focused on the concept of school satisfaction and adolescents' ratings of their behavior and connections to school (Baker, 1998). This study presents data from fifth grade students and their perceptions of their teachers prior to their transition to sixth grade in the middle school. Data indicate that students who have less positive perceptions of their teachers have more negative outcomes on a number of social and emotional variables.
Examining the Relationships Among Knowledge, Dispositions, and Performances in Novice Middle Level Teachers
Sara Davis Powell, College of Charleston
This research seeks to verify or refute widely assumed relationships among knowledge, dispositions, and performances. Recent graduates of an elementary education program (grades 1-8) who taught middle grades (6-8) during 2002-2003 are participants responding to a 153-item survey based directly on the NMSA/NCATE Standards for Initial Preparation. The responses range from "strongly agree" to "strongly disagree." Responses are subjected to Spearman's rho to determine correlation coefficients for each of the three paired relationships among knowledge, dispositions, and performances (k/d, k/p, d/p). Three related hypotheses state the correlations will be positive. The results will either confirm or call into question assumed relationships and have potential implications for teacher educators and the premises of the National Middle School Association concerning teacher preparation.
Balancing the Integrity of a Comprehensive School Design Model with Experimentation and Local Context
Jay Feldman, Center for Collaborative Education; Monique Y. Ouimette, Center for Collaborative Education
A significant finding of studies examining the effectiveness of CSRD schools is that schools that implement the design fully are more likely to show gains in student improvement. However, levels of implementation vary greatly across schools and districts, and the ability of designs to adapt to local contexts has met with mixed success. The Turning Points Middle School design developers believe that the implementation of their principles and practices must vary in local context. The design's use of Regional Centers is unique among middle school reform models, providing local, intensive, on-site support. This paper discusses how Regional Centers and external facilitators view their roles in middle school change, and describes local innovations in implementation to meet the TP vision.
© 2022 Middle Level Education Research – All rights reserved


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Ebola nurse Pauline Cafferkey 'has made full recovery'
A Scottish nurse who was readmitted to hospital after suffering complications arising from the Ebola infection has made a "full recovery", doctors say.
Pauline Cafferkey initially contracted Ebola while working at a treatment centre in Sierra Leone last year.
She was successfully treated at the Royal Free Hospital in London, but was taken there again in October after the virus caused her to develop meningitis.
The hospital said Ms Cafferkey had now been discharged.
In a statement, it said that the 39-year-old nurse was no longer infectious, was well enough to return to Scotland, and had been transferred to the Queen Elizabeth University Hospital in Glasgow.
A statement from NHS Greater Glasgow and Clyde added: "We can confirm that Pauline Cafferkey was transferred back to the Queen Elizabeth University Hospital to complete her hospital treatment. Her condition is stable.
"All the appropriate arrangements for Pauline's admission to the hospital and continued treatment have been followed."
'Amazing care'
Ms Cafferkey said she was "forever thankful for the amazing care" she had received at the Royal Free, which has a specialist isolation unit for treating highly infectious diseases.
She added: "For a second time staff across many departments of the hospital have worked incredibly hard to help me recover and I will always be grateful to them and the NHS.
"I am looking forward to returning to Scotland and to seeing my family and friends again."
Image copyrightThe Scotsman
Image captionMs Cafferkey worked as a nurse at an Ebola treatment facility in Sierra Leone at the height of the Ebola outbreak in west Africa
Image copyrightEPA
Image captionMs Cafferkey described some of the horrors she faced at the Kerry Town Ebola treatment centre in a diary that was published in a newspaper
Image copyrightPA
Image captionMs Cafferkey was treated at a specialist isolation unit at the Royal Free Hospital
Ms Cafferkey, from Cambuslang in South Lanarkshire, contracted Ebola while working at the Kerry Town Ebola treatment centre in Sierra Leone.
She spent almost a month in isolation at the Royal Free at the beginning of this year after the virus was detected when she arrived back in the UK.
She was later discharged after apparently making a full recovery, and in March returned to work as a public health nurse at Blantyre Health Centre in South Lanarkshire.
But it was discovered in October that Ebola was still present in her body, with health officials later confirming she had been diagnosed with meningitis caused by the virus.
Bodily tissues can harbour the Ebola infection months after the person appears to have fully recovered.
On 9 October, she was flown from Glasgow to London in a military aircraft to receive treatment in the isolation unit at the Royal Free Hospital.
Her condition later deteriorated, with the hospital saying she had become "critically ill", but she began to improve within a few days.
Doctors said Ms Cafferkey had been treated with "a highly experimental" anti-viral drug in the early stages of development called GS5734, but did not know whether it had been of benefit to her.
The week before she fell ill for a second time, Ms Cafferkey received an award at the Pride of Britain Awards in central London, before meeting the Prime Minister's wife Samantha Cameron the following day at Downing Street, alongside other winners.
The Ebola outbreak in west Africa has killed 11,312 of the 28,457 people infected since December 2013, according to the latest WHO figures.


A two-bedroom red-brick house in Adelaide, Australia, is on the market for $349,950 (US$258,500).
But as you scroll through the photos you'll notice something about the house is a little...eccentric.
Do you see what I mean? It's subtle.
Maybe the bedroom caught your eye?
If it's not the peacock carpet or hundreds of cat pictures plastered on the wall, perhaps you'll prefer the kitchen.
"Located in a quiet no through road and only a short walk to the Centro Kurralta Park shopping precinct, this property is perfect if you want quick access to the major retail precinct for the area," says the property's listing.
"While it is easy to be visually drawn to the decor of this home what lies beneath is truly a character home waiting to be revived."
So if you're in the market for a family home, or even an investment property, don't forget this little gem. Your homeowner dream is at the tip of your fingers.
BuzzFeed News has contacted Wilson Real Estate for comment.


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VLOG: 8 days in Tokyo!
If you're planning on visiting Tokyo (I highly recommend it!) but have no idea where to go, here are a few places and attractions that were visited during our stay.
Traveled Japan during this July, visited the city Osaka , Nara, Kyoto and Tokyo for 8 days!!
These are our travel days. From Los Angeles, to a layover in Tokyo, we finally landed in Bangkok to begin our Thailand Adventures!
Paul McCartney - Eight Days A Week - Tokyo Dome 04.25.15.
PUMA Social brings the party to Tokyo!
eight legs live in tokyo.
Reader: MINH THƯ | Subscribe #PhuotTV: http://goo.gl/Tdet4h #phuotvstoai - Exploring Japan - After the application for a visa to Japan and preparation .


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FOR BUSINESS & BROKERS FOR BUSINESS & BROKERS
Benefits for Employees
SUPPORT & MANAGE SUPPORT & MANAGE
MetLife Stories
Blog Home MetLife Stories What I Wish I Knew: George Leamon
What I Wish I Knew: George Leamon
What I Wish I Knew: a series of conversations around first jobs
It's that time of year again – your social feed is filled with commencement speeches, graduation photos, and first-day jitters. And whether you're entering the workforce for your first "real job" or you already have a few career changes under your belt, we hope our second annual "What I Wish I knew" series inspires new perspectives on work overall.
Leading the pack this year is George Leamon, Director of Latin America Business Retention, who has been with MetLife for over three years.
What do you wish you knew when you started your first job out of college?
George Leamon: I wish I knew to be proactive and brave – no one is better equipped to decide your career path than you. It's important to take risks and try new things that may uncover some hidden skill, especially when you're young.
What are some critical dos and don'ts for starting a career on the right track?
Know your strengths and weaknesses and learn how to further enable your strengths and how to bolster your weakness.
Become your best advocate – know what makes you special and be able to sell yourself.
Knowing what you don't want to do is equally as important as deciphering what you do want to do. Be clear about your 'must haves' like autonomy, a collaborative working environment, and your 'deal breakers' like a lack of growth opportunities or work/life balance.
What is your current role?
I work with global, regional and local partners in Argentina, Brazil, Colombia and Uruguay to put our customers at the center of our business and deliver more human, intuitive experiences, at every touchpoint for our customers.
What is your background?
I was born and raised in Charlotte, North Carolina and graduated from the University of North Carolina at Chapel Hill with a B.A. in Political Science. After, I served in the Peace Corps in a Dominican Republic community, where I constructed an aqueduct for clean water. I later returned to school and received a Master's degree in Nonprofit Management from Columbia University and then took a position with the Organization of American States (OAS) in Uruguay, working on an international human rights project in Colombia, Guatemala and Jamaica. My project in Jamaica resulted in the implementation of a national public policy on violence against children. This experience made me realize I wanted to have more impact and greater scale with my work and I could only do this in the private sector. And so, I pursued an MBA at the Kellogg School of Management at Northwestern University because of its emphasis on team work and collaboration.
What did you picture yourself doing after college?
I pictured myself working in the public sector – either Peace Corps or Teach For America because I wanted to make a positive impact on others.
And how do you think MetLife helps you continue making a positive impact?
MetLife helps millions of people around the world create their own safety net and it gives me a career that has the reach to positively affect lives everywhere. If you want to make tangible change in people's lives – this is a fantastic place to do so.
I worked as a lifeguard at a local neighborhood pool and to make a little extra money, I gave swimming lessons on the side, which made me realize the value of taking initiative.
What qualities do you most admire in leadership?
I admire leaders who are self-aware and encourage others to bring their whole selves to work because inclusive workplaces encourage transparency and integrity. I also respect energetic, collaborative leaders who serve as a unifying force among colleagues while driving overall team results. Leaders wield enormous influence over organizations – how they lead is equally important to what they achieve.
How do you approach networking and career growth?
I'm a social person by nature and I love being collaborative, so I actively seek opportunities to meet people, learn about their lives and their work and the ways we can build a mutually beneficial relationship.
How do you manage up?
While managing up is important, I think that managing down and across are just as important. By motivating both your peers and subordinates to accomplish goals, you gain the trust of people who are senior to you and effectively influence beyond your level of authority.
How do you ensure you continue to learn and grow professionally?
I feel everyone has something to teach me and so I look for opportunities to learn from those around me. I also strive for self-improvement – how can I can be better? Perhaps learn a new skill, language, find a mentor, exercise, etc.
What styles of leadership do you see at MetLife?
MetLife has a collaborative culture and attracts leaders that enjoy working together to achieve success. Fortunately, our leaders are open to accepting feedback from across the organization, which helps to create a strong sense of shared purpose and direction.
Do you have a mentor or a champion? If so, how has this relationship helped you progress in your career?
Yes, I am extremely fortunate to have two mentors at MetLife who serve as sounding boards but more importantly, tell me things I may not necessarily want to hear but will lead me to become a better version of myself.
This interview has been condensed and edited.
Hungry for more career advice? Click here for more from our What I Wish I knew series.
MetLife Stories,
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Company Culture,
Why MetLife is Investing in One of North America's Most Important Ecosystems
What I Wish I Knew: Adriana Briones
Making a Difference Globally and Locally: How We Give Back
What I Wish I Knew: Brittany Daniels
What I Wish I Knew: Crystal Beach
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CALL: 1-800-METLIFE
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This #43 Richard Petty STP Pontiac Grand Prix is a Super Speedway car which is capable of 200+ mph. In 1984 it ran at Daytona and Talladega. It was owned by Mike Curb of Curb Records and driven by Richard Petty. Over the course of 32 years of driving the Winston Cup Racing Circuit, Petty compiled an amazing 200 victories, 7 Winston Cup titles, and 7 Daytona 500 wins.
In 1986, # 12 Neil Bonnett and # 11 Darrell Waltrip were teammates for owner Junior Johnson with the Budweiser™ / Kentucky Fried Chicken™ sponsorship. Neil won 3 races that year with Junior Johnson. Neil was injured in an accident in 1989 and some thought he would never return to racing. Neil Bonnett hosted TNN's race program called " Winners" for three seasons. In 1994 Bonnett made the decision to return to racing and was tragically killed practicing for the Daytona 500.
# 27 Rusty Wallace Miller Genuine Draft Grand Prix!!! This car ran at the Bristol Motor Speedway in 1990. Raymond Beadle of the Blue Max Racing funny car drag race team owned this car. This racecar was also used in the movie "Days of Thunder" as a camera car with Rusty Wallace as the driver. The year 1990 was the very first year that Miller Brewery and Rusty had a sponsorship agreement together. The car was autographed by Wallace in 1995 when he visited the "All American Race Museum" in Gaylord Michigan. This car was also used in the induction ceremony in Daytona in 2006 when Wallace was inducted into the Hall Of Fame.
Boogity Boogity Boogity! Let's go racin' boys!!! 1989 Chevrolet Lumina. Darrell Waltrip was one of racings most colorful characters on or off the race track. Driving for car owners such as the legendary Junior Johnson, Rick Hendricks, and even his own team. Darrell has won 3 Winston Cup Championships in his career. This car was featured in the ESPN movie "3" as a camera car and was used on the back cover of the movie CD.
The # 28 1993 Busch Series Chevrolet Texaco Havoline Lumina that was owned and driven by Davey Allison in a special race commemorating fallen race driver Alan Kuwicki. Davey Allison was one the best up and coming drivers in NASCAR™ in 1993. He was the youngest member of the "Alabama Gang" and was always a contender for the win in Winston Cup or The Busch Series Races. Although this car ran in an all white paint scheme, when it was restored, it was repainted in the famous red, white, gold, and black scheme of Davey's rookie year in Winston Cup. Tragically Davey's life was cut short in a helicopter accident.
1988 Goodwrench Monte Carlo that was driven By Dale Earnhardt Sr. at Daytona with the # 8 instead of the famous #3 as a tribute to Dale's father, Ralph Earnhardt. This car is not associated or affiliated with Dale Earnhardt Inc.
This cute little guy is the CHAPMAN MOTORSPORTS mascot "TOBY". He is a half scale NASCAR racecar. Kid's love him. Alot of photo opportunities with this little guy!
HAVE FUN AT YOUR NEXT SPECIAL EVENT WITH OUR 2008 FORD FUSION M&M RACE SIMULATOR. FEEL THE RACING EXPERIENCE OF DRIVING AN ACTUAL NASCAR RACECAR AT DAYTONA AT 190+ MILES PER HOUR!
LET US HELP PROMOTE YOUR NEXT SPECIAL EVENT IN SPECTACULAR FASHION !!!


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Home » Bollywood News » Armaan Malik To Meet Director Jon Favreau At The Lion King's Premiere
Armaan Malik To Meet Director Jon Favreau At The Lion King's Premiere
Malik will be flying to Los Angeles (LA) on Monday for the world premiere.
Koimoi.com Team
Singer Armaan Malik is looking forward to meet director Jon Favreau at the premiere of his film "The Lion King" in Los Angeles.
"I'm so stoked to be joining Disney India for the premiere of 'The Lion King' in LA. This is going to be my first time at a premiere in Hollywood, and I couldn't be more excited to be part of such an iconic project," Malik said in a statement.
"What makes it even more special is that I will get to meet and interact closely with the man himself; Jon Favreau! He's helming the project and has made some of my favourite movies in recent times and I'm really glad that I'm getting an opportunity to get a peek into his creative world and share some fun moments with him," he added.
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Malik and singer Sunidhi Chauhan have been roped in for Hindi tracks for Disney's upcoming live-action project "The Lion King". He will be lending his musical touch to "Hakuna matata" and also a duet with Sunidhi.
"The Jungle Book" fame director Favreau has re-imagined the world of Disney's classic to bring alive a live-action film. He has stayed true to the classic story of Simba and used pioneering and game changing photo-real technology, using cutting-edge tools to make the musical drama come alive on the big screen.
The film will release in India on July 19 in English, Hindi, Tamil and Telugu.
Android & IOS users, download our mobile app for faster than ever Bollywood & Box Office updates!
Amidst Divorce Rumours, Imran Khan Apologizes To Wife Avantika Malik; Sends An Emotional Note!
Salman Khan Vs Shah Rukh Khan: Who Among The 2 Khans Is The Biggest On Social Media?
Super 30 BTS Video: From Tiger Shroff To Jassie Gill – Celebs Hail Hrithik Roshan's Prep!
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1. What can I expect from the Greenhouse Programme?
The Greenhouse is a special pre-incubation programme for young entrepreneurs. It helps you transform your climate innovation ideas into sustainable business models and marketable products or services.
We provide an informal and flexible environment to assess the market potential of your business idea, develop a business model and find out whether entrepreneurship is the future career for you.
You and your team will be equipped with and utilise basic skills required to approach sustainable business creating in a transdisciplinary manner.
You enhance your understanding of entrepreneurship and climate innovation in a semi-protected environment (within a safe test bed for early stage entrepreneurs).
Furthermore, you will utilise the Climate-KIC network to better understand the systemic challenges of climate relevant business.
3. Can I apply as an individual or do I need to apply as a team?
It is required to apply as a team consisting of a minimum of two people.
Each team will be given up to €2,500 funding in total, to be administered locally.
Funding will be granted in two tranches with €1,500 available in the first three months and then, subject to satisfactory progress, a further €1,000 can be made available. This is extra to any coaching support. In order to receive the financial support, all expenses need to be proved (e.g. by invoices).
5. What other kinds of support do I receive if my team is accepted into the Greenhouse?
Accepted Greenhouse teams receive access to professional business coaching in order to develop their idea further (at least once a month), which includes individual team support as well as the attendance of thematic workshops and networking events. These are mandatory. Some of the locations may offer access to workspace.
In addition to this, they become part of a motivated and dynamic community of likeminded individuals.
6. Who covers and organises my travel to the workshops?
In case you are not located in one of the Greenhouse locations, you need to organise and pay for your travel from your home city or country to attend the local Greenhouse workshops that will take place approximately once a month. At least one team member needs to attend these in person.
7. How long will Greenhouse support be for?
Greenhouse support will be for 6 months, with a stage-gate at the 3-month stage and frequent progress reporting.
8. Will there be a mid-term review?
Yes, there is an evaluation taking place half-way through the programme, as mentioned in the previous question.
This will be assessed either in form of a pitch or presentation or by other comparable means.
9. I am not a student, but rather a professional. Can I still apply?
Yes! We believe that diversity enriches our pre-incubation Programme, including in terms of career level. We welcome not only students from Master level and above, but also applicants with professional experience.
10. When will the new teams start?
New teams will start in May/ early June 2019. The Greenhouse ends at the end of October/ early November 2019, accordingly. Exact dates vary, depending on the location and will be communicated by your local coordinator.
11. When will I find out if my application has been successful?
We run a 2-stage application process – first your written application with be reviewed by a jury. You will then be informed by the end of April if you have made it through to the next round or not. Interviews will be held between early and mid-May, the latest.
12. Is there a waitlist?
No, there won't be a waitlist. You can reapply to the programme in the following round again.
13. Who do I contact, if I have location-specific questions?
14. I have been accepted to the programme, but my team cannot participate in the Greenhouse.
Please inform us as soon as possible in case you and your team are unable to participate in the programme.
15. What is the language of the programme?
The official language of the programme is English. Individual team coaching may be conducted in the national language of the hosting country if preferred by the team.
16. Do I receive a certificate by participating at the Greenhouse?
Participants completing the programme will receive a certificate at the of each round.
17. Is this a start-up competition with a cash prize?
No. This is a start-up programme around climate entrepreneurship with educational components. All teams are encouraged and supported to apply for subsequent Climate-KIC programmes, such as the Accelerator. Please take into consideration that you are not eligible to take part in various programmes simultaneously/ at the same time.
18. What is the approximate workload per week?
The Greenhouse is a flexible programme and applicants should hold a job or study. Workshops and coaching will take place at least once a month and teams are encouraged to work around 2-4 hours per week on their project idea, but are generally free to arrange their times.
19. Do we support visa applications to attend the Greenhouse from outside Europe?
No we don't. All applicants need to already have a visa for the country they apply for.


I am beyond excited for this night, friends! It is the evening of the Drag Race All Star 3 Ruveal to find out which amazing queens are going to grace our screens for this next season.
Instead of doing my thoughts on it tomorrow (Saturday), I'm going to live blog the show and post it in the morning. So, here we go with the recapping!
Whew Ru has some amazing suits.
Always the Coco & Alyssa cheeto argument…#classic.
I love how urgent this music is making this sound as Ru does the intro.
Admit it, we are getting this 'ruveal' because of the internet & they want to get ahead of it.
Ben De La Creme : ooh a misss congentiatlity. I admittedly haven't watched season 6, so we'll see how she does. Another Seattle queen! Heyyyyy Robbie Turner! (not on here just in my heart always). His cat sweat shirt! She kinda reminds me of Mrs Kasha Davis (no t, no shade). I like the camp factor. Ahh, a Jinx link. I guess I should watch season 6 eventually. De La kinda does looks Visage a bit.
So people are dropping spoilers on twitter..? Thanks, Kim Chi!
3. Shangela: Ok, the more I watch, this is going to be hard. She only did drag for 5 months before season 2? Crazy! I kinda love Shanglea through Alyssa Edwards proxy. Looking forward to getting to know more about her. Might need to add some of her songs to my upbeat playlist. Hallelu!
4. Thorgy Thor: YES! This was my first fistbump moment of the night. I LOVE her so much! She's super creative and I want to go to Brooklyn and see some shows so bad. Her disco pantsuit was one of my faves for sure. Don't overthink & own it, girl! I'd love you as a runner up (yeah, I'm biased. You'll see later). Also, I need a make up tutorial from Thorgy for her look during these interviews asap.
Full disclosure: I stopped watching season 7 when Trixie got kicked off. This also confirms I'll probably never meet her because she's so popular and getting even more so. Plus UNHHHHHHHH let's not even talk about it. "Alternative fact" when she got kicked off..haha I love you, Trixie Mattel.
6. Kennedy Davenport: Sure. I'm good with this. I'm interested in what she has going on for this season. I'm excited for this rubber to meet the road. Girl can dance, for sure.
7. Aja: You look like Linda Evangelista! And I definitely just did a dance. Awww Momo & Kandy are his roomies! I looove me so Aja. I'm loving this look into Aja's world. Did I mention I met her this summer? She was super sweet and she's going to probably be the best villain this All Stars season. Also, this promo look is epic.
8. Chi Chi DeVayne: I adore me some Chi Chi! She was so vulnerable and real on her season and I can't wait to see more of her. I also love her accent. She just seems so sweet and was one of my faves on her season- the first one I really binge watched. "I shop at Whole Foods for groceries now"- I love this girl.
Why was there just a Christmas commercial for Denny's food? And why was I ok with it?
9. Morgan McMichaels: Eh, season 2…is it bad like that seems crazy long ago? Those are some sweet Detox or Courtney Act style glasses in her interview for this show. She's pretty and I guess I'd be interested in knowing her more. Ahh, she was in Gaga's "Applause" video with Detox and other.
Oh my, you cheeky RuPaul…not all 10? WHAT!?!?!?
So, there you have it…coming "this winter" and yeah. So there you have it, friends.
Reading this post just reinstalled my excitement! What are your thoughts on there being no "top 3" queens?
I can't wait til it starts airing weekly, that's for sure! I know they'll wind up mixing it up somehow with no top 3 & I'm sure some other twists, so it should be quite interesting…I can't wait til Mama Ru fills my Friday nights again!
I know! I actually had the honor of meeting him, and let me tell you: best moment of my life.


"Microteaching" is a facilitated, collegial practice teaching session, during which each instructor teaches a brief (approx. 5 minute) lesson or leads a short discussion for colleagues. After each participant has given a lesson, the group discusses the experience and offers comments on strengths and suggestions for improvement.
New, shared insights on effective teaching.
A group dynamic that supports collaboration and sharing on what works in teaching.
Identification of unique challenges—and solutions—for teaching specific topics, disciplines, or circumstances.
Choose a topic or lesson you're going to teach soon, so you get feedback you can use.
Plan to involve the group—if giving a mini-lecture, include some questions; pause and check for understanding; invite responses.
Feel free to try something new in your teaching. No one is expecting perfection, and we can all learn from each other's experiments.
Relax—microteaching is intended to be helpful, collegial, and even a little bit fun. The environment will be supportive and constructive.
Microteaching usually takes place during the first week or two of a quarter.
It's helpful to plan for about 15 minutes per participant for each microteaching session, and to keep sessions under two hours (about 7 participants per session).
Microteaching can be video recorded if desired, so that individual instructors can later view and discuss their microteaching segment in a private consultation with Teaching and Learning Programs staff.
Contact us to request a microteaching session.


text:
package unnamed.network.rpc;

import java.lang.reflect.Method;
import java.util.Arrays;
import java.util.Set;

import unnamed.datastore.IDataVisitor;

import org.apache.commons.lang3.ClassUtils;
import org.objectweb.asm.Type;

import com.google.common.base.Preconditions;
import com.google.common.collect.BiMap;
import com.google.common.collect.HashBiMap;
import com.google.common.collect.Sets;

public class MethodIdRegistry implements IDataVisitor<String, Integer> {

    private final Set<Class<?>> registeredInterfaces = Sets.newHashSet();

    private final BiMap<Method, Integer> methodIds = HashBiMap.create();

    public boolean isClassRegistered(Class<?> cls) {
        return registeredInterfaces.contains(cls);
    }

    public int methodToId(Method method) {
        Integer id = methodIds.get(method);
        Preconditions.checkNotNull(id, "Method %s is ignored or not registered", method);
        return id;
    }

    public Method idToMethod(int id) {
        Method method = methodIds.inverse().get(id);
        Preconditions.checkNotNull(method, "Unregistered method id %s", id);
        return method;
    }

    @Override
    public void begin(int size) {
        registeredInterfaces.clear();
        methodIds.clear();
    }

    private static Method identifyMethod(String methodDesc) throws Exception {
        String[] parts = methodDesc.split(RpcSetup.ID_FIELDS_SEPARATOR, 3);
        Preconditions.checkArgument(parts.length == 3, "Method descriptor has %d fields", parts.length);
        Class<?> declaringCls = Class.forName(parts[0]);

        org.objectweb.asm.commons.Method method = new org.objectweb.asm.commons.Method(parts[1], parts[2]);

        Type[] argTypes = method.getArgumentTypes();
        Class<?>[] argCls = convertTypesToClasses(argTypes, declaringCls.getClassLoader());

        try {
            return declaringCls.getMethod(method.getName(), argCls);
        } catch (NoSuchMethodException e) {
            throw new IllegalArgumentException(
                    String.format("Can't find method, class %s has methods %s",
                            declaringCls, Arrays.toString(declaringCls.getMethods())), e);
        }
    }

    private static Class<?>[] convertTypesToClasses(Type[] argTypes, ClassLoader loader) throws ClassNotFoundException {
        Class<?>[] argCls = new Class<?>[argTypes.length];
        for (int i = 0; i < argCls.length; ++i)
            argCls[i] = ClassUtils.getClass(loader, argTypes[i].getClassName(), false);
        return argCls;
    }

    @Override
    public void entry(String methodDesc, Integer id) {
        final Method method;
        try {
            method = identifyMethod(methodDesc);
        } catch (Throwable e) {
            throw new IllegalArgumentException(String.format("Malformed entry '%s' in method id %d", methodDesc, id), e);
        }

        MethodParamsCodec.create(method).validate();

        methodIds.put(method, id);

        final Class<?> declaringClass = method.getDeclaringClass();
        registeredInterfaces.add(declaringClass);
    }

    @Override
    public void end() {}
}