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Understanding the Role of the Fed
Explore The Guide
Central Banks and Interest Rates
Financial Regulators
Who Determines Interest Rates?
Monetary Policy vs. Fiscal Policy
Introduction to the Fed
1913 Federal Reserve Act
How the Federal Reserve was Formed
Why Is the Federal Reserve Independent?
How Much Influence Does the Fed Have?
The Fed's Roles and Functions
What Do the Federal Reserve Banks Do?
How the Federal Reserve Creates Money
Federal Reserve Balance Sheet
Reserve Requirements
Reserve Ratio Definition
Interest Rate Cuts and Consumers
Fed Fund Rate Hikes and the US Dollar
Tight Monetary Policy
Expansionary Policy
Taylor's Rule
Fiscal Policy Government Spending & Debt
Open Market Operations (OMO)
By Adam Hayes
Reviewed By Thomas Brock
What Are Open Market Operations (OMO)?
Open market operations (OMO) refers to when the Federal Reserve buys and sells primarily U.S. Treasury securities on the open market in order to regulate the supply of money that is on reserve in U.S. banks, and therefore available to loan out to businesses and consumers. It purchases Treasury securities to increase the supply of money and sells them to reduce the supply of money.??
By using this system of open market purchasing, the Federal Reserve can produce the target federal funds rate it has set by providing or else taking liquidity to commercial banks by buying or selling government bonds with them. The objective of OMOs is to manipulate the short-term interest rate and the supply of base money in an economy.??
Open market operations (OMO) refers to a central bank buying or selling short-term Treasurys and other securities in the open market in order to influence the money supply, thus influencing short term interest rates.??
Buying securities adds money to the system, making loans easier to obtain and interest rates decline.
Selling securities from the central bank's balance sheet removes money from the system, making loans more expensive and increasing rates.
These open market operations are a method the Fed uses to manipulate interest rates.??
Open Market Operations Explained
Understanding Open Market Operations
Its open market operations are the tools it uses to reach that target rate by buying and selling securities in the open market. The central bank is able to increase the money supply and lower the market interest rate by purchasing securities using newly created money. Similarly, the central bank can sell securities from its balance sheet and take money out of circulation, putting a positive pressure on interest rates.??
The Federal Open Market Committee (FOMC) is the entity that carries the Federal Reserve's OMO policy. The Board of Governors of the Federal Reserve sets a target federal funds rate and then the FOMC implements the open market operations that achieve that rate.?? The federal funds rate is the interest percentage that banks charge each other for overnight loans. This constant flow of vast sums of money allows banks to keep their cash reserves high enough to meet the demands of customers while putting excess cash to use.??
The federal funds rate also is a benchmark for other rates, influencing the direction of everything from savings deposit rates to home mortgage rates and credit card interest. The Federal Reserve sets a target federal funds rate in an effort to keep the U.S. economy on an even keel and to forestall the ill effects of uncontrolled price inflation or deflation.??
Why Treasurys?
U.S. Treasurys are government bonds that are purchased by many individual consumers as a safe investment. They are also traded on the money markets and are purchased and held in large quantities by financial institutions and brokerages.
Open market operations allow the Federal Reserve to buy or sell Treasurys in such large quantities that it has an impact on the supply of money distributed in banks and other financial institutions around the U.S.??
The federal funds rate is a benchmark that influences all other interest rates for everything from home mortgages to savings deposits.??
Up or Down?
There are only two ways Treasury rates can move, and that's up or down. In the Federal Reserve's language, the policy is expansionary or contractionary.??
If the Fed's goal is expansionary, it buys Treasurys in order to pour cash into the banks. That puts pressure on the banks to lend that money out to consumers and businesses. As the banks compete for customers, interest rates drift downwards. Consumers are able to borrow more to buy more. Businesses are eager to borrow more to expand.??
If the Fed's goal is contractionary, it sells Treasurys in order to pull money out of the system. Money gets tight, and interest rates drift upwards. Consumers pull back on their spending. Businesses trim their plans for growth, and the economy slows down.??
Permanent Open Market Operations
Permanent open market operations (POMO) refers to when a central bank constantly uses the open market to buy and sell securities in order to adjust the money supply. It has been one of the tools used by the Federal Reserve to implement monetary policy and influence the American economy. Permanent open market operations (POMOs)?are the opposite of temporary open market operations, which are used to add or drain reserves available to the banking system on a temporary basis, thereby influencing the federal funds rate.??
Board of Governors of the Federal Reserve System. "Open market operations." Accessed August 18, 2020.
Board of Governors of the Federal Reserve System. "About the FOMC." Accessed August 18, 2020.
Federal Reserve Bank of San Francisco. "I find definitions of the federal funds rate stating that it can be both above and below the discount rate. Which is correct?" Accessed August 18, 2020.
Federal Reserve Bank of San Francisco. "What is the Fed: Monetary Policy." Accessed August 18, 2020.
Federal Reserve Bank of St. Louis. "How Monetary Policy Works." Accessed August 18, 2020.
Open Mouth Operations
Open mouth operations are speculative statements made by the Federal Reserve to influence interest rates and inflation.
Monetary Policy Definition
Monetary policy refers to the actions undertaken by a nation's central bank to control money supply and achieve sustainable economic growth.
Intermediate Targets
Intermediate targets are set by the Federal Reserve as part of its monetary policy to indirectly control economic performance.
Permanent Open Market Operations (POMO) Definition
Permanent open market operations (POMO) is when the central bank always engages in open market operations (OMO).
The Federal Open Market Committee (FOMC) is the branch of the Federal Reserve System that determines the direction of monetary policy.
Open-Market Rate
The open-market rate is the rate of interest that is paid on any debt security that trades in the open market.
The Fed's Tools for Influencing the Economy
Government Spending & Debt
How Do the Fed's Open Market Operations Affect the U.S. Money Supply?
Market operation and its effect on Money Supply
Understanding How the Federal Reserve Creates Money
What Happens to Interest Rates During a Recession?
How the Federal Reserve Manages Money Supply


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'Knives and Skin' charts the slow journey out of dysfunction
"Knives and Skin" (2019). Cast: Marika Engelhardt, Raven Whitley, Tim Hopper, Audrey Francis, Marilyn Dodds Frank, Grace Smith, Ty Olwin, James Vincent Meredith, Kate Arrington, Robert T. Cunningham, Kayla Carter, Alex Moss, Jalen Gilbert, Tony Fitzpatrick, Genevieve Venjohnson, Aurora Real De Asua, Ireon Roach, Haley Bolithon. Director: Jennifer Reeder. Screenplay: Jennifer Reeder. Web site. Trailer.
When we feel like we're stuck in a rut, escape seems almost unfathomable. And, the greater the dysfunction associated with that condition, the more onerous the circumstances become. But such conditions need not be an irrevocable sentence, especially if we can find it within us to search for a way forward. These are the challenges of a group of adult and teen residents in a seemingly idyllic setting in the offbeat and arguably indescribable new offering, "Knives and Skin."
Life is a struggle of quiet desperation in a fictional community located somewhere in the assumed wholesome Midwestern confines of suburban Illinois, a place where everything should be perfect, uncannily resembling the set design of a 1950s TV sitcom. But that mythical idealized image couldn't be further from the truth. In fact, in many ways, this nameless locale is dysfunction personified. Consider the lives of some of its inhabitants:
Dan Kitzmiller (Tim Hopper), recently laid off from his job, is trapped in a bad marriage to his neurotic wife, Lynn (Audrey Francis), an ultra-sensitive intuitive who's obsessed with seemingly every type of New Age fad and propped up on a cocktail of prescription meds, a combination that leads to a questionable connection to reality. She looks on her husband with contempt, given that he's a bad provider for the family and more concerned with becoming a full-time party clown, an occupation that generates only a paltry income. She's also certain he's having an affair, and, thanks to her intuitive abilities, she has a pretty good idea with whom. Her various conditions and neuroses, meanwhile, don't make her much of a homemaker, a task that's left to her live-in mother-in-law, Miriam (Marilyn Dodds Frank), a rambunctious senior who's got quite a thing for pot and freewheeling sexuality. Grandma's left in charge of the family's two teenage kids, Joanna (Grace Smith), who makes a fortune selling her mother's dirty underwear to the high school's lecherous principal (Tony Fitzpatrick) while fending off the advances of a substitute teacher (Alex Moss), and Andy (Ty Olwin), an oversexed jock known for inappropriate behavior with the girls he dates. It's quite a household.
Sheriff Doug Darlington (James Vincent Meredith) and his wife, Renee (Kate Arrington), are expecting their third child. It should be a happy occasion for the long-married interracial couple, yet Doug seems less than thrilled, much to the dismay of his spouse, who's ever chipper and bounces around like the perpetually ebullient Nora from Henrik Ibsen's A Doll House. And, like the character whom she emulates, Renee has secrets of her own – but they're potentially more damaging than anything Nora ever tried to conceal. Meanwhile, the couple's two teenage children look on in bewilderment, Jesse (Robert T. Cunningham), who can't wait to get out of town and move on with his life, and Laurel (Kayla Carter), who, because of Renee's issues, reluctantly becomes a sort of surrogate mother for the family – and often has to bring her wayward mom back down to earth.
The girls at the local high school struggle with coming of age issues, including everything from sexuality to asserting their personal power, especially in their relationships with boys and older men. This includes not only Joanna and Laurel, but also their friends April Martinez (Aurora Real De Asua), Charlotte Kurtich (Ireon Roach) and Afra Siddiqui (Haley Bolithon). While they generally hold their own well, it can be a challenge, especially in dealings with the school's persistently randy athletes and in situations where they openly seek to explore alternate forms of sexuality.
High school choral instructor Lisa Harper (Marika Engelhardt) lives on the edge of reality. The single mother has an unusual relationship with her daughter, Carolyn (Raven Whitley), an enigmatic teen who looks like a walking anachronism, frequently dressing like something out of decades past. Interestingly, Lisa seems to both love and envy her daughter, making for motivations and actions that are often hard to decipher. And, when Carolyn goes missing, Lisa becomes even more unhinged, engaging in progressively stranger and more unpredictable behavior. However, she also senses what may have happened to her daughter, a disappearance that came on the heels of a date with Andy Kitzmiller, a rendezvous that, curiously, Lisa knew nothing about at the time.
[caption id="attachment_11321" align="aligncenter" width="350"] The mysterious disappearance of enigmatic teen Carolyn Harper (Raven Whitley) brings together the various members of a community afflicted by widespread dysfunctionality as seen in the unusual new release, "Knives and Skin." Photo courtesy of IFC Midnight.[/caption]
From the foregoing descriptions, it would seem that all of the characters in this community are terribly, terribly lost, with no clue how to get themselves or their lives on track. In fact, about the only thing they have in common is Carolyn's disappearance, something in which they all become involved to one degree or another at some point. But, while the search for their missing friend and relative may give them some sense of purpose, they still need direction to get on with their lives and to rid themselves of the undermining behavior that's holding them back – or sending them down potentially self-destructive paths.
Fixing that is easier said than done, however, since they all seem clueless when it comes to figuring out what's wrong and how to go about correcting it. They almost seem fatalistic, resigned to bleak destinies without purpose, promise or direction. In short, they don't seem to believe in anything. And, without beliefs, there's nothing to base their reality upon, as practitioners of the conscious creation process know all too well. Given that this philosophy maintains we draw upon such notions to shape our existence, in this case, figuratively speaking, there's nothing to manifest, because there's nothing to work with in the first place.
How sad it is that the characters in this film are without hope. That's mainly because they've come to assume they don't have any choice in their circumstances. But, given that conscious creation can help to make virtually anything possible, that's not true, as long as they form and embrace the right beliefs to make such outcomes possible. Indeed, as long as they can get a grip on that idea, they can begin to move forward into a new (and, one would hope, better) future.
[caption id="attachment_11322" align="aligncenter" width="350"] The members of a small Illinois community (from left, Haley Bolithon, Kayla Carter, Aurora Real De Asua, Grace Smith, Ty Olwin and Tim Hopper) join forces to search for a mysteriously disappeared teen in "Knives and Skin." Photo courtesy of IFC Midnight.[/caption]
As the film progresses, the teens and adults seem to be latching on to this notion, even if only tentatively. Viewers are reminded of this in one scene where Jesse Darlington, the teen who wants to get out of town so he can get on with his life, makes a desperate plea for this from the rooftop of his high school. The school's faculty and his friends are worried that he's about to commit suicide, but he reassures them that's not the case, that he's up on the roof so he can see beyond his current circumstances, a gesture that reassures him that there's hope for his future, one set in a different time and place. This might seem like a simple and obvious observation, but, for someone who has been trapped by limiting and unfulfilling circumstances, this could come as quite a revelation, one that moves him closer to forging and implementing new beliefs to manifest a more satisfying existence.
Realizing that we do possess the power of choice, that we can manifest what we want when we put our mind to it, can be an eye-opening experience, especially for the impressionable. For the women in this film, for example, they begin to see brighter futures for themselves when they tap into their personal power, realizing that they needn't settle for what they've been led to believe they've been saddled with, especially in situations where insistent men try to steamroll over them. In many ways, one could say this is a feminist manifesto embedded within the larger story (or, some might even say, a feminist manifesto complemented by atypical story threads). Either way, this is further evidence that we can change our conditions when we put our minds to it, as long as we give ourselves permission to do so.
[caption id="attachment_11323" align="aligncenter" width="350"] Teen Samaritans Laurel Darlington (Kayla Carter, left), Joanna Kitzmiller (Grace Smith, second from left) and Charlotte Kurtich (Ireon Roach, second from right) offer comfort to Lisa Harper (Marika Engelhardt, right) when the single mother's teen daughter goes missing in "Knives and Skin." Photo courtesy of IFC Midnight.[/caption]
Of course, it helps tremendously if we believe in our ability to achieve this, a belief built on faith, hope and confidence that we can succeed in our efforts. It means galvanizing our resolve to surmount the prevailing challenges. It means getting serious about what we're seeking to attempt. And it means being willing and courageous enough to eliminate self-destructive behaviors and to rid ourselves of people, things and situations that no longer serve us; the future is not set in stone, so neither should any of these things be. By embracing such a perspective, we just might get that brighter future after all.
And then there's the enigmatic Carolyn and her mysterious disappearance. Did she die? Did she leave town without word? Is she in hiding in a secluded place? Or did she just somehow vanish into the ether, never to return? From what little we see of her in the film, it would appear that she's not happy with her life, either, and that she somehow takes drastic, if cryptic, steps to change that and move on to something else. Her "example" thus serves as a sort of catalyst for the others, prompting them into thinking "If she can do it, maybe I can, too," regardless of whether or not the mystery of her disappearance is ever solved. It could be seen as a case where the outcome is ultimately more important than the means by which she operated to achieve it, something that others might be able to draw inspiration from as they seek to change their lives as well. And, given what goes on in this town, goodness knows virtually everybody could benefit from that.
[caption id="attachment_11324" align="aligncenter" width="350"] Spaced-out housewife Lynn Kitzmiller (Audrey Francis, left) is shocked to learn about the unusual money-making practice of her daughter, Joanna (Grace Smith, right), in director Jennifer Reeder's new offbeat offering, "Knives and Skin." Photo courtesy of IFC Midnight.[/caption]
Although somewhat meandering at times, "Knives and Skin" is a refreshingly experimental, eloquently metaphorical, profoundly poetic look at the joys and challenges of coming of age in a pervasively dysfunctional world, presenting a truly original story unlike anything most viewers have probably ever seen. With tips of the hat to the likes of filmmakers David Lynch, Paul Thomas Anderson and John Hughes, as well as nods to such movies as "Heathers" (1989), "Carrie" (1976) and "Donnie Darko" (2001), director Jennifer Reeder serves up a frequently absurd, often hilarious, but sincerely heartfelt tale about a community of lost souls. It's part thriller, part horror flick, part coming of age story, part cinema noir and part campy romp, all tinged with strokes of the surreal thrown in for good measure. Exquisitely shot with inventive lighting, striking cinematography, and a production design lavishly peppered with neon and pastels, these elements perfectly complement its razor-sharp script and an atmospheric soundtrack that consists mostly of beautifully performed choral versions of pop songs from the likes of New Order, Cyndi Lauper and the Go-Gos. Admittedly, this offering isn't for everyone, but it surely gives everybody much to ponder – not to mention an undeniable desire to want to watch it multiple times.
"Knives and Skin" played primarily at film festivals, where it received numerous award nominations, as well as a few wins. It also had a brief theatrical run last fall. Currently, it's available for streaming on Amazon, with a DVD and Blu-ray disc release scheduled for the near future.
[caption id="attachment_11325" align="aligncenter" width="350"] Teens Charlotte Kurtich (Ireon Roach, left), Joanna Kitzmiller (Grace Smith, center) and Laurel Darlington (Kayla Carter, right) seek to take back their personal power when confronted by obnoxious oversexed jocks in the quirky new release, "Knives and Skin." Photo courtesy of IFC Midnight.[/caption]
When life seems patently dysfunctional, we may wonder whether things will ever be "normal." But what becomes "normal" ultimately depends on us and what we seek to manifest for ourselves. Admittedly, it may take us some time to sort it all out, especially when it comes to figuring out the questions related to choice and change. Nevertheless, we're not irretrievably locked into anything – including dysfunction.
Copyright © 2019-20, by Brent Marchant. All rights reserved.
Posted by Brent Marchant at 11:46 PM
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redpajama_set_name: RedPajamaCommonCrawl


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In linguistics, a word stem is a part of a word responsible for its lexical meaning. The term is used with slightly different meanings depending on the morphology of the language in question. In Athabaskan linguistics, for example, a verb stem is a root that cannot appear on its own and that carries the tone of the word. Athabaskan verbs typically have two stems in this analysis, each preceded by prefixes.

In most cases, a word stem is not modified during its declension, while in some languages it can be modified (apophony) according to certain morphological rules or peculiarities, such as sandhi. For example in Polish:  ("city"), but  ("in the city"). In English: "sing", "sang", "sung".

Uncovering and analyzing cognation between word stems and roots within and across languages has allowed comparative philology and comparative linguistics to determine the history of languages and language families.

Usage
In one usage, a word stem is a form to which affixes can be attached. Thus, in this usage, the English word friendships contains the word stem friend, to which the derivational suffix -ship is attached to form a new stem friendship, to which the inflectional suffix -s is attached. In a variant of this usage, the root of the word (in the example, friend) is not counted as a stem (in the example, the variant contains the stem friendship, where -s is attached).

In a slightly different usage, which is adopted in the remainder of this article, a word has a single stem, namely the part of the word that is common to all its inflected variants. Thus, in this usage, all derivational affixes are part of the stem. For example, the stem of friendships is friendship, to which the inflectional suffix -s is attached.

Word stems may be a root, e.g. run, or they may be morphologically complex, as in compound words (e.g. the compound nouns meatball or bottleneck) or words with derivational morphemes (e.g. the derived verbs black-en or standard-ize). Hence, the stem of the complex English noun photographer is photo·graph·er, but not photo. For another example, the root of the English verb form destabilized is stabil-, a form of stable that does not occur alone; the stem is de·stabil·ize, which includes the derivational affixes de- and -ize, but not the inflectional past tense suffix -(e)d. That is, a stem is that part of a word that inflectional affixes attach to.

For example, the stem of the verb wait is wait: it is the part that is common to all its inflected variants.
wait (infinitive)
wait (imperative)
waits (present, 3rd people, singular)
wait (present, other persons and/or plural)
waited (simple past)
waited (past participle)
waiting (progressive)

Citation forms and bound morphemes

In languages with very little inflection, such as English and Chinese, the stem is usually not distinct from the "normal" form of the word (the lemma, citation or dictionary form). However, in other languages, word stems may rarely or never occur on their own. For example, the English verb stem run is indistinguishable from its present tense form (except in the third person singular). However, the equivalent Spanish verb stem corr- never appears as such because it is cited with the infinitive inflection (correr) and always appears in actual speech as a non-finite (infinitive or participle) or conjugated form. Such morphemes that cannot occur on their own in this way are usually referred to as bound morphemes.

In computational linguistics, the term "stem" is used for the part of the word that never changes, even morphologically, when inflected, and a lemma is the base form of the word. For example, given the word "produced", its lemma (linguistics) is "produce", but the stem is "produc" because of the inflected form "producing".

Paradigms and suppletion
A list of all the inflected forms of a word stem is called its inflectional paradigm. The paradigm of the adjective tall is given below, and the stem of this adjective is tall.
tall (positive); taller (comparative); tallest (superlative)
Some paradigms do not make use of the same stem throughout; this phenomenon is called suppletion. An example of a suppletive paradigm is the paradigm for the adjective good: its stem changes from good to the bound morpheme bet-.
good (positive); better (comparative); best (superlative)

Oblique stem
Both in Latin and in Greek, the declension (inflection) of some nouns uses a different stem in the oblique cases than in the nominative and vocative singular cases. Such words belong to, respectively, the so-called third declension of the Latin grammar and the so-called third declension of the Ancient Greek grammar. For example, the genitive singular is formed by adding -is (Latin) or -ος (Greek) to the oblique stem, and the genitive singular is conventionally listed in Greek and Latin dictionaries to illustrate the oblique.

Examples

English words derived from Latin or Greek often involve the oblique stem: adipose, altitudinal, android, mathematics.

Historically, the difference in stems arose due to sound change in the nominative. In the Latin third declension, for example, the nominative singular suffix -s combined with a stem-final consonant. If that consonant was c, the result was x (a mere orthographic change), while if it was g, the -s caused it to devoice, again resulting in x. If the stem-final consonant was another alveolar consonant (t, d, r), it elided before the -s. In a later era, n before the nominative ending was also lost, producing pairs like atlas, atlant- (for English Atlas, Atlantic).

See also
 Lemma (morphology)
 Lexeme
 Morphological typology
 Morphology (linguistics)
 Principal parts
 Root (linguistics)
 Stemming algorithms (computer science)
 Thematic vowel

References

 What is a stem? - SIL International, Glossary of Linguistic Terms.
 Bauer, Laurie (2003) Introducing Linguistic Morphology. Georgetown University Press; 2nd edition.
 Williams, Edwin and Anna-Maria DiScullio (1987) On the definition of a word. Cambridge MA, MIT Press.

External links

 Searchable reference for word stems including affixes (prefixes and suffixes)

Units of linguistic morphology
Linguistics terminology

eo:Radiko#Lingvo

redpajama_set_name: RedPajamaWikipedia


Roman general famous for voicing his opinions.
A great orator who uses his talents to harangue the crowds, General Motus, commander of the Burdigala (Bordeaux) garrison, finally has a splendid opportunity to demonstrate the power of Rome: he manages to capture Asterix and Obelix, indomitable Gaulish outlaws who amuse themselves by making fun of Roman garrisons in the four corners of Gaul.
But his prisoners are, in fact, none other than Villanus and Unscrupulus, Roman brigands who nicked our heroes' bag of victuals, and then more or less matched their description («a little man and a big fat man carrying a bag»). What makes things worse is that our real Gaulish friends turn up in the middle of the celebration of their «capture», and settle their scores with the whole garrison, while remembering to retrieve the culinary specialities they had collected during their trip.
One battle later, and poor Motus, who had voiced his opinion amid a blaze of publicity, wants to hear nothing more about anything, especially not about the Gauls!


Comments: This album was published in 1965 and released in the U.S. as Angel 36007. Notice how the matrix numbers on this SAX are in fact the same as the Angel stampers, which makes me wonder if this performance was recorded for U.S. Angel/Capitol and then repressed in the UK for EMI/Columbia. Any insight into this question would be most welcome. It would be interesting to be able to compare the Angel with the UK Columbia release.
Milstein's artistry and beautiful singing tone are the centerpiece of this record. Here he performs and presumably directs (no conductor is listed) Mozart's 4th and 5th violin concertos with the Philharmonia Orchestra. The 4th violin concerto has always been my favorite of the five. Both concertos are given wonderful performances. Milstein is placed center stage, and his violin at times takes on a lifelike quality on this recording. If you listen very carefully, you can just make out Milstein's breathing just before he begins a new phrase. I'm not sure if microphone placement was altered between the recording sessions of the two concertos, because the sound of the soloist and orchestra on Concerto No. 5 (side 2) seems to be a bit more recessed to my ears than on No. 4 (side 1), which sounded a bit more forward. The sound stage is nice and wide, though again, more so on side 1 than on side 2. I don't know if it was an issue with my pressing, but in spite of the vinyl visually appearing near mint, there was another discrepancy in the sound quality between side 1 and side 2, this time negative. While the sound of both sides was very good, there was a significantly greater amount of distortion and lack of clarity when the orchestra crescendoed or played at louder volumes on side 1. This was limited to the sound of the orchestra -- strings in particular -- and the sound of Milstein's violin was not affected by this. At times, it was just too much and detracted from the enjoyment of the music. This was not the case on side 2, which had no problems with clarity at any volume. Winds had a remarkable clarity and were nicely separated from the strings in both concertos. Overall, another of Nathan Milstein's fine stereo recordings, but the album would've been even better with improved sound quality as I mentioned before.
My guess is that they simply released these in the US first and so used the Angel reference. SAX 2508 is also an Angel. The Blue and Silver label states "recording first published 1962". I've got Angels with the typical YAX matrix number from Columbia SAX. With Angels, the number on the cover and the matrix number are almost identical. With Epic sourced releases, EMI Columbia often used the number from the Epic cover as the matrix (Epic had their own matrix numbers). Of course the Epic number was not used for the Matrix where Columbia did its own compilation and then there are instances where Columbia did not use the original Epic number and used a YAX numbered Matrix. I think all the SAX releases were at least cut and pressed by Columbia. I expect the rest may have been put together by Epic for Columbia, but this does not explain YAX matrices on the like of the Schumann 3 and Brahms 1 Szell LP's.
Would the work parts/session tapes have been mastered in the UK for both the US Angel and Columbia SAX, and also Epic? Almost certainly with Epic, (Epic would not have sent session tapes to EMI Columbia). One wonders what on earth EMI was doing with US Angel as the sound is so different (bad).
As far as playback distortion my copy was identical to the one reviewed. Again this could be a severe tracking test. I will take this on tour in the next month and to see how it tracks on other tables. For me it was much worse in the inner groove area, but few of these moments with massed strings existed at the end of side 1 so it was a small problem. I detected it earlier, but it was not as apparent. For me the worst part was thinking about Milstein's breathing. I thought I heard that a lot and that bothered me. My recommendation is to not listen for the breathing!
This was recorded in June of 1963 and June of 1964, so it is not surprising the sides sound different. I would think this would have been recorded at Abbey Road, but perhaps one side was not. Side 1 is forward for an EMI/Columbia. Side 2 was a little more recessed than most. Some may like side 1 better as the Violin seems a little more up close and personal.
Wow -- very interesting to hear that your musical experience was similar to my own. I guess it's not just an issue with my pressing or my cartridge.
On Epic, this is BC 1039, which is Szell conducting Schumann 1 BUT with Manfred Overture, not Sym 4. SYm 4 was BC 1254, combined with Beethoven's 8th! So, there must've been some sort of shuffling around, and in order to do that, I imagine that EMI must've required the tapes.
There are more instances of this. I mentioned before that Szell's recording of Beethoven's 7th is paired with Wagner's Tannhauser Overture on Columbia SAX. On Epic, the 7th is by itself on BC 1066.
They may have gotten the absolute best tapes from Epic or perhaps something in between. EMI could have mastered them in the States too if Epic did not want them going over seas. From my reading of articles on the RCA reissues, there is a lot of in between.
On my system this record is a 3.5 for sound. It probably sounds very close to the record under review based on similar distortion problems. Why the luke warm review? This is a very early transistor cut record to my ears. It is so bad in this regard that I suspect the final mix down from the session tapes was done with transistor equipment.
The bad here is a lack of micro-dynamics. The instruments are not alive. I can hear the Milstein tone well enough, but it leaves we wanting more. This sound I suspect resides on the final tape mixed for this LP and possibly the session tapes. I'd previously thought the ASD releases were immune to this problem, but my color stamp reissue of Menuhin Elgar VC (ASD 2259) released in 1966 also has a similar sterile sound, albeit with more bass than the current Milstein. Color stamp pressings are usually great, which leads me to believe the issue is on the tape. Very early 2000 series and late three digit ASDs may have this issue.
For me these sonics (despite the acceptable, but constrained presentation of the violin) leave me cold and get in the way of my Mozart mind. Perhaps some of the wit and charm of Mozart is also lost in the full orchestral treatment as opposed to original instruments.
I am so hard on this record because, EMI's later pressings of material before and after this period often have splendid sonics. The SXLP 30000 issues before ~30145 retain much of the fine sonics of their originating Blue and Silver and Gold and Cream issues with arguably better bass (see end of this post). The second and third label ASD reissues of earlier material have similarly fine sonics. The black and white also are fine too with impressive bass and highs. The later color stamp with ring and big dog pressings of all these labels offer magnificent sound with improved noise floors and may also be excellent reissues of some of the late sixties and early 70' recordings. All of the above are dynamic, while the later Columbia are constrained. So, I am not a fan of the later Columbia stuff.
I count a total of perhaps 8 reissues out of the later Columbia material some of which I will try to acquire along with some of the highly reviewed material from this site. Call me skeptical at this point.
One certainly can can get the reissues of ASD427 at a more reasonable price. Its hard to say which would be better, but if the price were right I'd get the Regal (SREG).
There is also LSC-2652 Heifetz with VC4 which Classic reissued.
Thank you again for all the helpful insight. I haven't gotten into the habit of giving half marks for my rating system but have seriously contemplated it. I may start giving or subtracting 0.5 as needed. Alternatively, I could switch to a 10 point scale, but that might just complicate matters.
I think that has long been debate about which EMI pressings are the best. I don't have the answer to that question. With Deccas, for instance, it seems that later pressings, especially of the early releases, may have greater dynamic range due to a better cutter used by Decca. I don't know the story with EMI. You've stated that Beecham recordings released on later pressings sound excellent, and I've said that many of the early white/gold pressings in spite of being originals don't sound very good. So perhaps later pressings here may be the ones to get. Collectors, though, will always gravitate to the originals, no matter the sound quality, just for collecting sake.
I'm glad you commented on the Oistrakh Mozart. I'll look for the SXLP and bypass the Testament reissue. I wonder how good the original blue/silver sounds but am afraid to dish out $500 for that.
I wouldn't disagree with you for bumping this album down from a 4 to a 3.5 for sound. I think that some of these later Columbias are not as great sounding as the early and middle numbered albums.
The Testament is not foolishly incompetent. It just alters the character too much and does not sound like a blue and silver at all. The Testament is an artful pressing, but it does not pay homage to the original sound and musically suffers as a result. Its somewhat dry transistor sound does not mate well with my system.
On the Deccas, I've heard later are better, but I've not had much luck. My recent comment referencing Pulcinella on STS has been a pleasant surprise, but it keeps much of the tube sound which most of the later stuff does not. I've got a Richmond of the Magic Flute which is real late which is also great. Most of the reissue Decca stuff has been a disappointment.
I guess I am in cloud nine with the EMI stuff because of the great potential. In my opinion the original tapes blow away the other labels. Blue and Silver pressings are amazing. Gold and Cream also impressive. Once you get into the later material and reissues it gets quite complex and that is the fun. They all are really nice with great bass and highs, but each is wonderfully different. With so many good records, the pressing/reissue possibilities are intriguing. Decca would be the next most interesting label and its relatively boring in comparison. After that you are left with perhaps Golden Imports for Mercury and 0.5 masters for RCA. Simple stuff in comparison to EMI.


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Electronic producer Deadmau5 has settled a legal dispute with Disney over alleged trademark infringement in relation to the mouse-themed headwear that the artist wears onstage.
The Canadian EDM star – real name Joel Zimmerman – had previously attempted to register his signature garment with the US patent and trademark office for use on merchandise.
However, the Walt Disney Corporation officially opposed the request in September 2014, arguing that the design was too similar to that of their well-known character Mickey Mouse, whose silhouette is used in the company's logo.
Now, Zimmerman's lawyer has told the Hollywood Reporter that "Disney and Deadmau5 have amicably resolved their dispute". No other details have been disclosed.
Zimmerman later tweeted in response to the news.
Deadmau5 recently tackled a separate legal issue when he sent a cease-and-desist letter to a musical inspired by his music.
Deadmouse: The Musical will be staged at the Toronto Fringe Festival from July 3 and, according to an official statement, is "a comedy about a mouse who aspires to be a house DJ but is discriminated against for being a mouse." Its lead character is named Joel Zimmermouse.


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Numbat and Cockatoo Notepad
Manage your important notes and 'to-do's' with this colourfully illustrated tear-off notepad. Il...
Manage your important notes and 'to-do's' with this colourfully illustrated tear-off notepad. Illustrated by Nathan Ferlazzo. A share of profits from the sale of this item is donated by Marini Ferlazzo to Australian Geographic Society.
Numbat Nelly Card
This greeting card features illustrations from the children's book 'Nelly the Numbat', by Nathan...
This greeting card features illustrations from the children's book 'Nelly the Numbat', by Nathan Ferlazzo. Marini Ferlazzo will donate a share of the profits from this card to the Australian Geographic Society.
Superb Fairy-wren Card
This card features the artwork of Nathan Ferlazzo, with his wren drawing also appearing inside t...
This card features the artwork of Nathan Ferlazzo, with his wren drawing also appearing inside the card. The card was designed in partnership with BirdLife Australia, supporting their work in the field to protect Australia's precious bird life. 5% of profits from the sale of this item is donated by Marini Ferlazzo to BirdLife Australia.
Carnabys Black Cockatoo Card
This card features the artwork of Nathan Ferlazzo, with his cockatoo drawing also appearing insid...
This card features the artwork of Nathan Ferlazzo, with his cockatoo drawing also appearing inside the card. 5% of profits from the sale of this item is donated by Marini Ferlazzo to Australian Wildlife Conservancy.
Ducklings Card
This card features an Australian ducklings artwork by Nathan Ferlazzo. 5% of profits from the sa...
This card features an Australian ducklings artwork by Nathan Ferlazzo. 5% of profits from the sale of this item is donated by Marini Ferlazzo to World Animal Protection.
Australian Families Wombat Magnet Pack
This set of Australian wildlife fridge magnets features the artwork of Nathan Ferlazzo, and was d...
This set of Australian wildlife fridge magnets features the artwork of Nathan Ferlazzo, and was designed in partnership with Australian Geographic, supporting their work to protect Australia's incredible wildlife. The perfect gift for animal lovers or overseas visitors! This set of four magnets includes a wombat and joey, penguins, echidna and puggles, and dingo and pups, and comes with a card backing and protected in a cellophane sleeve. 5% of profits from the sale of this item is donated by...
Australian Families Bilby Magnet Pack
This set of Australian wildlife fridge magnets features the artwork of Nathan Ferlazzo, and was designed in partnership with Australian Geographic, supporting their work to protect Australia's incredible wildlife. The perfect gift for animal lovers or overseas visitors! This set of four magnets includes a bilby and joey, quokka and joey, kangaroo and joey, and koala and joey, and comes with a card backing and protected in a cellophane sleeve. 5% of profits from the sale of this item is donate...
Australian Wildlife Magnet Pack
This set of Australian wildlife fridge magnets features the artwork of Nathan Ferlazzo, and was designed in partnership with Australian Wildlife Conservancy, supporting their work in the field to protect Australia's precious fauna. The perfect gift for animal lovers or overseas visitors! This set of four magnets includes a koala, echidna, wombat and red kangaroo, and comes with a card backing and protected in a cellophane sleeve. 5% of profits from the sale of this item is donated by Marini F...
Australian Birds Magnet Pack
This set of Australian wildlife fridge magnets features the artwork of Nathan Ferlazzo, and was designed in partnership with BirdLife Australia, supporting their work in the field to protect Australia's fauna. The perfect gift for animal lovers or overseas visitors! This set of four magnets includes a kookaburra, gang-gang cockatoo, superb fairy-wren and galah, and comes with a card backing and protected in a cellophane sleeve. 5% of profits from the sale of this item is donated by Marini Fer...
Quokka and Joey Print
Penguin Parade Print
Koala Cuddle Print


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Tag Archives: ford online advertising
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What you need to know about Netflix and Google's next big push to dominate the video ad space
With Netflix, Google, and Facebook spending millions of dollars on ads for the next decade, the ad industry is hoping to become an important player in the digital advertising ecosystem.
But in the end, the biggest players may be each other.
According to a new study from digital ad market research firm eMarketer, Facebook and Google are spending hundreds of millions of additional dollars on video ads in the next 10 years, a trend that will lead to a lot more competition for video ad revenue.
eMarker recently released a report titled The Next Internet: How Online Video Ads are Changing the Way You Shop and Share content online.
The report is based on eMarkers data, which is based in part on Nielsen and estimates the amount of online video ad spending per user across the web and app in 2018.
The data reveals that the average user spends over $2.00 per day on online video ads, and that they're spending $12.80 per month on video advertising on the platform.
Facebook has the most ad dollars on the entire platform at over $20 billion, followed by Google at over the same amount.
Facebook is expected to overtake Google in 2018, when Google will have spent $23.85 billion on online advertising.
But eMarkets report also shows that Facebook is spending more on ads than Google and Google is spending less.
eMeter's data reveals a big shift in online video's ad spending trajectory over the next ten years, and it's a shift that will help explain the success of video ads on Facebook and how the platform will affect online video content in the years ahead.
emarketer's report notes that in 2018 alone, Facebook spent more than $1 billion on video advertisements, while Google spent just $1.4 billion.
The video ads are coming online with the launch of the next generation of Google Glass headsets, which are expected to bring a host of new features to the video market, including augmented reality and the ability to see where ads are positioned and when they're running on the web.
The shift to online video is going to impact how content creators create, monetize, and share their content, and eMarketers report suggests that it's only a matter of time before the platform takes a major step towards the dominance of online advertising and the rise of the online video platform.
e Marketer's new report also finds that the amount spent on video ad campaigns on Facebook has grown by 40% over the last two years, while YouTube ad spending has increased by 24% over that same time period.
Facebook and YouTube will have to spend a lot of money on their advertising campaigns in the future, and the new trend will allow companies like Netflix and Amazon to have more control over how they sell and distribute their content.
If Netflix is able to use its massive advertising budgets to compete for users, it will have an even more powerful advertising platform to use to promote their content and advertising strategy.
Netflix will likely be able to offer more personalized and relevant content to its viewers than traditional traditional ad networks.
But Netflix also faces the problem of competition from YouTube, Amazon, and others in the video advertising space, as well as with the emergence of other digital video platforms like YouTube TV. e Marks report shows that the next-generation of video advertising platforms will have a very interesting opportunity to capitalize on the changing ad landscape in 2018 and beyond.
Netflix is already well on its way to becoming the dominant online video destination.
Netflix has a large, growing library of original shows and movies, and will be able capitalize on this with its new "unlimited content" streaming service.
Netflix also has a massive catalog of original video content that is already available on the platforms video streaming service, like "House of Cards," "Orange is the New Black," and "Orange Is the New Red."
Netflix is looking to expand the reach of its content and increase the quality of its ads on the service.
It also is looking at launching a variety of new ad platforms to help increase its ad revenue, including its own streaming video platform and the creation of a YouTube TV service.
The move to make more money from its content is also a big move for Netflix, as it is not only competing against Amazon, but also with the likes of Hulu and Netflix's own streaming streaming video service, which could help Netflix earn even more money.
But even more importantly, Netflix has set itself up to become a major player in online advertising in the long term.
With the launch and expansion of its own online video service in 2018 that will allow users to see ads that are not featured in traditional ads, Netflix is also set to become more relevant in the advertising space in the coming years.
Netflix and Facebook are already the biggest spenders on video in the ad market, and if the companies continue to push each other to become the next major players, the video ads will become a bigger part of the digital ad landscape.
admin Furniture ford online advertising, online advertising project
How to make sure your website and mobile apps will stay up-to-date in 2017
A year ago, online advertising was a buzzword in the tech world.
The next wave of big data is ushering in the digital age, and it means marketers will need to make an effort to stay ahead of the curve.
But the biggest problem online advertising is facing is that its algorithms aren't always as accurate as they could be.
In a new study, The Jerusalem Mail, Google, and Facebook showed that online advertising will take years to catch up to the reality of the real world.
They concluded that the world is changing, and that the industry needs to adapt to the digital world.
"With the proliferation of data, the accuracy of ad placement and search algorithms is also evolving, meaning that marketers will have to keep up with this transition," they wrote in the report.
"The results of this research should help marketers understand what kind of future they will face."
Google, in particular, is struggling to stay on top of the data and technology developments.
In January, Google released a massive new tool to help marketers better track their online advertising.
"Google AdWords now allows you to track your ad impressions across Google Ads and other Google products," the tool says.
"This is a new way for advertisers to monitor the effectiveness of their campaigns and to measure the impact of their online ads on their users' behavior."
This data is now being analyzed by Google's AdWords team, and in April the company will begin collecting this data to help it make better decisions about where and how to spend its ad dollars.
But it may be even harder for online advertising to catch-up.
"Advertising campaigns on mobile devices have the potential to make more data than traditional television and radio ads," the study found.
"Mobile ad platforms can also be more efficient and responsive to users' needs and goals.
But in this new era of digital advertising, the data we have collected in this field will be critical for marketers to effectively optimize their campaigns."
Google and Facebook are two of the largest players in the ad market, but the companies are facing new challenges as well.
Google is struggling with an unprecedented surge in the number of people who visit its website each day.
It's estimated that the number is more than three times higher than it was in 2008.
Google has been trying to keep pace with this growth, and its goal is to hit 1 billion users by 2021.
But while the company is targeting this goal, it has to be careful not to become overwhelmed.
"We must make sure that the pace of growth is not too fast, as it may lead to an unsustainable situation," the researchers wrote.
"If Google becomes overwhelmed, it will have no choice but to reduce the size of its user base, which may not be sustainable for long."
The companies are also working to improve the way their advertisers and other websites are built and integrated.
"It is crucial that advertisers continue to be mindful of how their campaigns are integrated with the broader Google ecosystem," they concluded.
"In addition, advertisers should focus on ensuring their sites, ads, and other elements of their businesses are compatible with Google products and services, and adhere to the latest Google standards."
Facebook, on the other hand, is working on a new tool that will allow advertisers to better target their ads based on people's location.
In March, Facebook announced a new ad technology called "Nearby Ad."
This technology, which uses artificial intelligence to help people see more relevant ads in areas they may already be in, will help advertisers make more informed decisions about which ad units they will be able to target.
But there is one problem with the new technology: It doesn't work for Google ads.
This is because the company doesn't currently have a way to detect the presence of an ad in a particular location.
Google's new technology will use artificial intelligence algorithms to detect and display ads in a specific area of the site.
But this technology won't work on Facebook ads, which are built using HTML5, or the AdWords platform, which is more similar to traditional television.
"While Nearby Ad will work well on Facebook, it won't function well on Google ads because Google doesn't have a direct way to measure where the user is in the site," the report concluded.
Google and the other major ad companies have been working on ways to make it easier for online marketers to make their online advertisements more relevant to the user's location, but this isn't easy.
It will take time to integrate all of the new technologies, and there are some big challenges ahead.
For one, the big data that is being collected in 2018 will be used to create a whole new generation of ads.
Google, for instance, has been working to integrate ad technology into its video advertising products.
But Facebook's AdSense program, which allows people to view and purchase videos and other content on Facebook's website, is also undergoing significant changes.
The new program is now called "Video Everywhere."
The goal is for it to


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Alcatel-Lucent S.A. (French pronunciation: [alkatɛl lysɛnt]) was a French global telecommunications equipment company, headquartered in Boulogne-Billancourt, France. It was formed in 2006 by the merger of France-based Alcatel and U.S.-based Lucent, the latter being the successor of AT&T's Western Electric.The company focused on fixed, mobile and converged networking hardware, IP Address technologies, software and services, with operations in more than 130 countries. It had been named Industry Group Leader for Technology Hardware & Equipment sector in the 2014 Dow Jones Sustainability Indices review and listed in the 2014 Thomson Reuters Top 100 Global Innovators for the 4th consecutive year. Alcatel-Lucent also owned Bell Laboratories, one of the largest research and development facilities in the communications industry, whose employees have been awarded eight Nobel Prizes and the company holds in excess of 29,000 patents.
On 3 November 2016, Nokia completed the acquisition of the company and it was merged into their Nokia Networks division. Bell Labs was still maintained as an independent subsidiary of Nokia. The Alcatel-Lucent brand has been replaced by Nokia, but it still survives under Alcatel-Lucent Enterprise (ALE), the enterprise division of Alcatel-Lucent that was sold to China Huaxin in 2014.
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Weekend Preview-Bulls Host Jacks
THE TEAMS: Odessa Jackalopes @ Amarillo Bulls
WHEN: Tomorrow, Friday, Jan. 16 and Saturday, Jan. 17 at 7 pm.
WHERE: Budweiser Bull Pen in the Amarillo Civic Center.
PROMOTIONS: Friday, The People's Federal Credit Union Bobblehead Night. The first 500 fans receive a John Rey bobblehead. Chuck A Puck Presented by Stater Homes and Stater Construction is $900. Saturday is Western Night Presented by American Classified. The first 500 fans receive a mini-cowbell. The characters of Toy Story will be in attendance so fans are encouraged to come by and get pictures taken with them. One lucky child will win a bicycle, courtesy of Seven Bar.
TICKETS: The Bulls introduce the $5 section with limited seating. Fans who purchase their tickets at the Bulls Office only (301 South Polk) can get a free kids meal package. Tickets can also be picked up at the Civic Center Box Office and all Panhandle Ticket Outlets including United Supermarkets or by calling 242-1122.
BROADCAST OPTIONS: Fans can tune into the action live on CBS Sports Radio 1440, www.amarillobulls.com and on PPV courtesy of Fast Hockey beginning with the Wayland Baptist University Warm Up Show at 6:40 pm. Amarillo Bulls Hockey Presented By Westgate Mall follows at 7 pm.
THE SERIES: The Amarillo Bulls and the Odessa Jackalopes will get use to seeing one another over the next two weeks. The Bulls face the Jacks tonight for four of the next five games. The first four games have gone the Bulls way with two of them being decided by one goal. Forward Will Harrison leads the team with four goals and three assists for seven points, while Captain Cody Gylling has notched three goals and three assists for six points. Goaltenders Jacob Weatherly and Anton Martinsson have each posted two victories. Forward Leo Lumm has three goals for the Jacks in the series while, goaltender Robin Johansson has appeared or started in all four games.
BUSY SCHEDULE AHEAD: It's a tough stretch of games for the Amarillo Bulls with three games in four days. Once the weekend series has concluded, with the Odessa Jackalopes, the Bulls will quickly turnaround and head to North Richland Hills to face the Lone Star Brahmas on Monday at a special start time of 2 pm.
STREAKS AND STARTS: A victory by the Amarillo Bulls last Saturday night in Hidalgo, snapped a four game losing streak. The Bulls are 4-4 in their last 8 games and 6-5-1 since early December. Goaltedender Jacob Weatherly has been the goalie of record in 9 of the last 11 games, while Anton Martinsson has played the last 120 minutes plus dating back to the second period against Rio Grande Valley last Friday. Since November the Odessa Jackalopes have notched three wins and just seven points. Two of their most recent wins have come at the hands of the Lone Star Brahmas and the Rio Grande Valley Killer Bees. Tanner Creel has started in the last eight games.
WHAT IS AT STAKE: The Amarillo Bulls trail the Rio Grande Valley Killer Bees by just two points for the sixth and final playoff spot in the South Division. Four of the next nine games are against the Killer Bees starting in two weeks. The Bulls are five points back of the fifth place Wenatchee Wild.
Alumni Update – NCAA 2nd Half Underway
Big Second Lifts Bulls Over Jacks


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Highland Wind Farm in Wisconsin wins regulatory OK
According to documents from the Wisconsin PSC, the project would consist of 41 wind turbines with a total capacity of 102.5 MW and be built in St. Croix County
The Public Service Commission of Wisconsin has approved the Highland Wind Farm Project after initially rejecting the permit because of noise concerns.
According to documents from the Wisconsin PSC, the project would consist of 41 wind turbines with a total capacity of 102.5 MW and be built in St. Croix County.
The project is being developed by Emerging Energies of Wisconsin, which issued a statement applauding the Public Service Commission "for listening to scientific reason and ultimately supporting a valuable project for the people of Wisconsin."
The commission had rejected the permit by a 2-1 vote in February and denied rehearing of the permit, stating the company would need to produce a new wind energy study.


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Even in third place, Firehawks host a winner in Glouberman Tournament
Heschel Heat wins boys' contest, defeating YULA 61-39
By Eric Bazak, Editor-in-Chief|January 14, 2016
BP photo by Katia Surpin
AGGRESSION: FireHawk star point guard Asher Remer leapt toward the basket as a member of the Berman Cougars jumped to block him.
Bleachers, broadcasts and giant posters of Firehawk players' heads were just a few of the signs of excitement surrounding the first Steve Glouberman Basketball Tournament when it finally debuted in the Shalhevet gym Nov. 12-15. Four days, 14 bracketed teams and 32 basketball games later, the Heschel Heat of New York City cruised to the boys' title while the Lady Firehawks were champions on the girls' side.
Shalhevet boys finished in third place after only suffering one loss — a three point semi-finals defeat to their cross-town rivals, the YULA Panthers. The Lady Firehawks defeated the Frisch Cougars for the girls' title.
Games were played in the new Shalhevet gym and the nearby Westside JCC. On-campus games were broadcast live via thecube.com, with play-by-play and color commentary by staff of the Boiling Point.
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"It was an unqualified success," said Head of School Rabbi Ari Segal, who had planned to have a nationwide basketball meet since before the new building was built. "Our guests felt great, the basketball was fantastic, it brought a tremendous amount of pride to our community, and, of course, it honored Steve's memory in a really profound way."
Along with Shalhevet and Heschel, teams competed from De Toledo (formerly New Community Jewish High School) and YULA from Los Angeles, along with Frisch of Paramus, N.J., Salanter Akiba Riverdale (SAR) Academy of Riverdale, N.Y., Torah Academy of Bergen County (TABC) of Teaneck, N.J., Abraham Joshua Heschel School of New York City, Berman Hebrew Academy of Rockville, Md., and Akiva Hebrew Day School of Southfield, Mich.
All the visiting players were housed with Shalhevet and non Shalhevet families–46 families in all made space in their homes, according to Director of Development Claire Benyowitz, who managed hospitality.
The tournament also hosted a barbecue dinner Thursday night and full Shabbaton consisting of Shabbat dinner and Seudat Shlishit, along with a ceremony in honor of Steve Glouberman z"l, the Shalhevet parent for whom the tournament was named. All three of his children – Leah '14, and twins Rachel and Jeremy '15 – were there, Jeremy having flown in from Israel where he is studying at Torat Shraga yeshiva for his gap year.
In the boys' contest, the Heschel Heat were the clear favorite of the tournament, outscoring their opponents by double figures in each of their five games — including a 61-39 outpour against the YULA Panthers to win the championship.
Heschel stars Aaron Brandeis and Sam Schwartzben were named the most valuable players of the boys' tournament. Senior Joe Schnitzer the three-point contest, for making the most three-point shots over the course of all boys' games.
Since it took place in Los Angeles, perhaps the most hyped up game of the tournament was Shalhevet boys' semi-final match against YULA. Hundreds of fans from both teams packed into the gym that Saturday night to watch a low-scoring game that was relatively close throughout, ending with a Panther victory of 39-36. Shalhevet fans waved two-by-three-foot black-and-white posters of their players' faces in the crowd.
Shalhevet senior Asher Remer, who attended YULA for his first three years of high school, knew it would be an emotional game for him, and the Panther fans were extra loud every time he touched the ball.
"There are many emotions comings with playing YULA," Asher said right before the game. "I have close friends playing and in the stands because I've been going to school with them three years prior. It's definitely going to be hard when they're rooting against you."
Fans reported that Asher was verbally harassed when he got near the sidelines, with YULA fans chanting things like "We don't want you."
"I really didn't even hear them when I was playing," Asher said. "Once the game starts the adrenalin takes over and you're in your own world."
With YULA up by three points in the final seven seconds, Shalhevet had a chance to send the game to overtime. The inbound pass went by Joe and was recovered by junior Edan Sokol close to the half court line.
Edon drove inside and kicked it out to Jacob Dauer at the top of the key. With just a few seconds left, Jacob was left with no choice but to fling a contested, fade-away three-pointer which didn't fall.
At the sound of the buzzer, Panther fans stormed the court despite Shalhevet star junior Eitan Halpert laying down on the floor, which sparked a brief altercation between the two sides since the Firehawks were afraid Eitan would get trampled.
"It was a good win, we fought really hard," said Panther forward David Sassoon afterwards. "I credit all of my teammates moving the ball and that resulted in me being open. That's just a result of good ball movement."
Shalhevet officials said they planned to host the tournament again next year. According to Rabbi Segal, they have met a few times to debrief and find areas for improvement. He said they would not decide how many or which teams to invite next year for at least another few months.
Only half the games were played at Shalhevet. The rest were played at the Westside Jewish Community Center, about a quarter-mile southeast of Shalhevet on Olympic Boulevard.
One potential change next year would be finding an alternative to the JCC. A lack of air conditioning and slippery court surface there were among problems cited by Rabbi Segal.
Also, the internet was not sufficient for webcasting.
"For the first year of a tournament, it was incredible," Rabbi Segal said later. "There will always be some bumps in the road, but the tournament was really smooth and that's a tribute to all of the volunteers and Shalhevet staff who worked tirelessly to make this happen."
Athletic Director Eli Schiff ran the clock for all but one game at the JCC. He said that the atmosphere at the JCC was similar to that of the Shalhevet gym when the Shalhevet teams were not playing – that is, mostly quiet – except for during a lunchtime YULA game which attracted a larger audience of YULA fans.
All five Sunday playoff games were played at Shalhevet, spread throughout the day.
Mr. Schiff said he was fine with being stationed at the JCC for most of the tournament and missing all the excitement in the Shalhevet gym.
"The only game I really would have loved to see was the Shalhevet-YULA game, but it was recorded and I watched that afterwards," Mr. Schiff said.
As of Jan. 13, the Firehawks hold a 15-7 record overall. The boys team won the Milken Classic Tournament, which was held Dec. 1-3, winning three games and defeating Milken in the finals by a score of 59-50.
TOURNAMENT TIME: Steve Glouberman Basketball Tournament greets schools from throughout U.S.
Lady Firehawks are first-ever Glouberman champs -- and more
Eric Bazak, Editor-in-Chief Emeritus
After serving as staff writer, Features Editor, and Outside News Editor over the previous three years, Eric Bazak served as Editor-in-Chief for the 2015-16 school year. He is currently a freshman at UCLA.
Eric won numerous awards for his work on the Boiling Point.
CSPA 2015 Gold Circle Certificate of Merit in News Writing (print)
CSPA 2015 AGold Circle Certificate of Merit in In-depth/Feature Story (print)
Quill & Scroll 2016 National Award in Profile Writing
Quill & Scroll 2015 National Award in News Writing
Jewish Scholastic Press Association, 2014 2nd Prize in News & Feature Writing
Lady Firehawks are first-ever Glouberman champs — and more
Firehawk boys win championship at Milken basketball tournament
Backed by cheering crowd, Firehawk girls defeat Berman Cougars to win their second Glouberman championship
GLOUBERMAN DAY 1: A comeback and a landslide open Firehawks' Glouberman as both boys' and girls' teams win
Spirit, swag and real competition are back as Glouberman returns to gym


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HomeNewsBusinessHorse RacingUnited Kingdom
Jockey Club raises £24.7 million in bonds
The Jockey Club has received £24.7 million worth of applications from 2,100 applicants for its Racecourse Bond, exceeding its original target of £15 million.
Godolphin trainer drops ban appeal
Jockey Club appoints Truesdale as permanent CEO, replacing Bushell
The Jockey Club has announced that Nevin Truesdale will take over as the organisation's next permanent chief executive from the start of 2021.
Jockey Club posts record financial results
The Jockey Club, the biggest commercial group in British horse racing, has announced record financial results for 2013 along with its largest-ever contribution to prize money.
Jockey Club reveals record turnover
British horseracing commercial group the Jockey Club has announced record levels of business growth and a sixth consecutive increase in turnover in its results for the 2014 financial year.
Jockey Club reports record financial results
The Jockey Club, the largest commercial group in British horseracing, has unveiled a record set of financial results, including breaking through the £200m (€228.2m/$279.2m) revenue barrier for the first time.


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PixCell's team picked over 800 Kg of vegetables for Israel's National Food Bank as part of "Good Deed Day" with Leket Israel.
PixCell Medical Technologies Ltd. announces $1 Million raise from a strategic investor following the successful completion of company milestones.
Read about "The HemoScreen, a novel haematology analyser for the point of care" in The Journal of Clinical Pathology.


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Happenings // Cory Chisel's Soul Obscura
By Katie Arata July 10, 2014 August 13, 2014
Leave a Comment on Happenings // Cory Chisel's Soul Obscura
This night will resurrect lost and the rare soul music and celebrate the songs "that have been buried in the sands of time."
This Friday, July 11, The 5 Spot will be hosting "Cory Chisel's Soul Obscura," an evening of musical exploration of the phenomenal catalog of soul music. Opening with Sarah Potenza and featuring Cory Chisel, joined by Reno Bo, Adriel Denae, Jeremy Fetzer, John Radford, Ashley Wilcoxson, and Laura Mayo, this night will resurrect "the lost and the rare" of this genre and celebrate the songs "that have been buried in the sands of time."
I had the wonderful pleasure of meeting with Cory, and in the brief time I got to be around him and talk with him, I was enamored by his kind humility, distinct perspective and artistic opinions, and his willingness to create what beautifully exploits the human condition and experience. Born a preacher's son, his musical roots were grounded in church hymns, later tended by an uncle that introduced him to the blues. And with these musical memories and influences to guide him, Chisel began to draw inspirations from the world, its people, and its sounds to begin the creative journey. "I've kind of always been the guy that doesn't sing the right words to songs. But there is talent in mishearing." By replicating and rewriting what he heard on the iconic records of Otis Redding, Bob Dylan, Leonard Cohen, Sam Cooke, and others, he began to explore his ability and shed the shell of impersonation, transforming the music into a style of his own.
Even though Chisel's music will not be heard during this show, his enigmatic edge will surely color the set. His usual collective, Cory Chisel and The Wandering Sons, is often described as an Americana/Folk sound that definitely let a little Southern into the music, though Chisel would just say it's "soulful." The records have grit and truth, propelled by Chisel's vocal nuances and lyrical essences that authenticate and narrate experiences that can be shared by many. His voice possesses a raw wisdom that emits such honest sounds of the soul, and it is timeless and still distinct and uniquely of himself. The music is also characterized by its harmonic dispositions, often exploring a range of timbres and contrasts, both vocally and instrumentally.
The collaborative structure of his music adds another layer of intimacy to the records and to his performances. Chisel works with a myriad of musicians and gives sincere credit to the people with whom he works. "I pretty much only work with people I'm insanely intimidated by, that's sort of a rule. It makes you not complacent and puts the fear of god, lowercase "g," in it. Art-making needs to be brave." And he also gives credit to all these brave souls when discussing the songwriting process. "I create my art out of compulsion. It just has to come out…and I'm just responsible for it existing," he proclaims, making sure to honor all the people, experiences, and processes that help mold his songs into their destined forms. "The music always belongs to the people who make it together," and this way of creating will no doubt enrich Friday evening's show. These incredible musicians will conspire to inspire by means of translating those rare songs from the legendary repertoire through modern renditions that will make you groove and take you back.
As Chisel describes, the show on Friday will be "musicians playing what they really love," exhibiting a profound respect for the music that came before their own, while also allowing personal interpretations to accentuate the set. "These are the songs that deserve pretty girls dancing to them," and they are the gems from the B-sides that Chisel still worships and adores today. The performance will consist only of these soulful covers realized by these talented musicians, making this performance an experience to be had. And that seems to be the point of it all: to experience, fully and wholly, all that is music and all that makes you feel and react.
See you at The Five Spot tomorrow at 9pm for an incredible time filled with good company and better music.
-Katie A.
Tags: 5 spot adriel denae cory chisel east nashville nashville sarah potenza soul obscura
Published by Katie Arata
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The Industrial Injuries Advisory Council (IIAC) has released an information note on non-melanoma skin cancer (NMSC) and occupational exposure to natural ultraviolet (UV) radiation[i]. An information note on melanoma is also going to be released, as a separate document. In this article, however, we discuss the IIAC's debate on the proposed addition of NMSC, caused by exposure to occupational sunlight, to the list of prescribed diseases. This was considered in the wake of an enquiry into a former seaman, which was also the basis of the IIAC information note on urolithiasis, above.
'Primary carcinoma of the skin', following exposure to arsenic or arsenic compounds, tar, pitch, bitumen, mineral oil (including paraffin) or soot, currently appears on the list of prescribed diseases. The entry on the list does not include skin cancer arising from exposure to sunlight during outdoor working.
The main types of NMSC are basal cell carcinoma (BCC) and squamous cell carcinoma (SCC). Both are much less dangerous than melanoma, as they are less aggressive and less likely to spread to other parts of the body. Around 3% of SCC spread from the primary site and around 2% cause death. Of the NMSCs, approximately 75% of cases are BCC and the remaining 25% are SCC. Single or multiple SCC and BCC tumours are generally treated successfully with surgical excision, usually with 'excellent' or 'good' cosmetic results. Any secondary tumours that appear, in the rare event that the cancer spreads, are treated by excision and, in some cases, radiotherapy. Thus, there are likely to be very few cases of NMSC, particularly BCC, that would qualify as being significantly disabling.
Both BCC and SCC are caused by UV radiation from sunlight. However, measuring occupational exposure to sunlight has its difficulties. Different studies apply different methods to estimate sun exposure. Some simply classify workers as outdoor workers without being more specific as to the exposures faced. Other difficulties with measuring sunlight exposure include overestimation, or incorrect/poor recollection of exposure, as well as mitigating factors, such as the optional application of skin protection against UV rays.
The Council noted that studies conducted at lower latitudes than the UK were only indirectly relevant to its decision, as the duration and intensity of UV radiation is much higher in those regions.
The information note refers to a high quality, systematic review of the relationship between BCC risk and occupational UV exposure, published in 2011[ii]. The review included 24 relevant studies that gave considerably varied risk estimates, partly due to latitude. There was some evidence for a dose-response relationship. 2 studies were undertaken at latitudes similar to the UK and showed a doubling of risk. These were examined in more detail by the Council. One of these studies referred to 'outdoor workers', but there was no information on the type or duration of such work[iii]. The other study referred to 'frequent or sometimes' occupational UV exposure[iv]. Again, there was no mention of the type or overall duration of such employment to clearly gauge the presence of a dose-response relationship.
The Council found a high quality systematic review and meta-analysis of the risk of SCC with occupational UV exposure, published in 2011[vii]. Similar to the findings for BCC, the risk estimates varied considerably between studies, due, in part, to the quality of exposure assessment and differences in latitude. The Council selected studies from latitudes similar to the UK to analyse in greater depth. In a study of Finnish seafarers, the incidence of BCC and SCC together was increased in those whose cancer was identified 20 or more years after first employment, and in those with 10 or more years on board the vessel[viii]. The risk was more than doubled in male deck officers, but not in male deck crew.
Elsewhere, a Swedish study of more than 320,000 male construction workers found no increased risk of NMSC[ix]. In the group with the highest outdoor exposure, there was an increased risk of lip cancer, but this was not statistically significant. Another study reported a more than doubled risk of SCC with outdoor work, without giving further details of exposure duration. There was also a study from Alberta, Canada, which showed a 'strong trend toward increasing risk' of SCC with outdoor occupational exposure[x], while one study reported a more than doubled risk of SCC with outdoor work, but gave no further details about the work or exposure levels[xi]. Nevertheless, a study of workers in several European countries found more than doubled risks of SCC with farm or construction work and with five or more years of outdoor work experience[xii].
As was also the case with BCC, the Council reviewed all literature published since 2011. A very large study from four Nordic countries noted an increased risk of SCC in 14 occupations. However, the risk was more than doubled only in male physicians and female administrators and among these workers, SCC was only diagnosed in subjects under the age of 50[xiii]. There were some increased risk estimates in farmers and seamen, but there was no evidence of increased risk in construction workers, gardeners or forestry workers. In a German study, researchers used a complex job exposure matrix to estimate the lifetime occupational exposure of participants[xiv], but the Council considered this method to be impractical for use in the context of UK benefits assessment.
The Council concluded that it is probable that the risks of both BCC and SCC are augmented by outdoor work, e.g. in the farming and construction industries. In some cases, the risk is more than doubled. It is a precondition of the IIAC that the risk must be doubled for a disease to qualify for addition to the list of prescribed diseases. However, the evidence for these elevated risks comes primarily from countries with more intense UV exposure than the UK; studies from latitudes similar to the UK suggest that the risk is less than doubled.
It is not possible at this stage for the Council to define occupational circumstances that would lead to a doubling of risk. Though some studies suggest that employees in farming, construction and seafaring work may be at an increased risk, no consistent evidence has been found which comprehensively associates risks with the duration of such work.
On this occasion, the Council did not recommend that SCC or BCC, caused by occupational exposure to sunlight, should be added to the list of prescribed diseases.


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In February, demand for European Equity Derivatives at Eurex went up 2 percent to reach 31.9 million, compared to 31.1 million in February 2018. Overall, trading volumes decreased by 17 percent. The number of traded contracts reached 142.1 million compared to 170.9 million in February 2018. The reason for this is mainly that that the figures in the reference month for 2018 were comparatively high due to a number of events and geopolitical risk in Europe and beyond. In the meantime, these risks have already been discounted by the market.
European Equity Index Derivatives decreased by 25 percent from 90.3 million in February 2018 to 68.1 million in February 2019.
The month also saw a downward trend for European Interest Rate Derivatives from 49.5 million traded contracts in February 2018 to 42.0 in 2019 (–15%).
The European Energy Exchange (EEX), the leading energy exchange in Europe, saw significantly increased trading volumes in power and emissions. In February 2019, volumes on EEX Group's spot and derivatives markets increased by 31 percent to 359.3 TWh (274.3 TWh in February 2018).
Eurex Repo, the leading provider for international financing in the secured money market business (repo and securities lending), saw an overall increase of 22.7 percent in average outstanding volume in the Repo market compared to February 2018.


From the Hancock County Courthouse, go southwest on Hwy 22 for 7.2 miles to the intersection of Hwy 22 and Main Street in Devereux. Turn right on Main Street and go 0.2 mile to Church Street on the left. Turn left and follow Church Street for 0.3 mile until it merges into Jones Chapel / Devereux Rd. Go left on Jones Chapel / Devereux Road and follow it for 2.9 miles to Island Creek Church Road (dirt) on the right. Turn right and go west on Island Creek Church Rd for 0.8 miles. The cemetery is on the right, 180 feet from the road.
If coming from Island Creek Church, the cemetery is 3.4 miles east on Island Creek Church Rd. The cemetery will be on your left 180 feet from the road.
Currently the cemetery has a cleared area around it which is used by hunters.
The single grave that exists here is surrounded by a stone wall which has deteriorated, with many stones scattered around the walled grave. A family member recalls that the cemetery was ten or twelve feet long (roughly parallel to the nearby road), and maybe six or eight feet wide. Currently the wall surrounds only the one grave.
h/o Mary McDonald, father of Charles J. McDonald. Lived at The Vintage, a home near here. See John Rozier's Houses of Hancock 1785-1865, p. 212. Grave not found in 2002.


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KU guards provide options | The Wichita Eagle
KU guards provide options
BY J. BRADY McCOLLOUGH
This fall, Kansas coach Bill Self tried to stick to his guns. Sure, his team had talent, maybe more than any other team in the country from top to bottom. But he wasn't going to mess with his philosophy. Self teams play eight or nine guys in the regular rotation, four inside and four outside, give or take one.
Now, a month into the season, Self is starting to see things develop differently at the guard position. Go ahead and put Sherron Collins and Xavier Henry down for around 30 minutes per game. That leaves 60 minutes for the rest of KU's guards (20 for spelling Collins and Henry and 40 for whoever is playing the third guard slot).
Through eight games, nobody competing for the third guard role has separated himself from the pack. Sophomore Tyshawn Taylor has struggled, losing his starting job to freshman Elijah Johnson, who is still a very unknown commodity. Redshirt freshman C.J. Henry has been nursing a sore knee but is beginning to perk up and grab Self's attention. Junior Tyrel Reed knows his role but it's unclear where he fits in. And redshirt junior Brady Morningstar will be returning from his first-semester suspension next Saturday against Michigan.
"You know," Self said, "I never thought we would play six perimeter players. But the way it could potentially play out, I think we could. We might as well get those other guys playing shorter minutes and maybe try to create more pace defensively and play to our athletic ability. We are a deep team. We haven't really played to our depth yet."
Can four or five players splitting up 60 minutes actually work?
"The only way you can keep a team happy is if everybody sacrifices and says 'I wanna play my tail off,' " Self said, "and you can only play three or four minutes, and everybody's happy. We've had that happen with teams I've coached. That could be the case here."
Self said the main reason to go this route would be to apply pressure defense at all times. The players in the supporting guard role would have to be able to take pressure off Collins in that way and others.
"Just somebody that the other team has to respect and guard," C.J. Henry said. "You need to be a pretty good defender, if not the best defender on the floor, because you don't want Sherron chasing the other team's best player. Somebody to take care of the ball, too."
Collins appreciates all the help he can get. But he's more interested in having a guy alongside him that has a presence about him.
"Bring the energy," Collins said. "I think that's the whole thing with that spot, coming in and being able to change the game."
Self didn't want to pigeonhole the role of the third guard.
"Just be a player," Self said. "It's not like we want our three-hole hitter to do this, our clean-up man to do this. We want to get the best guys out there that give us the best chance to play well, and I do think Tyshawn is that guy."
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Kansas Jayhawks football coach Les Miles' tradition of eating grass started more than 50 years ago ... as Miles explained during the Big 12 conference media days on Monday at AT&T Stadium in Arlington, TX.
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Home » US News » 1st Legionnaires' disease case of 2016 reported in Genesee County
1st Legionnaires' disease case of 2016 reported in Genesee County
Genesee County health officials today reported on the first case of Legionnaires' disease of the year in the county. This follows just a week after county health officials issued a reminder to residents of Legionnaires'.
The patient is described as an older adult who is currently hospitalized. There is no indication that the individual was exposed within the city of Flint.
Legionella/CDC
State and local health officials are investigating where the patient was exposed.
To date, there have been 65 confirmed cases of Legionnaires' disease in Michigan in 2016. In most years, Genesee County has had nine to 11 cases. Enhanced surveillance and preventive measures are being taken as a result of the increase of cases from 2014-2015 when there were 91 cases.
Legionnaires' disease is a kind of pneumonia, or an infection of the lungs. Like other types of pneumonia it can lead to complications if not treated quickly. People can get Legionnaires' disease by breathing in small droplets of water (mist) that contain Legionella bacteria. In general, Legionella does not spread from one person to another. People also don't get Legionnaires' disease from drinking water, but may be exposed if water goes down the airway.
It's a good idea to talk to your doctor to find out if you are at increased risk for getting Legionnaires' disease. Most healthy people do not get sick after being exposed to Legionella. Being 50 years or older or having certain risk factors increases the chances of getting sick. Other risk factors include being a current or former smoker; having chronic lung disease, such as emphysema or chronic obstructive pulmonary disease; having a weakened immune system from diseases like cancer, diabetes, or kidney failure; or taking medicine that weakens your immune system. Legionnaires' disease is not common in children.
Although people can get Legionnaires' disease at any time of year, it's more common in summer and fall when temperatures are warmer. Legionella bacteria occur naturally in freshwater, like lakes and streams. Large water systems, like those found in hospitals, hotels, and other large buildings, can sometimes grow Legionella bacteria, if they are not properly maintained. The most common sources of exposure from these types of buildings are air conditioning systems with cooling towers, hot tubs and spas, or decorative fountains.
Legionnaires' disease begins with flu-like symptoms such as fever, headache, muscle aches, and chills. In some people, more serious symptoms start to develop in as little as 1 to 2 days, including high fever, a cough that is usually dry but sometimes produces mucus, difficulty breathing, chest pains, chills, or diarrhea.
Legionnaires Disease: 'We are concerned about the increase in cases seen in Genesee County'
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