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Q: Under what conditions does $\mathcal{M} \vDash \mathsf{PA}$ and $\mathcal{K} \vDash \mathsf{PA}$ such that $\mathcal{M} \ncong \mathcal{K}$? I'm currently learning some introductory model theory from Marker's "Model Theory: An Introduction", Kaye's "Models of Peano Arithmetic", and Hodges' "Model Theory", and I am confused by the Wikipedia article on Peano Arithmetic. I am interested in the question I posed in the title and this article is really confusing me.
It states there that,

A model of the Peano axioms is a triple $(\mathbb{N}, 0, S)$, where $\mathbb{N}$ an infinite set, $0 \in \mathbb{N}$ and $S : \mathbb{N} \rightarrow \mathbb{N}$ satisfies the axioms. Dedekind proved in his 1888 book, What are numbers and what should they do (German: Was sind und was sollen die Zahlen) that any two models of the Peano axioms (including the second-order induction axiom) are isomorphic. In particular, given two models $(\mathbb{N}_A, 0_A, S_A)$ and $(\mathbb{N}_B, 0_B, S_B)$ of the Peano axioms, there is a unique homomorphism $f : \mathbb{N}_A \rightarrow \mathbb{N}_B$ satisfying, $$f(0_A)=0_B$$ and $$f(S_{A}(n))=S_{B}(f(n))$$ and it is a bijection.

Doesn't Tennenbaums theorem, and the existence of non-standard models, show that not all models of peano arithmetic are isomorphic? If this is the case, then what result did Dedekind actually prove and does anyone know where I can find a reference to the theorem he proved or a proof of it?

A: Your question is answered by the distinction between the first-order and second-order Peano axioms.
The categoricity result of Dedekind refers to the second-order Peano axioms rather the first-order axiomation PA that gives rise to the nonstandard models and other phenomenon you mention.
The second order axiomatization includes the axiom that every subset of the model containing $0$ and closed under successor $S$ is equal to the entireity of the model. This axiom is second-order, because it refers to arbitrary subsets of the universe of the model. It is not difficult to see that any two models of the second order Peano axioms are isomorphic, since each initial segment of one maps uniquely to an initial segment of the other (proved by induction), and these maps union to an isomorphism.
Meanwhile, the first-order axioms of PA are usually stated in a larger language, with symbols for additiona and multiplication, and one has the induction scheme only for subsets that are definable in this language. Meanwhile, the theorems of elementary model theory give rise to nonstandard models of this first-order version of PA. None of these nonstandard models is a model of the second-order axiomatization, since the standard cut of a nonstandard model is a subset containing $0$ and closed under successor, but is not the whole model.
There is quite an interesting interplay between first-order arithmetic, second-order arithmetic and first-order set theory here, because the second-order logic involved in the second-order Peano axioms used by Dedekind can be treated naturally in first-order set theory, such as ZFC (for the subsets of the model of arithmetic are just first order objects, sets, in set theory). In short, one may formalize Dedekind's argument as a result in ZFC.  So ZFC proves that there is unique structure of arithmetic $\mathbb{N}$. But meanwhile, we know that different models of ZFC can have different non-isomorphic versions of this unique structure $\mathbb{N}$. So the situation is that there are many different models $M$ of ZFC, each insisting that its own version of arithmetic $\mathbb{N}^M$ is the one-and-only absolute concept of arithmetic, the unique structure of the second-order Peano axioms, but externally, we can see that these different $\mathbb{N}^M$'s are not all isomorphic to each other.


Our ever-popular party nights return for 2019!
We're delighted to bring you Neil Angus as Freddie Mercury in He Will Rock You.
Neil has been performing his 'He Will Rock You' tribute to Freddie Mercury with outstanding reviews. If you are a Queen fan, then this is the show for you.
For just £23.50pp you can enjoy a delicious two course buffet meal while reliving the Queen magic and singing along to all of the pop superstars' greatest hits, including Bohemian Rhapsody, We Will Rock You, Radio Ga Ga and I Want to Break Free.
After Neil entertains you, our resident DJ will play all your favourite tracks.


This is a rectangular Sherwin-Williams Paints porcelain sign. This particular Sherwin-Williams Paints sign is predominantly yellow and blue with blue and white text. It reads, "Sherwin-Williams Paints and Varnishes, Paint Headquarters, Cover the Earth" and features a Sherwin-Williams paint can pouring red paint over a blue and white globe on the left side of the sign.


If ever you find yourself wandering at Hongdae one of these days, don't be surprised if you'll see a pirate ship anchored in the middle of the city. Don't panic, no don't do that! Don't run, no never! Don't hide and don't wonder. There are no pirates, there's no ocean, it's just a café. The Café De One Piece is a giant pirate ship café at Hongdae, South Korea.
I heard about its opening last year, but I never really had a chance or even the urge to visit the café. I was at Hongdae last week with my friends, and we decided to drop by at the café just to see how it is a bandwagon in Seoul nowadays. When we arrived at the café, there was a long line outside. It's crazy because people are willing to wait outside even if it means standing in a very windy and cold open area. One must be an avid fan of this anime to be willing to go through all the troubles of waiting and freezing. Since we were not a fan, and I didn't even watch a single episode of this anime, we just gave it to them. We never really entered the café, but we were contented just looking around the area and to its glorious figure that is a pirate ship.
Outside the café are the standees of some characters of the anime. As expected, I don't recognize any of them, but it's perfect for people who want to have a selfie or photo opportunity with the characters.
We didn't get a chance to see what's inside the café because it was too crowded when we went there, but I like how they invested on their cups and stirrers. When you order a drink, your cup has "Café De One Piece" print on it, and the stirrer has a flag to make it even more appealing to the customers.
The Prices of beverages and desserts range from 3,500 won up to 6,000 won. But I heard that their novelty cakes are way too expensive for the price of 40,000 won up to 80,000 won, so you better careful when you order and double check the price if you don't want to pay a piece of cake for that price. Take a look at their menu first before ordering.
The café is open from Sunday to Saturday, from 10 am up to 10 pm.
To get there via subway, take Subway Line Number 2 (Green Line) and get off at Hongik University Station. Go to Exit 9 and walk towards the main gate of the Hongik University. The café is located beside the Starbucks Café.


This study examined "mother-and-child talk" during joint book-reading interactions in low-income families. Sixteen children, 8 girls and 8 boys, and their mothers, all living in Taipei, participated this study. The mean age of the children was 3; 5. The subjects were visited at home, where the mothers were asked to read a Chinese-language book entitled "The Very Hungry Caterpillar" to their children. The entire mother-child interaction was audio- and video-taped and transcribed using the code of the Child Language Exchange System. Maternal and children's utterances were analyzed for both function (i.e., request, provision, feedback) and content (i.e., immediate and non-immediate talk). Results of this study showed that request for and provision of information occurred most frequently in maternal talk, and that the conversations between the mother and her child were mainly focused on immediate information, such as the labeling, location and attributes of characters in the book, etc. Variation of interaction types across families was also observed in this study. The limitations of this study and its implications for preschool education were discussed, and suggestions for future studies were made.


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The Wire (or simply Wire) is a British music magazine publishing out of London, which has been issued monthly in print since 1982. Its website launched in 1997, and an online archive of its entire back catalog became available to subscribers in 2013. Since 1985, the magazine's annual year-in-review issue, Rewind, has named an album or release of the year based on critics' ballots.

Originally, The Wire covered the British jazz scene with an emphasis on avant-garde and free jazz. It was marketed as a more adventurous alternative to its conservative competitor Jazz Journal, and targeted younger readers at a time when Melody Maker had abandoned jazz coverage. In the late 1980s and 1990s, the magazine expanded its scope until it included a broad range of musical genres under the umbrella of non-mainstream or experimental music. Since then, The Wires coverage has included experimental rock, electronica, alternative hip hop, modern classical, free improvisation, nu jazz and traditional music.

The magazine has been independently owned since 2001, when the six permanent staff members purchased the magazine from previous owner Naim Attallah.

Publication history

The Wire is a monthly magazine that specialises in a diverse spectrum of avant-garde and experimental music. A 1999 subscription flyer for the magazine advertised its subject matter as "non-mainstream" music. In the late 1980s and early 1990s The Wire transitioned from exclusive coverage of jazz to coverage of contemporary music in general, maintaining its prioritisation of the avant-garde. Since its founding in 1982, its monthly circulation has reportedly ranged from about 7,000 to about 20,000.

Within the American and British music journalism markets, The Wire was among a generation of music magazines launched in the 1980s. That decade also saw the debuts of The Face (1980), Kerrang! (1981), Maximumrocknroll (1982), Mixmag (1983), Alternative Press (1985), Spin (1985), Q (1986), Hip Hop Connection (1988) and The Source (1988), among others. According to writer Simon Warner, The Wire took on a level of "influence disproportionate to its niche readership" compared to other music magazines born in the 1980s, because "not only listeners but music makers and producers were drawn to its columns."

Most of these magazines, The Wire included, differentiated themselves by targeting a narrow segment of readers based on demographics and taste. This was commonly done, for example, by devoting coverage to specific musical subcultures as Kerrang! did with heavy metal or The Source with hip hop. Another industry trend was polarization between two styles of writing: popular criticism for mass-market consumers versus intellectual criticism for underground music connoisseurs. The Wire was certainly positioned on the "highbrow" end of the industry—even if, as editor Tony Herrington said, the magazine preferred "intelligence to intellectualism". Its embrace of high-minded, literate criticism aligned it with publications such as New Statesman, a politics and culture magazine that started to publish pieces by rock journalists, and Melody Maker, which had hired a group of academically oriented new writers like Simon Reynolds who were influenced by post-structuralism. The Wire contrasted most sharply in approach with Q, which emphasised celebrity personalities and the classic-rock canon.

The Wire was among the major British music magazines of the 1990s, a decade that represented an overall peak for the print magazine industry before the next two decades brought the rise of digital journalism and a general decline in print readership. However, The Wire has held a steady circulation and remained in print even as other magazines that once sported much larger circulations have folded or become online-only titles. NME once sold 300,000 weekly copies at its peak in the 1970s, but by 2016 it only sold 20,000—the same number The Wire sold at that time—and in March 2018 NME ended its print edition altogether. The Wire was considered one of the most significant independently owned publications covering the musical underground in the 2000s, alongside Fact, Rock-A-Rolla, Dusted and innumerable blogs.

1982: Founding as a jazz magazine

The Wire debuted as a quarterly jazz magazine in the summer of 1982. The magazine was co-founded by jazz promoter Anthony Wood and journalist Chrissie Murray. Lacking office space, Wood and Murray prepared the first issues of the magazine from an Italian restaurant on St Martin's Lane. The staff sold copies of the first issue to concert-goers at a jazz festival in Knebworth and at the Camden Jazz Festival.

At that time, Germany was considered the cultural centre of jazz in Europe—especially European free jazz. There was greater cultural appreciation for jazz in Germany than in Britain and a greater volume of dedicated press coverage, even though the British jazz scene was actually larger. In an introductory essay explaining the magazine's editorial policy and scope, Wood wrote that The Wire intended to target the demographic of listeners under the age of 25, who he felt were poorly served by the state of jazz writing in Britain. The only other British jazz magazine in print at the time was Jazz Journal, which Wood criticised for its conservative approach: "the reverend gentlemen at Jazz Journal continue, at best, to admit only grudgingly that jazz has got beyond 1948; at worst, deny its current development." In addition, Wood noted, the British weekly magazine Melody Maker had by 1982 virtually abandoned jazz coverage.

The Wire would emphasise boundary-pushing musicians; at the outset, Wood declared that free jazz and free improvisation would "be given a loud enough voice to be heard above the dissenters who are still questioning the music's validity." The magazine was named after "The Wire", a composition by American jazz saxophonist Steve Lacy, whose "musical farsightedness" the magazine hoped to emulate. Twenty years later, Lacy's composition was used as the opening track of the box set The Wire 20 Years 1982–2002.

1983–84: Acquisition by the Namara Group
In 1984, Wood sold The Wire to Naim Attallah and it became part of the Namara Group. Attallah's other properties included Literary Review and Quartet Books. Wood announced the new owner, along with a switch from quarterly to monthly publishing, in the October 1984 issue.

Reflecting on the early years as part of the Namara Group, Tony Herrington said:

Attallah's laissez-faire attitude and the magazine's editorial freedom contrasted with the state of other UK music magazines in the 1980s. Competition among weeklies like NME, Melody Maker and Sounds heightened in the 1980s, and these publications began to prioritise circulation, advertising and commercial appeal, which resulted in editorial constraint. The Wire did not impose significant editorial demands or stylistic revisions on its writers and, as such, it became an attractive publication for freelancers who had started their careers at UK weeklies during the post-punk era.

1985–1992: Expanding beyond jazz
Former NME staffer Richard Cook took over as editor in July 1985; by September, Wood's name was gone altogether from the masthead. Around this time there was a resurgence of interest in jazz among white British "hipsters"—a trend that lasted until the 1987 "Black Monday" market crash. As editor, Cook refurbished The Wire so it would seem stylish and appealing to the new wave of British jazz hipsters, but he increasingly steered the magazine toward a pluralistic, multi-genre approach. The Wire also began to develop a house style that tended toward the philosophical and cerebral, printing "articles peppered with references to Gilles Deleuze and Félix Guattari, or Jacques Attali's monograph Noise."

Under Cook's editorial oversight, The Wire significantly broadened its coverage of music in genres other than jazz. He hired a new graphic design team and promoted longtime contributor Mark Sinker to assistant editor. The formerly jazz-focused magazine's covers in this period featured decidedly non-jazz artists like Michael Jackson, Prince, Philip Glass, John Lee Hooker and Van Morrison; meanwhile, articles published inside the magazine profiled a broad range of musicians, including Elvis Costello, Stravinsky, Mozart, Frank Zappa, Prokofiev, Bob Marley and Haydn.

Cook told Jazz Forum in 1991 that The Wire was "going into overdrive" with ambitions to expand its domestic and international sales. Estimating the magazine's monthly circulation at 15,000–20,000 copies, Cook said he hoped to reach 25,000. But his efforts to expand the magazine's circulation had mixed results. Chris Parker, the magazine's publisher between 1984 and 1989, said the changes did not make an "appreciable" increase in sales; in Parker's view, "for every would-be hip young thing we recruited to the readership, we lost a diehard jazz fan who just wished to know if Howard Riley or Stan Tracey had made another album and what it was like."

Regardless of Cook's impact on sales figures, several of his contemporaries acknowledged that he had made The Wire a more accessible publication. Scottish writer Brian Morton said "[u]nder Cook's editorship, The Wire evolved from a small, coterie magazine into a more broadly based music journal that covered mainstream jazz as well as the avant-garde, but one that also began moving into other areas of music: pop, soul, reggae, classical." John Fordham, the jazz critic for The Guardian, credited Cook with "transforming [The Wires] content and design and opening out a specialised, sometimes uninviting publication" to a broader audience. British-Ghanaian writer Kodwo Eshun pointed to "Black Science Fiction", an essay by Sinker from the February 1992 issue, as a major influence on Afrofuturism, a term that was coined the following year.

1992–1994: Mark Sinker's editorship

In June 1992, Cook left The Wire for a position at PolyGram UK and was succeeded by Sinker. Cook's departure coincided with the magazine's 100th issue, an unannounced move that caught Sinker by surprise. Though he only served as editor for 18 months, Sinker took a bold editorial approach. During his brief tenure, few covers featured portraits of musicians, and instead often featured abstract photos of isolated objects, like a sofa or a toy robot. Sinker devoted issues to broad themes such as "Music and Censorship", "Music in the Realm of Bodily Desire" and "Music and the American Dream", and for these issues he commissioned multiple argumentative essays on those topics. In retrospect, he characterised his attitude as editor thusly:

Sinker's vision—later characterised as "a thorny, quizzical, fanzine cum proto-Weblog"—clashed with then-publisher Adele Yaron's ideal of "a sleek and stylish urban music 'n' lifestyle monthly". Yaron fired Sinker when a potential buyer requested his removal as part of, in Sinker's words, the "bride price" for the deal.

While Sinker's stint as editor was brief and controversial, music writers have praised his editorial decisions in retrospect and highlighted his influence on the magazine's future directions. The French writer-musician Rubin Steiner considered the August 1993 issue with Björk on the cover to be a definitive turning point, signalling the start of constant changes in coverage that would follow, after which The Wire could no longer be considered a jazz magazine. The Guardian columnist Maggoty Lamb said Sinker's tenure was "visionary" and had laid the "foundation" for the magazine to become a "thriving institutional presence". At Pitchfork, Tom Ewing argued that the argumentative articles Sinker commissioned "weren't simply trying to shock or drive readers off—they achieved both—but were trying to build, as ... Sinker put it, [a place] where people could 'have fun starting arguments,' ones that could co-exist within a comfort zone."

1994–1999: "Adventures in Modern Music"
After Sinker was sacked, Tony Herrington took over as editor starting with the March 1994 issue. Herrington had contributed to the magazine as a freelancer since the 1980s, but he had minimal experience as an editor and had only become a permanent staffer the year prior. Yaron left shortly afterward, and so Herrington assumed the position of publisher as well. By January 1995 the magazine adopted the new subtitle "Adventures in Modern Music", which it used continuously until 2012.

Two months after Herrington became editor, the magazine published an influential piece by Simon Reynolds in which he defined the parameters of the genre "post-rock". The genre and its associated artists became a focus for the magazine in the mid to late 1990s, along with electronica and nascent subgenres like illbient and glitch. Throughout the decade, Reynolds also contributed a series of essays on post-rave trends in UK dance music, covering jungle, drum 'n' bass, hardstep, neurofunk and 2-step garage. These essays culminated in his theorizing of the "hardcore continuum": a diverse, ever-evolving tradition of electronic dance music that had diverged from American-born house and techno to become a distinctly British style.

The magazine launched its website, , in October 1997. By 1999, the magazine reportedly reached a monthly circulation of about 20,000 copies.

2000–present: Staff buyout and independent ownership
Rob Young became editor in March 2000. Later that year, the magazine's staff bought it from the Namara Group. When Herrington learned Naim Attallah was preparing for retirement and wanted to sell the magazine, he offered to buy it himself; Attallah replied "I know how much I pay you and you can't afford it." Herrington consulted with his fellow staffers, secured a loan and negotiated with Attallah for about six months. The six permanent members of the staff—Herrington, Young, Chris Bohn, Ben House, Anne Hilde Neset and Andy Tait—purchased the company on 21 December 2000 and announced the sale in the February 2001 issue. The magazine has been independently published since then.

In 2002, the magazine commemorated its 20th anniversary with a special issue, the publication of the book Undercurrents: The Hidden Wiring of Modern Music and a three-CD box set, The Wire 20 Years 1982–2002.

In the 2000s, The Wire devoted significant attention on the emerging genre of dubstep. Several musical genres were coined or first defined in the pages of The Wire in that decade, including microhouse, by Philip Sherburne, in 2001; New Weird America, by David Keenan, in 2003; and hypnagogic pop, also by Keenan, in 2009.

In 2007, The Wire reportedly sold about 17,500 copies per issue. A press release from the same year gave the magazine's monthly circulation as 20,000 copies, with 9,000 subscribers. In 2013, the magazine made available its entire archive—amounting to 25,000 pages at that time—to subscribers, via the site Exact Editions.

Content
A series of new music compilation CDs called The Wire Tapper has been given away with the magazine since 1998. The magazine has used the strapline "Adventures in Modern Music" since 1994; on 14 December 2011 The Wire's staff announced that the magazine's old strapline "Adventures In Modern Music" had been replaced by "Adventures In Sound And Music". In addition to the Wire Tapper CDs, subscribers receive label, country and festival samplers.

Apart from the numerous album reviews every month, the magazine has features such as "The Invisible Jukebox", an interview conducted by way of unknown tracks being played to an artist, and "The Primer", an in-depth article on a genre or act. It also features the avant music scene of a particular city every issue. In addition to its musical focus, the magazine likes to investigate cover art and mixed media artistic works.

Since January 2003 The Wire has been presenting a weekly radio programme on the London community radio station Resonance FM, which uses the magazine's strapline as its title and is hosted in turns by members of The Wire.

The Wire celebrated its 400th issue in June 2017.

Design and photography

The Wire does not employ staff photographers. Instead, the magazine commissions all of its photography from freelancers or relies on musicians and labels to provide their own publicity photos. In recent years, the magazine has published work by photographers like Nigel Shafran, Todd Hido, Tom Hunter, Pieter Hugo, Alec Soth, Clare Shilland, Leon Chew, Jake Walters, Juan Diego Valera, Michael Schmelling, Mark Peckmezian, and Takashi Homma.

The Wires first art director was Terry Coleman. Paul Elliman took over art direction in January 1986; by July, he debuted a serif-typeface logo that the magazine would continue to use, with variations, until 2001. Lucy Ward succeeded Elliman as art director in July 1988 and introduced a broader array of fonts. Under both Elliman and Ward, the minimalist aesthetic of The Wire favoured simple typography, black-and-white photography and ample white space.

Elliman and Ward's late-1980s work for The Wire has been praised by their contemporaries in the graphic design field. Robert Newman—a former design director at magazines like Entertainment Weekly, New York and The Village Voice—said The Wires minimal design contrasted with colourful late-80s trends in both British and American magazine design. Newman said he was inspired by Elliman's designs and borrowed stylistic elements for his The Village Voice layouts. In Newman's opinion, Elliman and Ward produced "some of the most beautiful and remarkable magazine covers of that (or any) era, timeless designs that still look strikingly contemporary today." John L. Walters, an editor and owner of the quarterly design magazine Eye said their designs did not look "home made or like academic papers (or both)", as other specialist magazines of the time tended to look, and said the magazine "took musicians seriously, and its design made them look good without trying—be they stars, greying veterans or young turks." John O'Reilly cited Elliman's work for The Wire among the "most exciting and apparently vibrant work of the 1980s" and said it shared a "kind of melancholia" with Neville Brody's work from the period and Vaughan Oliver's designs for the record label 4AD.

A major redesign was completed in 2001 by Non-Format, a design team composed of Kjell Ekhorn and Jon Forss, who were working out of an office next to The Wire. Ekhorn and Forss were the magazine's art directors between 2001 and 2005. Herrington, who was familiar with their previous work designing music packaging, approached the team to redesign the magazine. In addition to designing the magazine's current logo, they designed each issue of the magazine until 2005. While they retained the magazine's overall clean, Modernist aesthetic, they incorporated highly intricate, unpredictable details into the designs of features. At first, Ekhorn and Forss created custom layouts and typographies in nearly every issue, rather than relying on standardised templates for features; however, this became too much work, and they eventually settled on using a single style across several months at a time. Their typographic work often added elaborate variations to base fonts, which included winding, branching curlicues and interwoven illustrative elements; Karen Sottosanti described their typical design work as "type made of stars or flowers that exploded into negative space [and] type that merged with images of tree branches or birds.".

David Jury praised Non-Format's designs, writing that the magazine "retained an identity all its own through its creative use of experimental headline fonts, white space and excellent photography." Noteworthy examples of Non-Format's cover art include the July 2004 issue, which portrayed the composer Alvin Lucier using brainwaves he had recorded with electrodes at a concert, and the December 2004 issue "In Praise of the Riff", which placed repetitive black lines across the cover and pushed the logo to the bottom right, halfway off the page. In 2011 Complex named Non-Format's March 2005 cover with MF Doom among the 50 greatest hip-hop magazine covers.

The Wire Rewind

Every January since 1986, The Wire has published a year-in-review issue with a critics' poll. The staff collates ballots submitted by its contributors into a list of the year's best releases. Originally, the poll only selected the best jazz LP of the year. In 1992, the main poll grew to include albums in any musical genre, and in 2011 it began accepting releases in any format or medium, not just "albums". In addition to the main all-genre list there are typically shorter lists of the best releases within selected genres as well. These year-in-review issues have been called Rewind since 1997.

Like the magazine itself, The Wires critics' polls have garnered a reputation for their unconventional, eclectic selections. Guardian columnist Maggoty Lamb commented in 2007 that The Wire has "the annual best-of list most likely to single out an ensemble called Kiss the Anus of the Black Cat as having made 'one of the most interesting records of the year'." When the magazine named James Ferraro's vaporwave album Far Side Virtual its 2011 Release of the Year, Eric Grandy remarked in Seattle Weekly that it was "[n]o surprise that willfully obscurantist British rag the Wires Best of 2011 list is topped by James Ferraro's winking Windows '97 soft-rock hellscape ... and further ranges from the Beach Boys' Smile Sessions to Laurel Halo and Hype Williams."

Reception
Over the years, The Wire has received both praise and derision. Positive commentary about the magazine has often referred to its diverse range of coverage and unique status as a longstanding publication devoted to music outside the mainstream. In 2005 the writer Bill Martin called it an "invaluable resource" and said "there is no other English-language magazine today of comparable scope." On the occasion of the magazine's 400th issue in 2017, Josh Baines of Noisey praised the magazine for "examining—in the kind of detail that puts most other publications to shame—sound and music from every conceivable angle" and "treating boundary-pushing music with diligence, care, and above all else, enthusiasm". The same year, designer Adrian Shaughnessy said that he regarded The Wire and the British film magazine Sight & Sound as the only two magazines that "remain unmissable"; he said both publications had "serious writing at their core", which "is never softened to make it 'accessible' to a wider audience," and he said both were still "stonking good reads that have introduced me to hours of pleasure that I might otherwise have missed."

Unfavourable assessments of the magazine have often derided its avant-garde sensibility as pretentious, self-important and inaccessible. Gail Brennan at The Sydney Morning Herald opined in 1993 that The Wire "covers a surprising range of music while bringing a narrow and contrived 'punk' attitude to bear. Let's be blunt. It is a pretentious magazine." In 1999, The Wire was mocked in "The Rock Critical List", an anonymous zine distributed to newspapers and magazines that ridiculed a number of music journalists, critics and editors. The writer of "The Rock Critical List" had this to say about The Wire:

Others within the avant-garde music scene have also criticised The Wire. For example Ben Watson, who has contributed to The Wire himself, critiqued the magazine's editorial approach to covering noise music. In Watson's view, the magazine has had a tendency to treat noise musicians' work as "so worthy, alternative and dis-corporate" that virtually all of it must be inherently meritorious. This tendency results in an institutional reluctance to distinguish between good noise music and mere noise, along with an excess of positive, yet shallow, reviews. Rather than delving deeper into the genre's radical political dimensions, Watson argued, The Wire has instead curated its noise coverage based on superficial trends of underground fashionability; he suggested that the writing may sometimes provide "a clue as to how some new crew of hopeless hairy Stateside noisemaker muffins have been selected: 'Thurston says they're okay...'." The magazine's writing on noise came to rely on a style of "descriptive objectivity" that studiously avoids any actual evaluation of quality; as Watson wrote,

Watson also recalled bristling at Herrington's suggestion to "think niche" when writing for the magazine, which he took as an anti-universalist and commercially motivated attitude.

In a 2007 interview, Herrington addressed the magazine's reputation for pondering music that he joked might "sound like a steamroller running over a broken fax machine", saying: "Most people would take the mickey out of some bloke making music by bowing away at the femur of a mountain goat, but we'll give them the benefit of the doubt."

Live events

Books
There are multiple books based on material first published in The Wire. Invisible Jukebox(1998), published by Quartet Books, collected entries from the recurring feature of the same name. For these features, an interviewer plays several pieces of music for a musician without identifying them, usually selecting tracks that the musician would be expected to know. The musician is challenged to guess the artist and title, as well as to comment on the music. Undercurrents: The Hidden Wiring of Modern Music(2002) was published by Continuum as part of the magazine's 20th anniversary; it collected a mix of new and previously published essays about important but overlooked developments in the history of modern music. The Wire Primers(2009), out on Verso, collected 19 essays that give introductions to various genres and artists. Savage Pencil Presents Trip or Squeek's Big Amplifier(2012) collected Savage Pencil cartoons from the preceding twelve years. Most recently, Epiphanies: Life-changing Encounters With Music(2015) anthologized essays from a recurring guest column about musical experiences that made a profound impact on the writer.

See also

Notes

Citations

References

Published by The Wire

Bibliography

Secondary web and journal sources

External links

Digital editions of The Wire at Exact Editions

1982 establishments in England
Magazines established in 1982
Monthly magazines published in the United Kingdom
Music magazines published in the United Kingdom
Magazines published in London
Jazz magazines
Avant-garde magazines
Experimental music
Internet properties established in 1997

redpajama_set_name: RedPajamaWikipedia


The Honey Makers is an in-depth look at what is going on for bees inside and outside of the hive. The book provides detailed descriptions of the bee's life cycle, their process of collecting pollen and making honey, and the fascinating ways they communicate. The book concludes by introducing the beekeeper and detailing the ways they care for the hive.


text:
Burkina Bloodbath in Northwest
FILE : Burkina Faso's military leader Ibrahim Traore is escorted by soldiers in Ouagadougou. Taken October 2, 2022
The bodies of 28 men killed by gunfire have been found in the northwestern Burkina Faso town of Nouna, prosecutors said on Monday.
OUAGADOUGOU —
On Monday, the Burkinabe civil society organization Collective of Communities against Impunity and Stigmatization [CISC] blamed the Nouna attacks on armed civilians masquerading as members of the Homeland Defense Volunteers (VDP), a group that receives funds and training from the government to help fight the insurgents.
The CISC said the weekend events in Nouna had begun with a reported "terrorist attack" on a local VDP headquarters.
Armed men then carried out "deadly attacks in reprisal," it said. Victims said the assailants were VDP who were members of a traditional hunting community called the Dozo, according to the CISC.
CISC Secretary Daouda Diallo called on the authorities to pay "special attention" to the situation.
"Armed terrorist groups exploit these kinds of transgression to attract recruits among the public," Diallo warned.
Reuters could not independently verify this report.
An investigation has been launched into the killings which were discovered on Dec. 30 and 31, prosecutors said in a statement that did not provide any details on the possible perpetrators or motive for the attacks.
Three incidents of abduction and extrajudicial killings allegedly involving Dozo or VDP had occurred in the runup to the events at the weekend, CISC said.
The VDP has been in the brunt of losses suffered by the security forces in the face of the jihadist campaign.
Hundreds of volunteers have died, especially in ambushes or explosions caused by improvised explosive devices (IEDs) planted along roadsides.
The escalating toll among the army, police and VDP unleashed two military coups last year, launched by officers angered at failures to stem the bloodshed.
The latest strongman is Captain Ibrahim Traore, who on September 30 ousted Lieutenant-Colonel Paul-Henri Sandaogo Damiba.
Damiba had seized the helm in January 2022 from the last elected president, Roch Marc Christian Kabore.
The West African country is battling a violent jihadist insurgency that has spread from neighboring Mali over the past decade. Thousands have been killed across the region, and millions forced to flee their homes.
This report was compiled with data from Reuters and Agence France-Presse.

redpajama_set_name: RedPajamaCommonCrawl


Chief Executive Officer Kawardha Recruitment 2017, In the Chief Executive Officer Kawardha Recruitment 2017, Current Govt. Jobs for Village Employment Assistant at the Chief Executive Officer Kawardha Recruitment 2017.
Chief Executive Officer Kawardha Recruitment 2017 Village Employment Assistant Posts June 2017, Chief Executive Officer Kawardha Recruitment 2017 have been decided to recruit Village Employment Assistant Posts Advertisement Date 26th June 2017.
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Probably you are waiting for this Chief Executive Officer Kawardha Recruitment 2017 Notification you can apply online Chief Executive Officer Kawardha Recruitment 2017 posts Village Employment Assistant.
Now the question is who can apply the Chief Executive Officer Kawardha Recruitment 2017 Job, -Well those are planning to apply for this / these Village Employment Assistant Posts should have the following minimum eligibility criteria. Also Check the Advertisement Details.
How to Apply Chief Executive Officer Kawardha Recruitment 2017 ?
The Interested Candidates can apply to the post through the prescribed format application form which is available to download at official website http://kawardha.gov.in/. Fill the application form as per Guidelines given in the official notification and enclose other necessary documents and submit to the official address on or before 30th June 2017.


text:
Some Girl(s)
KRISTEN BELL, BOBBI
Kristen Bell is currently starring in the Showtime series, HOUSE OF LIES opposite Don Cheadle and was recently heard in the new animated FX television show UNSUPERVISED. She starred in and coproduced the comedy HIT & RUN, written and directed by Dax Shepard.
She is also lending her voice to the new Disney animated feature, FROZEN, directed by Chris Buck. She pays the lead role in the independent film THE LIFEGUARD, which recently premiered at the Sundance Film Festival. She can currently be seen in theaters in the Farrelly Brothers' MOVIE 43. Upcoming films to be released include WRITERS for Relativity Media.
Her other film credits include: BIG MIRACLE, YOU AGAIN, BURLESQUE, WHEN IN ROME, COUPLES RETREAT, FORGETTING SARAH MARSHALL, PULSE, SERIOUS MOONLIGHT and David Mamet's SPARTAN. Kristen's television credits include: VERONICA MARS, DEADWOOD, HEROES and PARTY DOWN.Her Broadway credits include: Tom Sawyer and The Crucible opposite Liam Neeson and Laura Linney. Her O"-Broadway credits include: Reefer Madness and A Little Night Music both at The Kennedy Center in New York and Ahmanson Theatre in Los Angeles.
© 2019 Some Girl(s)


Google also suggests that when syndicating your content on other sites that you confirm the inclusion of a link back to your original article on each syndicated article. While this will not guarantee that Google will show your version, it might help. Don't be fooled into thinking that Google will always show the original or source; they generally list the resource they consider to have the most importance and relevance to a specific query.
Knowing this, it's always a good idea to be sure that your article or resource is indexed and has a sufficient number of citations to avoid a copy from hijacking your rankings. I'd suggest that you never submit an article for syndication until that article is indexed, linked to and and ranking in the search results.
Keep these tips in mind when creating and distributing content on the web and I think you'll find that it's not so difficult to avoid the duplicate content filters, also referred to by many as a duplicate content penalty.


A graduate of the University of Guelph and The University of Western Ontario, Dr. Staples joined Smith School of Business in 1998, after two years as a Research Fellow at the University of Melbourne in Australia. His papers have appeared in such journals as Information Systems Research, Organization Science, Journal of Management Information Systems and The Journal of Strategic Information Systems and he is a regular contributor to international conferences. Much of his research has been conducted in collaboration with colleagues in Canada, Australia and the United States and he is a recent recipient of a grant from the Social Sciences and Humanities Research Council of Canada. In 2001, Dr. Staples was awarded Smith School of Business New Researcher Award – an annual honour to the faculty member who has made an outstanding contribution to his or her chosen research field within 7 years of receiving their PhD and was awarded a Distinguished Faculty Research Fellowship in 2007.
Dr. Staples' research focuses on how technology enables and affects works practices in organizations. Building on previous research in virtual teams and knowledge sharing, he is currently investigating how collaborative technologies can help manage the diversity within distributed teams. Dr. Staples' recent publications include: Exploring Traditional and Virtual Team Members' "Best Practices": A Social Cognitive Theory Perspective; Exploring the Effect of Trust, Task Interdependence and Virtualness on Knowledge Sharing in Teams; The Effects of Cultural Diversity in Virtual Teams versus Face-To-Face Teams; and Toward Contextualized Theories of Trust: The Role of Trust in Global Virtual Teams. Dr. Staples earned his Ph.D. from the Richard Ivey Business School at the University of Western Ontario.


For over 20 years, Cigar Dave has been the world's leading source of news and information about premium cigars. Whether you're a cigar novice new to the world of cigars, or an experienced connoisseur with a highly developed palate, The General answers your questions and makes recommendations with unparalleled expertise every week on the Cigar Dave Show.
After numerous requests from listeners to create a "cigar of the month" club, the Officers Club was created to offer a select number of members access to a wide variety of exceptional premium cigars.
Utilizing Cigar Dave's unmatched high-level access to premium cigar manufacturers, members receive the three (3) premium cigars each month shipped in an elegant reusable customized Officers Club zippered pouch.
From boutique brands to well-known major brands, from mild-bodied cigars to full-flavored cigars, Officers Club members receive a wide variety of cigar styles from manufacturers including Rocky Patel, Perdomo, Gurkha, Torano, Alec Bradley, Aging Room, Avo, EP Carillo, and many more.
Membership is just $22.95 per month, including shipping and handling.
More questions about the Officers Club? Visit our FAQ Page for complete details.
Ready to become an Officers Club Member and enjoy great cigars? JOIN NOW!
Officers Club Membership available only to US Residents at least 21 years of age.


Error 711 Solution - Cannot load Remote Access Connection Manager. Windows 7 Event Viewer and Dial-Up Connection not Working. Error 711 Windows 7 Fix.
In Windows 7 you might be getting an error as "Error 711 : Cannot load Remote Access Connection Manager" and you may not able to launch Dial-Up Connection or You may not be able to see event log.
Here is a simple solution to fix error 711 in windows 7. After fixing error 711 you will be able to use dial-up connection and event viewer. Solution to fix 711 error in windows 7 is very simple.
If you start a Dial-Up connection or try to view the event log then if you are facing an issue then you could try one of the following solutions.
Definitely one of them is going to work for you.
1) Login to safe mode as Administrator by restarting your system and pressing F8 key.
2) Go to C:\Windows\System32\LogFiles\WMI\ folder.
3) There you will see a folder RtBackup.
6) Now you may be able to use Dial-Up Connection and Event Viewer.
1) Login to your system with your user account.
3) Right click on this folder and click "Take Ownership".
5) Now you may be able to use Dial-Up Connection and Event Viewer.
1) If none of the above things work for you then go to C:\Windows\System32\LogFiles\WMI\RtBackup folder.
2) Right click and open "Properties" window.
3) Go to "Security" tab and there you will see the users who are having access to this folder.
6) Then add "SYSTEM" as one of the owners for this folder.
9) Now you may be able to use Dial-Up Connection and Event Viewer.
If you know any other solution / fix for error 711 or if you know how to fix error 711 in windows 7 in some other way then please let me know.
Hi Masud, are you not admin of the pc ?
very helpful, i had encountering this problem twice when running windows 7.


Human Resources is responsible for administering benefit programs for all benefit-eligible employees. We can help you with insurance benefits - health, dental, vision, life and disability; retirement benefits; and other fringe benefits including Family and Medical Leave (FMLA) benefits. We can also help you complete and update all of your benefit enrollment forms. To learn more about these services, click on the buttons below. We look forward to serving you!
If there are any questions regarding your employee benefits contact Braumlee Boyce, Benefits Manager at 751-3446 or boyceb@sd5.k12.mt.us.


These last few days have been busy busy busy!
In case you are not subscribed to the Retrash newsletter, I wanted to share with you some ideas for things to do this weekend. You can view the newsletter here and you can sign up here for future emails. In today's newsletter we share with you some of the beautiful stories featured in the book Retrash.
This week has been very exciting, not only have we partnered with award-winning film 'Trashed', but also Etsy! The largest handmade market in the world. Retrash will soon be supplying ideas and resources for all sellers via the Etsy seller handbook blog.
We are also very honoured to be partnered with Connect 4 Climate, a community and coalition dedicated to reducing the effects of climate change. C4C are actually running a competition with your chance to win $15K, for all young filmmakers out there passionate about creating change.
As far as funding is concerned we have just hit the $8,000 mark! Which is a huge achievement that we could not have done without you. I am extremely grateful to each and every one of you that has believed in the project. It will be a busy 4 days ahead for all of us here at Retrash, and we will be doing everything we can to make this project succeed.


Douglas 224 hosted Windhoek 34 en route to ARTSA 2016 in Margate. They set out to do a Croc tour and decided to travel down through Namibia and visit Tables along the way.
This trip came to me as quite a surprise, as I was only expecting them to arrive on the Monday. I had all my dates messed up and got their whole stay over organised within 2 hours.
It was well worth it, rushing around, finding accommodation and organizing food and drinks, because what followed, was an amazing start to ARTSA 2016. We showed them all the tourist parts of Douglas and low and behold, there was a local rugby tournament on the go, just as Windhoek 34 arrived. They were treated to real local hospitality and got to get to meet some of the Douglas folk. Later we traveled to my farm, where we all jumped aboard the barge, for a very late "Sundowner", as the sun had already set about two hours ago. Never the less; It's the thought that counts and fun was had by all.
What great people these Namibians are; To Jakes, Ian, Shanti and Tammy. It was great meeting you all and I do hope that this is the first and not the last time that we see you guys in Douglas. You guys are always welcome!


Psychology and Public Administration alumna Ann Bridges Steely says her biggest career risks brought the greatest rewards.
Growing up in Homewood, Alabama, as the oldest of three daughters, Ann Bridges Steely never saw herself as terribly adventurous. Though she began her undergraduate studies out of state, she came back to Birmingham and finished at UAB with a bachelor's in psychology in 1976. She took a job with the Jefferson County Personnel Board right after graduation where she administered testing to various county employees. But she found herself wanting to enhance her skills and knowledge, so she started looking for graduate programs.
Steely didn't know it then, but those lessons would come in handy when she took her first big leap off the professional high dive. She had applied for the White House Internship Program, but during the economic recession of the early 1980s, funding for the program had been cut. Unbeknownst to Ann, however, the list of applicants was circulating through the federal government, including the Air Force.
Ann packed up her meager belongings, said goodbye to her parents and sisters, and drove herself to San Antonio, a city she'd never even visited. "My parents were crying when I left with my little U-Haul," she recalls. "It was hard for them to let me go, but they knew I was happy and they knew I had a good job." It was a bold and brave move for a young woman in her early 20s, who had never considered a civilian military career and who had no experience working for the federal government.
"I took jobs that other people didn't want. Those are the kinds of risks that give you the greatest rewards."
Although as a young woman Ann had to stretch herself to take a job with the Air Force in an unfamiliar city, her long and successful career is proof that her bravery paid off. From early professional recognition (BOTTOM RIGHT) to many years of personal travel with her husband Phillip Steely and friends and family (ABOVE), Ann has had a rich life that she attributes in part to her willingness to take risks. Grounding her throughout have been her mother and sisters (TOP RIGHT).


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For this month's blog my topic of discussion (as stated last month) was to cover the differences between studying HE at a college or at a university.
Picking where you want to go is a big decision and one which you must get right. Once you have a shortlist of institutions that you are interested in, make the effort to go along to one of their open days/evenings. This gives you a great opportunity to look around the facilities including classrooms, workshops, and social areas. Lecturers will also be present for you to talk to and ask about any course specifics and extracurricular activities that you may have an interest in.
From student feedback and from also going through the process of studying HE at both a college and at university myself, I have the following conclusions which may help guide your decision.
• Smaller group sizes which leads to a more individualised teaching style where you also gain the opportunity to be more hands on in practicals and seminars. The smaller group sizes will often give you more contact time with staff as well.
• Different HE culture. Most colleges are predominantly FE populated and the HE element is often a smaller part of the college. You may find that they can lack the sort of social scene and facilities that you would come to expect of a university.
• Cost. College HE courses are often more cost effective than at university. Course fees can be less. Dependent upon travel, staying nearer to home can also provide a huge cost saving over the duration of your studies – cutting down on rent and bills.
• Average age of students across the college can range from 16 to more mature learners in their 40s and 50s. Courses on offer at a college can range from pre-16 courses up to graduate study.
• Often a much wider range of entertainment both in and outside of the university with the student union and other associations/clubs.
• Average age of students from 18 to 25. Courses range from foundation year to PhD work.
See you all next month where I plan to discuss work placements/experience, sandwich years and graduate schemes.


Gartner defines "makers" as inventors, tinkerers and entrepreneurs who create and manufacture products using traditional tools and new digital design and rapid prototyping and manufacturing technologies. "Startups" are fledgling businesses that are often technology-focused and have the potential for high growth.
"Conventional wisdom is that the growth of the Internet of Things is driven by large enterprises. As is always the case, there is an element of truth in conventional wisdom and major consumer goods companies, utilities, manufacturers and other large enterprises are, indeed, developing IoT product offerings," said Pete Basiliere, research vice president at Gartner. "However Gartner's Maverick research finds that it is the makers and the startups who are the ones shaping the IoT. Individuals and small companies that span the globe are developing IoT solutions to real-world, often niche problems. They are taking advantage of low-cost electronics, traditional manufacturing and 3D printing tools, and open- and closed-source hardware and software to create IoT devices that improve processes and lives."
Gartner's Maverick research is designed to spark new, unconventional insights. Maverick research is unconstrained by Gartner's typical broad consensus-formation process to deliver breakthrough, innovative and disruptive ideas from the company's research incubator to help organizations get ahead of the mainstream and take advantage of trends and insights that could impact IT strategy and the wider organization.
"Managers often assume the IoT is about business-to-business and business-to-consumer opportunities, relying on technologists within their enterprises to develop the necessary systems and connected items. However, these firms are slow-moving elephants that cannot react quickly to what is happening underneath their feet," said Mr. Basiliere. "Product development processes within most large enterprises are too ponderous and ROI-driven to produce anything but high-volume, lowest-common-denominator IoT objects. The result is the development of a low number of IoT uses that garner high amounts of revenue, while makers, startups and crowdsourcing efforts result in high numbers of low-revenue niche IoT applications."
"Innovation is necessary for an organization to sustain value over time and create competitive advantage. Yet in many organizations, the corporate culture and processes stagnate and harden, discouraging innovation as a result," said Mr. Basiliere. "In the meantime, makers and startups worldwide are charging ahead with identifying numerous, often niche problems and innovating solutions using IoT concepts. They will drive not only consumer and enterprise acceptance of the IoT, but also the creative solutions that enterprises could not possibly discern, resulting in an "Internet of Very Different Things."
"It won't all be smooth sailing. Certainly there is no small number of factors working against makers and startups, whether they have an IoT offering or a more traditional product or service," said Mr. Basiliere. "Most small businesses fail within five years, and many of the 'successful' ones will be lifestyle companies that barely generate enough revenue to support an individual or family."


The latest RICS UK Residential Market Survey delivered some very encouraging news for buy-to-let investors this morning. An ongoing decline in the supply of UK rental stock, despite resilient tenant demand, means that rents should increase significantly over the next five years and push up yields going forward.
RICS reports that the number of properties listed for rent across the UK has fallen for eight consecutive quarters. Over the last three months, 22% more estate agents saw the number of new listings decrease than increase. That is the biggest shortfall recorded for a very long time, though it remains consistent with the overall trend of tightening supply over the past two decades.
Yet while rental supply is declining, tenant demand is remains buoyant – with 4% more respondents reporting growth in the last three months. While the supply of rental property is falling fastest in the North of England, East Anglia, and the South West, the biggest increases in tenant demand were seen in Scotland and Yorkshire.
The big headline resulting from these findings is that investors can expect much higher rents in the near future. RICS is projecting an increase of 2% this year, and total cumulative growth of 15% over the next five years.
To put that in context, if you are achieving a 7% gross yield today, and rents increase by 15% over the coming five years, your gross yield in 2023 will have risen to 8.05%. If the shortfall of rental properties persists – and there is every indication it will – that gross yield could climb to an enviable 9.25% in 2028.
This fundamental imbalance of supply and demand in the rental market represents an extremely positive outlook for UK property investors.


Use care, treatment, and therapy to maintain and improve residents' health, to the degree possible and subject to the residents' wishes.
Those are pretty general guidelines that only detail expectations, not quality of care. So here's what you need to know about the standards of care that you are entitled to expect from a nursing home or other long-term eldercare facility.
Facilities must adequately supervise residents to prevent accidents.
Facilities must use assistive devices (e.g., handrails) that help improve residents' safety.
Residents have the right to receive care and treatment with reasonable accommodation of individual needs and preferences.
The facility should make a reasonable attempt to adapt event schedules, staff assignments, room arrangements, and other schedules to accommodate residents' preferences, desires, and needs.
The facility is required to arrange for language interpreters or other measures to ensure clear and accurate communication between residents and staff.
The facility must establish and communicate a comprehensive, individualized treatment and care plan for every resident. This plan must spell out residents' needs and how they will be met.
If a resident is able to swallow food and thereby obtain proper nutrition, no feeding tube should be used.
Feeding tubes may only be used with the consent of the resident AND with adequate medical justification.
Residents fed by tube must receive appropriate treatment and services to prevent aspiration pneumonia, diarrhea, vomiting, dehydration, and other complications.
If a resident requires a feeding tube, staff must take all possible measures to help the resident take food by mouth again as soon as possible.
Dementia is not an adequate reason for the use of a feeding tube.
The facility must provide each resident with a nourishing, palatable, well-balanced diet that meets daily nutritional and special dietary needs.
Facilities must serve at least three meals a day, at regular times, with no more than a 14-hour span between the evening meal and breakfast the next morning.
Facilities must offer snacks at bedtime.
Facilities must make reasonable accommodations for residents' food and mealtime preferences.
Facilities must offer food substitutes of similar nutritional value if a resident refuses food.
Facilities must serve food attractively, and at the proper temperature, and in a manner that meets individual needs.
Facilities must prepare food that meets national dietary standards.
Facilities must plan menus with regard for residents' cultural backgrounds and food habits.
Facilities must post the current week's and subsequent week's menus for regular and special diets.
Facilities must prepare food using methods that conserve nutritional value, flavor, and appearance.
Facilities must provide therapeutic diets to residents with special nutritional needs, subject to physician orders.
Facilities must ensure that residents' ability to eat does not diminish, unless medically unavoidable.
Facilities must provide special eating utensils to those who need them.
Facilities must store, prepare, distribute, and serve food under sanitary conditions.
If a resident's ability to eat is compromised, the facility must design an individualized care plan to assist the resident with eating and nutrition.
Facilities must immediately notify a resident's physician of any signs of malnutrition. Facilities are urged (but not technically required by federal law) to reassess residents' nutritional status in the event of undesired or unplanned weight loss.
Any resident who has bladder or bowel control problems must have their condition assessed and treated promptly so that the condition may be alleviated.
Catheters may not be used without valid medical justification. If a catheter is used, the facility must provide appropriate treatment to prevent urinary tract infections and restore normal bladder function.
Nursing home staff must help residents use the toilet as often as the residents require.
Facilities must properly order, record, store, administer, and monitor residents' medications.
Residents have the right to consent to or refuse any treatment, including medical treatment.
Physicians must seek consent before ordering or changing medications.
Residents have the right to choose their own pharmacy.
Facilities must have 24-hour arrangements with at least one pharmacy.
Medications must be provided in a timely manner. Doses must be administered within one hour of the time specified by the prescriber.
Facilities may not administer drugs in excessive amounts, over an excessive period of time, without adequate monitoring, without adequate justification, or in the presence of adverse consequences under which doses should be adjusted or discontinued.
Facilities may only use sedatives, tranquilizers, and similar drugs in the event of a clear medical need for them. Facilities may not use such medications to cover up symptoms caused by environmental conditions (e.g., temperature, crowding), psychosocial problems (e.g., abuse, taunting), or treatable medical conditions (e.g., diabetes).
Residents may not be given antipsychotic drugs unless they are medically necessary. If a resident must take antipsychotic drugs, facilities must try to discontinue their use via behavioral interventions and/or gradual dosage reductions, unless clinically contraindicated.
Residents may not be chemically restrained except in the event of an emergency.
Facilities must record the dosages of drugs and the dates and times of their administration for every resident.
Facilities must keep their medication error rate under 5 percent.
Facilities may not give medications to anyone other than the resident for whom it has been prescribed.
Facilities must contract with a licensed pharmacist to assess its program of drug administration. The pharmacist is required to report any irregularities with the program to the director of nursing, who must act on such reports.
Facilities must help residents maintain clean, dry skin.
Facilities must change linens, clothing, and other items so that residents' skin is free at all times from contact with urine and feces.
Facilities must provide necessary hygienic services, including bathing, shampooing, hair grooming, oral hygiene, shaving and/or beard trimming, and cleaning and cutting fingernails.
Facilities must keep residents free of offensive odors.
Facilities must answer call signals promptly.
Facilities must ensure privacy during treatments and personal care.
Physicians must see and evaluate residents at least once every 30 days, and more frequently if necessary. Physicians must have face-to-face contact with residents in their care, and review their medical history and treatment plan.
Physicians must participate in residents' assessment and care planning.
Physicians must monitor changes in residents' medical status.
Physicians must review residents' total care program at each visit.
Physicians must prescribe new treatments and therapies as needed.
Physicians must order residents' transfers to a hospital when needed.
Physicians must supervise nurse practitioners and/or physician assistants who attend to their patients.
Physicians must provide consultation or treatment when called by the facility.
Physicians must record residents' progress or problems in residents' health status.
Residents' care must be supervised by physicians chosen by the residents and/or their representatives.
Facilities may not interfere in any way with residents' choosing their physicians.
If residents need assistance in choosing a physician, the facility must assist them in so doing.
Facilities must provide medical services, medication management, therapy, nursing care, nutritional interventions, social work, and activity services.
Facilities must carry out physicians' orders and make all necessary diagnostic and therapeutic arrangements.
Facilities must arrange for transportation if a resident requires off-site medical treatment.
Facilities must have arrangements with substitute physicians for occasions when residents' physicians are unavailable.
Facilities must ensure that pressure sores (aka bedsores) do not develop, taking all preventative measures possible, including keeping residents' skin clean and dry, maintaining residents' good nutrition, helping residents change position as often as necessary, and ensuring that pressure is kept off of vulnerable parts of residents' bodies.
Facilities must provide any necessary pads and mattresses for the relief of pressure sores.
Facilities must ensure that residents who do develop pressure sores receive appropriate, timely treatment for them.
Facilities must notify residents' physicians immediately if residents develop pressure sores.
These services must be provided, whether or not they are covered by Medicare or Medi-Cal.
Facilities must assist residents in attaining any other necessary special services.
The facility must have, at all times, sufficient nurses and other staff members to meet the needs of every resident.
California requires every facility to provide a minimum of 3.2 hours of nursing care per resident per day. If this minimum is unachievable, the facility must hire more staff.
The facility must post, in a clearly visible place, the number of licensed and unlicensed staff members who are responsible for resident care.
Facilities must provide therapy services for strokes, broken bones, and other conditions, regardless of how a resident's care is paid for. Facilities must make all necessary arrangements for such services as (but not limited to) physical therapy, occupational therapy, speech-language pathology, and mental health rehabilitative services.
Facilities must work with physicians to develop therapy plans for residents, and must follow the physician's plan of care expressly.
Facilities may not halt therapy care if/when a resident's Medicare or Medi-Cal service expires.
When therapy services end, facilities must set up a care plan that continues necessary exercises and other services.
Facilities must ensure than residents do not lose range of motion in their extremities, and must work with therapists to design an exercise program that ensures a full range of motion, especially post-therapy.
Residents' care plans must address their vision, dental, and hearing needs.
Facilities must assist residents in obtaining routine dental care (annual exams) and emergency dental care.
Facilities may have an arrangement with a dentist to care for residents.
If a resident's dentures are lost or damaged, the facility must assist the resident in referring them to a dentist and/or obtaining replacement dentures.
Facilities must assist residents in obtaining vision and hearing services and care, including making appointments and arranging for transportation for off-site care.
Facilities must assist residents in their use of necessary assistive devices, such as corrective lenses and hearing aids.
Residents may have to pay for dental, hearing, and/or vision services themselves. Such services are not always covered by Medi-Cal.
Moving into a nursing home doesn't mean sacrificing any fundamental rights. In fact, nursing home residents' rights are further protected by the federal Nursing Home Reform Law of 1987, which is designed to protect the dignity of every individual.
If you're considering moving a loved one to a nursing home, here are some things that you need to know.
If your loved one is in a nursing home, and you believe that any of the rights listed below are being violated, contact the attorneys at Adams Fietz immediately. The health and safety of your loved one could be at risk.
The health of a nursing home resident should NEVER decline as a result of the care provided by the facility.
To be treated with consideration, respect, and dignity.
To be free from physical and mental abuse, corporal punishment, involuntary seclusion or isolation, and physical or chemical restraints.
To the security of his or her possessions.
All services provided by the facility, and the costs thereof.
All rules and regulations of the facility, including a written copy of residents' rights.
Contact information for any state and/or federal agencies that govern nursing homes.
All state nursing home survey reports, and the facility's plans to respond to them.
Any plans to change rooms or roommates.
All available assistance options for sensory impairments (e.g., blindness, deafness).
Communicate privately and without restriction with anyone they wish.
Receive care and treatment in private.
Discuss their medical, personal, and/or financial affairs in private.
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text:
604-391-SHOW(7469)
9201 Corbould St, Chilliwack
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Where Art Comes to Life!
Two unique performance theatres,
an art gallery, music instruction studios,
arts and crafts studios and meeting rooms.
Building Hours | Monday to Friday 9:30 am to 9:00 pm | Saturday and Sunday 9:30 am to 5:00 pm
For all organized events, you must provide approved proof of full COVID-19 vaccination to attend.
This includes: adult classes, open studios, adult music lessons, events in studios/spaces, receptions and meetings.
The requirement is in place until February 16, 2022 and could be extended. The requirement applies to all people born in 2009 or earlier (12+).
We ask that you arrive 30 minutes prior to the start of your event and come ready to present your government-issued ID and provincial App and/or government issued print out of vaccination (youth aged 12 to 18 are not required to show valid government ID).
________________________________________________________________________________________________________________________________________________
The Chilliwack Cultural Centre is Chilliwack's very own home for the arts! The two theatres currently host a well-weighted mix of local, national and international performances, providing thrilling entertainment drawing audiences not only from the City of Chilliwack, but also from across the province and across the country. Also within this 65,000 square-foot building is the stunning O'Connor Group Art Gallery, 21 music studios, and four art and craft studios for creativity to flourish!
The Chilliwack Arts & Cultural Centre Society acknowledges that it is located on the unceded traditional, ancestral and unceded territory of the Stó:lō Coast Salish peoples.
The Chilliwack Cultural Centre provides world-class entertainment at accessible ticket prices. As well as showcasing national and international performers, The Centre operates as a hub for the community's arts and cultural organizations, with many local performance groups bringing audiences incredible live entertainment not only for the community of Chilliwack but also the surrounding region.
The Chilliwack Arts & Cultural Centre Society offers a diverse range of art classes, art camps for kids and workshops. From pottery to photography to painting and even jewellery making, these fantastic classes are sure to inspire you. Open studios also offer a space to hone your skills in flamework, drawing and painting, and on the wheel or hand building in Clay.
The Chilliwack Visual Artists Association curates the O'Connor Group Art Gallery at the Chilliwack Cultural Centre. A non-profit, the CVAA is a volunteer driven organization of local artists working and exhibiting together to encourage the appreciation of the visual arts in the community.
Stay up to date with the latest shows, events, classes, gallery shows and more!
604-391-SHOW(7469) boxoffice@chilliwackculturalcentre.ca Monday: 9:30am - 9:00pm
open one hour before performances
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9201 Corbould St, Chilliwack BC
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Rubbish day's picking yesterday so it's onwards and upwards for today's races at Goodwood. Loads of tasty prices to be had!
I've got to agree with everything in Gappyhilmore's article about today's big race and go for Integral to beat to Sky Lantern. Sir Michael Stoute's runner showed a blistering turn of foot from off the pace to win in a listed race last time out. This should be a stiffer test and one that Integral should relish. Sky Lantern will be thereabouts no doubt but at odds of 2/1 is worth taking on in my opinion. One horse that does seem overpriced is John Gosden's Winsili. With a step back to 1m2f to work in her favour, a step up is required from recent form but that isnt out of the question and the 25/1 at Bet365 seems a nice price for a place here.
I fancy Kevin Ryan's York Glory to make it a double. You can make a case for most of the runners but the way he won last time out (Shropshire 2nd) was very impressive. Loves big race handicaps and a clear run should see him bang there. 11/1 (Betfair) may be worth a punt.
In the first we have a very competitive handicap. The three I've concentrated my attentions on are hat-trick seeking Above Standard (14/1 Bet365) who is still improving, Baby Strange (25/1 Bet365) who has been around the block plenty of times and won last time out at Newcastle and Piscean (33/1 Bet365), who is 4 out of 9 in sprints at Goodwood and could be worth chancing.


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События
 Франческо Джеминиани прибыл в Лондон, где получает покровительство Уильяма Капеля, 3-го графа Эссекс.
 Композитор Георг Мельхиор Гофман (), страдавший неизлечимой болезнью, женится на Маргарет Элизабет Филипп (Margaretha Elisabeth Philipp).
 Доменико Скарлатти становится капельмейстером капеллы Джулия в Ватикане (в соборе св. Петра).
 Итальянский композитор и скрипач Франческо Мария Верачини () посетил Лондон, где выступил в Театре Её Величества.
 В Бостоне в King's Chapel казначей Гарвардского колледжа Томас Братл () установил первый в США постоянный церковный орган.
 Джон Тафтс () публикует первые учебные книги по вокалу в США.
 30 марта — Возможная дата премьеры пастиччо St Mark Passion Иоганна Себастьяна Баха в часовне замка Вильгельмбург (Шмалькальден).

Классическая музыка
 Иоганн Себастьян Бах
 «Маленькая органная книжечка» ()
 Кантата Nun komm, der Heiden Heiland, BWV 61
 Кантата Weinen, Klagen, Sorgen, Zagen, BWV 12 (движение 2 позже под названием Crucifixus вошлj в месса-кантату «Месса си минор»)
 Арканджело Корелли
 Кончерто гроссо соль минор, соч. 6 № 8 («Рождественский концерт») ().
 Двенадцать концертов гроссо, соч. 6 (, опубликованы посмертно).
 Андре Резон — Deuxième livre d'orgue.
 Алессандро Скарлатти — оратория S. Filippo Neri.
 Доменико Циполи — оратория Santa Caterina, Virgine e martire.

Опера
 Андре Кампра — «Эней и Дидона»
 Леонардо Лео () — «Писистрат» ().
 Жан-Жозеф Муре () — Les Fêtes ou Le Triomphe de Thalie.

Родились
 1 января — Джованни Баттиста Манчини (), итальянский кастрат-сопрано, учитель вокала (умер 4 января 1800).
 2 февраля — Готфрид Август Гомилиус (), немецкий композитор, органист и кантор (умер 2 июня 1785).
 28 февраля — Джоаккино Конти (), итальянский оперный певец-кастрат сопрано (умер 25 октября 1761).
 8 марта — Карл Филипп Эммануил Бах (Берлинский или Гамбургский Бах), немецкий композитор и музыкант, второй из 5 сыновей Иоганна Себастьяна Баха и Марии Барбары Бах, известен как один из основателей классического стиля в музыке (умер 14 декабря 1788).
 6 мая — Антон Рааф (), немецкий тенор (умер 28 мая 1797).
 2 июля — Кристоф Виллибальд Глюк, австрийский композитор, известный своей реформой итальянской оперы-сериа и французской лирической трагедии (умер 15 ноября 1787).
 10 сентября — Никколо Йоммелли, итальянский композитор и капельмейстер (умер 25 августа 1774).
 23 декабря — Раньери Кальцабиджи (), итальянский либреттист, сотрудничавший с Глюком (умер в июле 1795).
 Дата неизвестна
 Сюзанна Мария Сиббер (), английская певица и актриса, сестра композитора Томаса Арна (умерла 30 июня 1766).
 Юхан Фолтмар (), датский композитор (умер 26 апреля 1794).
 Кристиан Готтлоб Хуберт (), немецкий мастер клавишных инструментов (умер 1793).
 Эдмунд Пасха или Паска (), родившийся в Моравии проповедник, органист и композитор, известен под псевдонимом Claudianus Ostern (умер 6 мая 1772).

Скончались
 17 апреля — Филипп Генрих Эрлебах (), немецкий барочный композитор (родился 25 июля 1653).
 август — Иоганн Георг Кунейосен (), немецкий композитор (дата рождения неизвестна).
 3 сентября — Пьетро Антонио Фиокко (), итальянский барочный композитор (родился 3 февраля 1654).
 13 ноября — Гильом Габриэль Нивер (), французский композитор, органист и музыкальный теоретик (родился в 1632).

См. также

Примечания


Google Kenya has been busy building its Get Kenyan Business Online outfit, and by all appearances, it appears to be a smashing success. The company is busy building websites for Kenyan companies at a cost of Ksh.2000, a package that comes with a unique .co.ke domain.
But how does Google access the database of all the Kenyan SMEs? It simply scraps the data from Mocality website and dupes Mocality clients into believing that the two are actually partners and in some cases telling untruths about Mocality. Mocality is Kenya's largest business directory, with over 170,000 verified businesses listed and has been busy building a trusted database of Kenyan businesses for the last few years, in the process employing hundreds of Kenyans and helping others generate income. Mocality builds its database through crowdsourcing but in fact, in the past, I have met several Mocality employees physically visit business premises and verify information on location, contacts etc. Mocality is something that has been built with the "sweat of the brow".
In scraping the data and selling its KBO service to Mocality clients, Google has in fact contracted an Indian company, based in India. Kenyan business owners were receiving calls at first from Kenya then from India with offers for a Ksh.2000 website. This is the most painful part of this unfortunate episode, this at a time when thousands of young smart Kenyans are unemployed! To read more about this story and the marvelous sting operation, visit the Mocality Blog here. To be honest, I cannot tell the story as impressively as they do it.