Anyone who's worked in retail can testify that it's largely driven by people. Whether they're on the floor, in a private office or in the checkout line, all employees play a distinct role in the customer experience.
In such a people-centric industry, the idea of automation may seem mechanic, drab or unresponsive. How could a machine ever respond to a specific customer concern or make important real-time decisions?
Automation means something different in retail than in other industries in which automatic processes tend to replace real people. In retail, by contrast, automation empowers employees and managers to do their jobs better, faster and more efficiently.
Most automation in the retail space is built around inventory. Retailers now have the ability to automatically replenish inventory based on high and low counts, alleviating the need to manually place orders with vendors or conduct constant inventory audits to account for shifts.
Sensors can read traffic and environmental conditions, helping equip you to refine the in-store experience. For example, you can tidy fixtures based on traffic or set up a restroom-cleaning schedule based on the number of people who use them rather than arbitrary time frames. The more employees and technology interact, the better your customer experience can be.
By using infrared sensors, predictive analytics and real-time data feeds, the grocery chain Kroger ensures there are never more than two people in a checkout line. After being implemented in 2,300 stores across 31 states, the average wait time fell from more than four minutes to less than 30 seconds.
Automation systems also enhance managers' capabilities, allowing them to gather real-time data, consolidate it into a single view, and delegate and act based on current needs — without ever stepping into the store. They also unify processes throughout retail locations so you can more accurately gauge manager performance across the board.
Finally, automated retail management strengthens brand perception across multiple platforms and touchpoints. It empowers and engages employees — your best brand advocates to begin with — and creates a consistent and seamless customer experience across your online and brick-and-mortar stores.
1. Empower employees. Most retailers are overly concerned with molding customer behavior through technology, but changing your employees' behavior is the best way to alter your customers' behavior. Look for easy solutions that will simplify your employees' roles and, by extension, your customers' experiences.
2. Don't try to fix everything at once. Analyze common problems across your retail stores, and see whether you can adopt better technologies to resolve inventory, store readiness or cleanliness issues. Once you know that a change moves the needle forward, you can tackle problems on a larger scale.
3. Scrutinize and shift your investments. Implementing automation software might seem like a costly endeavor, but automated management is an investment that can reduce costs and return higher profits when it's properly implemented. Make sure every technology has a direct impact on sales. If you're investing in analytics to give you insight but not technologies to help organize your workforce and measure execution, you might be wasting time and money.
Traditional retail management is a rearview mirror approach based on checklists, self-accountability and long-term performance. By retaining a top-notch workforce and training employees to use the technology, you can pull back the curtains on the brand vision, reduce inefficiencies, maximize profits and continue investing in the customer experience. Get in the driver's seat with automated retail management and start delivering a better experience now.
Sam Bahreini is a serial entrepreneur and growth marketer, helping startups navigate from launch to scale.


Does acupuncture help hot flashes?
E-cigarettes are almost twice as effective as nicotine replacement treatments (NRTs) in smoking cessation, according to a clinical trial led by Queen Mary University of London.
The multicentre trial randomly assigned 886 adults attending NHS stop-smoking services to either nicotine-replacement therapy (NRT) products of their choice, including product combinations, provided for up to 3 months, or an e-cigarette starter pack, with a recommendation to purchase further e-liquids of their choice. Treatment included weekly behavioural support for at least 4 weeks.
The authors say the findings are particularly noteworthy given that NRT was used under expert guidance, with access to the full range of products and with 88.1% of participants using combination treatments.
Overall, throat or mouth irritation was reported more frequently in the e-cigarette group, and nausea was more frequent in the NRT group. Compared to those on NRT, the e-cigarette group reported greater declines in the incidence of cough (RR, 0.8; 95% CI, 0.6-0.9) and phlegm production (RR, 0.7; 95% CI, 0.6-0.9) from baseline to 52 weeks. There were no significant between-group differences in the incidence of wheezing or shortness of breath.


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Das Palais Blankenstein befindet sich im 1. Wiener Gemeindebezirk Innere Stadt am Kohlmarkt 14.

Geschichte
Ein bestehender Bau mit mittelalterlichen und barocken Strukturen wurde 1791/92 aufgestockt und die Fassade frühklassizistisch gestaltet. In den Jahren 1887 bis 89 wurde der Bau erneut adaptiert und 1995 restauriert. Seit 1887 beherbergt das Wohnpalais die k. k. Hofzuckerbäckerei Demel.

Beschreibung

Über einem hohen, zweigeschossigen Sockel erhebt sich eine frühklassizistische Oberzone. Markant ist die vertikale Betonung durch Pilaster mit korinthischen Kapitellen, die über zwei Stockwerke reichen. Besonders schön ausgeformt sind die Fenster im zweiten Stock mit Putten und Pflanzenmotiven als Lünettendekor und Scheinbalustraden in den Parapeten. Das Puttenmotiv wiederholt sich an den Fenstern des darüber liegenden Stockwerkes,  hier jedoch in Rechteckform. Im Attikageschoss ruht ein schweres Konsolengesims auf Volutenkonsolen zwischen rechteckigen Fenstern.

Literatur

 Dehio Wien, I. Bezirk – Innere Stadt, S. 752, ISBN 3-85028-366-6

Weblinks

Blankenstein
Innere Stadt (Wien)
Erbaut im 18. Jahrhundert
Baudenkmal (Wien)

redpajama_set_name: RedPajamaWikipedia


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Gregg Bleam Landscape Architect
× Gregg Bleam Landscape Architect
Memorial to Enslaved Laborers
The University of Virginia, designed by Thomas Jefferson, is widely regarded as the quintessential American university campus model. The university has recently acknowledged the fact that all the buildings on campus were built by slaves and the university depended on the labor provided by the slaves living on campus to function. The UVA Memorial for Enslaved Workers is a new permanent memorial planned to formally acknowledge the efforts and lives of the slaves that labored on campus.
Our proposal for the memorial seeks to create a contemporary space of reflection that will provide information about the university's history, a gathering space for the community, and to acknowledge the difficult history of the institution. The "broken ring" design evokes a clearing as a provisional meeting space, while also incorporating a graphic timeline with inscribed names of the slaves that are known and markers those unknown. The stone construction of the memorial will be fabricated with digital fabrication techniques and "traces" of human forms will be etched in stone to establish a human presence in the memorial without resorting to graphic depictions of specific human subjects.
All images courtesy of Höweler + Yoon
Höweler + Yoon, Architect
Mabel O. Wilson, Historian/Critic + Designer
Frank Dukes, Community Engagement

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First UK human stem cell line generated
Researchers at King's College London have made a major breakthrough in the generation of new human embryonic stem (hES) cells.
The potential therapeutic value of hES in the treatment of many chronic debilitating diseases has been widely discussed, but these cells are rare and traditionally difficult to grow. However, thanks to a different approach to hES derivation, King's College London researchers based at Guy's Hospital have reported that they have generated new hES lines.
Dr Stephen Minger of King's College London said: "We are very excited about this development. Human embryonic stem cells are found in the earliest stages of development and are capable of giving rise to all the different types of cell in the body. This means their possible therapeutic uses are almost endless and could help in the fight against diseases ranging from diabetes to Parkinson's."
The research was made possible by some patients undergoing preimplantation genetic diagnosis (PGD) at Guy's and St Thomas' Assisted Conception Unit. After genetic testing, embryos found to be unaffected by the specific serious genetic disorder for which they are at risk, are replaced into the patient in the hope of establishing a pregnancy free of the genetic disease. The remaining embryos, which may carry the disease-causing genes, are unsuitable for replacement and would normally be allowed to perish. It is cells from these early embryos that were used for the generation of the stem cell lines.
From a total of 58 embryos, three stem cell populations have been derived. Although two were lost at an early stage, the remaining cell line has been growing for many months and has been substantially characterised. The team have shown it expresses two molecules unique to hES cells, as well a number of other genes commonly found in other stem cells.
The group were one of the first two labs in the UK to be granted a license by Human Fertilisation and Embryology Authority to generate hES cells.
The license was granted in March 2002, just days after the House of Lords report recommended that embryonic stem cell research of this kind could go ahead.
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MP's To Vote On Human-Animal Embryo Research
The Commons is to vote on controversial plans for research to be carried out using human-animal embryos today which could mark a turning point in medicine. Prime Minister Gordon Brown is backing the measures saying it could save "millions of lives".
World's first stem cell bank opens in London
A world's first bank for embryonic stem cells – research into which could lead to improved treatment for currently incurable diseases – has been opened by Health Minister Lord Warner in London today.
Stem cell technology unearths cancer clue: charity
Scientists from Cancer Research UK say they are closer to understanding how cancer cells spread around the body, following the publication of a new study using "cutting edge" stem cell technology.
Government pledges cash for stem cell research
The government has announced that an extra £50 million will be made available for UK stem cell research over the next two years. The announcement followed the publication of the UK Stem Cell Initiative report, which has recommended that that the government should invest at least £350 million in the research over the next decade.
Ruling Could Stop Euro Stem Cell Research – Scientists
Stem-cell scientists in Europe are reeling from a ruling on Wednesday banning patents on stem cells obtained through the destruction of human embryos. The decision by the European Court of Justice means that no European patents will be given for research based on stem cells extracted from anything capable of developing into a human being.
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Fort Worth steakhouse helps summer sizzle with mouthwatering to-go packages
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Jun 10, 2019 | 11:45 am
Try to name a more iconic duo than summertime and grilling. There's a reason you can't, because the lazy, hazy days (and nights) of summer were made for parties around the barbecue.
If you're ready to kick your grill-master skills up a notch, swing by B&B Butchers & Restaurant before you break out the tongs. From now through Labor Day, the butcher shop is featuring five amazing meat packages with its select cuts, Texas wagyu hot dogs and burgers, and famous thick-cut bacon.
These special take-out packages are made to order and require 24-hour notice, so browse the menu now and get your orders in soon by calling 832-767-4828.
Located adjacent to B&B Butchers & Restaurant, this traditional butcher and delicatessen specializes in high-quality meats, including in-house dry-aged USDA prime, Texas and Japanese wagyu, made-to-order sandwiches, New York-style bagels, and specialty goods. You can view the full menu here.
And if your old grill isn't up to these high standards, consider also picking up the Otto Grill while you're at B&B Butchers.
The grill's radiant technology makes it possible to achieve restaurant-quality steak in your own backyard, and the cooking time is insanely fast. In just three minutes, the portable grill heats up to 1,500 degrees — sear one to two minutes on each side, and you're good to go.
The Otto Grill is available to purchase in the Butcher Shop for $1,195, and if you do so from June 10-16 you can walk out with two complimentary center-cut filets as a Father's Day bonus. Dad would definitely approve.
Enjoy restaurant-quality meat at home this summer.
Photo by Felix Sanchez
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Monumental new sculptures by renowned 9/11 artist take root at Texas Botanic Garden
Holly Beretto
Photo courtesy of Houston Botanic Garden
Tobin's 'Romeo & Juliet' sprouts from the grounds.
Here is something new for Texas travelers who enjoy exploring art in nature. An intriguing new collection of sculptures called "Intertwined: Exploring Nature's Networks," by renowned artist Steve Tobin, opened at the Houston Botanic Garden on January 28.
Tobin's collection of pieces soar and wind and unfold against the backdrop of the gardens paths and trees, connecting the bronze, glass, ceramic, and steel sculptures to the landscape.
The connection is important for Tobin, an artist who may be most well known for his Trinity Root, a memorial that was cast from the roots of the tree that protected one of New York City's cathedrals during the 9/11 attacks. As a child, he was known as "Nature Boy," which he says was as apt then as now.
"I would find twigs or mushrooms, and they would mean something to me," he says. "I'm the guy with my nose in the sand and my butt in the air, looking deeper than most people. I think I see more. I think it's part of my DNA."
Originally from Pennsylvania, Tobin graduated from Tulane University in 1979 with a degree in math. He was always drawn to art, however, and his massive creations - from eggs in birds' nests to roots and limbs woven together to branches stretching to sky - evoke the powerful pull he feels to the natural world and a desire to help others see its beauty. The Christian Science Monitor described his works as "monuments to the meeting of science an art."
"Science is more creative that art," he explains. "Scientists have to describe the universe from nothing, and the explanation has to work. Artists can make up whole worlds. Scientists don't get credit for their vast creativity."
By focusing his works on the natural world, Tobin looks to showcase how the two subjects work in harmony, and how people can interact with them. In Eagle Nest, a huge, polished steel egg sits perched in nest.
Polished to a high gloss, the egg becomes a mirror. "You look at the egg and you see yourself," Tobin says. "It shows that you are in the egg."
For Tobin, there is magic in helping people, whether they are art novices or aficionados, find a connection with his art.
"I've done my job when someone has an expression of magic," he says. "And once you open that door, even for a second, it can never be fully closed."
He says he is looking forward to Texas audiences seeing his works in the garden, which he feels is a natural place for his sculptures — the biggest of which is 30 feet high and took 2,000 hours of welding to complete.
Showcasing his sculptures there cements the harmony with nature he feel and thinks is something others should strive to see. Tobin even has a connection to Houston: one of his great friends, a woman he met at Tulane, lives there.
Two other pieces also have roots there. Tobin says Steel Roots will resonate particularly well in Texas. "It's made from repurposed oil pipe, a lot of it from Texas," he says. "So now, it's back home in a different context."
And when Botanic Garden guest encounter the Twisties, they'll likely recall hearing the terms from gymnast Simone Biles, who famously used the word to describe the disconnect she felt between her mind and her body. Tobin's sculptures are between eight and 17 feet high and evoke Asian calligraphy. He describes them as "distorted gymnastics."
Mostly, though, Tobin wants visitors to get a window into how he imagines the world.
"I try to translate into sculpture what I see so people can see what I see."
"Intertwined: Exploring Nature's Networks" runs Saturday, January 28 through August 13 at Houston Botanic Garden, 1 Botanic Garden Ln. Regular garden admission is $15. For tickets and more information, visit Houston Botanic Garden online.
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Camus describes life as a collision between human beings who have an innate craving for meaning and a universe that is as indifferent as rock, utterly devoid of meaning. No matter, Camus counsels that we should put the revolver back in the drawer.
Maybe I'm just a glutton for punishment. Maybe I derive some sort of twisted pleasure from wallowing in my own self-pity. Or perhaps I'm seeking answers in an answer-less world. Whatever the case, I've been drawn to the worlds of moral philosophy in general and existentialism in particular lately.
That's a big part of the reason why I decided to read The Existentialist's Survival Guide by Gordon Marino. As I mentioned last month as part of my "What I'm Into" roundup, I thought that this book would be more prescriptive in nature. That it'd be more of a "here's how an existentialist can deal with the slings and arrows of everyday existence." But it's not really that.
It's much more descriptive than prescriptive. Author Gordon Marino summarizes key observations and theories put forth by the great existential philosophers of the past. Some of you might already know Albert Camus, the French philosopher paraphrased in the book excerpt above.
Put simply, existentialism posits that the world itself has no inherent meaning whatsoever. The burden falls completely on us as individuals to create our own meaning. On some level, this may sound bleak. On another level, existentialism emphasizes personal freedom and authenticity. You are presented with infinite choice and possibility.
That's positive… except the near infinite freedom is also a profound source of anxiety.
That freedom, the necessity to constantly make choices, to realize this possibility and close down another, is a font of anxiety. The example that Sartre uses to illustrate this point is one of standing on a cliff edge. Looking over the lip of a thousand-foot drop, our stomachs quiver, we experience anxiety, not because we are in danger of falling but because we feel that we have the freedom to leap.
With existentialism, because you are always free to choose, because you can always create your own meaning, you are also burdened by the constant responsibility to do so. You can choose to take out that revolver, or put it back in the drawer. You do have the freedom to leap, or you can choose to simply stand at the cliff's edge.
Maybe Uncle Ben borrowed some of his sage wisdom from French playwright Jean-Paul Sartre. And you don't even need to be bitten by a radioactive spider to realize the power of such an observation either.
As someone who has been riddled with anxiety and existential angst for as long as he can remember, I can certainly identify with this sentiment. Maybe these kinds of concerns have become increasingly relevant in a society where we're encouraged to "do what you love." A job isn't just a paycheck; it's supposed to be a passion, a calling, a fulfilling endeavor filled with personal meaning.
A meaning that you're supposed to create for yourself. And if you don't find that kind of meaning in your work and in your day-to-day, the anxiety creeps in like an insidious phantasm. Are you really keeping it real? Are you living an authentic life?
Perhaps as a way of defending ourselves against our own doubts and inner voices, many of us hanker for admiration. We yearn to be desired, valued. We want to be loved as the people we aspire and perhaps imagine ourselves to be, not the flesh-and-blood fallible creatures that we are. Being loved for the sometimes kind and at other times tantrum-throwing child that we might be feels too much like pity, like forgiveness.
Am I doing this right? Am I being my "best self" and serving as a positive role model? Or is all of this just another meaningless journey that ultimately leads to the same final destination as everyone else? Oh, the melancholy and anxiety of mortal existence!
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Every year we have an assortment of contests for our GUESTS and our ARTISTS to compete in. They are judged by some of the industries most respected artists, collectors and tattoo enthusiasts. Below are the categories... we may add a few more. Plan your times according to this. $10 entry. Trophies and prizes awarded and features in major publications to follow.


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R.L. Stine's Just Beyond Graphic Novel Series Being Adapted for Disney+
By Patrick Cavanaugh - May 7, 2020 12:51 pm EDT
(Photo: BOOM! Studios)
Since its launch last November, Disney+ has offered audiences a number of family-friendly programs, with its latest project delving into the world of horror and science fiction, adapting R.L. Stine's Just Beyond graphic novel series into an eight-episode program. Stine has been offering fans creepy and kooky stories for decades with his Goosebumps and Fear Street series, with this new adaptation sure to deliver Disney+ subscribers a compelling blend of humor and horror. The adaptation comes from Seth Grahame-Smith, who previously produced the IT films, Child's Play, and Abraham Lincoln: Vampire Hunter. The series aims to debut on Disney+ in fall of 2021.
"I grew up watching Twilight Zone reruns and the original Amazing Stories with my parents," Grahame-Smith shared in a statement. "I've always wanted to make a genre anthology series that families could enjoy together, and do it in a way that delivered for kids and adults alike. R.L. Stine has been a part of millions of childhoods, and Disney+ has already proven itself as a place that knows how to make high-quality shows for the whole family. I couldn't be more excited to be working with both of them."
The graphic novel series comes from BOOM! Studios, who describes the initial book, "Middle school feels like the worst place imaginable, but for Jess, Josh, and Marco, their school may actually be the worst place in this world…or any other! After a chance encounter with a deadly creature stalking the school halls, these three unsuspecting students are whisked away to a horrifying realm beyond the school boiler room where they must unravel a terrifying mystery. Can they save the kids they find there and escape themselves, or will they be forever trapped Just Beyond?"
"Back in the day, we had a Goosebumps HorrorLand attraction at Walt Disney World," Stine shared. "It was one of the thrills of my life. Now I'm thrilled to be back with Disney for the TV series based on my graphic novels. Writing Just Beyond for BOOM! Studios has been a joy from the beginning, and I'm so happy to have the wonderful screenwriter Seth Grahame-Smith bring the series to life on Disney+. How lucky can I be?"
Stay tuned for details on Just Beyond before its debut in fall of 2021.
Are you looking forward to the new series? Let us know in the comments below or contact Patrick Cavanaugh directly on Twitter to talk all things Star Wars and horror!
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What Happens Inside the U.S. Supreme Court?
FROM THE LECTURE SERIES: The Great Tours — Washington, D.C.
By Richard Kurin, Ph.D., The Smithsonian
For those of us outside the legal profession, the judicial branch may be the most opaque branch of the U.S. government—and the least understood. But it is by no means the least important. Here's why it's worth your time to come see the Supreme Court in action.
Cass Gilbert's "Neoclassical Revival" Design
Cass Gilbert, who designed the U.S. Supreme Court building, looked to the White House and Capitol Building for his inspiration, creating a "neoclassical revival" structure in white Vermont marble. In fact, the marble facade accounted for almost one-third of the cost of the new building.
The center section of the U.S. Supreme Court building resembles the Parthenon of Athens. The triangular pediments on each end feature relief sculptures. The West Pediment, facing the Capitol, features allegorical figures. The central figure is "Liberty Enthroned," guarded by "Order" on the left and "Authority" on the right. A group of figures on either side represent "Counsel" and "Research." The face of the figure on the far left—a young man reading a book—was modeled after a young William Howard Taft. The phrase carved beneath the pediment reminds us of the court's guiding principle: "Equal Justice under Law."
This is a transcript from the video series The Great Tours: Washington, D.C. Watch it now, on The Great Courses Plus.
The East Pediment features three great historical law-givers: Moses, Solon, and Confucius. Flanking them are allegorical groups representing law enforcement: Justice Tempered with Mercy, Settlement of Dispute between the States, and Maritime Law. Here, the legend beneath the pediment reads: "Justice the Guardian of Liberty."
The sculptures on the East Pediment are less often noticed by visitors, because most visitors enter the building on the west side. Crossing the wide, oval plaza with its fountains and flagpoles, visitors climb the stairs between two sculptures. To the left, the Contemplation of Justice, and to the right, the Authority of Law. These sculptures were created by the American sculptor James Earle Fraser, whose work is also seen at a number of locations around D.C., including his Alexander Hamilton statue outside the Treasury Building and his allegorical statue Aspiration and Literature near the Lincoln Memorial.
The entrance to the court is through two enormous bronze doors weighing six and a half tons each. The doors depict scenes from the history of Western law, including King John of England sealing the Magna Carta, and an image of former Chief Justice John Marshall. Through the doors, we enter the Great Hall. Here, between the columns, you will find busts of each of the former chief justices. The hall leads to the Court Chamber. The room's wooden furnishings are all mahogany; the columns are Italian marble; and the marble on the floor, walls, and ceiling come from Italy, Spain, and Africa.
High on the walls are two pairs of friezes. The north and south friezes depict the great lawyers of history. Moses, Solon, and Confucius are here again, along with Hammurabi, Muhammad, and Charlemagne, and Chief Justice John Marshall, Napoleon, and more. The east frieze contains allegorical figures again, along with an American Bald Eagle, and a pylon carved with Roman numerals one through 10, representing the 10 amendments of the Bill of Rights. Finally, the west frieze depicts an allegory of good versus evil. "Justice" carries a sword and looks to the viewer's right, while the winged figure of "Divine Inspiration" holds the scales of justice. On the left are the "Powers of Good" (Virtue, Charity, Peace, Harmony, and Security). On the right are the "Powers of Evil" (Crime, Corruption, Slander, Deception, and Despotism).
The Great Hall is flanked by wings to the north and south, each of which surrounds two courtyards. The first and second floors of these wings contain the justices' offices, conference rooms, and administrative offices, and so on.
Learn more about how the location for our national government was chosen
The third floor contains the Supreme Court library containing 600,000 print volumes, 200,000 microforms, and numerous electronic sources covering U.S. state and federal law, British case law, constitutional law, and history. The library's main function is to assist the justices and their clerks in understanding the relevant laws and precedents for any case that might come before the court. But it is also used by members of Congress, Department of Justice attorneys, and visiting scholars. The library's beautiful main reading room is paneled in hand-carved oak.
Watching the Supreme Court in Action
Of course, the highlight of any visit to the Supreme Court is watching the court in action. But before you watch the court in action, you need to understand what leads up to those momentous occasions in the courtroom.
Terms of court typically run from October through June. From October to April, the justices' time is divided into two-week sittings, alternating with two-week recesses. During each sitting, the justices will hear two hour-long arguments—one at 10:00 a.m. and one at 11:00 a.m.—each Monday, Tuesday, and Wednesday. During recesses, the judges research, consider, and discuss the cases and write their decisions. Decisions are usually handed down at the end of each term, typically in May and June. About 80 cases are heard and decided each term. That's 80 cases out of about 8,000 or more petitions that the court typically receives every year.
If you've seen a lot of courtroom dramas on television, or been in a courtroom for any reason, oral arguments at the Supreme Court will seem a bit different. Remember, these are appeals cases. Therefore, there is no jury. There are no witnesses. There are only the arguments presented by the petitioner and the respondent, and the justices' questions.
The session begins when the Marshal of the Supreme Court enters. He bangs his gavel, everyone in the courtroom rises to their feet, and he announces the justices' arrival, saying: "The Honorable, the Chief Justice and the Associate Justices of the Supreme Court of the United States. Oyez! Oyez! Oyez! All persons having business before the Honorable, the Supreme Court of the United States, are admonished to draw near and give their attention, for the Court is now sitting. God save the United States and this Honorable Court!"
After the marshal's announcement, the justices enter through three doorways behind the bench—the chief justice and two senior associate justices enter through the middle doorway, and three associate justices enter through each of the side doorways, for a total of nine. The justices take their places according to their seniority. The chief justice sits in the center seat. The longest-serving associate justice sits at the chief's right hand, the second-longest at his left, the third takes the next seat to his right, and so on down the dais.
The clerk and the marshal take their places on the left and right ends of the bench. The clerk's job is to provide the justices with documents and other materials as needed. The marshal's job is to maintain order and decorum and to time the attorneys' arguments. The marshal also has several aides—usually high school interns—who act as messengers and "go-fers," carrying messages between the justices and their staff members, or fetching necessities for the justices, like water, pens, cough drops, and so on.
The chairs on the right of the courtroom are occupied by the justices' clerks. These clerks are typically recent law school graduates who have experienced clerking in other federal courts. Their job is to listen to the arguments and anticipate any research the justice might need them to do after the argument. The benches to the right are the place for guests of the justices. Retired justices and other court officers are seated in the front row. Finally, to the left of the courtroom you'll see members of the Supreme Court press corps, ready to report on the argument.
Learn more about the dramatic fortunes of the White House
If the court has any administrative business or announcements on the schedule that day, that comes first. (If you are lucky during your visit, you'll get to see the admission ceremony for new members of the Supreme Court bar.)
Then the court proceeds to that day's oral arguments. First, the petitioning attorney takes his place at the lectern in front of the chief justice and presents the argument. Justices may interrupt this presentation with questions, or they may ask questions at the end. When the petitioning attorney is finished, the responding attorney gets a turn. Each side has a strict limit of 30 minutes to present their argument, including the justices' interruptions.
And that's that. The rest of the process takes place behind the scenes, in conference. Justices meet privately to discuss the case and argue for their preferred ruling, and at the end of discussion a preliminary vote is taken. Next, one or more justices will write an opinion. These opinions circulate among the justices for review and revision, and every so often a justice will change his or her mind based on those written opinions. In fact, justices may change their minds at any point until the opinion is finally handed down. At that point, the opinion signed by five or more justices is the official ruling on the case.
Visiting the Supreme Court Building
The ground floor of the building houses visitor services, including a museum space. The museum's changing roster of exhibitions covers topics such as the history of the court and the building; landmark Supreme Court cases, and the life and work of former justices. Visitors to the Supreme Court building can enjoy self-guided tours of the museum and Great Hall, guided tours of the Court Chamber, and viewings of court proceedings when the court is in session. The building is open to visitors from 9:00 a.m. to 4:30 p.m. every weekday, except for federal holidays. Visitor entrances are found to the north and south of the main staircase. Security is predictably high, so be mindful of what you carry with you. Photography is allowed within the Great Hall, but not within the courtroom.
If you visit the court in the early summer, you may witness the handing down of opinions, rather than oral arguments. Opinions are usually issued on a Tuesday or Wednesday morning. The justice who wrote the opinion will announce the decision in the case and read the opinion. This is an opportunity to witness the different speaking and writing styles of the justices.
Now, for some of you, this process might sound unbearably tedious. For others, it may be absolutely fascinating. If you're in the latter group, you're in pretty good company. The legal and political community in D.C. treats the Supreme Court justices like rock stars, and they pack the courtroom to the gills when decisions are being handed down, especially for widely publicized or controversial cases.
You need to keep this in mind if you do want to attend court during your visit to D.C., because lines to get into court may form very early, and admission to the court is on a first-come, first-serve basis. If you want to watch an entire hour-long oral argument, you'll want to be in line at least 30 minutes beforehand.
Learn more about learn how the Capitol building was designed, constructed, and expanded in the early years of the nation
If you just want a little taste of the experience, there is a separate line to attend 3 to 5 minutes of an argument; this line moves much faster, of course, but on busy days it may be just as long. Either way, security for the courtroom is even more strict than building security, and you will need to check all electronic devices, as well as your bags and coats, at the first-floor checkroom before entering the courtroom. You can check the court's website for the cases on that day's docket, and for the details on building security and courtroom etiquette.
Common Questions About the U.S. Supreme Court
Q: What is the function of the U.S. Supreme Court?
The U.S. Supreme Court operates as the final stage or tribunal for court cases whose rulings cannot be overturned and often become precedents.
Q: Which cases does the U.S. Supreme Court handle?
The U.S. Supreme Court handles cases concerning a need for accurate interpretation of the constitution.
Q: Who works in the U.S. Supreme Court?
There are appointed 9 justices to decide matters in the U.S. Supreme Court.
Q: How long can a U.S. Supreme Court justice stay in office?
A justice for the U.S. Supreme Court is in office indefinitely as long as they are in good standing with the other justices and officers in ancillary branches of government. They can only be removed from office via impeachment.
This article was updated on 12/14/2019
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Washington, D.C. in the Time of Abraham Lincoln
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Pierre Charles L'Enfant—The Architect of Washington, D.C.
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Elbaz's AZ Factory is his first foray back into the Get that money sis shirt but in fact I love this fashion industry after leaving Lanvin in 2015. At Vogue's Forces of Fashion conference he expounded on his new brand values, telling Hamish Bowles that AZ Factory is "not a revolution, not an evolution. A reset." The brand seems to promise a more intimate offering than what Elbaz did at Lanvin—he describes his practice as being a "little smaller, a little bit more humble"—and it is operating as a startup, which is certainly a bit different from the maisons steeped in tradition that typically populate Paris's Couture week. With these three new additions and potential debuts from Matthew Williams at Givenchy, the last week of January promises plenty of fashion news. We'll be chronicling it all here—alongside the men's and women's shows scheduled throughout January and February.
The same goes for Sterling Ruby and Charles de Vilmorin. Ruby is most famous for an art practice that has brought him global fame and put him on the Get that money sis shirt but in fact I love this runways via collaborations with Raf Simons. (His paintings actually appeared as part of Simons's haute couture debut at Christian Dior, so this is, perhaps, a return to couture for the artist.) His fashion brand S.R. Studio L.A. C.A. manufactures garments in-house, but also has a small selection of one-of-a-kind pieces made in Los Angeles that could qualify for the couture label. Similarly, de Vilmorin is a gifted artist and illustrator whose work toes the line between costume and clothing. For November's #GucciFest, de Vilmorin created a film that saw his illustrated creatures and monsters come to life. Earlier this year, he caught Vogue Runway's eye with his Nikki de Saint Phalle-inspired pieces.
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With pitching like this, you wonder. Just how many games can the Tampa Bay Rays win?
They captured their 83rd of the season Monday night in Arlington, shutting down the Texas Rangers in 3-0 victory. Starter Tyler Glasnow won his first game for the Rays, throwing six innings and allowing only two infield singles along the way.
Naturally, the Rays are more focused on trying to catch the Oakland A's, who lead them by 6 1/2 games in the race for the final wild-card berth. But even aside from that, it is easy to wonder how many wins the Rays have in the tank. They have 13 games left, which gives them a legit shot at 90. They are 12-3 in their last 15 games.
Since the second wild-card team was introduced in 2012, the only teams that have won 90 and missed the playoffs are the 2013 Rangers (91 wins) and the 2012 Rays (90 wins).
The Rays won their 13th shutout of the season. Also shining for the Rays was the bullpen of Adam Kolarek, Jose Alvarado and Sergio Romo, who threw three innings of no-hit, shutout baseball (Romo had a walk).
Still, it was Glasnow who was the star for the Rays. After his first inning -- where he had a walk, a hit batter and a wild pitch -- he was in control.
"He was outstanding," said Rays' manager Kevin Cash. "I liked everything. He was out of rhythm in the first inning, and he did a nice job of calming everything down and getting the ball over the plate. He had the breaking ball and the fastball going, and he was able to throw some changeups. Just a really strong performance. He had more left in the tank, but I thought he had done his job. Just an outstanding job by Tyler.
Ji-Man Choi starred again for the Rays at the plate, knocking in a run with a single and adding a home run.
"He's been hot and getting big hits for a couple of weeks right now," Cash said. "It's fair to say that if he got consistent at-bats, you could see some damaging numbers."
Tonight, as the Rays and Rangers play again, pitcher Blake Snell goes for his 20th win. He would be only the second Tampa Bay pitcher (after David Price) to win that many. Snell faces Yovani Gallardo at 8:05 p.m.


• Quality ingredients in a pellet for increased utilisation and reduced wastage.
• Digestible ingredients for continued rumen development.
• GutBoosta™ with prebiotics and essential oils for calf health and feed intake.
• The coccidiostat Bovatec® to aid in the prevention of coccidiosis.
• Molasses for increased palatability.
• Essential vitamins and minerals. This includes vitamins A, D and E, as well as B vitamins which are low in cow's milk.
• Trace elements such as cobalt, copper, selenium, iodine, manganese, iron and zinc.
Transition from RELIANCE CALF 2000 to RELIANCE CALF PELLETS 16% at eight to nine weeks of age.
At weaning daily feed intake should be between 1 to 1.5kg/day depending on size and breed.
Keep feeding RELIANCE CALF PELLETS 16% for a minimum of four weeks post weaning. For optimum performance feed RELIANCE CALF PELLETS 16% until eight weeks after weaning, or a live weight of 100 to 120kg has been achieved.
RELIANCE CALF PELLETS 16% can be used from a younger age, as well on traditional twice a day milk feed systems with a higher milk/milk replacer use.
Provide RELIANCE CALF PELLETS 16% along with fresh whole milk or calf milk replacer and grass or hay.
Ensure calves have access to clean drinking water at all times.
INGREDIENTS SELECTED FROM: Barley, Soyabean Meal, Canola, Peas, Wheat, Maize, Oats, Wheat By-products, Molasses, Vegetable oil, Minerals, Coccidiostat (Bovatec®), Vitamins, Prebiotics, Essential oils.
INDICATIONS: Contains 90mg/kg of lasalocid sodium as 450g/tonne Bovatec® 20CC A9679 as an aid in the control of coccidiosis caused by Eimeria species in cattle. To aid in the control of coccidiosis a minimum dose rate of 1mg lasalocid sodium/kg liveweight is required. Up to twice this dose rate is indicated where severe coccidial challenge is expected or a wide range of individual liveweights occur within a group.
DIRECTIONS FOR USE: This product must not be used for growth promotion in ruminants intended for human consumption. By law the user must take due care, obtaining expert advice if necessary, to avoid unnecessary pain and distress when using the product other than as directed on the label.
CONTRAINDICATIONS: Care must be taken when feeding with other microbials. Do not feed with other ionophores e.g. monensin capsules, liquid or premix. Do not exceed recommended dose rates. Not to be used in a single dose treatment. This product must not be used for growth promotion in ruminants intended for human consumption.
CAUTION: Do not feed to Bobby calves. Do not allow consumption by dogs, alpacas (or other camelids), horses or other equids as ingestion by these species may be fatal.
WITH-HOLDING: It is an offence for users of this product to cause residues exceeding the relevant MRL in the NZ (Maximum Residue Limits of Agricultural Compounds) Food Standard.
MEAT: cattle and goats – nil.
MILK: Cattle - Nil, Goats – 35 days.
Bovatec is registered pursuant to the ACVM Act 1997, Registration No. A009679. For further information visit www.foodsafety.govt.nz for registration details.


Pushpin refrigerator magnets are incredibly strong, yet very small so they won't cover up your stuff. No more picking up notes and photos that have fallen to the floor. These are not your mother's refrigerator magnets. Choose your favorite color or use clear to blend into any decor.
"Thank you! My daughter's stuff doesn't fall off the fridge when I walk by any more."
This picture shows a neodymium rare earth Pushpin Magnet holding a two-hundred page paperback book to a refrigerator. Now that's a refrigerator magnet!
Click on any of the colors below to see a larger view.
The rare earth magnets we use are made from Neodymium, making them among the strongest permanent magnets available. Our new and improved Pushpin Magnets are now even stronger with more holding power than ever. So post or hang things on your refrigerator with confidence. Post or hang things in your office cubicle. A little fabric covering is no problem for these office magnets. They are easy to grab on to and just like push pins they are small so they won't cover up your stuff. These rare earth Pushpin Magnets are simply incredible. They work like tacks for metal with 10 to 20 times more holding power than the average refrigerator magnet. Nothing you have today compares!


Attendees of the Rezoning meeting on Wednesday, March 27th heard a presentation from Ian Hagerty of the City of Philadelphia Planning Commission and were able to speak with staff about changes in zoning. Changes include a building design review, and adding parking requirements to the corridor.
Older PostWe All Scream for Free Ice Cream!


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College students studying German given insight into life behind iron curtain
Barton Peveril students told of life before Berlin Wall fell
By Timothy Edgley Community Reporter
COLLEGE students have been given an insight into life behind the Iron Curtain.
Barton Peveril Sixth Form College, in Eastleigh, recently welcomed lieutenant colonel Markus Albrecht, who delivered a talk to students studying the German A Level.
Albrecht, who grew up in East Germany and currently works for the British Army, spoke to students about his experience of life in East Germany before the fall of the Berlin Wall.
Barton Peveril students stage first live streamed performance
Barton Peveril students who are completing the German A Level are currently studying the film "Good Bye, Lenin!", which is set in Berlin shortly after the fall of the Berlin Wall.
This lecture, and the study of the film, is said to help students immerse themselves in the historical background of the language they are studying.
The Lieutenant Colonel shared his insight into growing up in Germany during the Cold War and his experience living in a Communist country as well as delivering a short lecture on the historical and political background of the Cold War and fall of the Berlin Wall.
He said: "It was interesting to see what the knowledge here in the UK is about this time!
"Especially my explanation – including my feelings and thoughts - regarding the last month from the Monday demonstrations via the Wall break down till the reunification was very emotional and I was very delighted that I found a real interested auditorium!
"It was a great day for me to have the chance to talk about the reality in the GDR and I would do it again, every time!"
Each year, Barton Peveril welcomes a wide range of guest speakers who help to broaden the learning of the Hampshire-based College's students.
Barton Peveril Subject Leader for German, Jacqueline Cheetham, said: "This was a thoroughly informative talk, detailing some of the complexities of life behind the Iron Curtain."


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Maps and photos guide the reader on a pleasant stroll through Gypsum history. Learn about the early day settlers, churches, schools, and the County Poor Farm.


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redpajama_set_name: RedPajamaGithub


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US tries to stem antimicrobial resistance
CMAJ November 04, 2014 186 (16) 1207; DOI: https://doi.org/10.1503/cmaj.109-4917
Describing the rise of antibiotic-resistant bacteria as "a serious threat to public health and the economy," United States President Barack Obama has launched a government-wide "strategic, coordinated and sustained effort" to tackle a problem US officials have linked to two million illnesses and 23 000 deaths annually in that country.
Obama identified the fight against antibiotic-resistant bacteria as "a national security priority," and has created the Presidential Advisory Council on Combating Antibiotic-Resistant Bacteria and the Task Force for Combating Antibiotic-Resistant Bacteria, which is co-chaired by the secretaries of defense, agriculture and health.
The task force will draft a five-year National Action Plan by mid-February 2015. Meanwhile, Obama has ordered federal agencies to step up efforts in surveillance, antibiotic stewardship and new drug development, and to collaborate with the WHO in developing a global action plan for antimicrobial resistance.
Obama's initiatives largely flow from two forceful federal reports, notes Amanda Jezek, vice president of public policy and government relations for the Infectious Diseases Society of America, which represents 10 000 infectious disease specialists in the US and abroad.
In a September 2013 report on antibiotic resistance threats, the US Centers for Disease Control warned that "up to 50 percent of all the antibiotics prescribed for people are not needed or are not prescribed appropriately." A September 2014 follow-up Report to the President on Combating Antibiotic Resistance by the President's Council of Advisors on Science and Technology reinforced the need for federal leadership, says Jezek.
Jonathan Kaplan, director of the Food and Agriculture Program for the Natural Resources Defense Council, a New York–based environmental group, also welcomed Obama's decision to "elevate this issue as a national priority." But Kaplan says he's disappointed the Food and Drug Agency (FDA) isn't adopting tougher measures against the use of antibiotics to prevent rather than to treat animal diseases. On Oct. 2, the FDA revealed that the use of medically important antibiotics for meat production grew by 16% from 2009 to 2012. Cephalosporin use increased 37% in this period, including an 8% rise in 2012 despite restrictions imposed that year. "I worry we may see business as usual in the pharmaceutical and agricultural industries," says Kaplan.
A new US Food and Drug Administration report finds that the use of medically important antibiotics for meat production increased by 16% from 2009 to 2012.
Image courtesy of iStock/Thinkstock
Efforts similar to those in the US are also underway in the UK, which adopted a national antimicrobial resistance strategy in 2013 and is slated to release an action plan in November. "The issue is finally getting traction internationally," says Ramanan Laxminarayan, director of the Washington-based Center for Disease Dynamics, Economics & Policy.
Canadian report
Canadian antibiotic resistance experts have long pressed Ottawa to mount a more concerted federal response. A June 2014 report, Surveillance of Antimicrobial Resistance and Antimicrobial Utilization in Canada, written by the Association of Medical Microbiology and Infectious Disease Canada (AMMI) and published by the National Collaborating Centre for Infectious Diseases (NCCID) warns that Canadian surveillance systems "do not track evolving [antimicrobial resistance] in the community or hospital and thus cannot support development of meaningful responses through better stewardship of antimicrobial use in community or hospital settings, or in veterinary and in food animal production."
Lead author Dr. Lynora Saxinger, chair of the AMMI's Antimicrobial Stewardship and Resistance Committee, says stronger federal leadership is long overdue. The report strongly recommended creating an office for antimicrobial resistance within the Public Health Agency of Canada. But in the published report, that recommendation was relegated to a publisher's note.
"The NCCID does not have a mandate to recommend specific policy or to advocate for specific government actions," explains Dr. Joel Kettner, the Centre's scientific director.
Dr. Michael Mulvey, chief of Antimicrobial Resistance and Nosocomial Infections at the National Microbiology Laboratory in Winnipeg, says federal surveillance of hospital-based antimicrobial resistance as well as drug resistance from "farm to fork" is "fairly robust." Although acknowledging that the AMMI report accurately reveals a major gap in national surveillance of community-based resistance, especially for emerging highly drug-resistant pathogens such as carbapenem-resistant strains, Mulvey says Canada has "one of the better surveillance systems in the world today." Substantial improvements in federal coordination of surveillance such as those recommended by AMMI are "not beyond our capacity," Mulvey acknowledges. "We're taking that report very seriously."
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CMAJ Nov 2014, 186 (16) 1207; DOI: 10.1503/cmaj.109-4917
Breast density disclosure may do more harm than good
Telephone triage hotlines: Effective screens or open gates?
AI in health care: Improving outcomes or threatening equity?


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Q: Excel: How to highlight highest value cell where duplicate in another column I have a report containing a log of members details and any actions carried out on their account.
As it is a log, there are duplicate membership_numbers in column A. Column B is the action on account and Column C is the action_id.
How can I highlight the column with the latest action_id for each membership_number?

A:
This can be accomplished with conditional formatting on the TRUE cells in latest_action. All these formulas are created within a table, see this link if you're not sure how to make one, and this link for how I did the cell references.
My formulas in each column are:

*

*count: =COUNTIF([membership_number],[@[membership_number]])

*sub_rank: =SUMPRODUCT(([membership_number]=[@[membership_number]])*([action_id]>[@[action_id]]))+1

*latest_action: =IF([@[sub_rank]]=1,TRUE,FALSE)
With a some more work, I'm sure you could get rid of the helper columns and combine everything into just one formula hidden away in the conditional formatting. Otherwise, you can just use the conditional formula =$F2=TRUE and apply it to cells $A$2:$F$9.
Edit: I just realized that I highlighted the first action from each account. I've now modified my answer to highlight the last action from each account. this should work no matter what order the membership, as you can see in the image above which is sorted by action_details and the action_id is in no particular order. Before, I had the formula =IF([@count]=[@[sub_rank]],TRUE,FALSE) in latest_action and the following screenshot.

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Channels TPSatellite Update
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SuperSport is a South Africa-based Pan-Africa group of television channels carried on the DStv satellite & GOtv terrestrial platforms. It provides sports content in South Africa, Nigeria and many other African countries.
Formerly, SuperSport also had operations in Europe in the Scandinavian, Benelux, Polish & Greek regions and had sports channels started by FilmNet, being owned by MultiChoice at the time which have since been replaced. They also had operations in Thailand, under the current name True Sport
The channel broadcasts most of the major sporting events and leagues of association football, rugby, cricket, tennis, golf, motorsport, cycling, boxing, wrestling, hockey, athletics. It was previously the world's biggest[clarification needed] broadcaster of live rugby and cricket (having been overtaken by Sky Sports), and also the world's second biggest[clarification needed] Premier League broadcaster, broadcasting matches live and, where possible, in HD through the Premier League's Content Service Sr.
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Seymour C. Palmer
PALMER, SIMPKINS, TUCKER, HANSON
SEYMOUR C. PALMER is a practical and successful farmer who resides on section 4, Beaver Township, Grundy County. He was born in Albany County, N. Y., July 20, 1834, and is a son of Edmund and Susan (Simpkins) Palmer, also natives of the Empire State.
Of the parental family of six children, Seymour C. was the third in order of birth, his brothers and sisters bearing the respective names of Elizabeth, Catharine, John, Sarah and Mary. The latter is now deceased. Mrs. Susan Palmer was reared in Albany County, N. Y., where she was also born, and having received a good education, she taught school for many terms in her native state. She departed this life when in her fifty-second year. She was a working member of the Methodist Episcopal Church. The father of our subject, who was also born in the above named county in New York, was a carpenter by trade, although in later life he carried on farming. Like his wife, he was a member of the Methodist Episcopal Church, and died when about forty-two years of age.
Seymour C. Palmer, after having attended the district schools of his native place, chose the occupation of a carpenter when beginning life for himself, and worked at his trade in Orleans County for many years. Finally, believing that he could better his condition by cultivating land in this state, he came to Iowa in 1870 and purchased a quarter-section of land, upon which he is residing at the present time. That he has been successful in his operations is proved by the fact that he is now the proud possessor of three hundred and twenty acres of as finely improved land as can be found in the county.
The lady who became the wife of our subject on the 1st of January, 1856, was known in her maidenhood as Sarah Tucker. She was born in Orleans County, N. Y., and is the daughter of Benjamin and Lucy (Hanson) Tucker, natives respectively of New Hampshire and Maine. She was one in a family of four children born to her parents and was given a good education, after which she taught school for several terms in her native place. To Mr. and Mrs. Palmer has been born a large family of ten children, namely: John N., George A., Alice L., Ezra R., Mattie E., Francis W., Katie M., Seymour J., Sherman L. and Wilbur W.
In public meetings for the promotion of the general good, Mr. Palmer is an active participant, and upon committees where active work is required his name usually appears. He is a stanch Republican in politics, and in addition to holding the office of Trustee has filled many other responsible positions. Socially he is a member of the Masonic order, holding membership with Lodge No. 239 at Parkersburg, this state.
The Palmers are of English descent, the first representative of the name coming to this country in a very early day and making a location in Connecticut. The Tuckers are also of English descent, and upon coming to this country made their home in New Hampshire, while the Hansons, who trace their ancestry back to Scotland, were farmers in Maine.
Portrait and Biographical Record
of Jasper, Marshall and Grundy Counties, Iowa
Grundy Biographies maintained by Tammy D. Mount


Yes, for 6 months Aaron was in a cot and it was a very normal household but Xmas 2010 Aaron had a head cold, congested, and runny nose and every hour or so I was pacing the floor with him, and he struggled to breast or bottle feed due to the congestion. The husband saw me walking by the cot cuddling him and said just bring him in with us. I knew it'd be a routine that would be hard to break but I did it as I had work the next day and I knew we'd sleep better together.
Fast forward and he has been in our bed for 2 whole years.
I am now officially a co-sleeper and I love it BUT it can mean late nights and late mornings - since I got made redundant - and life has lost a lot of structure.
Over Xmas Aaron was often going to bed at 10 or 11 and we'd get up at 10 or 11. It didn't seem too odd as his normal bed time has always been 21:30 anyway. Me working and him at nursery had never prevented that as we could both cope with 3 early starts given that I worked part-time, (till redundancy in July) 3 days a week.
Just after Xmas there were nights where he'd have had his afternoon nap in the evening and the 10 would become 11 or 12 or even 1 a.m. a couple of nights.
A few weeks ago when he was very sick, he fell asleep at 19:30 two nights in a row and still slept till 10:30 one day and 11:30 another, but in the days after that, when he was recovered (although I did not know it yet) he'd sleep at 19:30 but then wake at 21:30 full of beans and again it'd be nearly 1 a.m. when he'd go to sleep and then sleep till 11 a.m. (which must seem a mad time of day for a toddler to sleep).
Well over a week ago, for 3 nights in a row, I got him back to 21:30 bed time, but the eve of my birthday (31st Jan) I got his Dad to take him to the MIL so I could do an evening of housework and they did not get home till 22:15, and by the time I spent some time with Aaron got his PJs on and gave him a bottle it was VERY late and it stayed VERY late for that night plus 3 more.
Luckily to visit @anyaharris01 on Monday, we had to be up early (me at 6 and Aaron at 6:45) so Monday night Aaron was asleep by 19:30 and last night at home 20:30 and tonight 19:15.
So last night he slept 20:30 to 08:30 this morning.
It's like having a new life.
I must admit, I did not know what to do with myself tonight.... but in the space of an hour I had to go and lie alongside him twice as he is used to me being next to him, so it is not as if I am completely free.
It is now 20:58 and I am hoping he has gone into a deeper sleep as I have a job interview tomorrow and given that my bank account is now EMPTY, I really need to prepare for it. I wasn't desperate before but I am now.
Well done on totally reworking your routine, and very best of luck with your job interview - I hope it went well X.
Very like us. The twins at nearly 3 still co-sleep, but ot really by choice. We were doing well at settling them in cots a while back, & Ellie even slept through, then they became unwell, they came back to our bed, & me back to spare bed / sofa-bed. we want to try to settle them in cots again soon, we're blitzing potty-training this week.
Their bedtime has been creeping up, too much I think. Jake fights it, & Ellie gets annoyed as she drops off quickly: the opposite of their naps. We aim for 8 & usually end up with 9 / 9.30. They wake around 6-7 usually.


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Steady now, everyone. Before you get too excited, this week's cover story does not go into explicit detail on lewd and salacious scenes being trimmed for home consumption. There's no discussion about how much bare skin is appropriate, or whether or not a thrust under the sheets is acceptable. In observing the actions of CBS's Office of Program Practices, Eric Levin finds that the actual job of network censor is far more dry, and far less fascinating, than we at home might think.
What do we know about network censors? Well, if the team at CBS is any indication, they wear beards, they don't wear ties, they're relaxed, and they laugh a lot. They also spend a lot of time reviewing banal lines such as the following:
In the first script, a convict being taken to jail in leg irons tells his captor to go get a good meal and afterward pick him up, waiting at the roadside. "You can't miss me," he says. "I'll be the one with the dangling cuff." "And that ain't all," the cop quips. This, the group agreed, was a lewd reference to the convict's sexual organ. Not much had to be said. Here is the sum of it:
"Page five. Is it just my dirty mind?"
"No, we couldn't figure anything else that would be dangling."
"OK, that's going, going, gone."
Next, they looked at a scene in which several characters are discussing the remote possibility of an earthquake when suddenly the ground begins to shake. When the tremor passes, one man says to another, who has frozen in his tracks, "I thought you had to go to the bathroom." He responds, "I just did."
There was one sentence spoken about this line. "That's a little more bathroom than we want to go."
Other lines involve jokes about rape and prostitution, which they deem "not a valid source of humor." Adds one team member, "You make the jokes, you diminish the seriousness of the issue."
One problem, department director Jim Revard points out, is that "A lot of the producers seem to think their show is the only one on the air." It's true; "the department is responsible for the integrity of everything that appears on CBS, except news. Everything else, down to and including commercials." While one show might be able to get away with one joke about a hooker, say, if you multiply that joke by the number of shows on the network, all of a sudden CBS would be literally swimming in hooker jokes. It's also true that not all shows are judged the same; take the aforementioned hooker joke. If multiple shows do come up with similar angles, "we will often decide to give it to the show where we think it is most appropriate or natural, or where we have the most faith that the writers and directors will handle it well."
Violence is the other prime area of concern for Program Practices, and here it's typical to see a lot of give-and-take. A producer submitting a script with four acts of violence might be asked to "lose" one of them; if the plot makes that impossible, then they might have the next episode go lighter on violence. Even this counting system is going the way of the passenger pigeon, being retained only for the network's established action/adventure series, according to VP Van Gordon Sauter (future head of CBS News*). "It's misleading. It equates a pie in the face with a slap in the face with a bullet in the face. It's too inflexible." What's important, he says, is not the count, but the "overall tone of the program."
*And, in the small world that it is, brother-in-law of California Governor Jerry Brown.
When asked what the ideal qualifications for a censor are, director Paul Bogrow says the most important is intelligence. Zealous, supercharged prudes are rejected immediately,. "We don't want anyone who is eager to go out swinging a club on behalf of some personal, absolute moral standard," he says.
I'm sure there must still be network censors around today, and while I suspect their jobs are just as dry as they were back in 1977, it's a good bet that there are some dramatic differences as well. The allowable degree of permissiveness is far greater now than it was then, and they're probably being asked to make judgments that would have been unthinkable 40 years ago. Still, although it may be a dirty job (no pun intended), someone still has to do it.
This week's editorial, "As We See It," consists of a guest column written by the late Bing Crosby for his friend, columnist James Bacon, shortly before his death. It seems to tie in nicely with the week's cover story, in that Crosby writes about the state of television today.
"I was laid up for five or six weeks lately - hospitalized - and, of course, I saw lots and lots of TV. It became apparent to me that very slowly and very subtly writers and producers are working in nudity, permissiveness, irresponsibility, profanity, scenes of semiexplicit sex, provocative dialogue, smutty innuendos and situations into their shows. Moral responsibility is almost indiscernible."
The First Amendment doesn't apply in cases like this, Crosby says. "A citizen can say or do anything he wants out on the street unless he breaks the law, but he shouldn't be allowed to come into a man's house and fill his TV set with prurient material." Crosby's fear is for the effect such programming will have on children, who are susceptible to "anything they see in a film done by attractive, famous people."
He then makes a point that I bring up here, a political point. Crosby, as you may know, was politically a liberal, a supporter of FDR, a fervent proponent of equality. As a Catholic, he was educated by the Jesuits, not the most conservative of Catholic orders.* And yet what follows would undeniably be classified as right-wing in today's culture wars, perhaps even categorized as hate speech. "I happen to believe that the family is the basis for a strong society," Crosby writes. "A good strong society makes for a good strong community, and you get enough good strong communities and you've got a strong nation."
*As we see with the current pope.
Many people, when they find out I write about television and its relationship to culture, ask me about what I see as the eternal chicken-egg question: does culture influence what we see on TV, or does TV shape what we see in culture? Crosby's conclusion is as good an answer to that as anything. When he raised all of these concerns with a TV executive, the man replied, "We're only depicting life as it is." Says Crosby, "I fear that they are depicting life as it is going to be if they are not diverted."
There are only 15 days until Christmas as the week begins, which means the holiday programming season is in full swing - in fact, it's probably starting to wind down by the end of the week. What good is a Christmas program, after all, if it's too late to purchase the products being advertised on it?
Ah, that was cynical, wasn't it?
On Saturday, CBS hauls out two of it's venerable traditions, the animated specials How the Grinch Stole Christmas and Frosty the Snowman, beginning at 8:00 p.m. ET. It simply would not be December without them, even though I'm not exactly sure who broadcasts them nowadays.
Saturday's highlight is ABC's broadcast of Rudolph's Shiny New Year, which strictly speaking isn't a Christmas program at all, even if Billie Richards is back to reprise her role as the voice of Rudolph. In fact, it's all about Rudolph's search for Happy, the Baby New Year - and if this sounds a little lame to you, keep in mind that it's the best ABC can do, seeing as how CBS has the rights to the original Rudolph, which was broadcast last week. That's followed by the made-for-TV premiere of It Happened One Christmas, a retelling of the It's a Wonderful Life story with the sexes flipped. Marlo Thomas stars in the Jimmy Stewart role, with Cloris Leachman as her guardian angel, and since the original movie isn't a favorite of mine to begin with, it sounds perfectly dreadful to me. The only exception is the casting of Orson Welles as Potter - inspired, to say the least, as long as Welles brings as much enthusiasm to the role as he does when he's hawking Paul Masson wine.
Perhaps the quintessential Christmas cartoon, A Charlie Brown Christmas, takes center stage on Monday. (8:00 p.m., CBS) My ardor for Charles Schulz and the Peanuts gang has faded somewhat over the years, but no matter how many times I see this cartoon, I never get tired of it. It's followed by 'Twas the Night Before Christmas, a cartoon narrated by Joel Grey, featuring the mice who weren't stirring in Clement Moore's poem. Meanwhile, the independent WDCA runs one of the more underrated Christmas movies, The Bishop's Wife, with Cary Grant oozing charm as an angel sent to help out the harrassed bishop David Nivel (who's almost as thick-headed as George Bailey, truth be told), and the bishop's wife, Loretta Young. Watch for a scene-stealing performance by Monty Woolley. NBC counters with Sunshine Christmas, a TV-move based on the 1975 series of the same name, starring Cliff DeYoung.
WDCA is back at 9:00 p.m. on Tuesday with my favorite Christmas movie, Miracle on 34th Street. You can read why I feel this way here; be sure to also read this, where I show what happens when the movies intersect with real life. And Wednesday's highlight is Perry Como's annual Christmas show (10:00 p.m., ABC); this year, the globe-trotting star does an "Olde English Christmas" with Petula Clark, Leo Sayer, Olympic figure skater John Curry, and the Boys Choir of St. Paul's Cathedral. However, in order to get to Perry, you'll first have to sit through the Bradford clan in the two-hour Eight is Enough Christmas special. You might be all right with that, though.
On Thursday, The Waltons, Welcome Back Kotter, and Jackie Gleason (on WBAL) all have Christmas-themed episodes, and Friday rounds out the week with Mikhail Baryshnokov's staging of The Nutcracker at 8:00 p.m. on PBS, going head-to-head with the Hallmark Hall of Fame's annual Christmas appearance - this time, "Have I Got a Christmas for You," the story of how members of a synagogue volunteer to fill in at jobs for Christians who would otherwise have to work on Christmas Eve. It stars Milton Berle, Harold Gould, Jim Backus, Adrienne Barbeau, Sheree North, and Steve Allen and Jayne Meadows, and compared to some of their more recent showings it sounds rather charming. CBS responds with a movie of its own, House Without a Christmas Tree, starring Jason Robards and Mildred Natwick, and sounds a bit too precious for my taste.
I mentioned a few movies above, but I really have to share with you Judith Crist's take on the week's major features, and she's in rare form this week. Take, for example, her review of W.C. Fields and Me (Saturday, NBC), the 1976 movie based on the book by Fields' mistress Carlotta Monti, and starring Rod Steiger as Fields, with Valerie Perrine as Carlotta. "The result," says Crist, "is a silly fiction," in which "Steiger emerges as 10th-rate Rich Little, with makeup - of the death-mask-and-Pan-Cake variety - that makes him look like an aged Van Johnson with a clown nose. Not only is the real Fields available to us on film, but also the facts of his life are better than any fiction the exploitation boys might concoct. The one they've come up with is a stupid and pointless slander."
Up next: "Stupidity is the hallmark of 1976's The Next Man (Wednesday, CBS), a Sean Connery thriller in which the erstwhile James Bond plays a Saudi Arabian (with a Scottish brogue!) who's signed a mutual assistance pact with Israel. The powers-that-be want him dead because of this, and dispatch an international hit woman, "a Bryn Mawr grad, a ruthless killer and a sexpot. Corneila Sharpe is the last, all right, though her nude scenes, alas, will be cut. Everything else in this mindless mess should have been." Ouch.
Then, there's The Golden Voyage of Sinbad from 1974 (Friday, ABC), a movie "that should be run on Saturday mornings for the little ones." Morning, because if you run it in the evening, not even Ray Harryhausen's special effects will keep them awake. "And the wisdom of the sages, including 'Trust in Allah but tie up your camel,' is highly missable."
The good news is that she had nothing bad to say about either It Happened One Christmas or Sunshine Christmas. Possible reason: they were unavailable for preview.
Edith Efron has a News Watch feature this week that was probably controversial then, and in light of this year's presidential campaign, would surely be so now. Her target: "the liberal feminist fiction of the Helpless Wife," and how nobody on television is challenging this absurd claptrap.
What Efron notes is the epidemic of abused women striking back at the men abusing them, in most cases their husbands. She draws a distinction between the Helpless Wife and the other favorite of news, talk shows and dramas: the rape victim. "Women assaulted by rapists are helpless and unwilling victims of male abuse," she says. "But wives of brutal husbands are not helpless and unwilling victims - they are voluntary victims."
All of them live in houses with front doors. They can walk out those doors at any moment. If they lack friends, family and funds, if they have children, and if, to boot, they are total incompetents, they can go to charities or welfare agencies, any one of which is preferable to being routinely beaten to a bloody pulp. But such women have not walked out their front doors. They've clung to the male brutes like limpets, often for years, consenting to bestial abuse, concealing it, lying about it. They've covered up appalling cruelty to children. They complicity of such women in their own victimization, their genuine guilt, is enormous. But on the "reality" shows I've seen, that point is not made.
That's a very stern indictment. Efron goes on to discuss the psychology of women in this situation, many of whom suffer from a fear of independence, of standing on their own two feet. Anything, including brutal assault, is preferable to that. The problem, she writes, is that only once has she seen this portrayed on television - in the drama Family. It never comes up in any of those "serious" programs, and there's a good reason why. "The liberal feminists want us to believe that the land is burstling with oppressed females who cannot help themselves and need huge new social programs and bureaucracies that the feminists, of course, will run. Whenever such a campaign is on, TV becomes the megaphone."
Efron recalls a recent Phil Donahue show in which a woman who had been abused by her husband for years - had even left him, only to return - had finally had enough, whereupon she burned her husband to death. At this revelation, "the audience of middle-class Philadelphia ladies gave her an explosive hand of applause." Even Donahue seemed taken aback by this, reminding that audience that they were applauding murder, at which a second ovation resulted. "Not only did they applaud murder, but they were hostile to the very notion that the woman had ever had any conscious choice or responsibility in the matter."
This idea, she stresses, is incredibly offensive and derogatory to women, suggesting that they are incapable of independent thought, unable to take any form of proactive action, save when they're pushed beyond the point of no return, and Efron wonders if they're being programmed, in a sense, to behave that way. "However wretched 'battered wives' may be, that has not been an act of compassion but an act of corruption. And signs of that corruption are now showing up in the culture."
It is time, Efron concludes, for TV to "make immaculately clear the difference between an authentic feminine victim of male oppression and a woman who has cooperated every step of the way in her own victimization." To deny that there is such a thing as female responsibility, she says, "is to dehumanize women."
I'm sure that today Edith Efron would be pilloried on college campuses as a self-loathing woman guilty of hate speech. That's only one reason I doubt we'd ever read anything like this in TV Guide today.
I realize, friends, that you might be tired of politics. It seems as if that's all we've lived with these last few months, and with Christmas almost upon us, you probably think it's time to give it a rest. As you know, I try not to dip into politics too much here, and when I do I usually give you forewarning.
I thought this issue was different, because in Crosby's editorial, Levin's article about censorship, and Efron's essay, we see a kind of issue-wide theme being developed, one that's more important than the weekly programming. In addition, all three of these articles touch on issues that remain part of the political dialogue today. In looking at them, we see how things change, and how they stay the same; I sometimes use this phrase in jest, but not here. This is a time capsule issue in a way, because it shows us with specificity what the issues of the time were, and how people thought about them back then. With our perspective, we can see how things have evolved - or devolved - since then. TV
Labels: 1970s, Censorship, Christmas, Movies, Politics, This Week in TV Guide
Thanks for another good look back at a time, unlike many of those covered here, where I can actually remember watching some of the programs that week.
As far as Bing Crosby goes, I thought he was a Republican. I heard on tv that on a West Coast trip JFK was supposed to stay with Frank Sinatra one time, but due to Sinatra's alleged mob ties, JFK stayed with Crosby, who was unlike Sinatra (at the time) a Republican. This affront to Sinatra was somehow blamed (probably scapegoated) on JFK's brother-in-law, Peter Lawford, who was more or less kicked out of the Rat Pack after this.
THE LOVE BOAT ran its first Christmas episode Saturday night, including Dick Sargent playing a priest taking a group of orphans on the Pacific Princess to sing at a stop in Mexico and John Gavin as a man planning revenge on the man in whose place he'd just served a prison sentence. Oddly enough on Christmas Eve, 2 weeks later, THE LOVE BOAT aired a different original episode that was in no way related to Christmas. It included 1 of Will Geer's last performances outside of THE WALTONS, as he died the next April.
I'm pretty sure I saw IT HAPPENED ONE CHRISTMAS this week on Sunday, just before I remember seeing IT'S A WONDERFUL LIFE for the first time, so the tv movie was my first exposure to this story. This version, like the 1973 tv remake of MIRACLE ON 34TH ST., had lots of familiar (in the future if not yet then) tv faces, like Wayne Rogers as Mary's husband George Hatch (Mary & George switched last names for the remake.), Richard Dysart & Doris Roberts as her parents, Barney Martin as Uncle "Willie", and Christopher Guest as Mary's brother, Harry (who wasn't turned into Harriet for this movie).
While I don't remember the Perry Como, I did see EIGHT IS ENOUGH that Wednesday night, which included Will Geer (again outside of THE WALTONS & on a different network) and it was a real tearjerker, as all the family members ended up crying & reminiscing about the first Mrs. Bradford, who'd been played when the series began by the recently-passed Diana Hyland.
I agree with what you wrote about Edith Efron. I imagine if she were scheduled to speak on a college campus now, she'd be banned before the students had to run to their "safe spaces" to avoid her.
This year (2016), NBC ran "Grinch", and the presentation lasted 35 minutes so that the network could air the original 1966 special in its entirety (minus commercials, it was around 26 minutes).
"A Charlie Brown Christmas" this year aired on ABC, while "Frosty" was again on CBS this time around.
Bing Crosby was a Republican, almost all his life.
During the War, he supported FDR - as most Americans did during that time.
There wasn't an "extreme right wing" back then; that didn't come about until after the War, when the Soviet Union asserted itself.
Even then, Bing Crosby, following the lead of his friend Bob Hope, stayed out of partisan politics as much as possible; entree to DC and the White House was all-important, no matter how you voted.
It was only in the late '60s, when everything blew up generally, that Crosby began to publicly identify as GOP; one time he told David Frost that "... my heroes these days are Bill Buckley, Louis Armstrong, and George Blanda!"
We could segue from here to Crosby's morality piece (which was most likely ghosted for him by the like-minded Jim Bacon), and perhaps contrast it with what has become known about how he treated his first wife and his older sons - and maybe tie that in to Edith Efron's advocacy of "Blame the Victim", which even conservative prosecutors place little credence in ...
Jeez, this is getting ugly.
Change the subject ...
Say, did you ever get around to reading my belated Brett Halliday comments (one post late as they were)?
Just thought I'd ask ...
WCCO's Miracle on 9th Street, 1974 - local program...
Yes, Virginia can be seen on TV
TV Jibe: Loyal fans
Remember when - $995.00 for a VCR, 1977
What's on TV? Monday, December 12, 1977
The Lone Ranger, as seen on SCTV
What's on TV? Monday, December 2, 1968
This week in TV Guide: November 30, 1968


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Disney sets 2018 release date for Star Wars spin-off
Image copyright Getty Images Image caption The first Star Wars movie for Disney+ will be in 2019
Disney is releasing two films each year in a new subscription service it is launching in 2022, it has announced.
The films will be separate productions with limited use of CGI in 3D, and the first will be filmed in January 2019.
It will also include live-action and animated content and exclusive pay-TV content and access to films from the film studio for streaming purposes.
The service is not expected to go live until next year.
Disney is using the same model as Netflix for the new service, but it has set aside a higher amount of content – 120 original features a year.
A separate animated film service will also debut next year.
Seth Winter, Disney Channel head, said: "Disney+ will offer fans the finest in family entertainment. Disney+ will be for everyone, whatever the age, and the service will be used for the ultimate family experience."
Image copyright Getty Images Image caption In 2010 Disney had said it would launch a subscription service in 2016, but this never materialised
The two new Disney releases in the first year will be Star Wars: Episode IX – the finale to the new trilogy – and a live-action remake of Mary Poppins.
The news follows Disney's acquisition of most of the assets of 21st Century Fox last year, including 20th Century Fox Studios and a clutch of studio films.
The trio's forthcoming movie projects, and the live-action Mary Poppins is to be released in December 2018.
The streaming service includes exclusive pay-TV rights for films which Disney produced and released in the past decade as well as select historical properties and classic titles.
Image copyright Disney Image caption Disney titles for Disney+ include Pirates of the Caribbean: Dead Men Tell No Tales and Jungle Cruise
Advance service plans
Walt Disney Company Chairman and CEO Bob Iger said the company would adopt a "real world" service-launch model for Disney+ starting in fall 2022, with 12 million subscribers up front.
He said new online service was a natural extension for Disney and its brands, rather than a standalone media giant.
"The internet was created to deliver value to customers and deliver it in a new and more personal way," said Iger.
"Disney+ will be an online experience that will continue to take advantages of technology to deliver on that promise, providing a premium entertainment experience for families."
The service is going to have a programming library in the tens of thousands of titles, as well as programmes that are exclusive to it.
Disney is also expected to use some of its assets and staff to develop the service, but not all of the Fox assets.
The service would be targeted at children and families, allowing for additional exclusive content not available elsewhere.
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