text:
The producers of the show name some of their favorite stories.
I produced this episode, and it almost didn't happen. Some staffers wanted to run different stories that week, but I stubbornly insisted on combining these. I liked the idea of doing something about phone hotlines. So Sean and I sat in his office for an hour running through various important phone calls in his life. When he suggested his relationship with his stepdad, the entire show clicked into place. In the end, the show says something about the inimitable power of the sound of a person's voice...and in an era of texting and gchatting, this reminder seems increasingly valuable. — Stephanie Foo
Joel Lovell's story in Act One is a model of great writing for radio: insightful, funny, and giving the story meaning through his sheer enthusiasm. Act Two — written right on the cusp of America's poker boom — is the story that addicted me to low-stakes poker for a few years. — Ira Glass
Act V
This story was made before I worked at the show, so I can take no credit for its greatness. Jack Hitt reported on a group of inmates as they rehearsed and staged the last act of Hamlet. I heard it as a listener, like everybody else, and I just think it's the absolute perfect radio story. A perfect hour. — Brian Reed
Abdi and the Golden Ticket
This hour-long tragedy/adventure story starts with a guy in Somalia who wins a very rare pass to the United States — a "diversity visa" — but it turns out it's incredibly hard to get from here to there, even with a golden ticket like Abdi has. And no one explains how emotional and intense and funny and romantic the journey is like Abdi. It's one of those rare page-turner feeling stories that also helps you understand something very important about our immigration system. I was in tears by the end of listening to it, mostly out of relief that the adrenaline I was dealing with while listening was finally over. — Zoe Chace
A story of a mother and her son built out of small moments, perfectly handled to preserve their intimacy and depth. Nancy Updike always understands the weight, and meaning of small moments like these, and here she uses them to get us as close up as we can to what is real about the lives of two human beings. — Chana Joffe-Walt
Duty Calls
An hour-long show about taking care of an alcoholic parent. Gosh, that sounds bleak even to me, and I'm drawn to that kind of thing. Let me try again. In his thirties, Josh Bearman steps in to take care of his mother when her life is falling apart. Gets at the particular sadness of a parent self-destructing. Beautiful and personal. Not redemptive. — Susan Burton
I first heard this after it aired. I found a CD of it at WBEZ. I was just out of college — working in the station's newsroom at the time — and kind of adopting Chicago as my hometown, and trying to take in everything about it. For me, this show took this powerful chapter of history, and just fundamentally changed how I thought political stories could be told on the radio. — Ben Calhoun
Harper High School - Part One
Harper High School - Part Two
Most of us have a set idea of what a standard American high school looks like. These two shows will completely flip that on its head. This American Life sent reporters to embed at Harper High School on the South Side of Chicago for six months. They were there the year after three Harper students had been shot to death, and they documented how the school created a new version of normal, while grappling with the random violence that surrounded them. It's heartbreaking and uplifting and even funny. — Dana Chivvis
The Perils of Intimacy
Act Two: Why Can't We Be Friends?
Neil Drumming is a master at finding stories that he feels a personal connection to, and then using that connection as a way of framing the story. You get the see the story through his eyes, which are fascinating eyes to see things through. This is one of his most inventive attempts at that, in which he sets up two grown men on a platonic date — a man-date — because he's too lazy to make new friends himself. It's so enjoyable to listen to. — Brian Reed
No we did not invent this episode while stoned. I swear. Five acts, each mapping the world a different way: Sight, sound, smell, touch, taste. A totally weird, great array of stories. — Ira Glass
Ira Glass's perfect, intimate rendering of the American prom experience, and Susan Burton with what it looks like when that prom experience is actually life-changing. Plus Sweet Valley High. — Chana Joffe-Walt
The Night in Question
A masterpiece of reporting on the legacy of a huge historical moment — the assassination of Israeli prime minister Yitzak Rabin. Told irresistibly, like a page-turner mystery novel, by Dan Ephron and Nancy Updike. — Zoe Chace
Close look at school segregation in Missouri. Not only one of the most exceptional episodes of This American Life, but among the strongest journalism anywhere in the past decade. This story brought new attention to integration, a project that we as a nation started but then abandoned. Expertly reported, and emotional, too. A recording of a town meeting at which parents air their grievances about black kids coming to a white school is startling and revealing. Listened with my then-10-year-old in the car; this episode is good for kids, not because it's "safe," but because it's moving and provocative. This American Life producer Chana Joffe-Walt and MacArthur "genius" grant winner Nikole Hannah-Jones tell this story. — Susan Burton
Our Friend David
Reading David Rakoff is a pleasure. Hearing David Rakoff on the radio has been among the great joys and privileges of my life. No one is funnier, more charming, better at crafting a masterful radio riff. He feels like radio in its purest form — a voice that always was, beyond time. Even now, years after his death, I'll regularly find myself laughing aloud as I walk down the street, thinking of a joke from one of his stories, or one of his perfect turns of phrase. — Emily Condon
Right to Remain Silent
Act Two: Is That a Tape Recorder in Your Pocket, or Are You Just Unhappy to See Me?
This one's a modern day Serpico kind of story, with secret recordings and everything. In this case the recordings came from a NYPD officer who was trying to document police corruption inside his Brooklyn precinct. And I remember so clearly still, Ira and I sitting in his office, listening to the raw audio the officer had collected and being floored at how a key moment plays out. It's still amazing to me. It tells you so much about both the officer and the exact situation he is in. — Robyn Semien
What Happened at Dos Erres
This is the first big investigative story I did at the show, and I'm still very proud of it. It tells the story of a man named Oscar, who learns in his thirties that the life story he thought he had is not his life story at all. But his dramatic personal story is tied into a much bigger one about delayed justice and an entire country finally reckoning with its past. — Brian Reed
My Undesirable Talent
Act Two: Uganda Be Kidding Me
To be honest, I didn't want to produce this story at first because the main character seemed like kind of a jerk. But I really enjoyed our interview, and the challenge of making the story became figuring out what was relatable about him. From that point on, the narrative was so clear-cut that I got to just have fun with it. — Neil Drumming
The Giant Pool of Money
The very best reporting of how the financial crisis happened is Adam Davidson and Alex Blumberg's "Giant Pool of Money." The financial crisis happened because of people — not "banks" — but people inside and outside the financial system. This episode makes you understand that to your core. — Zoe Chace
Act One: Death
In this story, Nancy Updike spends time at a hospice. I love this one because it's so deeply personal and moving. In the recordings you feel everything Nancy feels, and also, she writes with such precision and honesty. — Elna Baker
The Radio Drama Episode
Act One: 21 Chump Street: The Musical
Lin-Manuel Miranda adapts a reported story into a musical. High school, yearning, betrayal, and drug policy, too. Material of real life transformed into art: These songs are as permanent as those on any original cast recording. This is This American Life at its best — inventive, lasting — and Miranda as well — assured, exuberant, casually brilliant. — Susan Burton
Three Miles
This is a perfect radio story. I think about it all the time. It's great reporting, great writing. Chana's last interview in it is astonishing. — Nancy Updike
Break-Up
I can remember exactly where I was when I first heard this story by Starlee Kine about a break-up. I was standing underneath an old wooden staircase, totally transfixed and trying not to breathe too loudly so I didn't interrupt it. This story is what first made me fall in love with This American Life. It also made me feel understood and less alone in the world. —Elna Baker
The Sanctity of Marriage
I heard this show over a decade ago, when I wasn't married, and it helped me believe (like I did then) that I should never get married, and I've listened since, as a married person, and it has the opposite result. I guess, if you like a story that gets in to the nitty-gritty on love and struggle, listen to this! Also "Best Laid Plan" in the Valentine's Day show. Also "Two Can Be as Sad As One" in Fermi's Paradox show. Also "Let Me Kiss Your Stiff Upper Lip" in the Intimacy show. And please please listen to Dr. Phil in the "Break-Up" show. Another: Lydia Davis' short story "Break It Down" in the Intimacy show. — Robyn Semien
20 Acts in 60 Minutes
An audience favorite where we upend the normal rules of the program and try to squeeze as many stories as we can into one hour. The show ends with the story that always makes our longtime Senior Producer Julie Snyder cry. — Ira Glass
Act Two: If You See Racism Say Racism
The comedian W. Kamau Bell meets up with his wife, who's white, and her friends at a cafe, and a waitress tries to shoo him away, thinking he's just some random black guy bothering them. It's the kind of street-level racism that's somehow shocking and depressingly unsurprising at the same time. But what Kamau made out of that incident added so much to the conversation about race in this country, and he introduces us to characters the likes of which I hadn't heard on This American Life before. I feel like most stories about race on public radio are 101 — in that they're made for white audiences. This story is so much more advanced that that. Having had nothing to do with the production of this piece, I can say I was so proud of our show for putting it on the air. — Sean Cole
Act One: Love Is A Battlefield
This is one of the most intensely personal and heartbreaking stories I've ever heard. You'd be served well if you listened to all the radio that Alix Spiegel ever made — but this is one of her very best. — Zoe Chace
I'm From the Private Sector and I'm Here to Help
I remember hearing this story and being blown away by Nancy Updike — a recurring experience for me. Her writing is always so casual, but precise. In particular, there's this stretch, where Nancy describes the Green Zone — and she takes you from the wide shot, to a close up. It's like she's a director moving a camera. That's something I admire about Nancy's work in general. She's always zooming in and out editorially — it's a through line, I think, in how she handles and tells stories. I've always looked up to her for that, and tried to train myself to do that more. — Ben Calhoun
This episode is close to my heart because I adored and related so strongly to the guy at the center of it, Cole Lindbergh. He started at his dream job as a teenager, reinvented the job to conform to his own personality and sense of fun, and then because of that, found himself suspended in a kidlike emotional state for way longer than his loved ones thought advisable. And yes okay maybe I'm accidentally getting too personal in this show recommendation. Let's just leave it at that. — Ira Glass
Act One: When The Wall Came Tumbling Down
This was the first piece I did for the show. It's one of those rare stories where the people it happened to tell it entirely themselves totally beautifully. — David Kestenbaum
It's clear how much fun everyone had imagining this show and putting it together, and that's part of the fun of listening to it. The show manages to cram 20 tiny stories into an hour, and there's still room for real emotions and stakes. — Nancy Updike
A month at a car dealership. There's a countdown that drives the plot — the dealership has to sell 129 cars by the end of the month to get a bonus. But it's also a closely observed character study. Featuring solos from many members of the band: Sean Cole, Ira, Sarah Koenig, Brian Reed, and Robyn Semien all contribute stories. — Susan Burton
I am pretty sure I voted against doing this story about a dumb college prank when it was pitched, but here I am adding it to my favorites. It is none of the things I feared. Idiocy is called out! The female love interest does not forgive the idiocy! And she has things to say! Interesting things! Plus, the idiot is not an idiot by the time you get to Neil Drumming's ending, which kills. — Chana Joffe-Walt
That's One Way to Do It
Act One: Sex, Boyhood and Politics in South Carolina
As Donald Trump started gaining traction in the Republican primaries, we sent Zoe Chace to South Carolina. We were bad editors and gave her very little direction; we just said, "Go find a story!" I remember she called me one day from the road and said she'd met this high school student named Alex, and she couldn't stop thinking of him. He was black, gay, and an ardent Trump supporter. I told her she should go back and see him again. Maybe there'd be a story. This is the incredible story she delivered, documenting the complex ways our personalities and experiences influence who we vote for. — Brian Reed
The Job That Takes Over Your Life
Act One: The Test
Scott Carrier is one of the weirdest voices in radio, indescribable. One time, when he'd lost everything in his life, he took a job testing people for signs of schizophrenia. — Zoe Chace
This story is so important, and so moving — and honestly, in its production, Brian Reed (who produced it) encountered so many challenges. But through total grit and faith, pulled together this hour that left me frozen on my kitchen floor when it aired. — Ben Calhoun
Tell Me I'm Fat
Act Two: It's a Small World After All
Elna Baker tells her story of being fat and then losing a lot of weight in her twenties. Intimate, with attention to the experience of being in a body that is unusual on the show: "After dropping the weight, I had so much extra skin that I could lay on my side and pull it a half foot in either direction." About not just weight, but about wanting something even though it's the wrong thing to want, or you want it for the wrong reasons. Complicated, vulnerable, confessional, original. — Susan Burton
This was one of my favorite shows to work on. Nikole Hannah-Jones was a brilliant collaborator, and we had such a satisfyingly clear mission: We were going to talk about school segregation. Segregation is the basic, assumed landscape of most people's lives, but asking people in St Louis to talk about it led to such interesting tape. I remember rushing home from our interview with the school superintendent so I could listen to the interview all over again. — Chana Joffe-Walt
Ask a Grown-Up
Act Four: Ask A Very Grown Woman
This is a tribute that Ira wrote to his best friend Mary, who died in March of 2017 at age 89. I think the best of the stories on our show help you figure out things that you think about your own life, and give shape to thoughts and feelings that had otherwise been amorphous. My mom died about a year and a half before this tribute aired. I've heard it probably four or five times, including in the first edits of it, and I cry every time — like genuinely sob — partly because I know the ending is coming. Ira says things here that I couldn't have said better about my own grief. I'm choking up as I type this. — Sean Cole
Tough Room 2011
Act One: Make 'em Laff
I listened to this long before I worked at This American Life and was completely flabbergasted by the minute attention to detail that goes into dreaming up the Onion headlines every week. I couldn't believe how much chaff the Onion threw out to get to its gems, and the elaborate, specific and terrifically serious systems they'd built around humor. Then I started working here, and I just recently listened to this again. I was shocked. My one big retrospective edit for Ira in this piece is: how does he not mention that this is exactly what working at This American Life is like? Seriously. Made me realize that we're a helluva tough room, too. — Stephanie Foo
Kindness of Strangers
This early show just has a great array of stories. I love especially the opening and the emotion-filled Canada Lee story. — Ira Glass
Starting From Scratch
Get Over It!
Act One: When You're In Love, The Whole World Is Jewish
Two openings: The first one here starts out, "Things were just starting to look up for Jorge." The next one, totally different, starts out this way: "Well it was Danielle's cousin Lynn who said it best." You might forget because there are so many podcasts now that this is a very strange and startling way to begin a radio show. These two prologues to the show are master classes on how to take a small, personal moment in a person's life and make it mean something very big. I think about these two stories all the time. — Zoe Chace
I love when my co-workers and I get to go report a story together. It's just fun to be out in the world together, strategizing the tape we want to get and the scenes we want to document. For this episode, a bunch of us spent an entire month at a car dealership on Long Island as the salespeople there tried desperately to make their monthly quota. It was so action-packed! By the last day of the month, there were five or six of us there from dusk to midnight, running around with microphones, trying to catch every last negotiation, every last test ride. Saying, "You go follow Jason! I'll go get Manny!" It was exhausting and exhilarating and a ton of fun. — Brian Reed
Trends With Benefits
Another Chana Joffe-Walt special that shows how this country works by focusing in on a small group of people in a place. The rise of people on disability insurance is like the missing puzzle piece of our economy that few people see and no one explains like Chana does. — Zoe Chace
Return to the Scene of the Crime
Act Three: Our Man Of Perpetual Sorrow
I was pretty torn up watching Dan Savage talk about losing his mom on stage in front of a sold-out crowd. I could never do anything like that. I lost my mom too, a few years before this show, and I often wished I could've sped up how hard and long I mourned her. I still wonder if Dan's daring had that benefit. — Robyn Semien
Recordings for Someone
Act One: Buddy Picture
This is my favorite radio story I've ever heard. Maybe because it got me into radio professionally. It brought me such joy listening to it alone, in my studio apartment in Philadelphia one night, that I decided I would have to figure out a way to learn how to do stories like this one, by one of my favorite radio-makers ever: Jonathan Goldstein. — Zoe Chace
The main reason I picked this one is because it contains a This American Life classic by Alix Spiegel about prayer walkers in Colorado Springs. But then I realized that the whole episode is superlative. From the very first words of it, I remember what drew me to this show in the first place. Ira begins the program by saying, "Okay, here's a couple for you." It's like he can't wait to tell you the story he's telling you, and like he's telling it only to you. Alix's story is heartbreakingly beautiful and surprising and empathetic — intimately personal at the same time it's universal. I feel like I learned stuff about making radio stories from her here. There's this moment where she wants to give you a sense of this one character and his proximity both in the story and in relation to her, and she does it, in part, by simply saying, "I like him. I like him a lot." And then my favorite guy Scott Carrier rounds out the episode with what is essentially a funny, moving biblical fable about his brother and him. — Sean Cole
Americans In Paris
I visit David Sedaris in Paris and learn all sorts of things about him. Janet McDonald rounds out the show with a funny, sharp-eyed look at what it's like to be a black American ex-pat there. — Ira Glass
This is a feat of journalism and exquisite writing by Nancy Updike. In 2004, she documented the growing number of private-sector workers in Iraq. The way Act One opens contains one of my favorite pieces of tape of all time and so perfectly sets up the rest of the show. And just listen to the way she describes this one restaurant in the Green Zone: "...a Chinese place that is so obscurely located, it's like the gay bars of the 50s. You have to go with someone who already knows where it is. Otherwise, why would you ever walk through the chipped opening in the stone wall next to the hospital, and go down the long, rubble filled alley? And if you did, how would you know to make a left into the small, crab-grassy courtyard with plastic chairs and tables with boxes of tissue on them?" That one paragraph alone is a master class on writing for radio or just writing period. I love this episode so much. — Sean Cole
The Friendly Man
Act Two: The Friendly Man
Scott Carrier's radio stories are completely original — drenched in this haunted feeling that's like no one else. These days he makes a podcast called Home of the Brave, but he used to do lots of stories on our show. This episode is a compilation of some of the most memorable. — Ira Glass
Fear of Sleep
Act One: Stranger in the Night
One of the first stories I heard on This American Life, and possibly Mike Birbiglia's funniest. Mike learns he has a sleep disorder, but one that kind of gives him superpowers. Superpowers that almost kill him. — Dana Chivvis
My Summer Self
Act Three: It Takes A Villa
Neil's interview with his dad in this story kills me. The story overall is a little gem. A simple question about his family's vacation habits leads him to have a conversation with his father he'd never had before. — Nancy Updike
In Dog We Trust (2000)
The first time I heard This American Life, I was 20 and the assistant manager of a store that sold collectibles (comics, sports cards, role-playing games) and pornography. One afternoon I was in the backroom doing the day's banking, and I turned on the radio. A man with a high voice was telling a story about the succession of pets his family had over the years. I laughed and laughed until the gut-punch turn at the end, when the laugh turned to a yelping sob. The feeling that moment caused me to seek out more David Sedaris, and more of the show and in some ways probably determined the course of the my life over the 18 years since it aired. I no longer work at a porn store, for one. — Emily Condon
Will They Know Me Back Home?
Nancy Updike tells the story of an Iraqi interpreter named Sarah. Something like a profile for the radio. She expertly situates a very personal story in a larger context. About motherhood and transformation; about being stuck in one life and then escaping into another, more vital life — and the price you pay for that. (In wartime Iraq, it's devastatingly high.) This whole episode, hosted by Nancy, is extraordinary. — Susan Burton
Dr. Gilmer and Mr. Hyde
An amazing story by the amazing Sarah Koenig, pre-Serial. — David Kestenbaum
Somewhere in the Arabian Sea
If you gave an assignment to a hundred journalists to go report on a Navy aircraft carrier--I'm certain that you could get a bunch of different versions of that story. Exposés, investigative pieces, puff pieces. But I really doubt that anyone but This American Life could've gotten this emotive, funny, honest, and realistic picture of Navy life. Also, I've had servicemembers tell me they were impressed with Ira's ability to keep calm and roll tape when he thinks a terrible accident has just occurred. — Stephanie Foo
Act One: Best Laid Plans
I'm a sucker for stories about relationships. And Kurt Braunohler is wonderfully frank and articulate about his experiences and feelings during this very fraught and potentially disastrous relationship experiment. It's disturbing and familiar and funny all at once. — Neil Drumming
Of all the stories and shows I've been privileged to work on, I am especially proud of these. I remember at one point those of us who worked on these episodes were working what I think was our sixth weekend straight, and Ira said, "I think we all realize this is some of the most important work we might ever get to do." I still feel that way. I feel grateful to Harper and the staff and families who trusted us with their stories. I feel grateful to have been shoulder to shoulder with Julie, Ira, Robyn, Linda and Alex. I learned so much from all the other journalists on that team. It pains me that years later Chicago is still struggling so desperately with this same issue. — Ben Calhoun
How I Got Into College
My favorite nonfiction storyteller, Michael Lewis, author of Moneyball and The Big Short, comes onto our show with a spectacularly interesting story. — Ira Glass
The story that gave birth to Planet Money where I worked for years. It's still an inspiration to me. — David Kestenbaum
I Thought I Knew You
Act One: Who's Really On Line 1?
Zoe is one of my favorite people to listen to on the radio. She always sounds like she's paying attention. She's interested. Her political reporting throughout the 2016 political campaign was phenomenal (which is why she won a duPont Award for it). The story she did about Tony Beam, a conservative radio host, stands out for me. Zoe gets inside a jokey battle Tony is having with one of his listeners, and it ends up being a great election story. — Nancy Updike
Quite simply, one of the best radio stories ever made. About why our world is like it is. Chana Joffe-Walt tells the story of a girl at a public school in the Bronx, who visits a fancy private school three miles away, and what happens after that. — Zoe Chace
Stories of Loss
Act Three: Ashes
Some of David Sedaris's most memorable writing is when he's not trying to be funny at all. Another like this is his story "Now We Are Five." — Ira Glass
Lower 9 + 10
If you haven't listened to the show's reporting on Hurricane Katrina, maybe do that first. They are very special shows, during a time when the country is reporting the same tragedy simultaneously, but the-first person accounts of what happened by This American Life are time capsules of American compassion, and its absence. Those shows made me want to do that kind of journalism. Our 10-year follow up show is one of the things I'm proudest to have worked on. Especially great, and my personal favorite, is Zoe's story at Mercede's Place, and her subsequent, intimate talk with Jean Gibson. Zoe is so in her skin talking to those strangers at a bar about anything, even tragedy. And Jean's comfort opening up to Zoe feels like they are more family to one another than friends. — Robyn Semien
One Last Thing Before I Go
Act One: Really Long Distance
This story, about a phone booth in Japan that attracts thousands of people who lost loved ones in the 2011 tsunami and earthquake, totally gutted me. Miki writes this one so beautifully. It opened my heart in a way no other story has before. — Elna Baker
Origin Story (2014)
Act One: Mad Man
Sarah Koenig — the Serial host — did this story about her dad that starts really funny (he insisted that he invented thumb wrestling) and then tells some amazing history. He was one of the real-life Mad Men back in the 50s and 60s, creating some of the iconic ads of that era. — Ira Glass
Other People's Mail
Act Two: Thief
A college freshman who works in the campus post office opens other people's mail and imagines their lives. A story with quiet power. Written in the 1980s, aired in the 1990s, when it was still — just barely — customary to be a college freshman handwriting letters. But captures something timeless, the feeling that your life is smaller, and lesser, and that others inhabit brighter, more connected, loving worlds. By the novelist Mona Simpson. — Susan Burton
No Coincidence, No Story!
Putting together this show with Sarah Koenig was probably the most fun I've ever had producing anything. Listeners sent us thousands of coincidence stories, and then I lined up my favorites and surprised Sarah with them in the studio. She never knew what the punchline of the story was, but I did, which made it really fun to watch as she did the interviews. We laughed so much. There's one story in this show — Brother Can You Spare a Dime — that I literally can't retell because it cracks me up too much. The moment I try to speak it aloud, I dissolve into stitches of laughter. — Brian Reed
Doppelgängers
Act One: Dead Ringer
I am still awed by the doggedness with which Ben Calhoun pursued this seemingly trivial topic to the ends of the earth. I remember going to a party while listening to this piece in my headphones and just standing outside like an idiot waiting for it to come to its satisfying conclusion. — Neil Drumming
Arms Trader (2009)
This show will change how you think about foiled terrorist plots. Plus, it's hard to turn down a story about a government sting. Not to mention the case was prosecuted by Chris Christie, back before he was governor of New Jersey. — Dana Chivvis
Act One: Whose Great Idea Was This?
I love this essay. Mariya's writing is sharp and honest. She does not let up. The first time I heard the essay was over the phone when Mariya was reading a draft to some producers — Robyn Semien had been working with her. When Mariya finished reading, we were all silent. — Nancy Updike
Golden Calf
Act One: Bowing Before The Famous
Back in the early 2000s, I was listening to the radio one afternoon, and I heard a story about a guy who lived in Texas who, on a lark, listed himself as Willie Nelson in the phone book. By the end of the story I was weeping, and I wanted to hear it again right away. There was no internet around, at least not in my life, so I found a blank cassette, and called the radio station to find out when they were broadcasting it again. I taped it, and then listened to it in my car many times in the ensuing years. The less said about it going in, the better. But boy, did I love that story. — Emily Condon
Before Sarah Koenig created Serial, she was making stories like "Dr. Gilmer and Mr. Hyde" for This American Life. This is one of the great mystery stories I've ever heard. It's also one of the best hours I've spent listening to the radio. — Zoe Chace
There are shows that come back to haunt you, that make you wonder if you're getting your priorities right, or being kind enough to yourself and the people around you. Lindy West and Elna Baker especially do that for me in this show that Susan Burton had a vision for, and produced. — Robyn Semien
We Are in the Future
Act Three: The Black Sea
This is a song that the show commissioned for an episode about Afrofuturism produced by Neil Drumming and Stephanie Foo. Neil conceived of the episode and hosted most of it. I fiercely love the entire episode, but I had a particular moment listening to this song. It's from the hip hop group clppng featuring Daveed Diggs from the Broadway show Hamilton. It's based on the myth that when pregnant women were thrown off of slave ships during the middle passage, their children were born underwater and created a whole underwater civilization. The story, and the song, are both haunting and upsettingly beautiful. This is like nothing I've heard anywhere else on public radio. — Sean Cole
"The Giant Pool of Money" was a double revelation for me. First, a complex system made generously accessible and relevant. Second, a blueprint for a new way to make radio. I had never seen radio used to tell a story about individual human experiences and draw an intricate map of the much larger system those humans lived in. It's a model I've been trying to copy ever since. —Chana Joffe-Walt
I don't know why, but this top to the show always sticks with me. It's just so delightful. I think I actually applauded when I heard it on the radio. — David Kestenbaum
Petty Tyrant
A lot of my favorite nonfiction takes the specific and extraordinary, and looks at it through a prism that makes it speak to the nature of the world we all live in. I remember when I first heard this show, just loving how Sarah built this diorama of a story that did just that. —Ben Calhoun
Act One: Optimus ... Way Past Her Prime.
Comedian Anthony Devito tells the story of his grandmother's recent metamorphosis. Full of heart, humor, and a heavy dose of family dynamics, this one has everything I look for in a story. —Elna Baker
Simulated Worlds
This early show is one of my favorites ever, because of its weird concept, the mix of stories and – most of all – Act Three, where we take a medieval scholar to Medieval Times, the dinner-and-jousting arena. To our surprise, he loved it, for fascinating reasons. — Ira Glass
The Ghost of Bobby Dunbar
You know how when you buy new music that you love, you just play it over and over? When it aired, I played this "Bobby Dunbar" episode back to back uninterrupted. I found it mesmerizing. It's a suspiciously ambitious hour of radio — a hundred-year-old mystery brought into modern times. — Robyn Semien
Miki Meek plays us the sound from a phone booth in a field in Japan, where people are invited to pick up the phone and talk to family members who died in the tsunami. People walk in and you hear them awkwardly try to begin a new kind of conversation with a now dead loved one. Or they make small talk, talk weather, read, weep. It is the whole range and it is perfect. — Chana Joffe-Walt
Act Two: The Hole Truth
So much about how we feel about a story depends on when we hear it, and I heard this at exactly the right time in my life. I was just entering my twenties and in the process of taking a good, hard look at myself, how others perceived me, and who I wanted to be going forward. Gabriel Delahaye's bracingly honest and awkward experiment helped me understand: I definitely did not want to be an a$$hole...in fact, think I became a better person because of this story. — Stephanie Foo
Act One: Anti-Oedipus
This story by Nancy Updike is one of the great radio classics, like it should be taught in eighth grade next to The Odyssey. It feels like an old story, and a timeless story, a story about all families and a story about a highly unusual family, people who love each other but can't be together. If there is a canon of narrative radio, this is where to start. — Zoe Chace
I remember when Chana pitched this story. She'd seen a photo essay about a program where students from a struggling public high school in the Bronx would travel three miles away to one of the fanciest private schools in the country. It had piqued her curiosity, so she called some of the teachers involved, and heard a story about one girl, years ago, who'd freaked out when she saw how nice the private school was. And who had somehow disappeared. Chana threw herself into tracking down that girl — and it resulted in one of my favorite stories we've ever aired. — Brian Reed
This is one of those episodes where I vividly remember the experience of hearing it, almost in real time. I was on a walk, and I remember what block I was on for certain plot points. The anchor story, by Sam Shaw, captures so perfectly the messy reality of a dreamer who lives in a world bound by physical and existential limits. After all the meaty plot of that story comes a small, lovely coda: a group of This American Life regulars write their own variations of William Carlos Williams' near-perfect, three-line poem, "This is Just to Say." — Emily Condon
Act One: Just South of the Unicorns
As far as I can remember, this was the first episode of This American Life that I'd ever heard — and I didn't actually hear it. I read a transcript. I wasn't familiar with the show at all, but I was very familiar with its subject, the fantasy writer Piers Anthony. His books were among my favorite novels as a kid and hearing about him, fleshed out in three dimensions, was revelatory. — Neil Drumming
A whole hour on the blurry moment where pre-pubescence and pubescence overlap, in the world, in the classroom, at a dance. Ira, Lisa Pollak, Alex Blumberg, Jonathan Menjivar, and Sarah Koenig all have reporting cameos, plus my favorite Domingo Martinez short story is in here too. If there's a radio equivalent to channel surfing and skipping all the new stuff just to watch your old standby favorite, which you've seen countless times but can't get enough of, this episode, for me, is that. — Robyn Semien
This is a real epic, about a man named Abdi leaving home and trying like hell to get to a better life. Abdi is so charismatic, and his story plays out with some tense, real-time recordings as he tries to stay alive and out of jail in an increasingly angry city. It's just a great story. — Nancy Updike
This is one of the first stories I helped find for the show, where Kurt Braunohler talks about the Rumspringa-like break he and an ex-girlfriend took from one another. I love the questions that Ira asks. And there's a part about a dog and sugar that I still think about often. —Elna Baker
If You Don't Have Anything Nice to Say, SAY IT IN ALL CAPS
Act One: Ask Not For Whom The Bell Trolls; It Trolls for Thee
It's incredibly satisfying to hear Lindy West confront the horrible troll who impersonated her dead father online. — Ira Glass
My Experimental Phase
Act One: That's Funny, You Don't Look Jewish
I remember Julie Snyder pointing this story out to me. In addition to being a great story about music and art, and culture and religion, it's a radio story that was meant to be a radio story. Every time you turn a corner, there's sound of something and it's like another dimension of the story opens up. — Ben Calhoun
Act One: 10,000 Brainiacs
Why are poor countries poor is one of the classic questions in economics, and really, in life. This episode on what happened right after Haiti's earthquake is one of the clearest answers to that question you've ever heard. So smart and good. — Zoe Chace
It'll Make Sense When You're Older
Act Four: Old Age
A physicist tries to understand his own mind, and time. All things near and dear to my heart. — David Kestenbaum
Act Two: Mon Ami Ta-Nehisi
Neil Drumming was friends with Ta-Nehisi Coates before Coates became a best-selling writer. What does that do to a friendship, when one friend becomes famous? A personal essay in audio form. Risky and honest and fun. — Susan Burton
Act Two: Where We're Going, We Don't Need Roads
This was one of my all time favorite stories to produce and co-report, in no small part because I got to work with my dear pal and radio hero, Jonathan Goldstein. I could write about this one for a page and a half but, in short, Chana Joffe-Walt had read two studies that she thought suggested a fun story: One said that 10 percent of people surveyed about "future technologies" wished they could travel in time; the other study said the desire to time travel was less prevalent among people over the age of 50. So Jonny and I set about finding out why people want to time travel and why older people don't tend to want to. It was an unusual case where we structured the whole thing before we got any of the tape. Jonny and I had a lot of fun doing the interviews and also writing the jokes — especially the jokes we wrote for each other. — Sean Cole
I love when the show documents something everyday that nobody would have thought to document, and the world feels full of unknown miniature dramas. This story about an Ethiopian girl ordering tea in English for the first time gives me that feeling. — Chana Joffe-Walt
Act Three: Middle Age
Like any fan of the show, I'm always delighted when the producers reveal something of their personal lives. There's just something riveting about this quiet exchange between Ira and Chana — particularly in the moment where Ira pretty clearly and jarringly enunciates the differences between them. — Neil Drumming
More Recommended
New to This American Life?
"When I'm trying to explain our program to someone who doesn't know it, I stammer a bunch of words like 'entertaining,' 'funny,' 'surprising plot twists,' 'true stories but not boring I swear' … and then I just give them this list." — Ira Glass
View this list
Staff Picks: David Kestenbaum
David writes about his soft spot for stories where the plot propels the thing, where you keep wondering how everything is going to play out.


We live in a world where everything resides online and not every older person is familiar with modern technology so can often benefit from some help and guidance to sort out their problems.
Our Advocates visit older people in residential care or their own homes in order to help them to clarify and define the nature of their problem.
We are not a campaigning organisation, but a confidential advocacy service. We use trained volunteers who visit older people in their own homes to express their individual needs, either for themselves or through a visiting advocate. Not all of us are able to be effective advocates on our own behalf even before we are old.
Advocates need to have a professional approach, good communication and problem solving skills with a caring and patient manner.
All Advocates will require an enhanced DBS check for working with vulnerable adults.


It's time for our annual Sioux Falls AIDS Walk. This year, we're challenging all of our participants to help raise extra funds that will go towards helping local AIDS/HIV patients.
OUR CHALLENGE: Raise or self-donate an additional $30 (not including your registration fee) and you'll receive an AIDS walk insulated tumbler that you can use and show your support for AIDS Walk year round.
Prize for every individual that raises $30 or more.
Prize for top fundraising individual.
Prize for top fundraising team.
Awards for top male, female, and youth (ages 5-12) finishers.


text:
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var expect = require("chai").expect;
var sinon = require("sinon");
var _ = require("lodash");

var utils = require("../../utils");
var MetricsProvider = require("../../../lib/providers/metrics-provider");

describe("MetricsProvider", function () {

  var sandbox;
  var testContainer;
  var metricsProvider;

  before(function () {
    sandbox = sinon.sandbox.create();
  });

  beforeEach(function () {
    testContainer = utils.getTestContainer(sandbox);
    metricsProvider = new MetricsProvider(testContainer.screen);
  });

  afterEach(function () {
    sandbox.restore();
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  it("should store metrics", function () {
    _.each(["a", "b", "c", "d", "e"], function (data) {
      metricsProvider._onMetrics(data);
    });
    var limit = 3;
    expect(metricsProvider.getMetrics(limit)).to.deep.equal(["c", "d", "e"]);
  });
});

redpajama_set_name: RedPajamaGithub


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Cardigan Threads is the fashion label of Sydney-based artist Jeff McCann. Celebrating sustainability and the handmade, Jeff repurposes unwanted cardboard and transforms it into fashion, accessories and costumes, functional products, art and sculpture. His statement earrings are colourful, fun and approachable - perfect for special occasions, one-of-a-kind gifts or a treat for yourself.
The Blue Eye Studs are made from repurposed cardboard with hand painted design and finished with water resistant varnish.
Earrings Big Tassel Pink & White Back in stock soon.


Hate crimes in the United States in 2017 saw the largest increase, new FBI data said Tuesday.
WASHINGTON — Hate crimes in the United States in 2017 saw the largest increase — to more than 7,000 — since a period immediately after the terrorist attacks of Sept. 11, 2001, new FBI data said Tuesday.
The figures noted a double-digit increase in anti-Semitic crimes, the largest increase over the previous year, since anti-Arab and anti-Muslim attacks spiked after the 2001 attacks.
One omission from the report was the August 2017 death of Heather Heyer at a rally in Charlottesville, Va. and another involved the stabbing deaths of two men in Oregon over an anti-Muslim rant.
Tuesday's report noted 7,175 incidents of hate crime and 8,437 related offenses motivated by race, ethnicity, ancestry, religion, sexual orientation, disability, gender and gender identity bias.
FBI statistics on hate crime data submitted from law enforcement agencies across the United States are published annually. Data are collected under the Hate Crime Statistics Act of 1990 and subsequent updates, which require the Justice Department to gather information about crimes motivated by race or ethnicity, religion, sexual orientation, disability, gender and gender identity.
According to the FBI, a total of 7,175 hate crime incidents were reported in 2017, representing a 17 percent increase over 2016 data and the greatest single-year increase reported since 2001, when hate crime targeting Arab Americans and American Muslims, and those perceived to be Arab or Muslim, surged in the aftermath of 9/11. Since the FBI reported a 6.8 percent increase in 2015 and a 4.6 percent increase in 2016, the 2017 data also represent the first three-year consecutive annual increase since 2001.
Of 34 reportable bias motivation categories, all but five reported an increase in 2017. With 2,013 incidents reported, "Anti-Black or African American" bias accounted for nearly half of all crimes motivated by race or ethnicity, which rose 18 percent according to the FBI data, while "Anti-American Indian or Alaska Native", "Anti-Multiple Races, Group" and "Anti-Hispanic or Latino" hate crimes all increased more than 20 percent (251, 180, and 427 incidents, respectively). "Anti-Arab" hate crime, which was reintroduced into the data collections in 2015 after the category became "invalid" in 1996 and was eliminated in 2001, increased 100 percent last year, with 102 incidents reported.


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The New War against Reason
by Victor Davis Hansonvia Tribune Media Services
Medieval heretic-hunters had nothing on Obama when it comes to closed-mindedness. . . .
Economic Freedom and Rose Friedman
by John B. Taylor with George P. Shultzvia Economics One (blog)
We are hearing a lot these days about the disadvantages of free markets and the need for a greatly expanded role of government in the economy. . . .
Orange Grove: Do unto others, but not to them
by Tibor R. Machanvia Orange County Register
In the American legal tradition the press may not be regulated, nor may religion. . . .
Obama's Forgotten Friends
by Tunku Varadarajanvia Daily Beast
On Tuesday evening, the world's most consequential turbaned man, Manmohan Singh, will glide through White House security and take his place at a dinner table beside Barack and Michelle Obama. . . .
Lion's Den: Islamism 2.0 - an even greater threat
by Daniel Pipesvia Jerusalem Post
To borrow a computer term, if Ayatollah Khomeini, Osama bin Laden, and Nidal Hasan represent Islamism 1.0, Recep Tayyip Erdogan (the prime minister of Turkey), Tariq Ramadan (a Swiss intellectual), and Keith Ellison (a US congressman) represent Islamism 2.0. . . .
SuperFreakonomics, III
by David R. Hendersonvia EconLog
This is my third post (see the first two here and here) on Levitt and Dubner's SuperFreakonomics. . . .
Today, we are all Asians
with Niall Fergusonvia San Francisco Chronicle
At the start of his just-completed tour of Asia, President Barack Obama gave a packed crowd at Suntory Hall in Tokyo a taste of his signature oratorical skill, delivering a speech intended to set the tone for his eight-day journey across the continent. . . .
Soft Despotism with Paul Rahe: Chapter 3 of 5
by Peter M. Robinsonvia Uncommon Knowledge
Paul Rahe discusses the keen perceptions and timeless wisdom of Tocqueville. . . .
Nobel Prize Winners Provide Insight on Outsourcing, Contract Work
with David R. Hendersonvia Workforce Magazine
The Nobel Prize in economics seldom has practical applications for workforce management. . . .
When Cultures Clash
with Tunku Varadarajanvia Reason
How the Fort Hood shooting tests our values. . . .
Senators Clash Over Worst Scenario: What If 9/11 Masterminds Go Free?
with Benjamin Wittesvia Politics Daily (DC)
Shortly after Attorney General Eric Holder announced that Khalid Sheikh Mohammed and four other alleged masterminds of the 9/11 attacks will stand trial in a New York City criminal court, he went to Capitol Hill to explain his decision at a Senate hearing. . . .
Role of NAEP Could Change With Common Assessments
with Chester E. Finn Jr.via Education Week
For decades, when elected officials, researchers, educators, and parents have wanted a clear-eyed measure of what students know in a range of subjects, they have turned to an authoritative source: the National Assessment of Educational Progress. . . .

redpajama_set_name: RedPajamaCommonCrawl


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La viande de cheval, ou viande chevaline, est un aliment composé des tissus musculaires du cheval, consommé dans plusieurs pays qui en ont parfois fait des spécialités telles que le charqui. Sollicitée par ses amateurs pour ses qualités nutritives et montrée du doigt par ses détracteurs pour sa nature, la viande de cheval suscite depuis longtemps la controverse. Sa consommation est appelée hippophagie.

Caractéristiques nutritionnelles

La viande chevaline est une viande rouge. Elle est riche en protéines (en moyenne  pour ). Selon le centre d'information sur les viandes, elle permet ainsi d'apporter en quantité des acides aminés indispensables comme la leucine, la lysine et l'histidine. Elle a une faible teneur en lipides (2 à 4 %). De plus, elle possède une grande proportion d'acides gras insaturés, dont certains ne peuvent être synthétisés par l'organisme. La viande a cette originalité d'apporter des glucides grâce à sa richesse en glycogène. Cela lui confère un petit goût sucré caractéristique. La viande chevaline est aussi particulièrement bien pourvue en vitamines hydrosolubles B12 mais aussi en vitamines B3 et B6.

La viande chevaline est caractérisée par une haute teneur en fer (environ /). Ce fer, d'origine héminique, offre l'avantage d'être bien assimilé par l'organisme. Sa teneur en fer lui valait d'être prescrite par les médecins au  pour lutter contre l'anémie.

Ainsi, ses valeurs nutritives sont, pour  de viande crue :
 énergie :  ;
 protéines :  ;
 lipides :  ;
 glucides : .

Les équins pouvant fortement bioaccumuler le cadmium contenu dans leur alimentation, dans leurs reins notamment, il existe dans certains pays dont la France, une législation spécifique concernant les abats des animaux « tardivement abattus ». Des études de teneur en cadmium (notation « Cd ») réalisées sur des abats d'équidés (cheval, âne, mulet…) ont montré une teneur moyenne de  de cadmium. La dose journalière tolérable temporaire (« DJT-t ») ayant été réglementairement limitée au maximum de , toute commercialisation d'abats d'équidés tardivement abattus est interdite. En effet, même si ces abats étaient la seule source alimentaire de cadmium pour les humains, cette interdiction serait justifiée car une consommation moyenne hebdomadaire de seulement  d'abats conduirait à exposer le consommateur à , soit pour quelqu'un de , plus que le doublement de la DJT-t, laquelle le limite à une ingestion de Cd inférieure à , soit . Les normes actuelles à respecter sont, pour le cadmium :  dans les foies,  dans les rognons, et  dans la viande (règlement « CE 1881/2006 »).

Production
En 2009, la chambre de l'agriculture britannique a publié les chiffres de production de viande chevaline dans plusieurs pays :

* y compris les ânes.
L'Institut français du cheval et de l'équitation (IFCE) estimait à  le nombre d'éleveurs en France en 2010 pour un cheptel de . Ce recensement décompte  de selle, ,  de course,  lourds ou de trait et .

Cuisine
La viande chevaline se cuisine comme la viande bovine. En tant que viande maigre, elle se consomme plutôt saignante, afin de préserver ses qualités gustatives, et doit être saisie rapidement dans une poêle très chaude, de manière à lui éviter de s'assécher. Il existe des recettes spécifiques pour l'accommoder, comme le steak tartare et le steak de cheval au poivre.

Spécialités

En Ukraine, particulièrement en Crimée et dans d'autres régions des steppes du sud, la viande de cheval est consommée sous forme de saucisses appelées Mahan et Sudzhuk. Ces saucisses sont notamment l'alimentation traditionnelle des Tatars de Crimée.

Certains plats de la cuisine allemande sont traditionnellement préparés à base de viande de cheval. Le  en Rhénanie en est un exemple ; cependant, la baisse de la consommation du cheval incite beaucoup de restaurateurs à utiliser plutôt de la viande de bœuf ou de porc pour cette spécialité.

En Belgique, le steak de cheval était fortement consommé jusque dans les années 1980. Année au cours de laquelle les boucheries chevalines ont commencé à décliner. Traditionnellement le steak de cheval  s'accompagnent de frites, cressonnette et de sauce Piccalilli ou sauce poivre.

En Suisse, le steak de cheval est assez fréquent, surtout en Suisse romande, mais aussi de plus en plus dans la partie alémanique. La viande de cheval est utilisée pour une grande variété de saucisses au nord du pays, en région alémanique. Une spécialité appenzelloise connue sous le nom de  est faite avec de la viande de cheval ou de bœuf. Comme en Italie du nord, les salametti tessinois (saucisses) sont parfois faits avec de la viande de cheval. La viande de cheval peut être également utilisée dans la fondue bourguignonne.

La viande de cheval est bien connue en Slovénie, très populaire dans la cuisine traditionnelle de la région centrale de Carniole et de Kras. Le steak de poulain (žrebičkov zrezek) se retrouve dans de nombreux restaurants et dans les fast-food de Ljubljana, sous le nom de hot-horse, en hamburgers.

Santé et controverses

La trichinose est une maladie transmise la plupart du temps par le porc et le sanglier. La viande de cheval peut être un vecteur de la trichinellose, maladie parasitaire intestinale parfois mortelle et transmise par la consommation de viande trop peu cuite. En vingt-cinq ans, entre 1975 et 2000,  cas de trichinellose dus à la viande de cheval ont été constatés en Europe, selon la Fondation Brigitte-Bardot, dont près de  en France. Cinq d'entre eux ont entraîné la mort.

Le CIV (centre d'information des viandes, qui défend la consommation de viande de cheval) affirme que ce risque est désormais maîtrisé. Lors d'une conférence organisée le , Vincent Carlier, membre de l'Académie vétérinaire de France, posait comme préambule qu'il n'y a plus de risque particulier pour la santé du consommateur en France concernant la consommation de viande chevaline car les mesures de protection lui sont appliquées comme pour l'ensemble des viandes. Si la trichinellose a, par le passé, été un risque sanitaire, ce risque serait aujourd'hui négligeable, puisque seuls cinq cas issus de l'importation auraient été dénombrés depuis 2000, et qu'ils ont tous été retirés de la consommation.

Pour la controverse autour de l'hippophagie et les tabous culturels et religieux, voir les différentes positions concernant l'hippophagie.

En 2013, un scandale dévoile une fraude d'ampleur européenne faisant passer de la viande de cheval pour de la viande de bœuf dans des plats préparés.

Notes et références

Voir aussi

Articles connexes

 Hippophagie
 Viande
 Cheval
 Viande d'âne

Liens externes

 Site généraliste d'information pour la consommation de viande chevaline
 Site de la Fédération nationale du cheval, syndicat portant la parole des éleveurs et des exploitants diversifiés dans le cheval et explication détaillée de la raison d'être de la filière viande chevaline
 La viande de cheval, plaquette d'information du gouvernement du Québec

Cheval

redpajama_set_name: RedPajamaWikipedia


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School of Life and Medical Sciences Faculty of Brain Sciences Psychology and Language Sciences Language and Cognition This website
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Literacy, Language & Communication Laboratory
Blog 7 October 2020
Life and learning during lockdown; reported by teachers and children from the Surrey Communication and Language in Education Study (SCALES)
In March 2020, the UK entered lockdown due to the Covid-19 pandemic. Classroom-based schooling moved to remote-learning, and both children and teachers had to adapt to this new way of life. One of the primary research aims of the Surrey Communication and Language in Education Study (SCALES) is to investigate how language can support academic achievement and mental health. Whilst the long-term effects of lockdown for school-aged children are still unknown, it is understandable that there are concerns for both educational progress and wellbeing. During lockdown, we collected data to gain an insight into how children and teachers from SCALES were dealing with these unprecedented times.
When l ockdown began, we were almost halfway through our 5th wave of data collection for SCALES. We were lucky to be able to take our SCALES assessments online and remotely assessed 49 more children during this period. In addition to their SCALES assessment, we asked these children to answer some questions about their experiences of lockdown, how they were engaging with learning from home, and the impact it was having on other aspects of their lives. We also asked teachers in our SCALES schools to provide information about how their school was continuing to teach and support children during lockdown, and any difficulties they had encountered when teaching remotely.
The information presented below is a summary of the data obtained from 68 schools and 46 children involved in SCALES. Our infographic provides an overview of the data collected.
Teachers reported that children were completing around 2-5 hours of school work a day on average. The majority of schools were providing a scheduled school day, but some allowed a free-schedule for children to complete work as and when they were able to. Engagement rates with teaching varied vastly with most schools reporting between 50-100%. Poorer engagement was often linked to disadvantaged children who had lack of access to technology, poorer Wi-Fi, no quiet working space and/or shared laptops with siblings or parents. Those with additional needs also struggled to engage with the new way of learning without one-to-one support available. Children reported similar difficulties with remote-learning, but most had adapted well to the new way of learning. Some children reported that they struggled to keep focussed at home, particularly if they lived in a busy household and found it harder to engage with lessons without the instant support from their teacher if they had questions about their work.
Despite teachers and schools being faced with many challenges of remote-learning, they sought hard to support their pupils and their engagement through:
Working to a daily timetable
Regular contact / video calls with pupils
Encouraged parental support
Monitoring of engagement and follow-up with those less engaged
Clarity and consistency of communication
Pastoral support for vulnerable children
Differentiated resources (SEND support)
Providing laptops to children in need
It was encouraging to hear that our SCALES children were mostly in high-spirits, despite the difficult and unusual circumstances, and most had settled into their own new routines throughout lockdown. Whilst a lot of our SCALES children had regularly kept in touch with friends through WhatsApp & social-media platforms, they were keen to return to school so that they could see their friends in person and experience school-life once more. If there's one thing we can take from lockdown, it's that we have undoubtedly established a generation of both adaptable and resilient children!
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Australian banknotes do not have the year of printing or issue on them. Older notes are identified by a combination of the serial number and the signatures of the "Governor of the Reserve Bank of Australia" and the "Secretary to the Treasury". From a coded system of dating on the new polymer notes was commenced.
The first two numerals of the serial number contain the last two digits of the year, for example, AAindicate that the note was issued in All Australian banknotes have a serial number on them in at least one place.
All Australian banknotes have "This Australian note is legal tender throughout Australia and its territories", or something similar printed on them. All Australian banknotes have the denomination printed in letters and printed in numerals. All current Australian banknotes are made from a polymer compound and feature various security devices such as holograms and micro printing to make life more difficult for counterfeiters.
See the related link below to the Reserve Bank of Australia for more detail on Australian banknotes.
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Asked in Australian Coins Where are Australian banknotes printed? The Royal Australian Mint does not produce banknotes in every year. They only print banknotes to keep a sufficient number in circulation. Australian paper Five Dollar banknotes have been printed in,, and Australian polymer Five Dollar banknotes have been printed in,, Federation commemorative,and The Royal Australian Mint does not make banknotes, only coins.
Specific banknotes are not printed on a daily basis. The Reserve Bank of Australia determines how many banknotes of any given denomination will be required for a given period and Note Printing Australia prints them. Not all types of banknote are printed in every year, they are only printed on a needs basis.
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Asked in Australian Coins Where are Australian banknotes made? Australia's banknotes are printed by "Note Printing Australia", a wholly owned subsidiary of the Reserve Bank of Australia.
The polymer substrate that the notes are printed on is supplied by Innovia Security. Both plants are located at Craigieburn in the northern outskirts of Melbourne.
Asked in Australia Is there an expiration date for Australian gold sunscreen? If there is it will be printed on the packaging.
Asked in Australian Coins What do Australian banknotes look like? See the link to Current Banknotes. Asked in Trees What tree is used to make money? Australian notes are a polypropylene polymer.
Asked in Australian Coins Does the Australian 50 dollar note have names on both sides? These are usually in the form of a signature and appear on one side only. Prior to the introduction of the polymer banknotes, all Australian banknotes had the names of the pictured people printed on them, in very small print, in close proximity to the image.
At the introduction of the polymer notes, there were no printed names for the featured people, only a difficult to read signature. Due to complaints from the public, the RBA included small printed names for all of the featured images. See the links below to view all current Australian coins and banknotes. Asked in Australian Coins Why are there serial numbers on Australian banknotes?
Most, if not all countries put serial numbers on their banknotes. It helps to identify when and where they were printed, how many of them were printed and it makes counterfeiting just that little more difficult. In more recent years, the serial number incorporates the year of printing, for example, a serial number of AAindicates that the note was printed in Asked in Australian Coins Who is responsible for issuing Australia's banknotes?
The Reserve Bank of Australia has the sole responsibility for the issue of Australian banknotes.
Asked in Australia Does Australian visa starts from issue date or entry date? It's valid from the date printed on it - usually the date it's issued.
English banknotes are printed on cotton paper, also known as rag paper. There was no Australian Pound printed prior to Not all denominations of Australian banknotes are produced every year.
Instead, they are printed based on demand for new banknotes to replace those no longer fit for circulation. The information below details the serial number ranges for those banknotes printed each year. This information does not account for the serial numbers used on banknotes that are destroyed and therefore not issued.
You do not currently have Javascript enabled in your browser. The table below requires this to be viewed. Some of the banknote prefix and serial number information has been compiled from incomplete records, and it is possible that banknotes have been issued with serial numbers outside of those published in the above tables.
The Reserve Bank has in place a program to upgrade the security of Australia's banknotes. Other Banknotes. Details of older banknotes no longer in circulation. People on the Banknotes. Biographies of the people who are featured on Australia's banknotes, now and in the past. The history of banknotes in Australia. Redeeming Old Banknotes. Dating Australian Banknotes Crossword Clue you want to look into it further. An average looking middle of the road type of guy Dating Australian Banknotes Crossword Clue is simply not going to get much sex unless Dating Australian Banknotes Crossword Clue you really put some thought into it. You are also correct that most women would really / Serial Numbers. Not all denominations of Australian banknotes are produced every year. Instead, they are printed based on demand for new banknotes to replace those no longer fit for circulation. The information below details the serial number ranges for those banknotes printed each year.
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NovelsMy House is Too Cheat!
Kindhearted Big Sister
"No need to be in such a hurry. There's plenty to go around."
I told them to eat slowly, but they must have been very hungry, and finished their meal in no time, coughing along the way.
They looked sadly at their empty bowls, which reminded me of the first time Richmond came to our house, and I almost burst out laughing.
"There's seconds, do you still want to eat?"
As expected of twins, their voices were in unison.
Finding it funny, I collected their bowls, told them I would be right back with more food, and headed out of their room and down the stairs to the kitchen.
The house is much larger now, and the distance to the kitchen is far.
Richmond originally lived in a castle, so he didn't seem to think much of it, aside from saying it was a small mansion.
When I entered the kitchen, I saw Richmond restlessly looking at the sukiyaki in an iron pot on the stove.
It was still early for dinner, so I left it on the stove, but… by the looks of it, I guess I should make dinner now.
"Richmond."
"Oh, Kanade. Oh, no, I didn't try to snatch it or anything!?"
Ah~… so you tried to sneak a bite, huh.
"We will have dinner as soon as I bring the kids some more, so just wait a little bit longer."
"Ohh, alright. I will be waiting for you!!"
The gluttonous dragon grandpa declared and made his way to the dining room in a good mood.
I refilled the bowls with rice gruel and went back to the children.
Lui's Point of View
From the time we were born, we were hated by everyone.
We were told that twins were "abominations," we were a disgrace to the royal family. For a long time, Arthur and I were locked in a room in a tower.
There was always a guard outside the locked door, and we were never allowed to leave the room.
Occasionally, an adult would come in and beat us, kick us, or whip us as if to vent their anger.
Even in this hellish environment, our only pleasure was to read books.
There were so many books in the room that before we knew it, we had learned to read and to speak the language by listening to the guards' conversations outside.
The guards told us that the reason we had been able to live these "ten years" was because the next generation was not born.
One day, however, we stopped receiving even the small amount of food we used to receive.
We spent our days licking the rainwater that seeped out of the walls. The day we could no longer move, the door to our room was opened, and a few adults in armor carried us out like luggage, put us on something, and when we thought it had started moving… we found ourselves abandoned in the woods.
I was smaller than Arthur and had run out of strength early, so I was already unconscious when we were thrown away.
When I came to, I found myself lying on a soft bed in this beautiful room.
I was puzzled by the luxurious room I had never seen before when a big sister came in.
She spoke to me in a kind voice and informed me that Arthur was lying next to me.
I was so relieved that Arthur was alive that I cried. She wiped my tears with a soft, clean cloth and told me not to cry as it would make me "dehydrated," but when I tried to tell her that it would be a waste to use such a clean cloth on me, she gave me a cloudy white drink.
Dirty water? I thought… But I was thirsty and would have appreciated any kind of water.
So I drank it.
What's this?… It was so sweet. Yummy!
I was drinking like crazy, and when I came to, the cup was empty.
I was a little disappointed that it was gone, but then I noticed that I felt lighter, and my wounds were gone, I felt my face loose color.
The drink she gave me was the "potion" from the books!
The book said that "potions" were a miraculous medicine that could rarely be obtained and could not be bought with any amount of money. I drank such a precious thing…
Then, the big sister told me that her family member had healed our wounds with healing magic.
I felt my face getting even paler.
I had read in a book that no humans could use healing magic. Even Subhumans couldn't, so only dragons were capable of such feat…
I'm sure the big sister was of very high status…
I realized that such a person had helped me and even given me a "potion," and I didn't know how to repay her.
So I apologized and told her I didn't have any money.
But she told me kindly that she didn't need money and that I should get well.
I had never had anyone say such kind things to me before, so I was about to cry again, but I held it in because I was afraid that I would get the "dehydrated" and she would be forced to give me another potion.
We were shocked by the food we were given after Arthur's awakening, but we could not imagine that there was a bigger shock waiting for us.


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Love Frozen - 15 Films to Watch Next
If Frozen left a long-lasting impression on you, the following 15 animated movies are a must for you to watch.
Animated Films Released during 1988-1996
Although Frozen is a contemporary cartoon, these four older movies still bear resemblance to it:
The Iron Giant (1995);
A Little Princess (1995);
Kiki's Delivery Service (1989);
My Neighbor Totoro (1988).
My Neighbor Totoro tells a story about two sisters, Satsuki and Mei, who make friends with the Japanese forest spirits in the magical, mysterious world. Their close bonds are similar to those that Elsa and Anna have. Additionally, Totoro itself has become a Japanese symbol.
The animated movie about a young witch Kiki from Kiki's Delivery Service, who craves for personal independence, will catch Frozen fans' fancy. Kiki is also willing to find a job, so she seizes each opportunity that will help her. Consequently, she decides to kick off with the delivery service using her broomstick.
As Frozen reinterprets the usual princess story, the same way A Little Princess changes the notion of a princess. A young girl Sara Crewe travels to New York to study in a boarding school. After her father is announced to be dead, she becomes a slave. However, she relies on her inner feelings and proves that each girl is a princess.
From the first sight, The Iron Man has nothing in common with Frozen because it depicts a friendship between a boy and a giant robot. Nevertheless, the fundamental idea of the story is to find your place in a huge world.
The next movies are a treasure for the adorers of Frozen. Produced in 1997, Anastasia provides us with a compelling story about a girl who lost her memory. The spectacular views of the set of the movie will remind you of the snowy sceneries in Frozen.
Ice Age (2002) is unexpectedly on the list, too. Because there is much snow, this cartoon is a perfect choice for you. The riveting story about a squirrel Scrat, who causes an avalanche, and consequently, the migration of the prehistoric animals, will grasp your attention.
If you are a fan of modern movies, here is a list of those cartoons that will remain in your heart. For instance, both Happy Feet (2006) about a penguin willing to show his exceptional talents and The Brave (2012) focus on the individuality. Such movies as The Lion, the Witch, and the Wardrobe, Bridge to Terabithia, and How to Train a Dragon are inundated with breathtaking views of snowy landscapes and magical world.
Tangled (2009) depicts the princess Rapunzel with magical power while Frozen also possesses the power of ice conjuring. On the contrary, Enchanted (2007) promotes the idea of true love. Its peculiarity lies in the time travel and reconsideration of values. Released in 2009, The Secret of Kells and Coralline show us the search of mysterious ink and inner battle respectively.
As you can see, all of these cartoons appear to be fascinating. Now you know what to watch during your next movie night!
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The High House: Book summary and reviews of The High House by Jessie Greengrass
The High House
by Jessie Greengrass
Genre: Novels
In this powerful, highly anticipated novel from an award-winning author, four people attempt to make a home in the midst of environmental disaster.
Shortlisted for the 2021 Costa Novel Award
Perched on a sloping hill, set away from a small town by the sea, the High House has a tide pool and a mill, a vegetable garden, and, most importantly, a barn full of supplies. Caro, Pauly, Sally, and Grandy are safe, so far, from the rising water that threatens to destroy the town and that has, perhaps, already destroyed everything else. But for how long?
Caro and her younger half-brother, Pauly, arrive at the High House after her father and stepmother fall victim to a faraway climate disaster—but not before they call and urge Caro to leave London. In their new home, a converted summer house cared for by Grandy and his granddaughter, Sally, the two pairs learn to live together. Yet there are limits to their safety, limits to the supplies, limits to what Grandy—the former village caretaker, a man who knows how to do everything—can teach them as his health fails.
A searing novel that takes on parenthood, sacrifice, love, and survival under the threat of extinction, The High House is a stunning, emotionally precise novel about what can be salvaged at the end of the world.
"[Q]uietly devastating...Unlike other postapocalyptic tales, plot is secondary to the emotional weight borne by the characters who know the end is coming, and to the harrowing glimpses of the future...their gradual reckoning with their existence and the fate of the planet is made heartbreaking through Greengrass's stunning prose. Painful and beautiful, this is not to be missed." - Publishers Weekly (starred review)
"Moving…Greengrass excels in her account of this makeshift family—the sweet but fading Grandy, the two women who often see themselves as rivals, and the curious, growing, bird-crazy Pauly—and their attempts to live on and with and through a land that is increasingly inhospitable…[A] poignant, impressive contribution to an ever growing genre, the fiction of climate catastrophe." - Kirkus
"This postapocalyptic, introspective drama is all about the love of family, isolation, hopelessness, and the will to go on. Readers will be asking the question, is it better to remember the life you had before and all that's been lost, or to start fresh, only knowing this new existence? This novel is perfect for those who enjoy beautifully written, thought-provoking stories." - Booklist
"A book suffused with the joy and fulfilment of raising a child...The High House stands out." - The Guardian (UK)
"The premise is dark, but Greengrass's lyrical prose brings glimmers of light...Despite the devastation, this not-quite family finds small moments of love and happiness." - The Times Literary Supplement (UK)
"A master observer of inter-human atmosphere." - Max Porter, author of Grief is the Thing with Feathers and Lanny
"Brave, important and exquisitely written...Even the darkest times are lit by moments of beauty and grace, and the reader is uplifted by Greengrass's conviction that salvation lies not in competing with one another to survive but in uniting to help those we love." - Sigrid Nunez, author of The Friend and What Are You Going Through
This information about The High House shown above was first featured in "The BookBrowse Review" - BookBrowse's membership magazine, and in our weekly "Publishing This Week" newsletter. In most cases, the reviews are necessarily limited to those that were available to us ahead of publication. If you are the publisher or author and feel that the reviews shown do not properly reflect the range of media opinion now available, please send us a message with the mainstream media reviews that you would like to see added.
Jessie Greengrass
Jessie Greengrass spent her childhood in London and Devon. She studied philosophy in Cambridge and now lives in Berwick-upon-Tweed, Northumberland, with her partner and children. Her collection of short stories, An Account of the Decline of the Great Auk, According to One Who Saw It, won the Edge Hill Prize and Somerset Maugham Award. Her critically acclaimed debut novel, Sight, was shortlisted for the Women's Prize for Fiction.
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Published online 31 January 2007 | Nature | doi:10.1038/news070129-10
A demon of a device
Light makes molecular machines perform trick.
Katharine Sanderson
Click here to listen to an interview with the author of this paper on the Nature podcast .
Demonic inspiration: an idea from 1867 has prompted an odd invention.Illustration by Peter Macdonald, Edmonds UK
David Leigh at Edinburgh University has managed to make a molecular machine inspired by "Maxwell's demon" — a thought experiment that defies the second law of thermodynamics.
Leigh's molecular machine can, he says, drive a chemical system away from equilibrium. According to the second law of thermodynamics — that a system tends towards equilibrium — this shouldn't happen.
Fortunately, Leigh's device doesn't completely blow away the laws of physics: he needs to add energy to the system by shining light on it to make it work. The added energy explains how the system can move away from equilibrium.
James Clerk Maxwell came up with his thought experiment in 1867. In it, a demon guards a door between two rooms filled with gas. Using its sprightly demonic powers, the creature could open the door when he spotted a particularly fast-moving molecule coming his way. The molecule could then pass into a room, which would become progressively hotter. Likewise, the demon could allow particularly slow-moving molecules to pass out of the warmer room and into the cooler one. By doing so, he creates a growing temperature difference, and therefore, potential energy in the system, without having expended any energy to do it (assuming our magic demon doesn't eat).
In the real world, researchers have made little devices that might be used to make a demon-like machine. One of these is a ring-shaped molecule, which is slotted onto a tiny molecular axle. The ring can move along the axle between two different sites, A and B. If left to its own devices, the normal, random movement of molecules will shunt the ring back and forth. When there are many devices, at any given time, half of them should have a ring at one site, and half at the other.
Leigh's system uses these devices, but with a twist. The middle of his axle can change shape so that it blocks the ring from moving back and forth, but only when the ring is at position A, and only when light is shone on it. If a light is shone on a number of such machines, the rings at position A will get stuck. And as time goes on, many of the rings at position B will shunt over and also get stuck at position A.
Real-world magic
In a pot of billions of these devices, the proportion of rings at one spot or another was shifted in a matter of minutes from 50:50 to about 70:30 — just like the demon who turns two equally heated rooms into a warmer one and a colder one.
"Unlike all other artificial molecular machines, this allows you to drive a chemical system away from equilibrium," says Leigh.
"This is not an easy thing to do," says Stuart Rowan, at Case Western Reserve University in Cleveland, Ohio — although, he adds that it is the kind of process that happens in nature all the time. Ions flowing in and out of cells, for example, work against the equilibrium.
Fraser Stoddart, director of the California NanoSystems Institute at the University of California, Los Angeles, says that Leigh's system signals a new approach to chemistry. "It will open up new possibilities," he says. And the technical achievement of actually creating these devices, he says, is also truly impressive.
Leigh can envisage making a similar system that pushes ions across a membrane, against a concentration gradient, mimicking these natural ion pumps. "Nature uses controlled molecular motion for everything," says Leigh, "by contrast, mankind uses controlled molecular motion for nothing."
Visit our demonofadevice.html">newsblog to read and post comments about this story.
Serreli V., et al. Nature, 445. 523 - 527 (2007). | Article |
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Thursday, 1st November 2012, when we had our regular Halloween Outing to Gosford, was arguably the best walking day we have had for this event and also to date this year - cold and clear with dappled sunshine coming through the trees, it was just a perfect day. Fortified by coffee and bikkies, Jim, clearly delighted with the turnout, gave us our pep talk for the day before the off. We set out in three groups - Jim heading clockwise, Reuben heading anti-clockwise and John going in a figure of eight, or at least that's how he explained it when he came for the second time on the same path!
John's route had started off by taking the group past the large herd of red deer resting in the deer park at the centre of the estate. Apparently some members of the group were so intent on pressing on, or perhaps chatting, that they failed to spot the herd so here is John's picture of resting stags sitting peacefully on the grass, clearly their rut was over for the year.
The forest floor and footpaths were covered in leaves as we walked round. Driven relentlessly on by the thought of soup in the Girl Guides' House, we didn't have time to spend admiring the trees in the wonderful arboretum at Gosford, but everywhere we looked the trees, like these mighty beeches, were majestic in the sunlight.
On such a marvellous autumn day it was perhaps not surprising to find a host of toadstools on display on the ground, adding a splash of colour to the forest floor. Lorna even managed to spot some growing high up on the branch of a tree.
A veritable mountain of toadstools.
After one of the group took a nasty tumble on a slippery woodland slope, Paddy chivalrously leapt in to lend a hand for those making the treacherous descent. He was later spotted (right) apparently grabbing at a passing spirit - but not, on this occasion, McConville's Pure Pot Still Old Irish Whiskey.
Some members of the group sought out a safer less-slippery route, putting safety before thrills is the prudent choice when out walking in the forest.
Dean Swift's well, and John's not doing too badly either. After some complaints that there weren't nearly enough pictures of John on the web site, he agreed to pose in front of Dean Swift's well. Dean Swift was a regular visitor to Gosford - seat of the Achesons of Markethill. He bought a plot of land from the Achesons intending to build a house on it although he never did. However he wrote about a dozen poems relating to the place. This snippet refers to his walks round the estate, his well (grotto) and mixing with estate workers as an equal, presumably to Lady Acheson's displeasure.
For one of his station!
He calls it a bow'r.
We have had some very wet years at Gosford when it was a delight to get back to the hut and tuck into some warming soup and apple tart. But it was great to discover they taste just as good on a fine day. But soup and apple tart don't keep for ever and selflessly some members of the group took a second helping to make life easier for those who had to clean up afterwards.
Cedars Walking Group Members were as generous as ever with their donations - a total of £993 was raised for Marie Curie Cancer Care on the day of the walk and more is expected. With £788 of this gift aided, that will bring in a further £220.60 making a grand total of £1,213.60 for the day.
The soups were supplied by Sheila Martin, Joan Gallagher, Joan McKitterick, Barbara Robinson, Barbara Lunn and Olive Summerhayes. The apple tarts were supplied by Collette McGeown, Marie Warnock and Joan Reilly. All (or at least all that I managed to sample) were delicious. Congratulations and thanks to everyone who contributed in terms of time, effort, food and gifts. If you would be prepared to assist next year please see one of the above named.
And finally, another in our series of pictures of new members: Sheelagh, whose husband Gary is also a new member of Cedars.


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About BUMBLEance
BUMBLEance is part of the Saoirse Foundation and is a registered non-profit charity dedicated to making positive life impacts for sick children. The charity was founded in 2010
The Saoirse Foundation decided to expand the charity's remit to include children suffering from cancer, chronic illnesses or life-limiting conditions. The charity's first project was ,Bee for Battens, a support network and a credible source of information for parents, families, and all those affected by Batten Disease. Through its global connections, Bee for Battens became a founding member of the Batten Disease International Alliance, a global organisation representing patients, families, research and clinical facilities from every continent.
BUMBLEance, The Children's National Ambulance Service, was The Saoirse Foundation's second project. In 2014, the first-ever patient to traveled on board BUMBLEance as they travelled home from hospital for the last time on their Angel Trip.
We are very grateful to all those who have helped and supported us thus far, and we look forward to welcoming new supporters who will empower us to help even greater numbers of children with rare diseases.
• Our vision is to give a voice to the sick children of Ireland, to deliver smiles to them, and to make their happiness, delight and well-being our #1 priority.
• Our goal is to maximize our impact, broaden awareness, and deepen the national conversation about rare disease and genetic disorders
• Our dream is to create an Ireland where children and families affected by Batten Disease and other genetic disorders have access to the best quality of life
• Our mission is to deliver long-term sustainable initiatives which fulfil the Saoirse Foundation's vision, mission and objectives
• Our ethos is to treat our clients, staff, volunteers, partners and stakeholders with the respect and dignity they deserve
The Saoirse Foundation is also intensely involved in ongoing global research efforts aimed at furthering our knowledge of rare diseases and at increasing the chances of finding cures. We are hugely grateful for the support we receive, and we look forward to welcoming new supporters who will empower us to help even greater numbers of children with rare diseases.