text:
Easy Enrollment Health Insurance Act
Summary: The Easy Enrollment Health Insurance Act creates a system to use information from state individual income tax return forms to help uninsured individuals obtain health care coverage.
Based on Colorado HB 1236 (2020) and Maryland HB 814 (2019)
This Act shall be called the "Easy Enrollment Health Insurance Act."
SECTION 2. PURPOSE
This law is enacted to make health insurance more accessible to uninsured residents.
SECTION 3. EASY ENROLLMENT
1) "Creditable coverage" has the same meaning as set forth in [cite the section the describes minimum standards for a health plan].
2) "Department" means the [Health]."
3) "Exchange" means the state Health Benefit Exchange created in [cite].
4) "Health care coverage affordability program" means a medical assistance program under [cite the state's Medicaid program], [cite the state's CHIP program], or [cite health benefits, tax credits or cost-sharing reductions available under the Exchange or other programs].
5) "Uninsured individual" means an individual who does not have creditable coverage.
(B) EASY ENROLLMENT PROGRAM
1) [Within the Department of Health], there is created the Easy Enrollment Program. Its purpose is to use the individual income tax filing process to maximize the enrollment of eligible uninsured individuals in a health care coverage affordability program.
2) An Easy Enrollment Advisory Committee shall guide the implementation and administration of the program. This committee shall be comprised of [Secretary] of the Department or the [Secretary's] designee as Chair and ten additional members who shall be knowledgeable about state health coverage programs and/or the process of state income tax collection, and represent the geographic, economic and ethnic diversity of the state.
3) The members of the advisory committee shall include:
a) The [Director] of the Department of [Revenue] or the [Director's] designee;
b) A representative of consumer advocacy groups;
c) A representative of small business employers;
d) A representative of health insurers;
e) A health care consumer;
f) A health insurance consumer assistance professional; and
g) A provider of income tax preparation services.
4) The members shall normally be appointed for four-year terms by [the Governor with the advice and consent of the Senate], but half of the initial appointees shall be appointed for two years so membership replacement is staggered thereafter. [NOTE, this language makes the committee ongoing but it could be changed to a committee that goes out of existence after about two years.]
5) In notice, recordkeeping, quorum, open meetings, discipline and reimbursement for expenses, the advisory committee shall comply with the requirements of [cite existing laws applicable to such public bodies].
6) The advisory committee shall, at a minimum, decide: [NOTE, "decide" could be changed to "advise about." It's a question of how much authority you want to give the committee.]
a) The wording of a question on the state tax return asking if the tax filer wants the Exchange to assess whether uninsured individuals in the tax household are potentially eligible for a health care coverage affordability program or other credible coverage using information from the tax filer's state individual income tax return and other sources available to the Exchange;
b) The wording of a question on the state tax return asking tax filers who want the Exchange to assess potential eligibility which requests additional information about the uninsured that is not otherwise available to the Exchange and that is deemed essential for making assessments of potential eligibility, except that the request for additional information shall not include requests for citizenship, immigration, or health status;
c) The procedures that will be used to transfer tax filer information from the Department of [Revenue] to the Exchange in order to facilitate the program;
d) Needed revisions to the state individual income tax form, supplemental schedules, or both.
e) Needed revisions to tax form instruction booklets that explain how to answer the questions added to the tax return form or schedules and the effects of indicating that the tax filer would like the Exchange to assess the eligibility of uninsured household members;
f) The process that the Exchange will use under the program to assess potential eligibility for and assist with enrollment in a health care coverage affordability program or other creditable coverage including:
i) a timeline for assessing each individual's potential eligibility for a health care coverage affordability program or other creditable coverage;
ii) a process to notify individuals regarding the outcomes of assessments of potential eligibility, which process is designed to maximize health care coverage enrollment levels;
iii) a process for handling uninsured individuals whose United States citizenship or immigration status cannot be verified through information available to the Exchange; and
(vi) a determination of the feasibility of and, if feasible, recommendations for a process for automatic enrollment through the program of eligible uninsured individuals in a health care coverage affordability program or other creditable coverage.
7) Procedures for the program that require affirmative consent from any individual before inquiring into that individual's United States citizenship or immigration status.
SECTION 4. STATE INCOME TAX FORM
After section XXX, the following new paragraph XXX shall be inserted:
(A) For income tax years commencing on or after January 1 [2021], the state individual income tax form must allow tax filers to:
1) Request that the Exchange assess whether uninsured tax household members are potentially eligible for free or lower-cost health coverage under a health care coverage affordability program using information from their tax return and other sources available to the Exchange; and
2) Identify uninsured household members and provide other information determined necessary to facilitate the Easy Enrollment Program.
(B) The associated tax form instruction booklet must explain how to answer the questions added to the state individual income tax form or schedules pursuant to this section and the effect of asking the Exchange to assess whether uninsured household members are potentially eligible for free or lower-cost health coverage under a health care coverage affordability program.
(C) In implementing this section, the Department of [Revenue] shall comply with the determinations and consider the recommendations developed by the Advisory Committee pursuant to [cite].
(D) The [Executive Director] of the Department of [Revenue] shall promulgate rules as necessary to implement the tax forms and schedules required by this section and to implement the sharing of information authorized by this section with the Exchange and the Department of [Health].
SECTION 5. OPEN ENROLLMENT
At the end of section XXX, [Health benefit plan open enrollment periods], the following new paragraph XXX shall be inserted:
A triggering event occurs when:
(X) The Exchange notifies the individual based on information provided through the Easy Enrollment Program created in section [cite], concerning the individual's potential eligibility for a health care coverage affordability program.
This law shall become effective on July 1, 20XX.
Protection from COVID-19 Act
Health Enterprise Zones Act
Resolution to Facilitate Health Insurance Enrollment for COVID-19 Layoffs
Coronavirus Emergency Act
Flavored Tobacco Products Prohibition Act
Prescription Drug Affordability Act
Healthcare Reinsurance Act
Protecting Young People from Tobacco Act
Fair Share Health Care Disclosure Act


text:
Q: Importing a function from another TS file I am getting the following error:
ERROR TypeError: Cannot read property 'buttonToast' of undefined

when I am trying to import the buttonToast from another .ts file in ionic project. heres the code which I am trying:
firstfile.ts
import { Injectable } from '@angular/core';
import { ToastController, ToastOptions } from 'ionic-angular';

@Injectable()
export class ToastProvider {
    toast: any;
    constructor(public toastCtrl: ToastController, public toastOptions: ToastOptions) {

    }
buttonToast(toastMessage) {
    this.toast = this.toastCtrl.create({
        message: toastMessage,
        position: 'middle',
        showCloseButton: true,
        closeButtonText: "OK",
        cssClass: "sessionToast",
    });
    this.toast.present();
    }
}

secondfile.ts
import { ToastProvider } from '../providers/toast/toast';
import { Component,ViewChild } from '@angular/core';

export class SignupPage {
    toastCtrl: ToastProvider
        constructor(public navCtrl: NavController, public navParams: NavParams) {
    }

    ionViewDidLoad() {
        console.log('ionViewDidLoad secondPage');
    }

    alertCtrl(){
        this.toastCtrl.buttonToast("Please sign in with your credentials");
    }
}

I'm trying to call it when I click the function alertCtrl() from a button, from some.html.
can any one say where i am doing the mistake ?

A: Inject the ToastProvider to your component. Also make sure the ToastProvider is registered in list of Providers providers: [] for the AppModule or the module where it is used.
In angular 7, you can also create your Injectable services and make them available in root using:
@Injectable({
  providedIn: 'root',
})

And use it in the constructor:
 constructor(public navCtrl: NavController, public navParams: NavParams, public toastProvider: ToastProvider ) { }

Now access it using this.toastProvider
alertCtrl(){
        this.toastProvider.buttonToast("Please sign in with your credentials");
    }

A: In the app.module, add the provider.
Note: ToastProvider takes constructor arguments, so we need a Factory to create that object. It is part of the app.module (last few lines)
Additional Imports:
import { ToastProvider } from '../pages/home/toast'
import { ToastController, ToastOptions } from 'ionic-angular';

Module definition:
@NgModule({
  declarations: [//no change
  ],
  imports: [//no change
  ],
  bootstrap: [IonicApp],
  entryComponents: [//nochange
  ],
  providers: [
    {provide: ErrorHandler, useClass: IonicErrorHandler}, {provide: ToastProvider, useFactory:ToastProviderFactory, deps:[ToastController ] }
  ]
})
export class AppModule {}
export function ToastProviderFactory(tc) {
  return new ToastProvider(tc, null);
}

In Home.ts page (or where you want to use the service/provider), define/inject ToastProvider in the constructor:
export class SignupPage {

        constructor(toastCtrl: ToastProvider, public navCtrl: NavController, public navParams: NavParams) {
    }

    ionViewDidLoad() {
        console.log('ionViewDidLoad secondPage');
    }

    alertCtrl(){
        this.toastCtrl.buttonToast("Please sign in with your credentials");
    }
}

Tested working in Stackblitz..

redpajama_set_name: RedPajamaStackExchange


If you can make it to the Moroni exhibition before it closes on 25th January at the Royal Academy please do. It's a lovely exhibition on Moroni who has been overlooked in comparison to some of his contemporaries (like Titian). This was my favourite painting of the exhibition, his portraits look so modern in comparison to anything else being painted at that time, it doesn't look like the 1560's we see anywhere else!


text:
Daily Archive: June 6, 2016
Will Truman
/// June 6, 2016
The states people really want to move to — and those they don't – The Washington Post
When the U.S. economy slowed during the recession, so did one of the major demographic shifts of the last several decades. For a brief respite, the Northeast and Midwest stopped shedding quite so many...
COMMON LAW: A Libertarian Victory Everyone Should Love
Today's topic (inspired by Short Circuit) is an article about U.S. Army Corps of Engineers v. Hawkes published by the same group.* Generally, I read Short Circuit because the summaries are great and the politically motivated asides are easy to ignore.** This article, though, takes a well-earned victory lap after securing an order that I believe everyone should support.
*Lest you think my title is facetious, both the Institute for Justice (google blurb: "An U.S. libertarian public interest law firm. Dedicated to advance economic liberty, school choice, property rights, and free speech.") and the Pacific Legal Foundation (wikipedia: " the first and oldest conservative/libertarian public interest law firm in the United States") appear to be unabashedly libertarian.
**For example, the June 3rd summaries accurately describe the Ninth Circuit's rebuke of Arizona's attempt to punish the Arizona Students' Association for its speech, but can't stop without noting the case makes "[n]o mention of the First Amendment rights of students compelled to fund advocacy with which they may not agree, who are not parties to the case."
From: A Libertarian Victory Everyone Should Love – Common Law
Grandson of Hamas founder is gay, Christian, and living in NYC – HYPELINE
The grandson of Hamas founder Said Bilal, Calvin changed his name to both protect himself and separate him from his family's past. Calvin fled the West Bank, where he grew up, at age 14...
Tod Kelly
Trump University and the art of the get-rich seminar | Ars Technica
In 2005, both of us became fixated on a late-night infomercial that promised access to "hundreds of billions of dollars" in "free government money." As journalism grad students at the time, our evenings often ended with a couple beers as we decompressed by watching whatever was on our tiny 13″ TV. And what was on at the time—repeatedly—was a half-hour advertisement for an outfit called "National Grants Conferences" (NGC).
Why did the NGC infomercial captivate us? It wasn't the charisma of the commercial's star, ex-football player and former Congressman J.C. Watts (R-Okla.), who was busy making a mockery of whatever credibility he once had. And it wasn't the enthusiastic couple who founded NGC, Mike and Irene Milin, proclaiming that numerous government grants were there for the taking.
No, we couldn't stop watching because NGC just felt so sleazy. Even in comparison with other get-rich-quick schemes competing for time in the twilight TV hours—the obnoxious guy with the question marks all over his suit, the insufferable smile factories bragging about their real estate conquests from tropical locales—this one seemed suspect.
Source: Trump University and the art of the get-rich seminar | Ars Technica
Michelle Togut
Mastering the Art of Soviet Cooking
Reflections on Anya von Bremzen's memoir of "food and longing."
Morning Ed: World {2016.06.06.M}
Kings, kings, everywhere…

redpajama_set_name: RedPajamaCommonCrawl


We, the residents and friends of Ohope Beach, demand that the Whakatane District Council abandon its plan to demolish the Ohope Beach Lions Club's garage sale shed at Ohope wharf as part of the wharf upgrade. The shed has been the home of the garage sales which have provided funding for community organisations totalling more than $500,000 over the last 25 years. Removal of the shed, which we consider to be essential to the Ohope Beach community, could well spell the end of the Lions club, which would be a huge loss to the Ohope community.


Would you feel better knowing that a reliable and compassionate caregiving professional was with your aging loved one at all times? As our parents, grandparents and loved ones age, activities of daily living can become difficult for them to perform. Whether the result of an advanced condition or a recent hospitalization, when a loved one needs additional help at home, families rely on the live-in caregivers at Home Care Assistance of Tampa Bay. With around the clock monitoring and support, seniors are able to enjoy maximum safety and comfort, without sacrificing their independence.
The care we provide is unmatched by that of assisted living centers and nursing homes because we take the time to create an individualized care plan for each client and deliver that care on a one-on-one basis. Our live-in caregivers assist with activities of living, prepare meals, provide transportation and complete housekeeping tasks. For the convenience of our clients, care plans can be modified at any time to meet changing needs.
Home Care Assistance understands that hiring a live-in caregiver is about more than just finding someone to complete daily tasks. Caregivers and seniors are carefully matched based on experience, compatibility and personality traits. This fosters beneficial relationships between clients and caregivers and provides important support and companionship. Having one of our caregivers in the home reduces instances of depression for frail, homebound seniors and improves quality of life for care recipients.
To learn more about the benefits of hiring a live-in caregiver from Home Care Assistance of Tampa Bay, contact us today. Our dedicated Care Manager will schedule a meeting with you and your family to discuss your needs and develop a plan of care. Our consultation is free of charge, and you are under no obligation to use our services. Simply dial (727) 330-7862 to get started.


I love vegetables and no, my mother didn't make me say that. I'm a guy who enjoys his veggies and one of my favorite ways to enjoy them is on the Yellow Cab Garden Special.
You know how parents would sneak in vegetables into meals just to "trick" their kids into eating them? My parents say they never had that problem with me. I've always liked vegetables and that is still true even now.
I wouldn't go as far as choosing a life of vegetarianism. For me it's more of a preference. If there's a veggie version of something, or there's an option to add more veggies, I'll go with that.
This also goes for choosing my pizza. So it's probably not surprising that my go-to pizza is Yellow Cab's Garden Special.
Personally, I think Yellow Cab's Garden Special is great whether you're a vegetarian or you just want to sneak more vegetables into your meal. Plus, it's pizza. It's a great deal.
What do I love about Yellow Cab's vegetable pizza? For one, you get fresh vegetables all the time. Yellow Cab has always been consistently serving only the freshest and the Garden Special is no exception. Each time you order, you get the freshest tomatoes, black olives, mushrooms, onions, and red bell peppers.
The New York style pizza crust isn't just another term for thin crust. New York style pizza has different dimensions to it—a crisp but thin and chewy center, and a cheesy top that complements all the fresh toppings.
Here's a tip for fellow veggie lovers: ask for extra toppings! I usually ask for extra mushrooms and olives on mine, but it's up to you. Just customize your order and enjoy your veggie pizza!
Just talking about the Garden Special is making me hungry, honestly. Trust me on this. Yellow Cab's veggie pizza is one of the best ways to enjoy vegetables!
World Pizza Week at Yellow Cab? So Worth It!
Yellow Cab MyStuff: Mine, All Mine!


Jason manages our venture operations and activities in South-East Asia and Taiwan while serving as a valuable member of our due diligence and new opportunities assessment committee. His experience in forming cross-cultural relationships has helped him connect businesses throughout Asia. He is also an entrepreneur who introduced innovative millennial food offerings to the region through a franchise also designed to connect local and expatriate communities. Jason also has over 10 years of experience in educational development for as a catalyst for new innovation. In addition, Jason combines his business knowledge with his passion for education to support the UN's education SDGs (Sustainable Development Goals) by acting as an advisor and volunteer participant for a non-profit organization that utilizes non-traditional methods to improve and increase educational opportunities for the youth in a remote part of Northern Taiwan.


There is a noticeable lack of urgency in Cabanaconde, Peru. It's likely that this placid state is related to the lack of people and of things to do. Buses arrive, buses depart, one set of backpackers replaces another. Yet, it's not boring here. Not by far.
The donkey? He's tired. From all the excitement.
Cabanaconde is the biggest village in Colca Canyon, a massive and yet lightly populated area. It's just not easy to make a life and a living on practically vertical surfaces.
Mountain view through tower window.
Once we're done getting dive bombed by Andean condors at Mirador de Achachihua, Todd and I make our own entertainment.
Since no one's around to watch, we goof around at Cabanaconde's empty bull ring.
Shepherdess at Cabanaconde's bull ring.
Red bull ring and empty stands.
Red door at the bull ring.
Then, we take our time hiking out to nearby hills to check out out crosses made from branches and twigs, decked with rosaries and scarves. And we simply relax.
Cross on a hill, mountains behind.
After the hectic streets of Cusco and packed trails of Machu Picchu, a little dose of not-that-much is a treat.
It's a pretty, pretty place.
Love the photos. Especially love the pretend bull.
Todd's a Taurus so it's even more fitting he pretended to be a bull!
It's wonderful, I would love to spend some time there totally immersed in nature..
Colca Canyon is one of the more beautiful natural places I've been to in my life.


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text:
ACP, 22, 13861–13879, 2022
Articles | Volume 22, issue 20
Atmos. Chem. Phys., 22, 13861–13879, 2022
https://doi.org/10.5194/acp-22-13861-2022
Research article | 28 Oct 2022
Modelling SO2 conversion into sulfates in the mid-troposphere with a 3D chemistry transport model: the case of Mount Etna's eruption on 12 April 2012
Mathieu Lachatre et al.
Final revised paper (published on 28 Oct 2022)
Preprint (discussion started on 12 Jan 2022)
RC1: 'Comment on acp-2021-1025', Anonymous Referee #1, 22 Apr 2022
The manuscript presents a modeling investigation of SO2 conversion to sulfate in tropospheric volcanic plumes. As a case study, the authors simulate the explosive eruption of Mount Etna on Apr. 12, 2012, using the CHIMERE model and analyze the sensitivity of SO2 oxidation to water and transition metal contents, plume diffusion and plume altitude.
The results suggest that the dominant oxidation pathway is gas-phase oxidation by OH (about 70 %), followed by transition-metal catalyzed oxidation in aqueous phase (about 25%). The contribution of aqueous phase pathway increases with H2O/SO2 ratio and shows sensitivity to plume height as it modulates the liquid water content. The authors argue that H2O2 is rapidly diminished in volcanic plumes and cannot contribute to SO2 oxidation substantially.
This is a timely study with potential relevance for the atmospheric chemistry and volcanology communities. The manuscript is well structured and written. Nevertheless, there are some critical points:
It seems that there is a significant flaw in the model as it allows negative mass for OH radicals. If the model allows this (which is fundamentally wrong), then it is no surprise that OH becomes the dominant pathway as it never diminishes. The authors are all well-known experts and should definitely check this in the experiments and results.
Methods lack some important information about the modelling setup, which complicates the reading and understanding of the results. Are you using online-coupled WRF-CHIMERE? Besides, there is no information about AOD calculation. I assume the plotted sulfate mass is calculated in the gas phase. But how does it come to aerosol phase? Are the aerosol microphysical processes in place? Or there is a simple assumption based on some particle size? Another principal question would be the role of AOD for model validation. When there are no observations to compare with or not radiative transfer calculations, why do we need AOD in the output? Why AOD at 200 nm?
Figures need substantial improvement. For e.g. captions of figures 3 and 4 are wrong. Figure 2 is impossible to follow. Lines and colors need to be more visibal and distinguishable.
Design of experiments is fine, but the paper would be more beneficial if authors would present the chemistry parts only and leave out the sensitivity to the vertical transport scheme. The transport has to be validated first (based on available observations)
One critical aspect is the sensitivity to pH. The aqueous pathways strongly depend on pH. The authors should vary the pH in a range like 1-6 and then calculate the rate of sulfate formation for different pathways/experiments. I would like to see the plots for pH and SO2.
Overall, I find the topic very important but am disappointed by the low quality of the presentation. Especially the negative OH mass shown in different figures challenges the scientific soundness of the study and the key outcome of the paper with respect to oxidation pathways. Therefore, I reject the manuscript. I hope this gives authors enough time to rigorously go through the methods, assumptions and experiments, critically validate their results and come up with a much better presentation quality.
P2L24: "volcanic particle size distribution is evolving to a coarser distribution as time goes by" not always. Volcanic PSD can move to finer modes if ash is involved. Upon ash removal from the atmosphere, the volcanic PSD moves from coarse to fine but increases later due to new particle formation.
P2L35: It is not clear if the model takes into account aerosol-radiation interactions and its impacts on photolysis. This can substantially affect the OH generation (R1 and R2).
P9L9: this title is odd. Use something like "numerical experiments".
P9L25-30: Because of the low quality of Fig 2, it is not easy to follow the arguments here. Perhaps one option would be to superimpose IASI data on both plots (7 and 8 PM and use larger dots so one can better compare them.
P11L14: "understand"
Figure3: The caption seems to be wrong. It should be sensitivity tests for chemistry, or? Lines are impossible to distinguish. Use thicker lines with colors that are better distinguishable.
Figure 3d: What is the use of "sulphate volume"?
Figure 3e: Negative mass?! This is wrong and challenges the whole study.
Citation: https://doi.org/10.5194/acp-2021-1025-RC1
AC1: 'Reply on RC1', Mathieu Lachatre, 22 Apr 2022
We thank the reviewer for his remarks on our manuscript, and will bring a full comment on all the issues that are raised. However, before this, we would like to clarify a matter that was judged critical by the Reviewer.
- It seems that there is a significant flaw in the model as it allows negative mass for OH radicals.
- Figure 3e: Negative mass?! This is wrong and challenges the whole study
Since the caption of Fig. 3 is indeed not clear enough, we would like to clarify right away that there are no negative masses or concentrations in our simulations. The time series in Fig. 3(a,b,c,d and e) represent the difference of each of the simulations compared to the background simulation (without considering volcanic emissions).
Citation: https://doi.org/10.5194/acp-2021-1025-AC1
AC2: 'Reply on RC1', Mathieu Lachatre, 27 Sep 2022
The comment was uploaded in the form of a supplement: https://acp.copernicus.org/preprints/acp-2021-1025/acp-2021-1025-AC2-supplement.pdf
RC2: 'Comment on acp-2021-1025', Anonymous Referee #2, 24 Jun 2022
Review of Lachatre et al., "Modelling SO2 conversion into sulphates in the mid-troposphere with a 3D chemistry-transport model: the case of Mount Etna's eruption on April 12, 2012."
In this paper, Lachatre et al. attempt to test a model of SO2 chemical conversion in a volcanic plume, focusing on a particular eruption of Mount Etna in Italy. The authors focus on one day, and follow the plume with the CHIMERE chemical transport model. Results show that sulfate is produced mainly through oxidation of SO2 by OH in the gas phase (70%) and also by aqueous-phase oxidation of O2, catalyzed by Mn2+ and Fe3+ ions (25%). The authors test the model with different plume heights, water availability, and transport algorithms. Given the low abundance of H2O2 in volcanic plumes, better characterization of these SO2 oxidation pathways is of interest. The work also has importance for better understanding the role of volcanic particles as cloud condensation nuclei and for better constraining radiative forcing of preindustrial climates.
While not breathtakingly novel, the paper merits publication with minor revisions.
Minor issues.
The reader would like to learn a bit more about why explosive volcanic eruptions emit large quantities of water. (Page 2, Line 30).
More information on how plume heights were determined would be helpful. (Page 5, Lines 25-31).
Figure 1. The figure is not interesting and should be move to the Supplement.
The text states that "useful information" can be extracted from a comparison of model output and observations from IASI. (Page 9, Lines 26-27). Could a more quantitative comparison be made? True, the middle panel of Figure 2 looks something like the model results, but a more substantive comparison would be appreciated.
Table 2 and all tables. Please identify the acronyms in a footnote. Also state in the caption of the Tables which simulation is the most realistic.
Figure 3 and most of the figures. There is an abundance of figures in the paper that do not seem to contribute much to the overall message. I recommend that the authors choose one panel from each Figure like Figure 3 and keep these panels in the main text. (Likley these will be the panels showing the timeseries of volcanic sulfate mass.) Put the remaining panels, if deemed necessary, in the Supplement. Also, the thin lines could be fattened to improve the visual message, and less white should be retained in the panels. Having so many figures with so much white space dilutes the main messages of the paper. The figures in the appendix can also go in the Supplement.
Captions for Figure 3 and similar figures. Please write out, without symbols or acronyms, what is being presented. Many readers will just browse through the paper and look most closely at the captions.
The Conclusions section mentions the need to better constrain emissions of Fe3+ and Mn2+ from volcanoes. (Page 20, lines 10-13). Do such emissions vary greatly among different volcanoes? What steps can be taken to constrain these emissions?
Peer review completion
AR by Mathieu Lachatre on behalf of the Authors (18 Aug 2022) Author's response Author's tracked changes
ED: Referee Nomination & Report Request started (20 Aug 2022) by Joshua Fu
RR by Anonymous Referee #1 (24 Sep 2022)
ED: Publish as is (25 Sep 2022) by Joshua Fu
Companion paper
In this study, we have evaluated the predominance of various pathways of volcanic SO2 conversion to sulfates in the upper troposphere. We show that the main conversion pathway was gaseous oxidation by OH, although the liquid pathways were expected to be predominant. These results are interesting with respect to a better understanding of sulfate formation in the middle and upper troposphere and are an important component to help evaluate particulate matter radiative forcing.
In this study, we have evaluated the predominance of various pathways of volcanic SO2 conversion...
Final-revised paper


St Paul, MN: Sales of bank owned foreclosed homes dropped to a 5-year low according to figures compiled by RealtyTrac, Inc.
This is clear evidence, that while not over, the nation's foreclosure woes are easing and the housing market recovery is gaining momentum.
Sales of bank owned homes in the January – March 2013 quarter fell 16% from the previous quarter, and were down 23% from the same quarter in 2012. The last time bank owned sales were lower was the first quarter of 2008, at the beginning of the whole housing mess.


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Elon Musk sees combined demand for the Model S and X at around 100k units annually
- Oct. 12th 2015 8:06 pm PT
@jonjivan
Musk with the Tesla Model S in Fremont on Oct. 1, 2011.
Musk with the Tesla Model S in Fremont on Oct. 1, 2011.
In a radio interview today, Telsa CEO Elon Musk spoke about future demand for Tesla's vehicles.
"I think the demand for the Model 3 is going to be very good," said Musk today's Marketplace report.
"As it is, we've got pretty good demand for the X and the S. And I think over time, the combined X and S demand is, you know, maybe a hundred thousand units per year, or maybe a bit more as we mature various markets,"
100,000 units is approximately double Tesla's current annual production rate. Tesla is expected to deliver around 50,000 Model S and X vehicles this calendar year, according to their latest guidance, compared to 32,000 in 2014.
Musk doesn't mention how long it will take Tesla to achieve the 100k delivery rate, but Tesla has yet to saturate large luxury car markets such as China, and the Model X is just begining its production.
Tesla's goal of 500,000 total vehicles per year still stands, but will include 300,000 to 400,000 third generation vehicles.
"And with the Model 3 and various iterations on that platform, I'm really confident that we can do, you know, another three or four hundred thousand cars per year," said Musk.
Bonus: Musk discusses the Falcon door difficulties around 16 min in the clip below. The biggest problem with the doors were the hydraulic actuators. Tesla had to switch to electric actuators for precision, and better reaction times.
Tesla Model S Tesla Model X Cars


For questions or assistance, contact Martha Sturtz, 315-963-3117, or Mary Turo, 315-963-7182, or complete the contact form below. During pantry hours, call 315-963-0701.
Click here to view a map or to get directions to the Mexico Food Pantry.


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Moving Image Archive News
Information on Film Archiving, Preservation, Restoration, and Presentation
Preserving "Time-Based Art" – An interview with Jeff Martin, IMAP
Jeff Martin, the executive director of Independent Media Arts Preservation, is a respected authority on a challenging undertaking: to preserve the fast-evolving works known by such titles – never quite inclusive enough – as "time-based art."
Moving Image Archive News interviewed him as IMAP's Archiving the Arts: A symposium addressing preservation in the creative process approaches (it takes place Saturday, 13 October 2012).
Independent Media Arts Preservation is a service, education, and advocacy nonprofit organization that assists caretakers of collections of non-commercial electronic media. Based in New York, its purview is time-based art works that incorporate video or audio, both analog and digital – for example, video art, audio art, new media, and technology-based installation art; independent documentary and community media; and documentation of arts and culture.
IMAP provides archivists, artists, conservators, curators, distributors, librarians, media makers, producers, scholars, and other professionals with guidance on documenting and preserving media collections whose preservation challenges are not fully met by existing practices and efforts.
Jeff Martin; courtesy: IMAP
Jeff Martin is an archivist and conservator experienced in both archival collections and time-based art. In 2005 he graduated from New York University's Moving Image Archiving and Preservation MA program. In 2007 the Smithsonian Institution awarded Martin a post-graduate research fellowship to assess the time-based art in the collection of the Hirshhorn Museum, where he works as a contract conservator.
In March, 2010, he organized a symposium at the Smithsonian: Collaborations in Conserving Time-Based Art. [Filmed proceedings are freely available online.] He supervised preservation content for the online Media Art Resource developed by Electronic Arts Intermix and Independent Media Arts Preservation, and is the author of entries in The Grove Encyclopedia of Materials and Techniques in Art on magnetic tape, computer-based media, and motion picture film.
Martin's work has appeared in The Moving Image (the journal of the Association of Moving Image Archivists), the Journal of the National Taiwan Museum of Fine Arts, and the anthology Teen Television: Essays on Programming and Fandom.
Before attending NYU, he worked as a television documentary writer and producer, and as footage research director for the WPA Film Library.
He is assessing the audiovisual materials in the archive of pioneering video artist Nam June Paik, and developing a preservation plan for them.
Archiving the Arts: A symposium addressing preservation in the creative process
9am-5pm, Iris & B. Gerald Cantor Film Center, New York University
What are the major challenges in archiving this kind of work?
If you're talking about time-based art works in a museum or gallery context, you've got two challenges that you're dealing with: the technological underpinnings, and the parameters for the installation of the work.
For example, one of the technical challenges which are shared by a lot of moving-image archives, relates to the increasing difficulty of getting 16 mm prints for film installations, because labs are closing and film stocks are becoming harder to get. Because remember, for film installations you need to change out prints at a minimum every of every two to three weeks. That's an issue that's shared with a lot of archives doing film-to-film preservation.
But you also have issues like installation specifications, and variability: if a video installation is created by an artist with a certain set of parameters in mind for how it's going to be shown, or if it's a film installation or something more complex like a digital or a web-based work, what are the parameters that make it acceptable to the artist, to show it?
In other words, if a video can be shown in any context, projected on a wall, or a monitor, that's one case. But another case is a scenario where an artist has set restrictive and defined parameters under which a work can be shown. So the archivist or the conservator is tasked with understanding what those parameters are, because unless you intend to exactly replicate a very specific set of parameters, you have to determine what might be an acceptable way of displaying the work.
What has been the history of trying to do this, at all, and has it been a halting history?
What needs preserving: the set-up for Paul Sharits' "Shutter Interface," 1975, Hirshhorn Museum, Washington DC
In the history of time-based art conservation, one interesting way to think about it is what you even call the stuff. The most widely used term is "time-based art," because that takes in film, video, audio, video, computer, any art works that evolve over time and involve a commitment of time defined by the artist, to understand them, as opposed to painting or sculpture, which are fixed. These are things that were relatively recently still called "video art" or "new media art" or "media art," none of which necessarily apply any more, particularly "new media" because today we are dealing now with works that are created and shown on what is now "old media."
The discipline of time-based art conservation is still quite new. For example, the Electronic Media Group at the American Institute for Conservation is still relatively new, and is working to draw on multiple disciplines to help shape best practices and agreed-upon ethical considerations for conserving these works. More established conservation disciplines inform ethical questions about how to care for a time-based work, and how to maintain authenticity and respect artists' intent.
But conserving time-based works also involves drawing in fields like IT and digital-preservation specialists working with archival materials, drawing in technical specialists working with motion-picture film, and video and bringing those disciplines together. It's still very much in its early stages, which makes it particularly interesting and exciting. People working in this field recognize that we need to collaborate.
What is your sense of how well actual creators of works are bearing in mind issues of archiving?
That's a interesting question, and as you might expect, it depends entirely on the artist. They're engaged in very different ways. Some are very engaged with the question of preserving work. Some recognize the challenges of preserving digital art works, in particular. Some artists recognize the ephemerality of their work and acknowledge that it may mean that their works are transitory.
For example, there are artists who have created works that are only to be shown on VHS, in a gallery, and the image degrades over time and they recognize that this is not a long-lasting format but that's part of the piece, and if the piece disappears, it disappears.
Then there are other artists who are genuinely engaged in these issues, and realize that if they create, say, a digital art work that's based on software that they've created, then you they creating something that is very fragile. And some artists believe they have a responsibility to partner with institutions like museums to ensure the longevity of the piece, and are very engaged in that dialogue.
Doug Aitken's "Song 1," Hirshhorn Museum, Washington DC
Then there is the other group of artists who are not thinking about these issues, but are simply in a creative mode and are using tools to express a particular vision. And so, as an institution, a museum, or a conservator is tasked with raising those questions with artists, and some artists, when you broach them are not particularly interested in engaging them. For them, a work that's completed is a work that's completed.
Then there are some artists who may not have considered them, but once they are presented they become real partners in the conservation of the work. And you have to lay things out in explicit terms. I worked with a curator and an artist at one point, an artist who's engaged in these issues. The curator was probing, in an artist's interview, how they'd handle this work in the future. It was a very complicated work, and the artist said, 'I can just come in and fix it for you.' The curator said: 'But what about when you're dead? Because you're going to die, and museums call it the permanent collection for a reason. Their responsibility and their belief is, bring something in to keep alive for as long as possible.'
And you could see the light bulb go on. And that's my bottom line with this kind of work – that the museums call it a permanent collection for a reason. Once a museum engages with those challenges – the difficulties of caring for these works and putting the resources necessary for caring for these works – they are recognizing the challenges and accepting the responsibility for putting the resources into them that are necessary.
As a field, that is where we stand right now. It's raising the level of understanding and awareness among museums and institutions about how much is necessary to keep these works alive.
Is that a particularly expensive undertaking by comparison with, say, film preservation?
I guess expensive is maybe not the value I put on it. It's complicated. Preserving a film installation is only more expensive in that you need a lot more prints than you might need of a feature film, because they're on continuous view every day, literally continuous.
The Paul Sharits film installation that the Hirshhorn Museum acquired a few years ago [Shutter Interface, 1975] was on view for 6 months, 8 hours a day, 7 days a week – the film was running through the gate 8 hours a day, 7 days a week. So it's more expensive to show, but it's not necessarily any more expensive to preserve.
And that is the more interesting question: it can cost more money to show than institutions might necessarily understand. It doesn't cost very much to hang up a painting. But it can cost a great deal of money to show a time-based work. It can cost more money to buy the projector than it costs to buy the art work.
And presumably to keep up the hardware, as well?
Yes, the other thing to keep in mind is that it does cost money to keep on top of display and exhibition technology, which changes very rapidly. And specifications that may have been appropriate for an exhibition in 2008 would not be appropriate for an exhibition in 2012.
The technology may be better, but at a minimum it is different, in terms of the projectors or media players you would buy. There's a lot of change that happens rapidly. So keeping people who can maintain that level of knowledge is critical and obviously costs money.
Do you think it will be possible to develop standard procedures or is this in some ways an exercise in improvising archival maintenance, where you do the best you can as challenges arise?
Chris Chong Chan Fui's "Black Box," Hirshhorn Museum, Washington DC
It's very important that time-based art conservators are working with and are cognizant of the standards and practices that more traditional moving-image archivists are developing. It's critical that that's understood. Master formats for digitizing video, storage conditions for film-negatives – those parts are critical.
The question of more art-centric standards is still very much open. There have been strong international initiatives on developing protocols and best practices for things like acquisitions, loans, documentation, time based art works etc. Matters in Media Art [Tate Gallery, London] is an essential one. It is a joint project of MoMA, Tate, SFMoMA, and New Art Trust, that are generating best practices and disseminating them for as broad a range of institutions as possible.
So protocols and standards are being developed, but each work is always going to require rethinking and reconsideration whenever it's acquired and then any time it's installed. It's also important to keep in mind that these types of questions about variability and works that are reinstalled are common to "non-media" art installations. There are plenty of art installations out there with no audio-visual components that are variable and complicated to install and reinstall.
So, just as we're partnering with moving-image archivists on things like technical standards, we're also working with art conservators on more complex installation art works, to try to develop tools and ways to approach these things more systematically.
How about the future – this is a moving target, at all times, I take it, and that must pose its own challenges.
Jeff Martin at the Hirshhorn Museum's Collaboration in Conserving Time-Based Art symposium, 2010
A piece that was acquired and relatively easy to install in 1995 may be quite difficult to install now due to technical changes that have happened over the past years. That's one way I look to the future – the longer these works remain off view and dormant, the more difficult it is to bring them back to their original state, their original installation specs, so to speak.
More traditional archives – say, film archives – are accustomed to passive preservation through carefully controlled storage, etc. But they are now moving into more active preservation scenarios because digital files need to be monitored and migrated regularly.
There's a close parallel between that and more complex time-based art installations – conservators don't do passive art preservation in the same way that a photograph, or painting, or a drawing can be conserved by careful storage, alone. That doesn't apply to time-based art works, any more. And I think that's the key parallel between the changes that are happening in moving-image archiving and the changes that are happening in time-based art conservation.
– interview by Peter Monaghan
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Home › News › People › Alison Young Named Among City & State PA's Forty Under Forty
Alison Young Named Among City & State PA's Forty Under Forty
Alison Young, executive director of LeBow's Institute for Strategic Leadership (ISL), was named one of City & State PA's Forty Under Forty Rising Stars. City & State PA is a multi-media news agency that dedicates its coverage to Pennsylvania's state and local government, political and advocacy news.
ISL facilitates degrees programs, research, experiential learning and real-world connections to help students, faculty and community partners benefit from Drexel's hands-on, collaborative approach to understanding leadership trends and behaviors. Programs delivered by ISL include Leading for Change, a tuition-free fellowship for city employees; and Student Scholars for Responsible Leadership, which aims to help select students with an interest in business and politics reach their potential.
"I'm honored to be listed among such accomplished public servants and innovative entrepreneurs whose impact on Pennsylvania will be felt for years to come," says Young.
Before her arrival at Drexel LeBow, Alison worked in the West Wing as a special assistant to President George W. Bush, overseeing two federal agencies, 80,000 employees and a $2 billion federal budget.
Drexel LeBow Joins Elite List of Host Institutions for U.S.-Africa Program
Drexel LeBow Selected to Host Mandela Fellows Again in 2018
Drexel LeBow has been selected to host a cohort from the prestigious Mandela Washington Fellowship for Young African Leaders for a second year.
Former Philadelphia Mayor Michael Nutter Joins Drexel LeBow as Executive Fellow
Former City of Philadelphia Mayor Michael Nutter has joined Drexel University's LeBow College of Business as Executive Fellow in Leadership.


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Guild of Music Supervisors
7 Tips for Connecting with Music Supervisors at a Conference (from a Music Supervisor)
Photo Credit: Jay Farbman for The Guild of Music Supervisors
This past weekend was the very first Guild of Music Supervisors State of Music in Media Conference. Many of the most influential players in the media music community shared their knowledge and experience with students, aspiring music supervisors and peers across 24 panels, presentations and sessions. Topics ranged from an overview of the job, to getting hired, to creative strategy and communication, an in depth look at music clearance, metadata practices, marketing the music and more.
We involved in the the planning could not have been happier with the turnout – both the number of and the enthusiasm and support from the attendees. I had many discussions with panelists and presenters about how unusually intelligent the questions were.
Still though, there were a few…frustrating situations that arose. As with any conference where music supervisors are present, regardless of the content or goals, there was a faction who just viewed the event as an opportunity to put music in the hands of those with power.
Spotlight on the 5th Annual Guild of Music Supervisors Awards Winners (and Nominees!)
Last week the film, TV, trailer, and advertising music communities celebrated the 5th Annual Guild Of Music Supervisors Awards, honoring brilliant work in the craft across all disciplines
Both Variety and Billboard, published recaps of the event, which featured performances by Laura Welsh, Mat Kearney and Kevin Ross, and special guest presenters like Moby, Stuart Murdoch (Belle & Sebastian), Ester Dean (Pitch Perfect), Gavin Rossdale and more, all of whom seemed to rather get a kick out of the whole thing.
My personal assessment is that it was an amazing and inspiring experience to be surrounded by so many peers, friends and mentors. A nice reminder of what an amazing community I stumbled into, and how lucky I am to work, struggle and create alongside these people every day. To be able to call myself a "music supervisor". And the lamb lollipops were on point.
Music in Media / The 2012 Guild Of Music Supervisors Awards (Nominees and Winners)
Film, Music in Media, Music Supervisors, Television, Trailers
By Amanda DK
Yesterday morning, key players in the field of music supervision all gathered at Magnolia Downtown to honor the outstanding accomplishments of their peers. The crowd, comprised of music libraries, labels, publishers, studio executives and independent supervisors large and small, was chatty and buoyant (possibly due to the free flowing champagne, mimosas and bellinis), packing the restaurant and spilling out onto both the front and rear patios. As always, with this tight knit community, it felt more like a casual garden party than a formal affair. Presenters giggled their way through the lists of nominees, and tossed out industry inside jokes on the fly. Even a few technical difficulties couldn't dampen the mood.
Music in Media / Guild of Music Supervisors Holds First Awards Brunch
Music in Media
This past weekend the Guild of Music Supervisors hosted their very first awards brunch, honoring music supervisors from film, television, video games and movies of the week.


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How is the mobile experience on the lumia 820 with w10 insider builds compared to wp8.1.1 with Lumia Denim? Would I have to worry about the battery life changes? Is the Lumia 820 going to get latest builds of windows 10, or ist it just stuck at a specific build without a chance for future updates by microsoft?
Something worth noting is that people's experiences vary, even across the same build and model.
It's certainly better than it once was. I would just be ready to hard reset the phone in case battery life becomes subpar. Personally I've seen both degradation and phenomenal battery life so YMMV.
Also, the current public version, 10586 AKA Threshold 2 is the end of the line for the 820. You'll probably see updates until the Anniversary update launches this summer, where your phone will be left in the dust.
So, it wouldn't be a worthy upgrade, as it's my daily driver and I wouldn't want malfunctions? Maybe it's not worth it to leave the wp8.1 experience (with less bugs). Also the camera would downgrade without the Lumia Camera app.
I'm happy with 10586.242 on my Lumia 920. There are a few annoyances (mainly Cortana being flakey), but I would not go back to 8.1. I like the new features for the most part.


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Transgenerational transmission of trauma and resilience: a qualitative study with Brazilian offspring of Holocaust survivors
Luciana Lorens Braga, Marcelo Feijó Mello, José Paulo Fiks
BMC Psychiatry 2012, 12: 134
BACKGROUND: Over the past five decades, clinicians and researchers have debated the impact of the Holocaust on the children of its survivors. The transgenerational transmission of trauma has been explored in more than 500 articles, which have failed to reach reliable conclusions that could be generalized. The psychiatric literature shows mixed findings regarding this subject: many clinical studies reported psychopathological findings related to transgenerational transmission of trauma and some empirical research has found no evidence of this phenomenon in offspring of Holocaust survivors.
METHOD: This qualitative study aims to detect how the second generation perceives transgenerational transmission of their parents' experiences in the Holocaust. In-depth individual interviews were conducted with fifteen offspring of Holocaust survivors and sought to analyze experiences, meanings and subjective processes of the participants. A Grounded Theory approach was employed, and constant comparative method was used for analysis of textual data.
RESULTS: The development of conceptual categories led to the emergence of distinct patterns of communication from parents to their descendants. The qualitative methodology also allowed systematization of the different ways in which offspring can deal with parental trauma, which determine the development of specific mechanisms of traumatic experience or resilience in the second generation.
CONCLUSIONS: The conceptual categories constructed by the Grounded Theory approach were used to present a possible model of the transgenerational transmission of trauma, showing that not only traumatic experiences, but also resilience patterns can be transmitted to and developed by the second generation. As in all qualitative studies, these conclusions cannot be generalized, but the findings can be tested in other contexts.
Psychopathology in children of Holocaust survivors: a review of the research literature. N P Kellerman Israel Journal of Psychiatry and related Sciences 2001, 38 (1): 36-46
Transgenerational transmission of trauma in families of Holocaust survivors: the consequences of extreme family functioning on resilience, sense of coherence, anxiety and depression. Pierre Fossion, Christophe Leys, Caroline Vandeleur, Chantal Kempenaers, Stéphanie Braun, Paul Verbanck, Paul Linkowski Journal of Affective Disorders 2015 January 15, 171: 48-53
Parental posttraumatic stress disorder as a vulnerability factor for low cortisol trait in offspring of holocaust survivors. Rachel Yehuda, Martin H Teicher, Jonathan R Seckl, Robert A Grossman, Adam Morris, Linda M Bierer Archives of General Psychiatry 2007, 64 (9): 1040-8
Perceived parental rearing behavior in children of Holocaust survivors. N P Kellermann Israel Journal of Psychiatry and related Sciences 2001, 38 (1): 58-68
Transmission of Holocaust trauma--an integrative view. N P Kellermann Psychiatry 2001, 64 (3): 256-67
Transmitted Holocaust trauma: curse or legacy? The aggravating and mitigating factors of Holocaust transmission. Natan P F Kellermann Israel Journal of Psychiatry and related Sciences 2008, 45 (4): 263-70
Relationship between posttraumatic stress disorder characteristics of Holocaust survivors and their adult offspring. R Yehuda, J Schmeidler, E L Giller, L J Siever, K Binder-Brynes American Journal of Psychiatry 1998, 155 (6): 841-3
The transmission of trauma across generations: identification with parental trauma in children of Holocaust survivors. D Rowland-Klein, R Dunlop Australian and New Zealand Journal of Psychiatry 1998, 32 (3): 358-69
Attachment and traumatic stress in female holocaust child survivors and their daughters. Abraham Sagi-Schwartz, Marinus H Van IJzendoorn, Klaus E Grossmann, Tirtsa Joels, Karin Grossmann, Miri Scharf, Nina Koren-Karie, Sarit Alkalay American Journal of Psychiatry 2003, 160 (6): 1086-92
Long-term effects of trauma: psychosocial functioning of the second and third generation of Holocaust survivors. Miri Scharf Development and Psychopathology 2007, 19 (2): 603-22


Naracoorte Lucindale Council will join three other south-east councils on a South Australian Government trade mission to China next month.
Mayor Erika Vickery will join the mayors of Grant District Council, the City of Mount Gambier and Wattle Range on a tour to Shandong Province, South Australia's sister state in China.
Councillor Vickery said the signing of the Australia-China Free Trade Agreement and the significant fall in the Australian dollar had created new opportunities.
"We needed a strong delegation from our SELGA [South-East Local Government Association] region to represent all the good product and primary production that we have to offer and Naracoorte Lucindale Council's participation in this will add strength to that delegation and we're hoping from that we can build some relationships," she said.
"We'll be one of 28 councils that have applied to participate in the China mission and have been accepted, so according to Premier Weatherill, this is one of the largest local government delegations ever to participate in a trade mission."


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Hospital vapors
The UK pro-smoking group Forest (Freedom Organisation for the Right to Enjoy Smoking) has called for the lifting of restrictions on vaping within hospital grounds.
Fifty-five percent of National Health Service (NHS) trusts did not allow electronic cigarettes to be used outdoors last year, according to a report by Forest, Prejudice and Prohibition: Results of a study of smoking and vaping policies in NHS hospital trusts in England.
This was despite Public Health England (PHE) advice that it should be made easier for people to vape on site.
Forest is calling also for greater freedom for patients, visitors and staff who want to smoke cigarettes at hospitals.
Freedom of Information requests were made to 200 NHS trusts in England by Forest, 170 of which provided a response.
'Around 45 percent said they allowed e-cigarettes to be used outside in 2018 and 11 percent of trusts, mainly specialising in mental health, permitted vaping indoors,' the research was said to have found.
'However 14 percent said they were planning to amend their policies in 2019 to allow vaping outside buildings, in shelters or in wards.'
Forest said vaping should be permitted in all outdoor areas at hospitals and inside buildings and on wards if management considered it appropriate.
Seventy-six percent of NHS trusts did not allow cigarettes to be smoked anywhere on hospital grounds while 22 percent provided smoking shelters, the research also found.
Meanwhile, thirty two percent of trusts said they had installed a button which triggers a recorded message when pressed by a member of the public or staff, to help deter smokers.
Forest described the devices as 'shame-a-smoker buttons'.
"We welcome the fact that some trusts are reviewing their policies on the use of e-cigarettes, but adopting a more sensible approach to vaping shouldn't come at the price of a complete ban on smoking," Simon Clark, director of Forest, was quoted as saying.
"Banning smoking on hospital grounds demonstrates a staggering lack of compassion for smokers who may be stressed, upset and in need of a comforting cigarette.
"A reasonable policy would lift restrictions on vaping, but give those who prefer to smoke the option of sheltered smoking areas."
The NHS trust responses were collected between July and December 2018.
« JUUL joins UKVIA
US FDA moves up non-tobacco related flavor product PMTA deadline 1 year to Aug. 2021 »


Multinational companies that have embraced LGBT inclusion at home in America and Europe often adopt a "when in Rome" strategy in countries that are intolerant of LGBT people. Though sometimes justified, this can be a huge missed opportunity for business to take the lead in rewriting the history of progress, by using their economic muscle to advocate for change, argue Sylvia Hewlett and Kenji Yoshino, the authors of a new report on companies and LGBT issues, "Out in the World".
In the first in a series of Pride and Prejudice podcasts, the authors discuss with Matthew Bishop their controversial thesis, and why they believe the time is right for enlightened companies to take a stand for LGBT inclusion wherever in the world they do business.


text:
Q: Icon missing when adding custom combobox command to Toolbar I have a custom command:
class ATL_NO_VTABLE CSliceSelector :
    public CComObjectRootEx<CComSingleThreadModel>,
    public CComCoClass<CSliceSelector, &CLSID_SliceSelector>,
    public ISliceSelector,
    public ICommand,
    public IComboBox
{
   ...
}

I also have a custom Toolbar where I try to add my custom command:
class ATL_NO_VTABLE CSeismicToolbar :
    public CComObjectRootEx<CComSingleThreadModel>,
    public CComCoClass<CSeismicToolbar, &CLSID_SeismicToolbar>,
    public ISeismicToolbar,
    public IToolBarDef
{
   ...
   STDMETHOD(GetItemInfo)(long pos, IItemDef * itemDef) {
        if (itemDef == NULL)
            return E_POINTER;

        if (pos == 0) { // CSliceSelector
            itemDef->put_Group (VARIANT_FALSE);
            HRESULT hr = itemDef->put_ID(CComBSTR(L"{96A2B223-BF0D-410C-B22B-892FED3D9A15}"));
            if (FAILED (hr)) {
                return hr;
            }
        }
      }
}

However when I start ArcScene; I see a red circle icon and the text "Missing": , instead of my command :-(.
However if I add it manually from Customize toolbars; it works fine.
I have tried both returning a null pointer and a valid bitmap:
CSliceSelector()
{
     m_hBitmap = ::LoadBitmap(_AtlBaseModule.GetModuleInstance(),MAKEINTRESOURCE(IDB_SLICE));
}
STDMETHODIMP CSliceSelector::get_Bitmap(OLE_HANDLE * Bitmap)
{
     if (Bitmap == NULL)
        return E_POINTER;
   *Bitmap = (OLE_HANDLE) m_hBitmap;
     return S_OK;
}

I have other commands that are not combobox; and they work fine.


text:
The evolution of marketing: Introduction
Opinion, 25/11/2022
Brian Jacobs, Brian Jacobs & Associates
In the first of a four part series, Brian Jacobs, co-founder of Crater Lake & Co, explores the implications around the evolution of marketing, and how marketing leaders can best manage the many challenges facing them today.
The executive search firm, Spencer Stuart's annual survey into executives' tenure, as reported in The Wall Street Journal of May 5th has the average time in post of a Chief Marketing Officer at 40 months.
This has not changed year-on-year although Spencer Stuart report it is still the shortest period for more than a decade. It is also less than half the tenure of a CEO, which averages out at 85 months.
Why might this be? Certainly, the role of marketing has evolved dramatically over time, with the result that a CMO today is expected to combine an appreciation of creativity with an understanding of the many technologies used by consumers.
As Spencer Stuart's Greg Welch says in the WSJ piece: "It takes a real orchestra leader."
In this piece, and the following companion pieces we aim to explore the implications around the evolution of marketing, and how marketing leaders can best manage the many challenges facing them today.
The dictionary definition of marketing is: "The action or business of promoting and selling products or services, including market research and advertising." But what exactly does that, should that action deliver?
When I started in the business there was still a debate around the differences between marketing and selling. There was a sense, certainly in some sectors that the only difference was the job title on the business card. Salespeople sold; marketers sold too but with a fancier title.
This was never the case, or at least the intention: marketers worked out what was wanted; salespeople sold what they had to sell.
But whatever the intention, to many it was all about sales – how many did we sell, and for how much? Everything else was peripheral fluff.
Even today, fifty years later (and counting) the very real skill of 'marketing' is characterised by the many people in business who are still wondering what it actually is; what does it do?
We may not like to admit it, but in far too many boardrooms marketing is seen as something unaccountable, more concerned with the spending of money as opposed to being a driver of future business growth.
Sadly, there is a gap between how the typical CEO sees the role of marketing; and how the marketing professional perceives things.
'Marketing' in some CEOs' view delivers soft benefits not hard cash. Yes, new products, advertising campaigns, sponsorships, DM/EDM, content creation etc are 'useful' but the real responsibility for growth, profits and shareholder dividends are often perceived to lie in the hands of the others.
If you believe in the power of marketing to build brands and businesses, it is easy to dismiss these views as ignorant, but the reality is that ignorant or not they still exist – widely.
Marketing is seen as disposable; a nice-to-have in the eyes of far too many.
If there's any doubting this, look at the UK Government's recent assertion that in a cost-of-living crisis manufacturers should cut the cost to the consumer by redirecting marketing funds into price cuts.
Rather than dismissing these views as ill-informed, it would be more effective to reframe the whole skillset embodied inside the Marketing Department within the broader business context.
Once marketing is understood to be business focussed and accountable, using business metrics, executives outside the discipline will better understand that money spent on marketing is an investment not a cost. At this point the whole industry will move forward.
To re-frame the role of marketing – not only what it does but what it can do, we all need to consider not only how to demonstrate its effectiveness but also how it is talked about.
We need less 'jargon' and more confidence
Language, both its semantics and its syntax is a powerful way of creating new perceptions and judgements. If marketing does contribute to business growth, it is important that we recognise that in the words we use. We need to use less marketing 'jargon' and talk more of financial contribution.
To do this, we must think about both the metrics and the clarity of the narrative. We need to ensure that the contribution of marketing is understood by non-marketing professionals. We should stop being a linguistic clique and make the discipline more accessible to those who use a different vocabulary.
We are all guilty of over-complication in how we communicate. It's an understandable trait: 'You need me to explain this stuff; it's very complicated.'
We feel our value to the organisations for whom we work is enhanced by being the only people with the expertise to master the complexity. To put it the other way around, we often think that our value is somehow diminished if the non-expert understands. Understanding, we fear, is one step towards doing it yourself, which means you don't need me to do it for you.
This lack of confidence is underpinned by the shortness of tenure in the role.
Marketing will become indispensable, not by being obtuse but by demonstrating the value it brings to the business. To the CEO, the CFO, and the Board, that value is best measured in financial terms and not in the number of jargon words used.
When four of us, all from different marketing service disciplines came together to form a collective called Crater Lake & Company we were driven by a common desire to demonstrate the contribution that marketing makes to a business' success.
Whether you view the process through a media planning and buying lens, or from the standpoint of a market research agency; from the view of a creative agency or an analytics business dealing in huge quantities of data, we are all painfully aware of the same missing piece of the jigsaw – what does what we do add to our clients' success?
Further, how might we communicate that contribution to every stakeholder, so that everyone understands the tasks to be fulfilled and the benefits that will result.
A 'Clear Performance Narrative' can help break marketing silos
We came to the conclusion that the way forward is to create a story by bringing siloed information together.
We call this a 'Clear Performance Narrative,' or CPN. It can be expressed in words, pictures, or both. It distils inputs, achievements and failures in a way that can be understood by all, experts and non-experts alike.
Silos are the enemy of the development of a CPN - for all businesses. They get in the way; they obfuscate and confuse. They separate and divide when what we need is to come together behind a common set of tasks.
For instance, what sense is there in excluding consumer market research insights from a market mix model? Surely consumer trends and consumer attitudes are an important variable in understanding whether a brand succeeds or fails? Yet this rarely if ever happens.
Market research and market mix modelling are in their own silos.
Shouldn't a media agency be fully aware of the impact of the plans on the brand's financial success? Shouldn't a creative agency be exposed to what impact their work is having not only on those being exposed to it but also to those judging success or failure in the Boardroom?
There are plenty of smart people in marketing and agencies but if they are not made aware of something happening in a neighbouring silo, they cannot do much with it.
We know full well that there are great exceptions, where all disciplines come together to create beautiful music, but we also know that far too often every member of the orchestra is busy following different sheet music. They may all be playing beautifully but the overall effect is cacophonous.
Focus on meaningful metrics, that can be validated
The most recent addition to the cacophony is online or performance marketing.
We've all come across examples where the performance marketing team is playing its own tune with sheet-music supplied by those from whom they're buying.
They are delivered metrics that sound impressive ('look how many people say they like us...'), that may look impressive ('look how many noughts there are...') but which bear little or no relation to business success.
They also ignore certain realities. Kantar Media's Dimension studies explore how consumers perceive advertising on different channels, and how they use those channels.
The latest Dimension work took place pre-pandemic in 2020, across eight of the largest ad markets. The full report is available from Kantar but in short, online advertising is seen as intrusive and disliked when compared with other media forms.
This may or may not matter, but surely it should be considered?
As should other indicators. Kantar Media's data, supported by other sources like Statista show the extent of adblocking – with measurement techniques varying this seems to be between 35% and 45% of online users.
Why would you block something that you consider to be of value?
Then there's ad fraud estimated by the ANA as being between US$60bn and US$120bn.
What's US$60bn between friends? Whether it is 60 or 120 we can all agree it's a big number.
Any marketer confronted by these data points would incorporate them into his or her thinking – and yet online ad revenues continue to grow.
Might this be related to the silo issue – with some performance marketing teams reporting in to finance and not marketing and using incomplete data?
How many times does the advertiser assess performance marketing achievements within the context of brand-building activity, or indeed vice-versa?
We fear the answer is rarely. Why? Often, it's down to organisational matters, to internal politics, to silos.
Marketing is a team sport, runs the cliché. But like most clichés there is more than a grain of truth in there. Advertising that appears in multiple places carrying a consistent message over time will work a great deal better than a campaign inconsistent in its messaging and its management from channel to channel.
This focus on numbers that really don't matter much is not by any means limited to online activities.
Take tracking studies. What are they for other than to fuel a dashboard that gets presented at a quarterly Board meeting? This may be over-harsh, but trackers so often perpetuate the status quo. The questions cannot be changed because of a fear that continuity will be lost.
Why are we asking those immutable questions in the first place? Far too often no-one can remember, no-one wants to open that particular can of worms and so best to keep on keeping on.
In this series of articles prepared by the Co-Founders of Crater Lake in conjunction with WARC we attempt to build on these issues, and provide practical advice on how to overcome them.
The second article in this series tackles how we might assess the true business contribution made by online performance marketing activities, given that the sheer number of non-human interactions (bots in other words) with our ads is so huge? And how can we arrive at the best combination of communication activities to improve profits?
The third article explores how leading marketers assess the future of marketing. Are they confident in their discipline's ability to grasp the opportunities and drive their business' understanding and appreciation of what they do to bring success? What do they feel needs to change?
And the fourth and final piece looks at what the best strategic thinkers make of tracking studies. Have they passed their sell-by date? Could the many millions spent on them be put to better use in generating insights that drive the business ahead?
We believe that the opportunities for marketers have never been greater; we all need to evolve to make the most of them.
Read more articles in this series
The evolution of marketing: A strategy to combat digital ad fraud
David Beaton
Navigation ME
The evolution of marketing: The client perspective
Fiona Blades
MESH Experience
The evolution of marketing: Are tracking studies fit for purpose?
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Brian Jacobs
Founder, Brian Jacobs & Associates
View all of Brian Jacobs's Opinion posts
Brian has 35 years experience at advertising and media agencies, including Leo Burnett, Carat International and Universal McCann.
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