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Headlines > Society > Current page:: The 40% gender pension gap: how Parliament wants to narrow it (interview)
The 40% gender pension gap: how Parliament wants to narrow it (interview)
Women in Europe receive a pension that is on average about 40% less than that of men's. MEPs vote this week on proposals to help narrow this gap.
Find out the facts in our infographic
European women earn on average about 16% less than men, but the situation gets worse once they retire as their pension is about 40% less. A proposal to ask the European Commission to come up with an EU strategy to end this gender pension gap is this week making its way through Parliament. MEPs debate the report with recommendations on Monday 12 June and vote on it on Wednesday 14 June. To find out more about the situation and what should be done about it, we talked to report author Constance Le Grip, a French member of the EPP group.
Women earn less than men and work fewer years, so contribute less towards the pension scheme. What other factors are working against them?
Women are overrepresented in poorly-paid jobs and under-represented in well-paid professional ones, such as in the technical and IT sectors. In some countries women support the work of their husbands who are farmers, traders and craftsmen, but their efforts are not officially recognised, so they do not have a full-time salary or contribute towards social security. So they are confronted with many inequalities in their life that when they retire lead to a lower pension than men.
The difference in pensions between men and woman varies from 3.7% to 48.8% in EU countries. Why are there such significant different between member states and which do better than others?
There are a variety of historical and social reasons for this. Retirement systems are up to member states and there is no harmonisation at EU level. Some countries have had equal pay for many years, even before joining the EU. This is of course reflected in the pensions. In other countries women have been less economically active and employed in junior positions, on a part-time basis or in insecure jobs.
Why is the pension gap increasing in half of the member states?
This still needs to be analysed further, but I would say that the economic and social crisis has tended to make inequalities worse. It has made it worse for people in vulnerable positions, who tend to be women.
Constance Le Grip
What measures to you propose to narrow this pension gap?
This should remain the responsibility of member states, so we don't want to propose a harmonisation at EU level. However, first of all we need to raise awareness of the issue and the continuing inequalities. The countries with the best results are those that have been careful to working towards true equality. When calculating pensions that also includes taking into account time spent putting a career on hold in order to look after children.
The Parliament and the Commission could work on a general European strategy to encourage member states to analyse the inequalities and put into place measures to overcome them.
In your report you say that we should encourage people to find out more about their finances, especially women. How should this be achieved?
It's more about making women aware of the importance of this. When they start their career, they should be careful to check they earn enough and that they are well informed about how the pension system works in their country. For example, part-time work might seem like an attractive option, but it can work against you if you do it for too long as it will lead to a lower pension when you retire.
In some member states up to a third of retired women don't have a pension. How is this possible?
These are the wives of the farmers, traders and craftsmen I mentioned earlier, who worked for many years but received a low salary that did not reflect their efforts. It's not because they did not declare their income; it's because their contribution is not taken into account enough.
Find out what the Parliament does to fight gender inequality.
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Gender equality committee
Ref.: 20170609STO77059
Wonderful to be a woman? It still pays more to be a man
It seems you still have to be a wonder woman these days to climb the corporate ladder. Women make on average €8,000 a year less than men and few of them make it all the way to the top. The economic crisis has made the situation even worse. This year's International Women's Day on 8 March is dedicated to how women have been affected by the crisis. Find out more in our infographic.
Gender balance: five areas for improvement
Each year the European parliament draws attention to a specific topic related to women´s situation on the occasion of International Women's Day on 8 March. This year we decided to highlight the issue of economic empowerment. Check out our infographic to see where more work is needed.
Women's Day 2017: Parliament highlights women's economic empowerment
For this year's International Women's Day the European Parliament highlights the issue of women's economic empowerment in a series of events. On Wednesday 8 March Spanish Green MEP Ernest Urtasun, author of a report on equality, answers your questions during a Facebook live session. Women are still often paid less, receive lower pensions and are less represented in top corporate posts and politics. Join our debate on Facebook and follow all Parliament events on International Women's Day.
Gender equality: "We not only need legislation but also societal change"
When it comes to gender equality, much remains to be done, be it at home, in the office, at school or in politics, according to MEPs Constance Le Grip and Anna Hedh. We talked to the two member of Parliament's gender equality committee on the occasion of International Women's Day on 8 March, which this year focuses on economic empowerment. Watch our video to find out what they had to say on the subject.
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Thousands of teachers in Turkey's South East are to be suspended over suspected support of the banned Kurdistan Workers' Party, Turkish Prime Minister Binali Yildirim said.
"We estimate there are around 14,000 teachers in this area that are somehow connected to terror," he said.
South-eastern Turkey has seen the worst violence in two decades since the outlawed PKK abandoned a two-year ceasefire with the government in July 2015.
The measure comes after nearly 50,000 civil servants in Turkey were fired by decree on Friday, as the government continues its purge of public services following a failed coup attempt in July.
Yildirim said that teachers linked to the PKK would no longer be renewed at the start of the new school year on September 19th.
The PKK, which regularly attacks police and military targets in the mostly Kurdish south-east, has intensified its activities in recent months.


ArchiteXX's "Now What?! Advocacy, Activism, and Alliances in American Architecture since 1968" exhibition at Pratt Institute. Photo © Sally Rafson.
Non-profit organization ArchiteXX's "Now What?! Advocacy, Activism, and Alliances in American Architecture since 1968" is a can't-miss exhibition that examines the overlooked history of architects and designers who were — and still remain — at the forefront of the profession's participation in the larger civil rights, women's, and LGBTQ movements over the last 50 years.
Since its debut at the Pratt Institute in May, the pop-up exhibition is traveling coast to coast across the U.S. Its next pitstop will be at the WUHO Gallery in Los Angeles starting September 1 through October 15 — plus an opening reception on September 8, from 6 to 9 p.m. In every location the exhibition visits, it will incorporate each city's local histories of activist architects and designers.
Curated by Lori A. Brown, Andrea J. Merrett, Sarah Rafson, and Roberta Washington and featuring new additional materials for the WUHO show, "Now What?!" features never-before-seen content, conversations, and stories that give an in-depth look at activism and diversity in American design professions, from 1968 to the new wave of advocacy in recent years.
The exhibition aims to educate and directly engage visitors in critical conversations related to history, progress, and the built environment, and it highlights the national and grassroots efforts by a coalition of organizations and professionals still working to push the American design industry forward.
"Now What?!" curators with Michele Gorman, Pratt Institute Liaison and exhibition designer. Photo © Sally Rafson.
"Now What?!" serves as yet another important reminder to always take a good hard look at history in order to find new ways forward into the future. It also reminds design professionals to see themselves as agents of positive change for their communities and beyond.


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Tag Archives: videogames
Claro offers YouTube and video games for free on its 'Packs Ya' platform
OTT / VOD | Agustin Bertran | February 21, 2020
Through its 'Packs Ya' platform, Claro Argentina offers new benefits for customers with pre and postpaid service. Among them, the company's customers will be able to access YouTube videos without discounting gigas from their plans, and, through the "Juga Ya" site, it will be possible to choose from more than 800 video games to download [...]
Tags: claro, Free Fire, Juga Ya, Julio Porras, Packs Ya, videogames, YouTube
Caracol TV launches eSports platform Volk in Colombia
Esports | Agustin Bertran | October 11, 2019
Officially launched yesterday, Volk, the new Caracol TV's eSports and videogames platform, is now available. Presented during the Salon de Ocio y Fantasia de Bogota (SOFA) tenth edition, Volk will become the first community that will bring all casual and non-casual gamers of the country together, through the realization of face-to-face and virtual tournaments, and [...]
Tags: Caracol TV, colombia, eSports, gamer culture, gaming studio, videogames, Volk
Televisa to launch eSports channel BitMe next July 15th
Pay TV | Agustin Bertran | July 11, 2019
Televisa presented yesterday in Mexico BitMe, its new pay TV channel focused on eSports, videogames, technology, anime and geek culture. The channel will be officially launched next July 15th, and will be available on Spanish-language pay TV in Latin America. In Mexico, it will be part of Izzi, Total Play and Sky's programming grids. 'It [...]
Tags: anime, BitMe, eSports, Izzi, Latin America, Luis Luisillo, méxico, Pay-TV, programming, Sky Mexico, Televisa, Total Play, videogames
Televisa launches pay TV channel focused on eSports
Pay TV | Agustin Bertran | July 3, 2019
Televisa Networks announced that it will launch a new pay TV channel focused on videogames, technology, eSports and geek culture (a term used to refer to the person who is considered fan of technology and computing). The channel will be called BitMe, whose release date is scheduled for next July 15th. Its offer will be [...]
Tags: Biltmore Hotel, BitMe, Carlos Murguía, Dataxis, eSports, geek culture, Javier Rodriguez, méxico, Miami, Original productions, Pay-TV, Sportv Series Latin America, technology, Televisa, Televisa Networks, Televisa Sports, videogames

redpajama_set_name: RedPajamaCommonCrawl


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More about the Oxford MBA
Visit the Skoll Centre for Social Entrepreneurship
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Meet the Scholars
From Rwanda to Oxford
I awoke to the sound of beating. My young female neighbor was screaming, and the dull thud of weight hitting a body was audible.
I had been living in rural Rwanda for about a year, serving as an Education Volunteer with the US Peace Corps, straight out of my undergraduate studies with an unlikely degree in Geology. The Peace Corps had fit with my desire to engage directly with people and communities, and to learn from a completely different context than what I had grown up in. I was assigned to Rwanda in 2010, and after a three-month training in curriculum design, culture, and Kinyarwanda, a Peace Corps pick-up truck dropped me off in a small, very rural community in the east, where I was to teach secondary school English for two years.
In the first year, I had already learned several important things: 1) I did not enjoy being a secondary school teacher. (Sixty youth cooped up in one room was not my cup o' tea.) 2) I really enjoyed working with my female students in out-of-class programs, like girls' sports clubs and a girl's leadership club. 3) I was increasingly bothered by the daily inequalities I saw my female students, female neighbors, and myself facing.
Shaking with fear and anger, I headed towards my neighbors' house, not knowing what I was walking into. Not knowing if my interference would make things better or worse. But knowing that I couldn't stay still and wait any longer.
This moment stands out to me as a tipping point in my journey to social impact. It was far from the first time I had witnessed or experienced injustice against women, but it was a catalyzing moment that sharpened my focus on it. The fact was, momentum had been building up in me over time, first as greater recognition of the inequality, then frustration, and finally anger. When I resolved to get up and do something that night, I cemented in myself a resolve to act in the face of fear and risk for what I know to be right.
I began to spend more of my time thinking about the globally prevalent misbelief that females are somehow less, and all the related consequences of this, from violence to lower educational access to limited employment opportunities. Throughout the remainder of my time in the Peace Corps I explored and questioned why this was the case. After Peace Corps, I continued to explore similar challenges in a different context. I spent a year as an AmeriCorps volunteer in Denver, CO working with pregnant and parenting teen moms at a public high-school, trying to bridge the gaps in their access to healthcare, housing, food security, and wellness services.
Julie working as an AmeriCorps volunteer
Though the contexts were quite different, the basic challenges remained incredibly similar. It became increasingly clear to me that independent and narrow solutions were inadequate to create real change for such complex problems. It wasn't enough to provide girls with education or women with income; these would not be sustained without a systematic change where they also had access to childcare, healthcare, wellness services, and a community that believed in and supported their growth. The root causes had to be addressed, as well as the surface level symptoms.
In 2014, I had the opportunity to dive headfirst into co-building a social business that was aimed at creating social and economic empowerment for women through training and employment, as well as community benefits through the products themselves. The idea, in theory, is simple: build bakeries, train and employ women, produce and sell nutritious and affordable breads, and source and sell locally so that the local ecosystem benefits from the entire process. In practice, of course, it is far more complicated.
Julie at The Women's Bakery
Without any business background but a passion for what we wanted to achieve, I threw myself into the challenge of building a business that would work for women, their families, and their communities. And, which we hoped would challenge some of the societal norms and structures that kept women from achieving their potential.
Julie with the first The Women's Bakery group in Rwanda
My experiences in the Peace Corps and AmeriCorps were great foundations, but the past four years have still constantly challenged my assumptions and ideas about how to create lasting impact. I have been pushed to think far beyond the initial bounds of the problem scope, apply multi-pronged approaches, partner with others in the space, and always come back to the women and stakeholders we are working with to understand how and where we need to shift our approach. We have experienced encouraging successes and frustrating failures, and at times questioned if we are even remotely on the right track.
About a year ago, I decided that I needed to learn more in order to better lead and make strategic business decisions to further grow our company. I wanted the skills and foundational business knowledge afforded by an MBA, but I was reluctant to dive into one or two years of talk about corporations, finance, the bottom line, and whatever else I imagined an MBA to be. Oxford Saïd stood out to me immediately because of the Skoll Centre and the focus on social impact and social entrepreneurship. I want to spend this year learning business fundamentals, yes, but more importantly I want to spend this year being exposed to an incredible community of social impact leaders and implementers. Already, I have met incredible people within the program and through the Skoll Centre who are continuing to challenge and deepen my understanding of social impact and systems change. I am blown away by the passion and commitment around me, and I can't wait to learn and grow more throughout the year.
By Julie Greene, Skoll Scholar and Oxford MBA candidate 2018-19
The Skoll Scholarship is funded by the Skoll Foundation.
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Set The Tape
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Whose Line is it Anyway? at the Royal Albert Hall – Event Review
By Wendy Attwell 18 December 2018 30 June 2019
Leave a Comment on Whose Line is it Anyway? at the Royal Albert Hall – Event Review
Whose Line is it Anyway? began its televisual journey on Channel 4 in 1988, after a short run on BBC radio earlier that year. The show, which ran for 11 years and spawned both U.S. and Australian versions, revolved around four performers taking part in a series of improvisational games and challenges, creating short comedic skits and songs, often from suggestions thrown out by the audience, or on instruction from host Clive Anderson, who was also there to buzz them out when things got too silly.
As Clive Anderson says in his introduction to Whose Line is it Anyway?'s 30th anniversary Christmas show at the Royal Albert Hall – Whose Line…? didn't invent impro but it did popularise it. Whether you tuned in as an avid student of theatre, hoping to pick up some tips, or because it was a relaxing evening wind-down after a tiring day, back in the 90s the absurd antics of Josie Lawrence, Colin Mochrie, Ryan Stiles, Greg Proops, Tony Slattery et al. were a must-watch. Whose Line…? wasn't just funny – it was cool.
READ MORE: Aquaman – Film Review
This special Christmas show features six – rather than the standard four – performers, reuniting Clive Anderson with series regulars Josie Lawrence, Colin Mochrie, Mike McShane and Charles 'Chip' Esten, and also includes Brad Sherwood and Jeff Davis, who participated in the U.S. version.
It's wonderful to see the cast together in 2018, back for six shows packed into a mere two days. It's almost inevitable that someone's favourite game will be missing from this approximately 1 hour and 40 minute long live performance, but it does include classics such as 'questions only', 'film and theatre styles', 'props', and the ever-popular finale that is the 'hoedown', as well as a variety of new challenges. It makes great use of suggestions from the audience, both shouted out and written down, as well as asking volunteers to go on stage and participate in the action, providing sound effects, moving the actors around like puppets, and even acting as props.
One of the big parts of Whose Line…? was the live musical accompaniment that worked in sync with the impro performances. For these six shows it is provided by the multi-talented Laura Hall and Linda Taylor, who worked on the U.S. version of the series. These shows are quite heavily weighted towards the musical aspect of improvisation, which was a little surprising but entirely enjoyable.
READ MORE: Metropolis at the Royal Albert Hall – Event Review
The beauty of the format is that no two shows are the same. Everything is dependent on the instructions and suggestions given, and how the cast respond to them. There's no way that an impro show with an experienced cast can really go wrong – except when they mis-hear the rules or forget what it is they're supposed to be doing – and even then it just descends into glorious chaos. A mishap is turned into a recurring joke and a skit from the middle of the show is referenced towards the end, making the performance feel intimate: a standing joke between old friends. On Sunday, there was even a callback to the original series, with one of the cast setting Colin Mochrie up to do his now-famous velociraptor impression. Good times indeed!
It wasn't entirely effortless – 30 years on everyone's back is a little less flexible! – but the absolute energy of the cast, who were totally switched on and giving one hundred percent throughout the show, was impressive and praiseworthy. Josie Lawrence, glorious as always, certainly still knows how to steal the spotlight. Watching the show was like meeting an old friend who hasn't changed at all in the intervening years. As one game flowed into the next, the laughs just kept coming.
The Royal Albert Hall might seem rather a majestic setting for such absurdities as Whose Line is it Anyway? is likely to present. But if laughter is what keeps us going, spurring us on in times of darkness, then comedy deserves the grandest of stages, and this is indeed a fitting location for such a show.
Whose Line is it Anyway? is playing at the 2019 Edinburgh Fringe.
Tags: Brad Sherwood Charles Esten Chip Esten Christmas Clive Anderson Colin Mochrie Dan Patterson Jeff Davis Josie Lawrence Laura Hall Linda Taylor Mark Leveson Mike McShane Royal Albert Hall Whose Line is it Anyway?
Published by Wendy Attwell
Freelance writer and editor, creating order out of chaos and vice versa. Could really use a cup of tea about now.View all posts by Wendy Attwell
Set The Tape is an independent pop culture website with insightful reviews, fascinating opinions and fun lists all about film, TV, comics, music and games.
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Added 10 years ago by Erdem in Indie
The Whip is an electro house band from Manchester, UK, formed in 2006. The band members are Danny Saville, Lil Fee, Nathan Sudders and Bruce Carter. In 2006, they released both PlayFrustration and PlayTrash. This was soon followed in 2007 by the release of three singles through a selection of labels; PlayMuzzle No.1, PlayDivebomb and PlaySister Siam.
The band's debut album, 'X Marks Destination', was released on Southern Fried Records on March 24th 2008. The album was preceded by the re-release of a newly recorded version of PlayTrash. There is also a remixed version of the album, known as 'RemiX Marks Destination'
Tags: electronic, electro, indie, dance, electronica
Johnny Cash - Man in Black
Johnny Cash - San Quentin-Live
Takka Takka - Silence
The Cribs - Don't You Wanna Be Relevant?
Architecture in Helsinki - Like it or Not
The Dodos - Winter
Jenny Owen Youngs - Fuck Was I
Joan as Police Woman - Christobel


How disastrous does it sounds when one hears that phone set a jeep on fire? That's right, Till Saturday, this threat was looming over the heads of this phone's users. This is when Samsung Electronics sent a message publicly to stop the usage of note 7. The reason being that till September 1, the company had registered 35 cases of the Note catching fire mostly when the phone was charging.
As of now, Note 7 hasn't been launched in India. The launch was due on Sept 2. But till then they had got a dozen complaints about the phablet. So, currently the launch has been postponed.
After this news came out large, USA, Singapore, Australia, UAE, Pakistan and other countries airlines banned the passengers to Switch on or charge the phone on the plane. This led to a straight ban on the usage of it on all the Indian Airlines. The Directorate General of Civil Aviation(DGCA) put out a notice mentioning the safety concerns and taking the necessary steps to implement it.
Samsung had shipped 2.5 million Note 7 phablets before they got to know about the mishap. Amidst all this helter-skelter , Apple unveiled its new and featured iPhone 7 smartphone which very obviously reflected the shares of Samsung which have fell by 5.5% at an international level.
With Samsung claiming to replace their customers phablets till Sept 21, it's going to be one hell of a job for the Customer Service to serve their Customers.


This property sits on Fairbanks Ferry Road in Havana and provides easy access to Tallahassee. There is well, septic and electric on the property. There is also a mobile home on the property that is if no use.


We have a very special night for the October Northside Jam. Along with our regular jam sessions, we have a special repeat performance of BUMS Supergroup direct from Newkulele Festival. Yes it's the fifth Tuesday of October rather than our regular fourth Tuesday, so it really is an extraordinary night!
The BFG (BUMS Festival Group) got together to perform at Newkulele 2018. They've created a Uke Opera, maybe the first ever! A modern-day Romeo and Juliet story of eleven songs woven together by a narrator. It's a tale full of emotion. Love, frustration, anger, craziness, sorrow, joy, and violence, how will it all end? Will our hero and heroine end up like the tragic Shakespearean couple? What has the Goodwill Bridge got to do with it all? Read more about the BFG here.
This is the only other performance of the Uke Opera…ever… so if you didn't get to Newkulele Festival don't miss it!
Jam starts 7:00pm- First jam session, BFG Uke Opera, then final jam session.
The next Northside Jam is Tuesday 27 November, returning back to our regular night on the fourth Tuesday of the month.


I made an animation which change the alpha value of an image. Yet, I don't seem to get a it start playing in my level BP. How do I communicate to the level blueprint that it should play my animations?
Put this in the Level Blueprint.
Thank you very much! This worked! Many thanks!
I'm glad you understood what I was trying to say. lol First time helping anyone here. I'm glad I could help!
There seems to be a problem , a bug?, with the touch interface on mobile. The animation overwrites the touch input joystick, so that it "freezes" the touch input, until the animation stopped playing. For example player moves forward with the mobile joystick - widget animation starts playing - player cant do anything , forcefully moves forward, since it froze in that position input - widget animation finishes/stops - everything is back to normal again.
I have to check that out. Maybe I did something wrong.
And finally use it where ever you want. Animation we'll be played each time you call this function. hope this works for you.
You can call the animation from the widget reference in a character, level, etc BP or from the event construct in the widget BP.
How do you get the level sequencer to "keep state" and not jump back to the character camera?


Lee-Ann's Page - 30 Bananas a Day!
I am new to the low fat high carb vegan lifestyle after trying everything to feel better.
I starting become intolerant to everything, I ended up looking like I was pregnant and my stomach was in so much pain everyday.
I lift weights and exercise everyday including running, but I felt like I was dying.
I ended up having to have my thyroid out and it was after this that I knew I couldn't go on the way I was.
Since switching to raw till 4... Sometimes totally raw, I am feeling so so much better and I can't wait to see how I look and feel in a year from now!


A TEENAGE boy who is accused of assaulting his mother and urinating in front of his sister was placed in detention after gardai sought to have his bail revoked.
The 16-year-old, who has an address in a Limerick city suburb, was released on conditional bail after he appeared in court before Christmas when he was charged with two counts of assault.
One of the conditions of his bail was that he not "assault, harass or intimidate" his mother and sister who live in the same house.
However, at a special sitting of the children's court on Friday, Judge Marian O'Leary was told gardai were seeking to have his bail revoked as they had concerns for the safety of members of his family.
Garda Ryan McCarthy said the defendant, who can't be named because of his age, had breached his curfew and had also put his mother and sister in fear.
Details of a number of incidents which occurred at the defendant's home earlier this month were outlined during the hearing.
Garda McCarthy told Judge Marian O'Leary the youth spat at his mother's face and pushed her with "considerable force" against a wall on one occasion and that he urinated into a glass in front of his sister on another occasion.
He said gardai have also received a complaint that he engaged in a threatening and abusive manner towards his mother and that he smashed a glass panel in a sitting room door by kicking it.
Judge O'Leary was told investigations are underway in relation to the recent incidents and that the defendant is likely to face additional charges.
Garda McCarthy said he also had concerns about the defendant's drug use and he agreed with Sergeant Donal Cronin who said gardai have a "serious concern" for the safety of the youth's family and sister.
Neither of them were present in court for the hearing of the application which was not opposed by solicitor Conn Barry.
Having been informed there was a bed available at Oberstown School in Dublin, Judge O'Leary ordered that he be remanded in detention.
The matter is due before the children's court again this week.


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Programs & Regulations
Evapotranspiration, Rain and Groundwater Levels
Republican River Compact Compliance
Water-Savings Incentives
Tree Sales
Well Decommissioning
Phase Designation Areas
U.S. agricultural water use declining for most crops and livestock production
Monday, November 16, 2020 - 11:53am
By Marianne Stein
URBANA, Ill. – Climate change and a growing world population require efficient use of natural resources. Water is a crucial component in food production, and water management strategies are needed to support worldwide changes in food consumption and dietary patterns.
Agricultural production and food manufacturing account for a third of water usage in the U.S. Water use fluctuates with weather patterns but is also affected by shifts in production technology, supply-chain linkages, and domestic and foreign consumer demand.
A comprehensive University of Illinois study looked at water withdrawals in U.S. agriculture and food production from 1995 to 2010. The main trend was a decline in water use, driven by a combination of factors.
"Overall, the use of water for irrigation decreased by 8.3% over this period," says Sandy Dall'erba, regional economist at U of I and co-author on the study.
"However, one needs to identify the drivers of water use by crop as they differ from one commodity to the next, so water-saving strategies for one crop may not be relevant for another one," Dall'erba explains. "For instance, water use in cereal grains, fruits, and vegetables is mostly driven by the efficiency of the irrigation system, domestic per-capita income, and sales to the food processing industry. If irrigation is more efficient, water demand decreases. When demand for fruits and vegetables decreased in 2005-2010 during the financial crisis, so did demand for water."
Oilseed crops, on the other hand, have experienced a 98% increase in water demand over the period. The change is primarily driven by international supply-chain linkages. It means foreign companies, mostly in China, have purchased large amount of U.S. oilseed crops for further processing.
"There has also been a shift in consumer demand from red meat to white meat in the U.S. People consume less beef and more chicken, which require 3.5 times less water per pound of production. Those trends in consumption and taste have helped the U.S. reduce water use for livestock by 14%," Dall'erba says.
Dall'erba and co-author Andre Avelino performed a structural decomposition analysis, looking at 18 factors that drive U.S. water withdrawals across eight crops, six livestock categories, and 11 food manufacturing industries.
Based on data from Exiobase, a global supply-chain database, their analysis included water that's embedded into the production at all stages of the domestic and international supply chain, from crops and livestock to processed food production – highlighting the interconnectedness of global agribusiness.
For example, crops produced in the U.S. may rely on fertilizers produced in a different country. Similarly, soybeans produced in the U.S. could be used for food processing in China, or to feed livestock in Europe.
The current U.S.-China trade war is likely to affect these these supply-chain linkages, as Chinese import of oilseeds shifts to South America and Europe. The U.S. exported less soybean and pork to China over the last two years; therefore, less water was embedded into those exports. However, the next few years under a new U.S. administration may see an improvement in these relationships, Dall'erba notes.
The COVID-19 pandemic is also likely affecting water usage. Unemployment and economic crises have always impacted consumer demand, and international trade has sharply declined since the pandemic began. The 2008 recession resulted in decreased water usage and similar effects are expected in the current crisis, Dall'erba states.
Traditionally, scientists measuring the amount of water associated with production and the supply chain rely on a worldwide data set called the Water Footprint Network (WFN), which is based on a crop water-use model. However, Dall'erba and Avelino used data from the U.S. Geological Survey (USGS), which are based on observations rather than physical models.
"With the USGS data we find a decrease in the amount of water used, while the WFN data indicated a small increase. The difference is not large, but it's still a big deal, because you would find the wrong trend and reach misleading conclusions if you use the wrong data set," Dall'erba explains.
"This is important information for researchers. If you're in a situation where you have access to data based on observations rather than crop models, you should use those official data, especially because water saving policies are based on this dataset," he notes.
The questions addressed in this research are extremely relevant for any country that is heavy on agricultural production, Dall'erba says. "Namely, how can we feed the 10 billion people we expect to be at the global level by 2080, considering that we cannot necessarily expand the amount of land that's going to be used? And, given climate change, there is quite a lot of uncertainty with respect to the availability of water needed to grow crops and feed livestock in the years to come."
Water management strategies may include farm-level efforts such as increasing efficiency of the irrigation system, switching crops, and growing genetically modified crops.
Other measures may include policies aimed at affecting consumer behavior such as increasing taxes on water-intensive products and supporting ecolabeling, Dall'erba suggests.
Ecolabeling would require food manufacturing companies to report the amounts of water, carbon dioxide emissions, and labor associated with production. That could help consumers make informed choices and potentially shift consumption to less water-intensive products, he concludes.
The article, "What Factors Drive the Changes in Water Withdrawals in the U.S. Agriculture and Food Manufacturing Industries between 1995 and 2010?" is published in Environmental Science and Technology. [doi.org/10.1021/acs.est.9b07071]
Authors are Sandy Dall'erba, Regional Economics Applications Laboratory, Department of Agricultural and Consumer Economics in the College of Agricultural, Consumer and Environmental Sciences, University of Illinois, and Andre Avelino, National Renewable Energy Laboratory.
The research was funded by a United States Department of Agriculture hatch grant.
Find a link to the article below
U.S. agricultural water use declining for most crops and livestock production | College of Agricultural, Consumer & Environmental Sciences :: University of Illinois
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Some Ohio organizations, restaurants and educational institutions are working to increase access to healthier foods and programs in an effort to end childhood obesity. Photo credit: DodgertonSkillhause/Morguefile.
SIOUX FALLS, S.D. - Accessing nutritious foods is a challenge for many South Dakota families and some experts say the problem contributes to the obesity epidemic. But businesses in the food industry and various organizations are stepping up to help make the healthy choice the easy choice.
Drew Nannis, chief marketing officer with Partnership for a Healthier America, says some restaurants, food suppliers, community groups and colleges are among those increasing access to healthy food.
"We want to make sure that it's as easy as possible getting rid of the barriers such as time, cost and other issues that may be there that prevent people from making the healthier option," says Nannis. "We believe people know what the healthier option is; we just need to make it as readily available as possible."
The changes include increasing affordability, adding vegetables and fruits to restaurant menus and adopting programs promoting nutrition and physical activity. Birdseye, Walgreens and Walmart are among those involved. An estimated one quarter of all South Dakota children ages 10 to 17 are overweight or obese.
Nannis says recent signs suggest a leveling off of what was an escalating rate of obesity for quite some time. The partnership's goal is to bring it down to five percent, because Nannis says childhood obesity leads to a multitude of health problems.
"It's everything from an economic issue where people are having to take sick days and productivity drops to a national security issue; a quarter of the people who are volunteering for our armed services are actually too heavy to serve," Nannis says. "So this is a wide-reaching epidemic."
At the Building a Healthier Future Summit in D.C. last week, national health experts, policymakers and business and industry leaders brainstormed new strategies to help end childhood obesity.


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The softest knit you'll own in the prettiest grey shade. Features a mock neck, flared sleeves with a tie at the end for a statement look, fluffy touch. Extremely soft that you may fall asleep in it. Wear it on those cold nights out or stay in with some Netflix and hot chocolate - whatever it is, our cupcake sweater will keep you cozy and stylish.


text:
Chris Hankin - Flute
Courses at Just Flutes
Ealing Flute Academy
Sometimes it just has to go into print!
Chris is currently the consultant Catalogue Editor for Just Flutes, where her assessments of flute publications are read worldwide.
Reflections on the NFA 2009
It's many years since I last visited the NFA Convention and this year it was being held in New York. Credit crunch? What credit crunch? I couldn't resist the pull of my favourite city and I managed to persuade my long-suffering husband to come with me as long as we had a holiday afterwards. So Thursday August 13th found us jetting off to the Big Apple for 3 days of wall-to-wall flutes. The Annual Convention of the National Flute Association is now in it's 37th year and this one was appropriately subtitled 'Bright Flutes, Big City'. I was very interested to see how much had changed during my absence.
The first thing was that it felt very expensive. In order to register ($230) you have to join the NFA ($60 for emembership meaning that you print out the Flutist Quarterly!) and it was another $75.00 for Gordon's 'Non Flutist' badge – in all $365 or about £225.00. So what do you get for your money? Well, not surprisingly, the flute, the whole flute and nothing but the flute. You are given a 325-page handbook, which, you very quickly discover, is an utterly indispensable guide to the astonishing amount of events on offer. There are concerts of all kinds, lectures, masterclasses, workshops and showcases. Big names, little names, composers, jazzers, pedagogues, publishers – the list of participants seemed endless. The big dilemmas were all about how to go to as much as possible without suffering a breakdown of some kind halfway through the second day.
One of the odd things about the NFA is that they always hold their Conventions in a swanky hotel, in this case the Marriott Marquis, fantastically situated on Broadway just by Times Square. This has obvious benefits, not the least of which is that everyone can stay on site and there are no travel problems. The hotel allows up to 4 to share a room (not a problem in the US where the rooms are vast), so costs needn't be exorbitant. The big disadvantage is that the acoustics in the performing areas are less than ideal with low ceilings, plush carpets and lots of soft furnishings to soak up the sound. All the performers are therefore up against it no matter who they are. Another problem is that some of the spaces are just too small – I tried to hear Alexa Still one morning and the queue was out the door and down the stairs!
Rebecca Collaros, a close friend, is on the NFA committee and was a volunteer usher. (She also happens to be the teacher of President Obama's daughter.) Rebecca had the misfortune to be the main usher at Denis Bouriakov's recital, which was held in a side room far too small to accommodate the many who wished to attend. As large numbers tried to crowd in, the hotel staff deemed the room overcrowded and locked the doors. There was a near riot outside as angry punters demanded entry. Rebecca has seen it all before of course, as this is not uncommon. We were safely inside however, and were treated to an hour of the most wonderful flute playing – even if he did play entirely violin music! We took her for a drink afterwards to compensate and described his playing as best we could.
Another fact about the Convention is that it's huge. 4000 attended this one at some point over the 4 days and the attempt on the world record for the Largest Flute Ensemble (conducted by our own Sir James Galway) was successful. And what do 4000 flute players do? They perform in flute choirs of course! This was first thing we came across as we arrived and it soon became clear that they were everywhere – in the foyer, up the stairs, in the bar as well as in the concert hall. This is a big part of the American flute scene and enables players to get involved at all levels. Flute clubs are integral to the success of the NFA and as this convention was in New York and therefore even larger than usual, they encouraged as many as was physically possible to perform. Bravo!
4000 flute players are also encouraged to part with their hard-earned dollars in the vast exhibition hall. As you would imagine, there were a lot of instruments here – I reckon the Flute Centre of New York was showing upwards of 500 flutes alone. On the other hand Miguel Arista had a single flute, a few headjoints and plenty of orders. The Arista family is always interesting. The 3 flute-making brothers see eye-to-eye about almost nothing, so they have three different stands in 3 different parts of the hall - confusing if you can't remember which brother is which. The exhibition itself is a little daunting, not to mention noisy, but I did manage to join the Marcel Moyse Society (free), buy a book ($15.00) and a natty gadget which has a screwdriver at one end and a springhook at the other. This cost $10 and came with a guarantee – a veritable bargain! I also bought a piccolo…….
Not everything at the Convention is all razzamatazz. The Louis Moyse Memorial concert was a touching event, well presented. We were supporting Rebecca who had spent some time studying with him and had been asked to play. During the solos and ensembles that made up the tribute there was a slideshow featuring these performers as they had worked with Moyse at his home. Some of them were understandably moved by the occasion. Janet, Moyse's wife, was there to narrate one of the pieces and to also read a tribute. This proved too much for her and she inevitably broke down, as did another performer, Shelley Binder, as she tried to continue. Eventually John Barcellona, the concert organiser and long-time friend of Moyse, finished the script – by which time even I was struggling. It was all very American.
The nature of the concerts during the Convention is interesting. The big names have one to themselves of course, but others are often grouped under a theme of some kind. This might be "Ellis Island: Music from Around the Globe" which took place at 8.30am on Saturday and featured music by Elizabeth Varcoe, Heinz Benker, Chan Ka Nin and Bartok, or "Born in the USA: NFA Commissions that Live On" - 9 of them - which took place at the more civilised hour of 1.30pm. We made sure to support the Brits in whatever capacity they were performing. "Ian Clarke in Concert" was wonderful, as was Wibb's CPE Bach Concerto in the Friday night Gala concert. Paul Edmund-Davies was very impressive, flying the flag for British excellence and wit: "For this concert I was asked to make the musical journey from Italy to England – but not via France!" he quipped to everyone's amusement. 2 newcomers were also impressive. Carla Rees was wonderfully composed during her lovely performance of 2 pieces by Michael Oliva as part of the "New York Electrified" concert. Andy Findon performed his own Michael Nyman transcription 'Yamamoto Perpetuo' as part of "The Melting Pot: Works from Slovenia, Russia, France, US, England and Germany". This contained a real hotch-potch of contemporary pieces and lasted nearly 3 hours! There was some great stuff here though, including the beautifully sensitive music of player/composer Wolfgang Wendel. Andy did us proud and treated the small but appreciative audience to an astonishing display of virtuosity.
There was so much that got away – so many flutes and not enough time. I missed the "Gothic Gathering: Chamber Music for Mixed Ensembles", "Kings of the Hill, Top of the Heap: Piccolos in Concert" the Telemannathon (all 34 flute duets in succession) and the Baroque Flute Artist Competition Finals. I didn't hear Alexa Still (again), Steve Gorn and his bansuri flute, or the Venezuelan National Flute Orchestra. I even missed our illustrious editor - sorry Robert but we landed too late! And anyway there were friends to see. Haffi from Iceland showed me her new book. I hadn't seen her for ages and wasn't expecting to run into her either, so that was a real treat. There was also much propping up of the bar to do as well, as this was the best place to meet new players. It was also relatively quiet!
So had much changed? Well it was definitely bigger than I remembered and noisier. The standard of playing was exceptionally high but that's the same here and is to be expected everywhere. The variety of events was truly staggering. The format was pretty much the same though, and I was surprised at just how many people I recognised after such a protracted absence. Flute Conventions are always marvellous gatherings of all kinds of people united with a passion for the flute and this one was no exception. I had a great time on my last visit all those years ago but it was even better here. And there was still New York to see. After all, I was supposed to be on holiday!
"The Feminine Flute" -NFA Convention Anaheim 2010
"The Feminine Flute" - Lecture Recital by Christine Hankin
Welcome to this celebration of the feminine side of the flute! My European perspective is by no means comprehensive and is completely personal but it will illustrate the artistry that these women composers have brought to flute music – often against all the odds and in the face of the most incredible prejudice.
Anna Bon di Venezia was Italian and born in 1740. She was lucky, as we know that her parents were both employed at the court of Frederic the Great of Prussia. He was the most powerful man in Europe at the time but he was also a man of culture – he played the flute! This is Quantz's employer. When she was 16 Anna was appointed as a court musician to Frederic's brother-in-law, Ferdinand, who also played the flute and it is likely that she composed the 6 Sonatas da Camera Op 1 in 1756 as an application for the job. So far so good, but Frederic didn't get where he was by playing the flute all day and in that same year of 1756 he plunged Europe into turmoil yet again by starting the Seven Years War. The Bon family had to move on. They ended up at the Esterhazy court dominated by Haydn where Anna was employed as a singer. Whilst there, she married a tenor. This was obviously a bad move as there is absolutely nothing known about her after this! She was just 22 and slipped into oblivion. This is a great shame because the 18th century is supposed to be a golden age for flute music and who knows how she may have developed.
There was in fact quite a lot of music written by women in the Classical and Romantic periods – it's just that not much of it survives. A woman's place was in the home and we were not encouraged to engage in any kind of activities that could be considered unusual. A lack of a proper musical education was another stumbling block. If they were lucky, girls were born into either a musical family or the aristocracy where they were able to grow up with music around them. If not the chances of succeeding at all were very slim. Even if you came from a privileged background, it wasn't enough. Not even a big name could protect you. Mr. Mendelssohn wrote this wonderful put-down to his daughter Fanny:
"Perhaps for Felix music will become a profession, while for you it will always remain but an ornament; never can and should it become the foundation of your existence."
Clara Schumann - virtuoso pianist, composer, teacher and mother of seven - wrote in her diary in 1839:
"I once thought I possessed creative talent, but I have given up this idea; a woman must not desire to compose - there has never yet been one able to, and why should I expect to be the one?"
It was also the case that the flute wasn't even taken seriously as a solo instrument by the men so it's no wonder that repertoire by women from this period is virtually non existent!
We tend to think of Cecile Chaminade as a twentieth century composer but she was actually born in 1857. Her early career was afflicted by these same problems but she was one of the lucky ones in that she was born into a privileged musical family. She was a brilliant child pianist and came into contact with influential figures such as Saint Saens at her well-to-do mothers' musical soirées. These were an important part of the Salon culture of upper class French society in which light music entertained the rich and privileged. Her father was another one who thought women should only be wives and mothers though, and it was only with the support of Saint-Saens that she was able to continue studying the piano – much against her father's wishes. Women were not able to enter the Conservatoire at this time so she had to study privately.
As flute players we mainly know her for the famous Concertino, but she was nearly 45 when she wrote this piece. Her real claim to fame is that she became incredibly successful as a writer of small lyric piano pieces. Chaminade knew her audience and she spoke directly to women. Most of her pieces were simple and in the Salon style, and were primarily aimed at women who could play them at home without too much practice. She was hugely popular in the USA where Chaminade Societies sprang up to promote her latest pieces.
The Serenade aux Etoiles was written after the Concertino and is dedicated to Hennebains, Taffanel's successor at the Paris Conservatoire. It is completely typical of her salon style – what she lacked in depth she made up for in elegance and beautiful melody. It is chanson on the outside and starry and sparkly in the middle. What more could you want in a flute piece?
Elizabeth Maconchy spent her formative years in Ireland studied music first in Dublin and then at the Royal College of Music in London. She was very successfully as a student but it was by no means all plain sailing. She was denied the coveted Mendelssohn Scholarship for composition despite the committee being in her favour. The Chairman cast his vote against her, telling her 'you will only get married and never write another note'. It was also difficult to get her works published - Boosey and Hawkes said 'they would not consider publishing orchestral music by a young lady'! It is quite clear that attitudes towards women in England had not moved on at all and that the success of the Suffragette movement in securing the woman's right to vote did not mean that all doors were automatically flung open. The 2nd World War and its aftermath made an impact on everyone and she struggled. But gradually, as times and attitudes slowly changed, she became one of England's foremost composers.
I'm not sure that she had a great affinity for the flute. Concertinos exist for the clarinet and bassoon and there are various wind chamber works from which the flute is notably absent. She didn't get around to writing Colloquy, her only flute and piano piece, until 1979 and then only as a result of a commission by the New Zealand born flute player Ingrid Culliford. Stylistically, Maconchy was influenced by Bartok and Janacek, and she constantly pushed the boundaries of tonality in all her music. Colloquy is a therefore a challenging piece but well worth the effort!
Times were changing – even in Paris. The Conservatoire had decided to admit women by the time Claude Arrieu wanted to study there in the 1920's and when she won the first prize for composition in 1932 she was allowed to keep it!
She was keen on the neo-classicism of the time and was influenced by Stravinsky amongst others. She also had a natural feel for melody. In 1935 she took a job at French Radio where she remained for over 15 years. This sets her apart from the other composers featured today – her composing was underpinned by a regular salary! It enabled her to write prolifically - her music includes 10 operas, several stage works, film scores, numerous wind chamber pieces as well as music for radio. She even has a French government composition prize in her name – not bad for a woman!
Whilst she was at French Radio she was assigned to the music concrete project and she experimented with electronic sound effects most of the time. So it's quite interesting that she wrote this lovely Sonatina for Jean-Pierre Rampal when she was right in the middle of it. Also, it's dated 1943 when Paris was occupied by the German forces. You would never know it - it sounds as if it could have easily have been commissioned by Taffanel!
Cecilia McDowall is well-known to audiences in the US – last year the wonderful Phoenix Chorale won a Grammy for their recording of her piece Spotless Rose. This isn't bad for someone who has only been composing seriously since 1998.
She was born in London into a musical family. Although she isn't a flute player her father, Harold Clarke, was. He was principal flute at the Royal Opera House Covent Garden and Professor at Trinity College, and so from an early age she was surrounded by music. She started to compose as a child but only went back to university to formally study composition when her children were older.
She has been very successful – not at any time in the last 12 years has she been without a commission – and she has inevitably written a great deal of flute music. Her styles here range from 6 Pastiches, which are wonderful educational pieces, to the very challenging and difficult Moon Dances.
She has resisted all attempts to persuade her to join any organisation that promotes women composers feeling that this is completely irrelevant in today's world.
Eleven was written in 2001:
"I visited Hungary in the mid nineties and gathered much middle European folksong material as Bartok had done. I found one particularly heart rending song called the Three Orphans which I have alluded to in this work. Eleven was written at the time of the troubles in Kosovo and I became obsessed with what happens to a culture when it is dispersed due to war. Eleven means alive in Hungarian and I dedicated it to 'all those in danger of losing their cultural identity, in the hope that they can keep their voice 'alive'."
Solfa Carlile is 25 and Irish. She represents the new generation of composers at work in London today. She was born and raised in Cork in S. Ireland and trained in traditional Irish as well as classical music. She is also a flute player, which is how I met her, She is another lady with a facility for melodic writing - her motivation is hearing her ideas 'come to life' in performance"
I asked her if she found there was any prejudice against her as a female composer expecting her to say that there wasn't any. This is after all cosmopolitan London in 2010!
"I've encountered some prejudice against female composers.There sometimes seems to be an assumption that 'typical' female composers write romantic, programmatic music, as opposed to intelligent, abstract music. This is an ignorant viewpoint because not only can programmatic music be intelligent and well structured, but also male and female composers are equally versatile. It seems excusable that male composers can write in any style, whereas it is considered 'female' to write a certain way. I have never heard someone say of a male composer "He writes like a girl!"
The piece she wrote for us today is called Dystopia, which actually means the opposite of Utopia.
"The inspiration for the piece comes from the idea of a society, which juxtaposes the beautiful with the grotesque. It explores tension between fluid, improvised-sounding passages and a clear, lyrical melody line. The beauty is hidden in the depths and eventually comes to light, but is oppressed by the overpowering darkness."
There are really only 2 things you need to know about Amanda Fox. Firstly, she has never had a composition lesson in her life, and secondly she is completely mad. She learned the piano at school and went on to study the flute with Susan Milan. Sadly, her career has been blighted by ME (chromic fatigue syndrome) and she now lives at home with her mother. She did have enough energy to set up her own company - aptly named Foxy Sounds – and she does manage a little bit of teaching, but mainly she is a writer of pop songs and flute music. She is also a great jazz pianist.
She writes easy listening music. She has an undoubted talent for melody and all her flute music has gorgeous tunes. I asked her to write Levitation at a time when she was quite ill and it represented a huge challenge for her:
"I do feel that Levitation is very much about me and my fight to get well, but I have still maintained my Foxy Jazz/French style throughout the piece. I think perhaps that there are moments of Gaubert, as the various sections frequently change key and link together quite subtly. Also I'm hearing fragments of Poulenc but most of all I always compose from the heart and want to move people with strong melodies, romantic and sometimes Jazz/Funky rhythms and harmonies. I want the player and the listener to Levitate!"
List of composers and the works performed
Anna Bon de Venezia 1740 - ?
Allegro from Sonate da Camera Op 1 No 2 in C major.
6 Sonatas da Camera Op 1 Vol 1 published by Furore Edition - FE 4690
Elizabeth Maconchy 1907 – 1994
Colloquy for flute and piano published by Chester Music - CH 55229
Cecile Chaminade 1857 - 1944
Serenade aux Etoiles Op 142 published by Enoch - E&C. 7352
Claude Arrieu 1903 – 1990
Sonatina for flute and piano published by Amphion - A126
Cecilia McDowall 1951 –
Eleven for flute and piano published by Hunt Edition - HE57
Other recommended music:
6 Pastiches published by Pan Educational Music
Moon Dances published by Hunt Edition
www.ceciliamcdowall.co.uk
Solfa Carlile 1985 –
Dystopia – as yet unpublished.
www.solfacarlile.co.uk
Amanda Jane Fox
Levitation for flute and piano to be published Autumn 2010 by Foxy Sounds
Infinity published by Foxy Sounds
In the Clouds published by Foxy Sounds
www.foxysounds.co.uk
The Feminine Flute – Music for Flute and Piano - CD
Christine Hankin and Timothy Murray
Carolyn Nussbaum Music Co www.flute4u.com
Just Flutes www.justflutes.com
EXPLORING THE NEW ABRSM 2018 FLUTE SYLLABUS: GRADE 7
Grade 7:
Blog snapshot – my recommendations at a glance!
Giuseppe Rabboni: Sonata No 4 in D major from Sonatas for Flute and Piano
Telemann: Sonata in G major
Frederick the Great: Allegro from Sonata in B flat Spitta No 76.
Serini: Andantino grazioso and Allegro assai from Sonata No 1 in D major
Gluck arr Boehm: Che faro senza Euridice from Romantic Miniatures Volume 2
Edward German: Intermezzo
Moszkowski: Spanish Dance from 300 Years of Flute Music.
Paul Wachs: La Flute de Pan from Romantic Miniatures Volume 1
Telemann: 12 Fantasias
CPE Bach: Solo Sonata in A minor
Harris and Adams: More Graded Studies Book
Bizet arranged Hunt: A Bizet Notebook
Alicia Hart: Scats from Scatadoodle
Whisper it quietly but this might be time to invest in whole pieces or compilation books, rather than buy the ABRSM book itself!
List A:
This is another strong list with a more diverse range of periods than often.
The Rabboni Sonata in D major is particularly tuneful and highly recommended, especially for those less likely to be at home in the Baroque period.
For those who are, the Telemann Sonata in G major is a strong choice.Gluck's Che faro senza Euridice arranged by Boehm is an absolutely wonderful piece published in the ABRSM book but it's also available in Romantic Miniatures Volume 2 which you could then use for grade 8!
Telemann Sonata
in G major
Romantic Minatures
Less familiar are:
If you splashed out on the complete volume of these sonatas for grade 5 this one is a great option here. It's also available separately and is well worth the money as the whole sonata is delightful.
The movement set is a lovely and sprightly fast movement which could be tricky for the fingers. If you can sort out the tonguing to suit yourself you will be rewarded with a happy piece that will bring joy to everyone!
The beautiful slow movement which is quite Romantic in character is followed by a very lively Allegro assai. This is fiddly rather than difficult with the editorial trills making the writing very intricate. It's a challenge, as it should be at this level, but refreshingly different.
List B:
Again, the supporting pieces are strong. You may not need to look any further than the Poulenc, Faure, Berkeley or Tea for Two but there are other really interesting options available to explore too!
This is a lovely Intermezzo with a rather rambling rhapsodic format that is charming. It will need work to cement the ensemble as a result, especially as there are several changes of speed. Definitely worth a look though, especially if you liked the Saltarello from the last syllabus.
This will be valuable if you are looking for slightly less daunting. The Spanish style is one that everyone knows and there is plenty of character in the writing to help with interpretation. Blessed with a straightforward structure, this is definitely not as technically demanding as some of the other pieces. You may also have this book already so it makes sense to play something completely different from it!
This is another great French flute piece that has a lot in common with the Mel Bonis that is published in the ABRSM book. It's a little more straightforward in harmonic style though. It has a charming rhythmic simplicity, and if you have a student with a supple tone, good breathing and decent intonation, this is perfect!
List C:
There are some most interesting studies set for this grade which includes both core repertoire and the opportunity to leave your comfort zone! You might have already introduced your student to the Telemann Fantasias, or the CPE Bach Unaccompanied Sonata so you're instantly ahead of the game! However, be sure not to miss the expressive Prill Study in D minor from More Graded Studies Book 2 which is a tone colour challenge, and there is the Toreador's Song from The Bizet Notebook if you need something very well-known.As ever though, there is always room for something different!
This book features at grades 4 and 5 (good value again!) and introduces the concept of the scat-singing technique used by jazz players. It's a great choice if your accompanied pieces are more traditional. This piece has a natural swing rhythm which should be quite easy to learn as the patterns are quite repetitive. It's technically fairly demanding with some big leaps around the flute but it's is very well written with plenty of places to breathe. Playing this from memory would be relatively easy for any player used to doing this and would be very impressive in the exam!
There is just so much quality in the music set for this grade that you could quite easily never repeat the same set of pieces – even over 3 years!
Grade 8: The Penultimate Grade
Muller: Concerto in E minor Op 19
John Ranish: Sonata in A minor
Nineteenth Century Italian Music for Flute and Piano
Romantic Miniatures Book 2
Albeniz arr Hedges: Sevilla
Paul Lewis: Serenade Populaire
Edward Gregson: Aztec Dances
Christopher Ball: Invocations of Pan
Rob Buckland: Changing Times
Hilary Taggart: Pictures
Robert Winn: Articulation for Flute
With the introduction of the ARSM diploma, grade 8 isn't quite the pinnacle it once was, and the repertoire used here looks as if it has been set with half an eye on this new exam Old favourites remain and old favourites return, and I will leave you to ponder the riches of the core flute repertoire at leisure. However, here are some great new pieces that might come in handy over the next 3 years.
A.E. Muller: 3rd movement from Concerto in E minor Op. 19
This is wonderful alternative to Mozart! The whole concerto is a joy and this lovely movement takes the form of a sprightly theme and seven variations. The style is as elegant as Mozart but the technical demands less so, especially as the tricky 4th variation should be omitted. Starting in E minor, the speed increases through each variation until the slow fifth emerges in E major. The composer then returns the music to E minor for the difficult sixth variation before rounding off the whole work with an elegant 6/8. Thinking about ARSM, this is great preparation for the Chopin Variations on a Theme of Rossini which is so popular at diploma level.
John Ranish: 1st and 2nd movements from Sonata in B minor
You could consider this a less challenging option. A lovely Adagio opens the work and has already been sensitively edited to avoid complex rhythms or fussy ornamentation.
The Allegro has a small note range so there are no really big leaps to negotiate. It's also lovely!
Now for 2 pieces at the top end of the range:
Galli:Divertimento Una Follia a Roma di F. Ricci from 19th Century Italian Music for Flute and Piano
A great introduction to the fantasy format that is so prevalent in our repertoire, this is a virtuoso piece that will easily make the transition to ARSM. Every part of flute technique is needed here, together with an advanced level of musicality which will help carry the form. You also have to be supremely confident!
Rossini: Andante and Polonaise from Romantic Miniatures Book 2
This is another show-off piece, although easier to learn than the Galli and much shorter. The opening dramatic theme should be paced imaginatively but establishing the Polonaise dance rhythms should be more straightforward. It would be great to be able to triple tongue too but even at a slightly statelier speed this is a very good choice for a good player.
Albeniz arranged Hedges: Sevilla
In a list full of notes, this has less than some. Knowing this familiar tune will help with the both the rhythms and the six changes of key. I did say less notes – not no notes! Mixtures of 5s, and 7s, and other fast runs are logical though, and scale based. This is a fun piece that many will find attractive, especially as it looks easier on the page than it actually is to play!
This capricious and well-written piece is also a little less daunting than some of the core repertoire. Easy on the eye and with a simple rhythmic structure, much of the interest is added by the piano harmonies. The expressive introduction gives scope for those with a great sound to shine before a tricky little Allegretto has to be negotiated before the opening returns. The Allegro spirituoso is has a catchy rhythm and uses scale passages to create the excitement. Trick fingerings for the end will allow your virtuosity to bring the house down!
Edward Gregson: Fertility Dance from Aztec Dances.
This is at the other end of the musical spectrum and another great ARSM option. It will really appeal to those confident enough to tackle the challenges posed by the frequent changes of time, lip bends and flutter tonguing which define the style although these new techniques are not needed for the grade 8 exam. A nifty set of fingers will also help, even if there are pieces with more notes available on the syllabus for those who need them! Fertility Dance is a wonderfully exciting movement and a brilliant choice for the right student!
Christopher Ball: Pan Overheard from Invocations of Pan
This is dedicated to Adam Walker – no pressure then! It's best played by someone with great imagination and flair. Not terrifyingly difficult (although it looks it) but flexibility in tonal colour and dynamic together with good intonation throughout will be the way to a successful performance. The score is peppered with arrows indicating the rubato required which is really helpful! Another good ARSM choice.
These next 2 pieces are for the rhythmic only!
Rob Buckland: Changing Times from Changing Times for Solo Flute
This is ideal for someone with a great sense of rhythm – the funky style is brilliant! It's based on a pentatonic scale with repetitive note patterns which become progressively more difficult. However the challenge is all in the complex rhythms. Buckland says that if you count in quavers you should be fine. I'm not so sure! This is definitely another ARSM possibility.
Hilary Taggart: Kerry from Pictures
I have long been a fan of Hilary's pieces, nearly all of which clearly state the technical purpose for which they were written. The direction here is Idiom and this is about coupling a wistful Irish melody with an Irish jig.
A free Lento section appears 3 times, each time sounding like a different improvisation. The Allegro focuses on alternating metre 3+2, giving the jig a lop-sided feel. Like the Buckland, this needs a player with a keenly developed rhythmic pulse. The style is completely different though, so again there's plenty of choice.
Furstenau: Valse de Schubert "Beethoven's Sehnsucht's-Waltzer from Articulation for Flute by Robert Winn.
The inclusion of this book on the list is fantastic but this should be the culmination of practice from it, rather than the starting point. It's great to use as most of the work is done through studies and arrangements of all sort of tunes, keeping the actual exercises to a minimum. This workout by Furstenau is from the section 'Advanced Articulation' which tests mixed articulation linked to technical virtuosity – this is difficult and a test of stamina! The theme and variation form will help to focus practice though, which is just as well as this has everything – lyrical playing, articulation patterns, a short cadenza and a virtuoso finale! You'll certainly be ready to take ARSM if you can play this!
There is so much variety in this list both in terms of style and difficulty. Exploring these riches will be a joy – hooray!
"A personal view" Reflections on the NFA Convention, New York 2009
"The Feminine Flute" Lecture/recital at NFA Convention, Anaheim 2010
A.B.R.S.M. Flute Grade Exams
ABRSM Current Flute Syllabus 2018-2021 Read
Grade 8 Exploring ABRSM 2018 with Chris Hankin
Grade 6 Exploring ABRSM 2018 with Chris Hankin Read
Grade 3 & 4 Exploring ABRSM 2018 with Chris Hankin Read
Just Flutes Blogs
So you want to be a piccolo player? 11th October 2019 Read
How to Start a Beginner Flute Ensemble 2nd October 2018 Read
Flute Tutor Books – Recommendations 2018 31st August 2018 Read
Enticing Classical Period Repertoire 4th November 2016 Read
Alternatives to Mozart: Classical Flute Concertos 7th October 2016 Read
Composer Profile: Geoff Eales 24th April 2015 Read
6 Christmas Books That Your Flute Choir Should Own 17th October 2014 Read
Publisher Profile: Tetractys Publishing 18th August 2014 Read
Publisher Profile: Trübcher Publishing 27th March 2014 Read
© Chris Hankin 2008-2020 email me here


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Kasabian announce massive hometown show 'Solstice II'
Posted by Fred Bambridge on October 21, 2019
What promises to be one of the highlights of 2020, Kasabian have announced a massive hometown show at Leicester's Victoria Park for June 20th, six years on from their triumphant first show at the venue. It's their first outdoor UK show since their massive Isle of Wight headline set and their first UK show since a raucous Brixton Academy set in 2018 and will be the band's only UK show in 2020.
Sam Fender is set to support the band at the show.
Kasabian main man Serge Pizzorno recently released his critically acclaimed trippy solo record under the moniker The S.L.P. Newly revitalised, he is looking forward to making studio magic once again with Kasabian: singer Tom Meighan, bassist Chris Edwards, drummer Ian Matthews and guitarist Tim Carter.
Tickets go on-sale at 9am on October 25 th and are available from the usual outlets.


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Platform-as-a-Service (PaaS) Solutions
Google App Engine Reviews
User Review of Google App Engi
Google App Engine is ideal for dynamic websites on a budget
Christopher McLain
Envisage Information SystemsInformation Technology and Services, 1-10 employees
Python version
Overall Satisfaction with Google App Engine
We use Google App Engine for multiple databases.
There's a fairly high free quota which makes it easy for startup to use a cloud database.
It's extremely scalable if you need it to be.
If you know Python, it's fairly easy setup
Google App Engine has it's own SQL (called GQL) that takes some getting used to.
It's based on Python 2.7, which is an old version and it doesn't have support for every module.
It's allowed us to create databases for small websites without incurring any expenses.
Alternatives Considered
Oracle Data Warehouse
App Engine is build with web building and scalability in mind.
We've passed the learning curve and enjoy the ease of use.
It's perfect for a dynamic database for a startup website since you can coast for a while under the free quota.
Google App Engine Product Details
Alternatives to Google App Engine
All Platform-as-a-Service (PaaS) Solutions
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Did you assume that when you were ready to start your family, things would just fall in place? Have you been handed a devastating diagnosis, informed that you are "too old" to conceive, or told that there is no clear reason for your fertility problems? Are you frightened that your dream of having a family will fall apart?
Take heart. Although the journey of infertility is lonely, painful and sometimes incredibly long, please know that others are on the path with you, and that there are ways to ease your pain. Seeking help from a mental health professional experienced in infertility issues is an important first step in regaining your strength, learning new coping skills, and rebuilding hope. Explore this website to help you find the courage to take that first step.


Private-label products in Australia will increase strongly in the coming five years. Business information research firm IBISWorld forecasts the share of private-label products will account for over 30% of Australian supermarkets sales by 2017-18.
According to IBISWorld General Manager (Australia), Ms Karen Dobie, private-label products have been one of the supermarket industry's fastest growing segments over the past decade.
"In 2007-08, private labels accounted for just 13.5% of total supermarket sales – meaning the segment has grown by more than 85% over the past five years", Ms Dobie said.
In dollar terms, Australians are expected to spend $85.9 billion on groceries in 2012-13, with IBISWorld tipping $21.6 billion of this will be spent on private-label products, up from $19.7 billion in 2011-12 and $9.96 billion five years ago.
Looking forward, Ms Dobie said this figure is expected to hit $31.8 billion by 2017-18, representing growth of nearly 50% when compared to five years ago.
"The recessive economic climate has been a strong driver of private-label growth. Households have been reining in spending, paying off debt and increasing savings. This, coupled with an increase in the range of private-label products available, has led many consumers to make the shift to home brands", Ms Dobie said.
Growth in premium product private label will blur the line between home brands and branded products, leading to more-aggressive competition across the Australian grocery industry.
"Branded producers have responded to private-label growth by discounting their products to remain competitive. However, the dominance of Coles and Woolworths means that they are likely to give preference to their own brands in terms of spacing and design allocations – placing continued pressure on the big brands", Ms Dobie said.
"This can be detrimental to branded producers as their share of shelf space is eroded by home brand products," she added.


Considering the rapid intake of fabric over the holidays, all technically purchased or received in 2013, you'd think I was partaking in the Fabriholics Anonymous fabric fast of 2014 and doing some last minute stashing. I'm not, at least, not intentionally, though there is always the vague intent to use what I have and only buy what I need for a particular project.
and a few on-a-whim scrap packs purchased via an Instagram sale from the lovely Ms Poppleton (she has great taste, these scraps are so yummy!).
Today I'm going to share some of my holiday purchases from an amazing store called Amitie Textiles. We popped down to Melbourne for a few days to ring in the New Year and as a bit of a significant birthday present, so of course I found a few fabric stores highly recommended by fellow bloggers to visit, and Amitie was at the top of my list.
**I know that the print on the left above is not from the new collection, and I haven't had any luck finding it yet, if you know what it is I'd love to know!
I picked up the pattern for the Gypsy Wife quilt by Jen Kingwell after seeing the real live quilt in store, so had to grab a couple handfuls of fat sixteenths to start me along on my scrappy way.
I can't wait to show you some of my other recent stash additions, but it's all a little too much for one post so I'll be linking up with Molli Sparkles for Sunday Stash over the next few weeks.
I've seen it and loved it but didn't think I could make it but seeing the real quilt in person and now reading through the pattern I'm sure I'll be fine now that I can see how it's broken up.
A friend and I are thinking of starting a gypsy wife quilt and I am excited about it. I think I will just use fabric from my stash :-)…its a shame there is not just a QAL. I have seen two now and they seem to be BOMs. Great fabric choices. I love that Willow D.
Keep an eye out, I've heard a few mentions of others looking to do this quilt soon to so with any luck there might be a QAL pop up somewhere. Thanks for stopping by.
Whoa! That quilt pattern is insane!! And sigh, I only ever see anything about Liberty fabric from my Aussie bloggers, I guess I should be thankful it doesn't come here, it's quite $$ but oh so gorgeous!
It is a bit crazy but break it down and it's not so scary. Liberty fabric isn't easy to come by but there are a few places stocking it in the cities. It is so gorgeous and feels fabulous but I usually on,y buy small pieces so I can have some variety without breaking the bank.
That gypsy pattern is a bit busy for me but good luck with it.
Thanks for stopping by Vera, I think I'll need all the luck I can get.


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ISIS operative plotted to kill George W. Bush in Dallas, FBI documents show
By Alex Boyer and FOX TV Digital Staff
The suspect described the plan to a paid FBI informant who also drove the suspect around Dallas in February to conduct surveillance on Bush's home, library and offices, according to a search warrant.
An ISIS operative had plans to kill former President George W. Bush in Dallas, the FBI confirms.
Forbes first reported the documents were filed by the FBI in March 2022 and unsealed this week in the Southern District of Ohio.
The FBI said the ISIS operative, Shihab Ahmed Shihab, lived in Columbus, Ohio, and had been in the country since 2020 with an asylum application pending.
Shihab was arrested by FBI Joint Terrorism Task Force agents Tuesday morning and appeared in federal court in Ohio Tuesday afternoon.
Earlier this year, Shihab was allegedly in Dallas doing surveillance on the former president.
Shihab described the plan to a paid FBI informant who also drove the suspect around Dallas in February to conduct surveillance on Bush's home, library and offices, according to a March 23 search warrant.
"The machine is alive and well and well-oiled and still working," he said. "Human intelligence will always be law enforcement and intelligence work's best assets and best method to work with."
The FBI was also able to track the suspect's conversations on WhatsApp, a worldwide instant messaging system owned by Meta, because the suspect began using a phone given to him by one of the informants. He allegedly sought to help smuggle in four Iraqi nationals over the southern border to help carry out the plot.
According to the warrant, Shihab said he wanted to assassinate Bush because he felt the former president was responsible for killing many Iraqis and breaking apart the country after the 2003 U.S. military invasion.
Bobby McDonald is a former secret service agent who completed assignments in the presidential division.
"I'm sad to say it doesn't really surprise me," he said.
File Photo - U.S. President George W. Bush listens to a question during a news conference at his ranch December 29, 2004 near Crawford, Texas. (Photo by Rod Aydelotte-Pool/Getty Images)
McDonald says when a president leaves office, their security detail diminishes over time. However, it is increased after any threat.
"The Secret Service to ramp up the protection in and around the Bush compound took place immediately so that he can be provided the protection that he needs with respect to this scenario," he said.
Last week, Mr. Bush reignited controversy over the war when he inadvertently transposed Iraq for Ukraine while criticizing Russian President Vladimir Putin for a launching a "wholly unjustified and brutal invasion." He quickly corrected himself.
McDonald says this plot is a reminder that while terrorist groups like ISIS have weakened in recent years, the threat is still alive and well.
"There obviously are still factions out there that they're wanting to carry out various operations to inflict damage or inflict their message on the rest of the world," he said.
Shihab has been charged federally with an immigration crime and with aiding and abetting a plot to murder Bush.


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email: gavinals69@aol.com
THE SPANISH ANNOUNCE TABLE
SadDolls - "Blood Of A Kind"
That Time You Went To A&E Because You Accidentally Crucified Yourself...
It's weird to think really, that, I've been reviewing for at least four years now and, I've covered a fair range of artists for not only this blog but, I've whore'd myself out to other publications as well! That sounds bad...but no, over these past few years I've been allowed to develop as a writer, contributing to several amazing teams which has taught me a lot and allowed me to grow into the bitter, sarcastic bastard you follow today...one such publication would be FIREBRAND. A very well organised e-zine, Firebrand was split into two publications; Firebrand Magazine (which dealt generally with straight-forward rock 'n' roll, blues, AOR type releases) and Firebrand After Dark (which I primarily wrote for, featuring heavier, darker releases). In issue 11, going way back to May 2014, I wrote a review on an album called "Grave Party" by a Greek gothic-rock band by the name of SADDOLLS...it was refreshing to see and hear a band keep the genre alive with a genuinely quality album (gothic rock has always been a niche market)...now...three years later, they have released a follow-up record by the name "Blood Of A Kind" and there's absolutely no way I wouldn't keep you up to date...get your goth on...let's go...
We open up with a track called "Dunkelstein" and immediately I'm forced to imagine Boris Karloff tea-bagging Mae Clarke in a director's cut of "Frankenstein" from 1931...that literally never happened but I really wish it did...nevertheless, it opens up with some chilling organ-esque synth notes and thematically it's very Transylvanian in a horror movie sense. The guitars chug along while the deep vocals of George Downloved offer the listener a dose of familiarity, with this style already working well for the likes of DEATHSTARS and LACRIMAS PROFUNDERE for example, fans of those will appreciate this and as an introduction it works. "Creep It Into You" however takes things up a notch following immediately afterwards and offers us an early album highlight...more melodic and up-beat, it's got a hell of a hook in the chorus and the softer female vocals provided by Ioanna Zach give the track extra texture, the guitar solo is brief but sleek; there are rich pop elements to the track and the finished result is catchy as hell.
Lead single "Cold Blood Inside" is a slower, far more morose track for the most part, the video portraying a simple message, hope springs eternal so to speak, metaphorically no matter what, the outlook for humanity has to be optimistic, you can't kill hope...musically it'll appeal to fans of "Blessed Be" era THE 69 EYES in ways, it's quite simplistic and to a degree repetitive, there are better choices for a lead single really. "Kiss You In Hell" for example opens with it's moody bass, layered under tickled keys and more guest vocals provided by Georgia Dm, it's generally got more life to it, as is the same with "Die Better"...an absolute scorcher of a track; there's great rhythm here, it's solid and consistent, again, it's got really catchy hooks, key changes, I've said it about tracks in the past but this is the sort of thing that would do great in alternative nightclubs.
There are lesser tracks here too however, with "Pale White Dracula" sounding like they are going through the motions so to speak, plodding along, no real life in the riffs as such, and lyrically "Dracula, Dracula, kiss my lips...Dracula, Dracula, give me that kiss..." sounding just a little bit cheesy, but not as much so as "Sex In Church"...yes that is the actual name of track five. As aesthetically pleasing as the track may be musically, you can't help but cringe here...I hope this is a track that doesn't get a music video...anal beads for a rosary anyone? Were you really a virgin Mary? Were you? Were you really? Ave Maria...I bet he did...all jokes aside, while laughable it doesn't spoil the album too much and overall, the nine tracks on offer here again deliver us a solid goth-rock record, as I said before, goth is rarely "in" as such, but it's good to see bands still catering for miserable buggers such as myself. These dolls might be sad but, they are still worth playing with. [7]
www.facebook.com/saddolls
Gavin J Griffiths, a.k.a GavTheGothicChav, lover of new music and supporter of bands. Inspired by a mixture of horror and comedy, and fueled by a blend of alcohol and sarcasm...if you're singer / in a band and would like a review written up, please do get in touch via the email address at the top of the page and I'll get back to you ASAP. Much love x
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Southern Metal


Accessorizing can be a difficult task, even for a designer. Part of the reason for this is that, while there is some method to accessorizing (more like "staging"), some of it is just trial and error.
Ruling out what you don't need or doesn't work. Playing with different shapes and color combos. Mixing textures. Creating layers.
In the book, Needleman discuss everything from lighting, to plants, to pillows, to area rugs and all within the premise that a house should look "lived in". Somewhat based on this quote by Billy Baldwin, "Any house or room remembered with pleasure has the look of being loved by those who live in it." Needleman's belief is that a home should be a reflection of it's inhabitants rather than a (wanna-be) model home or designer's showcase. Basically, it should be warm and inviting.
Beyond including the great tips and tricks in The Perfectly Imperfect Home, Needleman enlisted Virginia Johnson to illustrate each section with beautiful watercolor depictions. These images are half of what makes the book so inspiring!
The book isn't cheap (around $20ish) and it's fairly new, so it might be hard to find a used one, but if you can score a copy, do it! Not only is it useful, it makes for a charming addition to any coffee table.


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Sandwiches & Stickless
Vintage Good Humor
RZA Jingle
Creamsicle Bar
With just 100 calories per bar, this is a classic ice cream on a stick dessert that you can enjoy without guilt, and share with your kids and grand kids knowing it's the real thing, from a name you can trust. Featuring the same original taste created by Good Humor, this original ice cream bar is a great choice for those who like fudgesicles, ice pops and other dairy desserts — and promises to tickle your taste buds even if you usually indulge in more premium ice creams.
Good Humor Creamsicle Ice Cream Bars are a classic treat for ice cream lovers big and small.
Made with rich, creamy low-fat vanilla-flavored ice cream and orange-flavored sherbet for an irresistible combination.
Each ice cream bar is wrapped separately on comes on a stick, making this a frozen snack that's easy to enjoy, anytime anywhere.
With its same original taste, this ice cream bar is a kid-friendly favorite and a great option for those who like frozen desserts like ice pops, fudgesicles, fudge bars and other fun classics.
With just 100 calories per creamsicle, this frozen dessert is the perfect size for after dinner, or to cool off on a hot day.
Good Humor has always been known for its irresistible frozen treats. Try the rest of our ice cream truck favorites and discover new additions to the ice cream truck.
Ingredients Information
NONFAT MILK, WATER, CORN SYRUP, MALTODEXTRIN, HIGH FRUCTOSE CORN SYRUP, CREAM, SUGAR, FRUCTOSE, LESS THAN 2% OF: CORN SYRUP SOLIDS, WHEY, ORANGE JUICE CONCENTRATE, MONO AND DIGLYCERIDES, CELLULOSE GUM, MALIC ACID, CITRIC ACID, GUAR GUM, POLYSORBATE 80, LOCUST BEAN GUM, NATURAL FLAVOR, ASCORBIC ACID (VITAMIN C), CARRAGEENAN, ANNATTO EXTRACT (FOR COLOR), VANILLA EXTRACT, VITAMIN A PALMITATE. CONTAINS MILK.
Our 'Must Try' Classics
Reese's Dessert Bar
Chocolate Éclair Bar
Original Ice Cream Bar
Smartlabel
*Not a light food
REESE'S trademark and dress, Peanut Butter Cup design, and orange background color are used under license.


The CQ WW Contest Committee is pleased to provide a preview of the rules for the 2015 CQ WW DX Contest SSB/CW. This is a public review period to invite any comments before the final rules are announced on June 1, 2015.
Minor edits to Overlay Category definition.
Extended club circle from 175 miles to 200 miles for USA clubs, and from 275 km to 300 km for DX clubs.
Changed definition of QSO Alerting Assistance. Now if the technology only provides callsign or multiplier information it is considered assistance.
Remote stations must use a callsign permitted by the authorities at the station location.
Top scorers are required to submit logs with accurate frequencies.
The Observer Program adds the ability for the Committee to request audio recordings of an operation.
Please send any feedback Please send any comments or questions at: https://cqww.com/contact before May 30, 2015. Thanks to everyone for their participation and support of the CQ WW DX Contest!