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  <title>Shades of Grey</title>
  <subtitle>Not the Shades of Grey you think it is</subtitle>
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    <oneLine>by Jasper Fforde</oneLine>

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A charming set — a very delicate tulle babydoll and thong in pastel colours, which will emphasize your female silhouette. It is a harmonious combination of grey and a subtle candy pink colour, which makes this set look very delicate and subtle. Tempting-looking bow will nicely reveal and emphasize your belly. Babydoll is trimmed with a beautiful lace, which decorates also area of shoulders, deep cutout at the back, neckline and edges of the chemise. Matching thong is also made of lace, which forms a coherent whole.


text:
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The big allotment scam: How the system is stopping you from getting a plot
Enormous waiting lists, pigeon lofts and 'dead man's shoes'
Waiting lists of around six years are stopping British families from going green and taking allotments on which to grow their own produce.
That's the opinion of an environmentally-conscious green fingered waste management company which says that many council- and committee-run allotment spaces are literally a case of "dead man's shoes", where the same people hold a plot for years and decades at a time.
On top of that, councils that are hard-pushed for budgets are tempted to sell off land for development, meaning there's ever decreasing space, the BigGreen.co.uk company says.
"Just at a time and more and more people are looking to grow their own produce, they're finding that the door has been slammed in their face," says Big Green spokesperson Mark Hall. "So many people have small gardens or no garden at all, meaning an allotment is the only real chance they have."
BigGreen.co.uk spoke to councils across the UK to find out how long the waiting lists were for an allotment. The authorities who released figures led Big Green to find that:
•	The average waiting list for an allotment with six years
•	A significant number of councils had waiting lists as high as 250 people, with waits of around nine years
•	While the press made a big issue of 45-year waiting lists in 2009, there was no trace of any such figures now
•	The longest wait one (unnamed) council was prepared to admit was for 12 years
"The major problem is the lack of allotments for the folk who want to work them," says BigGreen.co.uk 's Mark Hall.
His solution is simple: "The average 10 pole (about 250 square metre) allotment is a lot of work for the average family. Split them in two, and double the number of available plots," he says. "Perhaps split them into three or four to give families a taste of growing produce, but on a big enough plot to bring decent results."
People are clearly getting impatient at the long waiting lists, and seem to think that the system is broken or skewed against new blood. BigGreen.co.uk spoke to some people on council waiting lists across the UK and heard:
•	"Three years we've been waiting. But you look over the fence and they've got empty plots. What's that about?"
•	"We were told we were right at the top of the list, and then they sold the whole field off to a developer. Disgraceful. We're still at the top of the list, but the other site's miles away."
•	"We desperately want to grow our own veg but we live in flats, but there's some selfish bloke who has six plots – one's got a pigeon loft and an old car! He can give one up for us, surely?"
•	"It's an old boys' club isn't it? We don't fit in, so we don't get a plot"
Those are damning words, BigGreen.co.uk says which lead on to other arguments: "There also needs to be a national debate about preserving allotment land," Hall says. "It's important green space, but all too easy for councils to earmark for development. Once that land's gone, it's gone. And that money only fills a budget hole for a single year."
One of the biggest problems that people on waiting lists find is people who occupy multiple allotments, or pay for a plot but don't use it as intended (or even at all).
"There's nothing worse than going down your local allotment site to find whole plots of land that have clearly not been cultivated for some time. The council direct debit is collected every year, so they seemingly don't care if it's left fallow," says Mark Hall. "We also know of plots which are nothing but pigeons, goats and chickens, and some who cultivate flowers and 'organic' crops sell at a profit. That's not what allotment ownership should be about."
Councils should also be stricter about multiple-occupiers who have a number of plots as well as commercial operations, denying other local people the chance to cultivate some land: "It's clear that many local authorities need to urgently reform their allotment provision. It's easy for users to abuse the system, when keen people are left kicking their heels, waiting for their turn," Hall says.
Unfortunately, such is the way the system works, new tenants have to wait for the previous person to actually die before they can take over a plot. There must be a better way of dividing up land and introducing new blood, BigGreen.co.uk says – "Dead Man's Shoes" just isn't good enough.
BigGreen.co.uk says they recently heard of a council debating whether to increase the annual fee from £5 to £6 per year, and failing to come to a decision. And that's just goes to show how badly allotments are being handled by authorities.
"We'd pay ten times that much," says Mark, "If only we could get to the front of the queue!"
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Recyclable materials being placed in black bags in Wales
The Welsh Government says this is essential for reaching its recycling targets According to new figures announced by the Welsh Government, one quarter of black bag waste in Wales is still made up of food, whilst another quarter is possibly made up of recyclable material. The Welsh Government says that these findings could be the key […]
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redpajama_set_name: RedPajamaCommonCrawl


text:
The Metropolitan PGA Championship is a golf tournament that is the section championship of the Metropolitan section of the PGA of America. It has been played annually since 1926 at a variety of courses around the New York City metropolitan area. It was considered a PGA Tour event in the 1920s and 1930s. It is also known as simply the Metropolitan PGA or Met PGA.

History
In 1924, the Metropolitan PGA hosted its first championship. It was a one-round tournament held at Rockaway Hunting Club which was won by Walter Hagen. Though sometimes referred to as the Metropolitan PGA Championship it is different from this event. The "first annual" Metropolitan PGA Championship was held in 1926 at Salisbury Country Club in Salisbury, New York on Long Island. In the finals, playing against "strong winds," Joe Turnesa "played wonderful golf" to defeat Joe Sylvester 6 & 5.

Winners

Source:

1 Hartmann defeated Alexander and Wassem on first sudden-death playoff hole with a bogey.
2 Alexander defeated Wassem on the first sudden-death playoff hole with a par.
3 Wright defeated Glenz on the first sudden-death playoff hole.
4 Rain-shortened event. The second round was cancelled due to rain.
5 Marr (72) defeated Ford (75) in an 18-hole playoff.
6 Merrins (71) defeated Mayfield (75) in an 18-hole playoff.
7Turnesa tied Brosch after the first 35-hole playoff. Turnesa won the second playoff.
8 Goggin (67) defeated Barron (71) and Strazza (73) in an 18-hole playoff.

References

External links
PGA of America – Metropolitan section

Former PGA Tour events
Golf in New York (state)
PGA of America sectional tournaments
Recurring sporting events established in 1924
1924 establishments in New York (state)

redpajama_set_name: RedPajamaWikipedia


Mouthwash has pros and cons just like everything, but most people don't consider all of the possibilities. This article will point out all the benefits and risks associated with mouthwash.
Every now and again we sleep in late or miss our alarms and that makes for a fast paced morning to rush to work, school or wherever else we have to go. Some people will cut corners by rinsing with mouthwash instead of properly brushing their teeth. But what happens when the minty effects wear off?
Mouthwash is great for many different things however it is not designed to replace flossing. For instance, swishing mouthwash instead of brushing is like using gum after eating something with onions. The smell is masked at first but once it wears off you're no better off than before.
Proper mouthwash technique is to be used in conjunction with a brushing and flossing routine. It is also necessary to visit your Sun City dentist at least twice a year. This will allow for the best results.
Not all mouthwashes have the same ingredients and they tend to focus on different problems within the oral health category. There are three main types of mouthwashes; salt water, fluoride, and alcohol based.
Saltwater rinses are very simple to make at home with table salt and warm water. Most people will use these when it is dentist recommended after surgery or other oral problems.
Alcohol or Listerine based rinses are best for fighting off bacteria that can develop into periodontal disease. Periodontal disease creates rapid tooth decay and a need for dental implants. If you have a higher risk for periodontal disease, than Listerine mouthwash is the best choice.
High fluoride rinses are the best solution for people who tend to get a lot of cavities. Dentists use fluoride during their appointments to get the plaque that brushing can't. However their fluoride content is much higher than any mouthwash will be.
One con that was mentioned earlier is that it only masks the bad breath. This is not a solution to all of your oral health problems it is merely another avenue to help.
Some people will also use mouthwash to sooth their canker sores. This can help as long as the alcohol content isn't too high. With a higher dose of alcohol it will actually irritate the sore more so it is important to choose carefully.
Another speculation is that mouthwash use can be linked to oral cancer. Many different studies have been done to try and prove this hypothesis but nothing has been concrete.
There are certain brands with the American Dental Association's (ADA) seal of approval on them that undergo extensive tests to ensure safety. So if you are concerned about the possibility of increasing your oral cancer risk there are approved mouthwashes for you.
Overall mouthwash cannot be substituted for good oral hygiene. They are simply used to enhance your oral health.
One of the big questions to any decision is the cost. This article discusses the cost of dental implants along with what you get for your money.
Many factors contribute to every decision people make. Fit and color are just as important as cost and quality in some cases. When it comes to a new smile, what factors matter most? Everyone is different, but cost seems to be a big contributor.
One of the most popular solutions to tooth loss in AZ is currently dental implants. Some people would argue that it is the best bang for your buck, but it depends on what factors you personally value most.
Before cost even becomes an issue the quality needs to be proven. Liking the product is the first step. When shopping most people don't look at a price tag until after they have tried it on and fallen in love with it.
Dental implants have almost lifetime longevity with the proper care. This care isn't anything more expensive than what it takes to keep natural teeth healthy. As long as you follow the doctor's instructions there won't need to be another surgery or replacement. It will be a one-time expense.
Most cosmetic dentists in Arizona have patient reviews on their websites. The majority of their patients are thrilled with the work they had done. Even when sifting through reviews on various different sites you'll find it difficult to find an unsatisfied customer.
With a success rate of over 95% and 4 out of 5 stars on most patient reviews it is hard to say that this procedure isn't worth at least considering.
Here it is; the big one. Just like with any other product the price range varies. Depending on how many teeth need implants increases the cost. One tooth will range around 4,000 and go up from there.
For a full set of upper and lower implants the average cost is $34,000 (approx.). All-on-4 implants tend to be cheaper because of how permanent they are. With other implants temporary dentures need to be fixed as well, adding to the cost.
With these higher prices it is imperative to check with your insurance agency to see what part of the surgery will be covered. Unfortunately most insurance companies see dental implants as a cosmetic surgery only and will cover 10% or less.
If this is the case than talking to your dentist about payment plans or other solutions might be a better option if it becomes too expensive. Most dentists are willing to work with your budget in order to get you the best service available.
Quality comes at a cost most of the time and dental implants are no exception to that rule. With a high success and satisfaction rating, implants are one of the top options, but cost can keep that out of reach for some. Exploring your payment options is a good place to start if implants are something you still want.
The average person does not brush their teeth to the full extent that they should. This article seeks to inform those people of the proper techniques for brushing.
Growing up children learn a hundred different ways to brush their teeth. Everything from brushing hard three times a day to brushing for as long as your favorite song. Most of the tricks we learned as children are wrong and some may cause more harm than good. Not brushing the right way has negative effects like teeth loss where you'll need cosmetic dentistry in Arizona to correct your smile.
Most of us know that we should brush our teeth at least twice a day maybe a third time if they feel extra icky. If you've been following this rule then you're off to a good start. The next thing to focus on is how long to brush.
Usually people exaggerate how long they bush their teeth or simply think it is longer than how long they truly do brush. A minute suffices, but length is relative to how good of a job you've done. It's like writing a term paper without page requirements where they say to write until your point has been made. Brush your teeth until you're positive that everywhere got clean.
This is where it gets challenging. Everything from rotation, angles, and being thorough can affect whether the teeth are truly clean or not. First this back and forth motion that almost everyone is use to, it isn't useless but that isn't the recommended way.
Those lovely motorized brushes have it right with the circular spinning. The circular motion is what will lift the plague and buildup off your teeth and cover more areas at the same time. Another thing to remember is to hold the brush at an angle as if to clean underneath the gums.
The gums is where a lot of the bacteria will build up and can cause gum disease if not properly cleaned. This leads to bone deterioration and cause increase the need for dental implants in Glendale, AZ. Also using a rough toothbrush or applying too much pressure can irritate the gums which is just as bad for them.
Most doctors recommend brushing in an order so as not to forget a section of your mouth. Start with one side and work your way over before cleaning your tongue or getting sidetracked. As Americans most people use a larger quantity of toothpaste then necessary. This won't negatively affect your oral hygiene, but it's wasteful and why not help out planet earth.
One of the most common mistakes is changing out the brush or brush head often enough. A lot of us are guilty of keeping a toothbrush around even though the gap between the two sides of the bristles is wider than the Grand Canyon. That brush is not doing you any favors and has more bacteria built up on it than people realize. It is recommended to change out every three months or so.
If all of this is too much to remember then investing in an electric toothbrush will cut out half of the brainpower. You won't have to remember how hard to brush or the circular motion. They allow you to just angle the brush and remember to clean everywhere. Good luck keeping that mouth healthy and happy – you can also always consider Cosmetic Dentistry Arizona to further improve your smile.
A Single tooth implant will let you flaunt your teeth and smile confidently even if you have missing teeth or any dental ailment. The treatment is safe, fast, and highly reliable. You can get teeth that feel and look natural.
Have you lost a tooth or a few teeth due to an accident? Do you feel awkward talking and smiling in public? If so, a single tooth implant can address your problem.
A Tooth Implant, also known as a dental implant, involves the process of replacing a damaged or missing tooth with an artificial tooth. The artificial tooth is made up of Titanium and is given the shape of screws. It is made to fit deep inside the roots so that it doesn't fall or come out like dentures.
The treatment involves making an incision in the gums and creating space by making a small hole in the jawbone. Then a titanium alloy cylinder is inserted into the jawbone which serves as an artificial root for holding the false tooth. The implants are then allowed to be healed. The healing period can last from 4 to 6 months during which time the implant would fuse with the jaw-bone for providing strong and stable support to the implant.
After the surgical procedure, the patients are given antibiotics and pain relievers. Within a few days, the implants start showing signs of healing. Your dentist would cover your implant with a crown or a bridge. The crown would be custom made so that it can blend easily with your other teeth. Depending on whether you are getting a single tooth implant for front teeth, back teeth or multiple teeth, the crown would be made up of metal, ceramic, or porcelain.
Teeth implants are usually expensive compared to dentures and other traditional, corrective dental procedures. Roughly, the cost can vary anywhere between $1000 and $4000, per tooth. The cost of teeth implants depends on several factors, including the fact that if you are getting a single tooth implant or multiple teeth implants, the amount of work that is done before the implants are placed, the experience and qualification of the dentist who is performing the surgery, the type of implant done, and the implant devices used.
The cost for teeth implants would be low if you want to get an implant for a single missing tooth or a few misaligned teeth. But if you want teeth restoration for full upper or lower jaws or you want full mouth restoration, the cost of the implants would be quite high.
Studies have revealed 95% success rate for dental implants. When done correctly and if patients follow proper oral care and hygiene, implants can last for 10-20 years. Implants are not at all uncomfortable and they do not fall, break or chip. They are permanent and look aesthetically very pleasing. If you have a missing tooth or you need to replace a few teeth, look for a qualified, experienced, and reliable dentist to get the tooth implant procedure. The result would be a beautiful smile and natural looking teeth and enhanced confidence and self-esteem.
We provide a full range of dental implants services including sedation, surgery, and the restorative phase of dental implants in a personalized, private care environment by one doctor in one location.


Kelly Osbourne has lost a total of 63 pounds in the last couple of years. The fashionista says it was her boyfriend, Matthew Mosshart, who helped her shed the last few pounds.
"Over the past two years, I've lost over four-and-a-half stone [63 pounds] -- but I've only lost the last stone since I met Matthew," she said. "That's because he cooks for me! He's a vegan chef, so he makes sure that I eat healthily."
Osbourne adds she is happy with her current weight and enjoys being healthy and working out with her boyfriend.


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HBC Inc. solves the business needs of healthcare providers who are striving to improve patient care.
HBC Inc. is committed to making your practice a successful partnership with our business.
Our Mission is to provide client focused business management solutions for healthcare providers to ensure financial stability.
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Senior Lecturer in music didactics at the Norwegian Academy of Music, Oslo, Brit Ågot Brøske, is strongly engaged in a music project for refugee children in Lebanon. Her research focuses on multicultural music education, community music activities, teacher training, and music students' experiences from challenging and unfamiliar professional placement situations.
Jon Helge Sætre, Associate Professor in music education (PhD), is currently Director of the Centre of Excellence in Music Performance Education (CEMPE), at the Norwegian Academy of Music, Oslo. Sætre has taught music on all levels and, as a pianist, has performed and recorded contemporary chamber music with renowned ensembles like Oslo Sinfonietta and Affinis Ensemble.
This article presents results from a case study exploring forms of professional work placement in specialist higher music education. The case study is carried out at the Norwegian Academy of Music (NMH) and is one of several research and development projects located within NMH's Centre of Excellence in Music Performance Education (CEMPE). A main aim of CEMPE is to develop knowledge about learning and teaching in music performance education contexts, in order to contribute to enhancing the quality of their educational programmes. The present case study is part of the research project Together for better learning, a collaborative project involving several Bergen University Faculties and CEMPE.
The Hammerfest project is one of several elective projects within a compulsory course in the Master's programme. These projects give students an opportunity to plan and carry out demanding interdisciplinary, collaborative projects, according to the Master's programme curriculum. The main aim is to stimulate reflection around the role and function of music and musicians in society. The project takes place in Hammerfest during one intensive week in February. Hammerfest is one of the northernmost cities in the world, and the project is a collaboration between the Norwegian Academy of Music, several partners in Hammerfest municipality and the multinational Oil and Gas Company Statoil. During one week more than 300 children, 100 adults and 15 Master's degree students perform and collaborate in making music. The project is driven by five interconnected principles. First, a high degree of collaboration pervades the whole project, both among the students and with amateur musicians, children and disabled people across different disciplines. Second, the project includes artistic presentations in traditional venues such as churches or concert halls, where the students assume full responsibility for curating the events. The third element is artistic presentations in less traditional arenas for performance, such as private homes or workplaces, where the students are challenged by the intimacy between audience and performers. Fourth, conscious contemplation of the relationships between performers and audiences is encouraged: students are hosted in private homes when they are in Hammerfest, and dialogues between musicians and audiences take place in the performance venues. And finally, the fifth element is a high degree of reflection through dialogues with and among the students, to make sense of and evaluate their experiences.
The Professional orchestra placement programme is an elective course at the Master's level, to which students are admitted by audition. Over a period of two years, students participate as orchestra musicians in professional orchestras during 12 week-long rehearsal and concert projects. The students are paid, and they receive 18 ECTS on completing the placement programme. Each student is appointed a supervisor from the orchestra, normally one of the orchestral musicians. Two professional orchestras are involved in the programme. The programme is described on the NMH webpages, but the description does not include information about aims, objectives or content.
Musicians of the future? (Photo: Zbigniew Ziggi Wantuch).
There seems to be increased scholarly debate about development in higher music education (HME) institutions. A central point of this debate is highlighted by the framing of the current issue of Music & Practice: What are the characteristics of musician of the future, and are current educational practices helping students develop these characteristics? Some research studies advance the view that the labour market for musicians is changing.1) Esther Bishop and Martin Tröndle, 'Tertiary Music Performance Education: An Artistic Education for Life or an out-Dated Concept of Musicianship?', Music & Practice 3 (2017), https://www.musicandpractice.org; Rineke Smilde, Musicians as Lifelong Learners: 32 Biographies (Delft: Eburon Academic, 2009). According to these studies, the future musician, as well as the majority of today's music graduates, will have to combine a range of work positions and settings. They will become what is described as the portfolio or protean musician,2) Dawn Elizabeth Bennett, Understanding the Classical Music Profession the Past, the Present and Strategies for the Future (Farnham: Ashgate, 2008). with only a few having the traditional role of orchestral musician. Bishop and Tröndle claim that specialist HME has had trouble adjusting to these changes.3)Bishop and Tröndle, 'Tertiary Music Performance Education'. Yet several ongoing initiatives are focusing on innovation within HME, including ICON (The Innovative Conservatoire), NAIP (New Audiences and Innovative Practices)4)Rineke Smilde and Sigurdor Halldórsson, ''New Audiences and Innovative Practice': An International Master's Programme with Critical Reflection and Mentoring at the Heart of an Artistic Laboratory', in Collaborative Learning in Higher Music Education, ed. by Helena Gaunt and Heidi Westerlund (Farnham: Ashgate, 2013). and CEMPE. And a number of research studies explore both traditional and new forms of aspects of musical learning such as one-to-one tuition, group tuition, peer learning, self-reflective practice, mentoring, and assessment and digital technology.5)See Helena Gaunt, 'One-to-One Tuition in a Conservatoire: The Perceptions of Instrumental and Vocal Students', Psychology of Music 38 (2010), pp. 178–208; Bjørg J. Bjøntegaard, 'A Combination of One-to-One Teaching and Small Group Teaching in Music Education in Norway: A Good Model for Teaching?', British Journal of Music Education 32 (2015), pp. 23–36; Ingrid Maria Hanken, 'Peer Learning in Specialist Higher Music Education', Arts and Humanities in Higher Education 15 (2016), pp. 364–75; Morten Carlsen, 'De- and Relearning the Violin: A Short Reflection', Arts and Humanities in Higher Education 15 (2016); Helena Gaunt, Andrea Creech, Marion Long and Susan Hallam, 'Supporting Conservatoire Students Towards Professional Integration: One-to-One Tuition and the Potentional of Mentoring', Music Education Research 14 (2012), pp. 25–43; Julius Pranevicius, 'Rich Feedback and Assessment Environment in a Horn Studio: Practising Scales', Arts and Humanities in Higher Education 15 (2016), www.artsandhumanities.org/journal/rich-feedback-and-assessment-environment-in-a-horn-studio-practising-scales/. These contributions discuss and challenge the relevance of current HME practices, and they stimulate a scholarly debate that aims to understand and employ different approaches to learning and teaching in HME.
The benefits of work placement are quite thoroughly described by research studies in a number of higher education settings, such as teacher education.6)Donald J. Boyd, Pamela Grossman, Hamilton Lankford, Susanna Loeb and James Wyckoff, 'Teacher Preparation and Student Achievement', Education Evaluation and Policy Analysis 31 (2009), pp. 416–40; Suzanne M Wilson, Robert E. Floden and Joan Ferrini-Mundy, 'Teacher Preparation Research: An Insider's View from the Outside', Journal of Teacher Education 53 (2002), pp. 190–204. Work placement is thought to link on-campus activity to professional practice, and thereby to increase the relevance of the educational programmes. Systematic use of work placement is probably less frequent in specialist HME,7)Harald Jørgensen, Research into Higher Music Education. An Overview from a Quality Improvement Perspective (Oslo: Novus Press, 2009). but music students may still be deeply involved in off-campus professional or semi-professional practice. Students enter HME as aspiring musicians; they may already be involved in a number of self-initiated projects and may even have experience from the professional field of music. An institutional survey carried out at NMH shows that specialist music students spend considerable time in various off-campus professional settings, and they spend time developing their own artistic projects. Furthermore, the survey indicates that students find these activities highly relevant for future work,8)See also Magnus Dahlberg, 'Learning across Contexts: Music Performance Students' Construction of Learning Trajectories' (PhD diss., Norwegian Academy of Music, 2013). and that more than half of the students would welcome an increase of professional practice and work placement as parts of their study programmes. Still, there are few studies investigating what students actually learn in and from such activities.
The present study contributes to this debate by investigating the potential of work placement and professional practice as part of specialist HME. The aim is to explore what students learn in and from two different placement settings, both of which are parts of the Master's programme at NMH. Among the questions addressed here, the most important is that of what, precisely, students learn in and from these contexts of practice. We examine the ways learning takes place in the two selected cases and the factors influencing and contributing to students' learning. Further, the article includes discussion about the differences between on-campus and off-campus learning and possible deficits in current educational practices.
Figure 1 Students and teachers collaborating in the Hammerfest project. (Photo: Eybjørn Paulsen).
Students and teachers collaborating in the Hammerfest project. (Photo: Eybjørn Paulsen).
To explore what students learn in different placement settings, the project was designed as a case study.9)Robert K. Yin, Case Study Research. 4th edn (London: SAGE, 2009). The overall case context is the Master's programme in music performance at the Norwegian Academy of Music, and the study is therefore best understood as a single case study. Within this programme, two units of analysis are selected. These particular units are selected because of their many differences. The rationale for emphasizing difference as the criterion of selection is to make room for contrastive and comparative perspectives on students' perceptions of learning in work placement contexts. The two units are the Hammerfest project and the Professional orchestra placement programme (see text box for details).
Since the aim of this study is to explore the students' perceptions of learning in the two placement settings, the focus group interview was selected as the method of collecting empirical data. Focus group interviews are well suited for creating an exploratory dialogue, and for making room for both agreement and disagreement on the selected topics.10)Victoria Wibeck, Fokusgrupper: Om Fokuserade Gruppintervjuer Som Undersökningsmetod (Lund: Studentlitteratur, 2010). The group setting also makes room for an effective, descriptive conversation, since the interviewees have the opportunity to correct, adjust, supplement and add perspectives to the joint conversation.11)David L. Morgan, Focus Groups as Qualitative Research. 2 edn (Thousand Oaks: Sage Publications, 1997). Five students were selected from the Hammerfest project (four females and one male), and four from the professional orchestra placement programme (two females and two males). All students had taken part in these activities recently. The Orchestra group members were selected in such a way as to represent more than one orchestra and more than one type of instrument. The students are called Student A, B, C and D in the transcripts.
Both focus group interviews were conducted by the same researcher, and the other took the role as an observer. The interview guide consisted of four main themes: description, ways of learning, responsibility and outcomes. When the main interviewer was about to end the interview, the observer was asked whether he had additional questions. This strategy turned out to have some benefits, since the observer could add questions based on his interpretation of the entire interview dialogue. The interviews were transcribed in the original language (Norwegian), and the transcripts were subjected to coding and collaborative interpretation by the two researchers.
The first level of coding followed the main themes of the interview guide (description, learning, responsibility and outcome), and the data was further analysed to reveal the variety of perceptions of value, relevance and ways of learning.
The present study takes a socio-cultural view of learning, emphasizing the relational, social and cultural features of learning and learning situations, and the importance of understanding the relationships between learning and tools.12)See Lev S. Vygotsky, Mind and Society. The Development of Higher Psychological Processes (Cambridge, Mass. Harvard University Press, 1978). From this theoretical point of view, the Hammerfest project and the orchestra programme should be different in many ways. They take place in different cultural arenas (orchestras, schools, family homes, etc.), they involve collaboration between students and different groups of people (musicians, conductors, fellow students, pupils, teachers, audiences), and they include different tools in the Vygotskian sense (e.g. language and psychological and physical artefacts). Social relations are also at the core of the concept of collaborative learning. Gaunt & Westerlund see collaborative learning as the most powerful way to deal with today's challenges in HME, such as the imperative for networking, innovation, negotiating cultural differences, developing professional flexibility, and to be able to meet new situations and social contexts imaginatively and with empathy. According to them, this goes 'hand in hand with the increasingly accepted understanding of learning as social endeavour, and of teachers being facilitators and co-learners rather than doorkeepers of learning'.13)Helena Gaunt and Heidi Westerlund, eds, Collaborative Learning in Higher Music Education (Farnham: Ashgate, 2013), p. 1.
The interplay between the roles of social relations and cultural tools in learning is a central premise for the concept of the proximal development zone, which denotes the distance between what a learner is capable of achieving on his or her own, and what the learner is capable of achieving with help from others.14)Vygotsky, Mind and Society. According to Wittek, in a learning relationship, the more experienced person contributes with ways of conceptualizing the learner's understanding and provides cultural artefacts which the learner uses to create learning experiences and develop his or her constructions of knowledge.15)Line Wittek, 'Sosiokulturelle Tilnærminger Til Læring', in Pedagogikk: En Grunnbok, ed. by Janick Heldal Stray and Line Wittek (Oslo: Cappelen Damm Akademisk, 2014), pp. 133–48. In this sense, it is of interest to study whether and how social relations are apparent in students' stories about learning experiences. Social relations may take the form of informal social interaction or formal arenas for supervision and reflecting in and on practice, which Schön identifies as an important part of developing professional knowledge.16)Donald Schön, The Reflective Practitioner: How Professionals Think in Action (New York: Basic Books, 1984).
Several research studies on higher education advocate bridging the gap between on- and off-campus learning by emphasizing pedagogies of enactment in higher education and allowing students to practise a set of core practices.17)Pamela Grossman, Karen Hammerness and Morva McDonald, 'Redefining Teaching, Re-Imaging Teacher Education', Teachers and Teaching: Theory and Practice 15 (2009), pp. 273–89. A central point is that on-campus practising of professional core practices (approximations of practice) can be carried out in low-risk settings, where students are allowed to experiment and falter.18)Pamela Grossman, Christa Compton, Danielle Igra, Matthew Ronfeldt, Emily Shahan and Peter Williamson, 'Teaching Practice: A Cross-Professional Perspective', Teachers College Record 111 (2009), pp. 2055–2100. In comparison, real-life professional practice is a more complex high-risk learning setting. Further, the concept of core practices identifies two major questions for HME. First, what can be defined as core practices for higher education music graduates? And second, is practising these core practices the best way of developing professional competence? From the viewpoint of socio-cultural theories of learning, meeting different contexts of practice (activity systems) may have the potential of providing learning 'new forms of activity which are not yet there', in the words of Yrjö Engeström.19)Yrjö Engeström, 'Expansive Learning at Work: Toward an Activity Theoretical Reconceptualization', Journal of Education and Work 14 (2001), pp. 133–56. The contexts of professional practice selected in the present study can still both be defined as core practices for musicians, the Hammerfest project representing the portfolio musician20)Bennett, Understanding the Classical Music Profession. and the orchestra programme representing the professional orchestral musician. It is of interest to find out how students perceive the value and relevance of these different practices, and to examine in some detail what students actually learn from them. This may give some hints about the potential of these forms of practice for the development of future musicians, as well as the differences between on-campus and off-campus learning in HME.
We were told that it would get intense and that we should be ready for whatever turned up. We should also be prepared to play a lot of different pieces; that we could be challenged to jump headlong into it, and that happened as well.
The next time you find yourself in such a situation – then – from here, everything can happen. I am ready. I am open. Always open, always ready. So maybe that is what is the most important.
Another important component of the Hammerfest project seems to be the limited time for planning and rehearsal, which is seen as both a high-risk feature and a fruitful experience.
What I have learned for later is that, although I normally plan and rehearse for a concert long time in advance, it is also possible to prepare a concert in half an hour. It's not dangerous, it's fine, and it will be good! That is something I will remember.
It feels like we got a new perspective on concerts when we were there. Or, we knew that there were so many concerts and too little time to prepare, so you didn't even have the time to get nervous. And then you could care for the moment on stage. It might be the same pressure there as here, but there we could better see the things that went on around us.
I think we limit ourselves on campus. You have your field of expertise, and think that we should not move outside it.
You are in a bubble at the Academy. You stay in the rehearsal room five hours a day, and everything is about your sound, … but there is so much more to it than just the playing.
The Hammerfest project seems therefore to represent a rather special practice context, since it represents the complex, high-risk features of professional practice while at the same time presenting this complexity in a low-risk setting.21)Grossman et al, 'Teaching Practice'. Apparently, the students also need to enter practice in order to understand that musicianship is more than 'just the playing'.
The high degree of collaboration seems to be an important feature of the low-risk setting. Collaborating with fellow students pervades the week in Hammerfest. In particular, it seems to have led to positive social relations between the students.
Something really positive this year, was the unbeatable mood among the students, which made everything easy.
I think of the project with the young kids. We just got two days, no plan or instructions, but 12 or 10 persons just have to create something together. I have never done that before. We started from nothing – what shall we do? It turned out well in the end.
They may have tried to show us that you have something in you, trust that, try to challenge yourself, explore it. The fact that we didn't have any frames scared everybody. But then creativity kicks in and you get to know yourself. So, through this project, I think everyone tasted a bit of that.
Student B: I tried not to be visible at all, because in my first week the programme was so crazy that I was just terrified [several students laugh]. So I tried just to enter and sit down and play the as softly as I could.
Students A and B add that is was really not much different than being a regular freelance substitute, and even that many orchestra members probably think that's what they are.
Student B talks about the difference between the solo and tutti position, and seems to be more confident with the tutti position.
Student A: But – that is different from person to person, how we see that issue.
Student A: I like to have responsibility.
Researcher: You would like to have more?
Student A: Eh. Yes, personally, I have worked as solo many places, and I think that is perfect. … It would have been great to try that once, to actually have responsibility [in the placement orchestra]. But then they have to trust me [laughs].
In sum, both forms of practice are perceived as high-risk contexts, the first because of its unfamiliar, non-typical features and the second because of its high professional level. Both are valued highly, but Hammerfest seems to stimulate an open discourse on the possibilities of musical activities, while the Orchestra programme seems to stimulate a focussed, traditional musical discourse. The Hammerfest context is manageable because the positive social relations between the students create the necessary low-risk atmosphere. Moreover, they learn and experience that it is okay if they don't always perform (or solve the tasks) at their best, and if they try new things. They are allowed to experiment, in other words, to explore and falter. In the orchestra placement, the tasks are all familiar, but firmly placed in a high-risk context. The fact that there is little room for failure seems to be one of the reasons why the practice context is seen as such a valuable learning arena for these dedicated future orchestral musicians.
Both groups of students seem to find supervision and feedback (from teachers, peers or experienced musicians) an important factor stimulating learning in practice, in addition to the very experience of practice itself.
I find it difficult to present ideas in the regular classes, when I don't know who is listening. So, it felt more comfortable to talk and think, knowing who the others were.
Maybe the fact that we reflected on something that we, ourselves, were a part of, was important. Meaning that we were actively participating in something, and then talking about it afterwards, and it felt important to talk about it, since we were going to do the same thing the next day.
The daily meetings of reflecting together and listening to what the others had to say contributed to making reflection a part of my own work. We discussed the meaning of what we were doing, and we carried it with us during the day, keeping in mind what to bring to the meetings.
I really believe that being in a dialogue with others speeds up your own development. In a dialogue, you receive, it is like talking to yourself, only much, much faster, you get input like this [snaps], like we do now. I get a bunch of different views at the same time, as a supplement to my own thoughts – which doesn't happen very often.
This student mentions another, quite similar project, where she very much needed to reflect with others, without any allocated time to do so: 'I didn't have anyone to reflect with there. If we would have sat down like here, reflecting everyday – that is true. It's brilliant!' This is underscored by another student, who relates the high degree of interest in reflection to the fact that the project was unfamiliar and challenging: 'When we have an orchestra project and play together for a week, it's only that – we've always done it. We don't need to reflect as much, since we've played in orchestras and been used to that since childhood'. Another student agrees: 'I think I am just not used to reflecting. It is just a habit. But here, everything is so unusual, that you more or less have to reflect, or else you become crazy, and you will not understand what is going on'.
The orchestra students find supervision and feedback important, but they describe a context in which this happens both in less formal ways and less frequently. They have different experiences with how formal supervision is handled by the orchestras. Student C reported not knowing that he was entitled a supervisor or contact person, and Student D is happy not having one. Student A has had fruitful one-to-one lessons with an orchestra musician – quite traditional lessons focussing on repertoire. The students agree that there is a need for better communication between NMH and the orchestras on the matter of supervision.
Student A: The best part is when the one who sits next to me offers constructive feedback. This has taught me so much, for instance how incredibly loud you can play when you're playing second on your instrument … You don't get that [kind of feedback] as a freelancer.
The degree of feedback the students receive varies. Some orchestra musicians provide a lot of feedback, 'while others don't say a thing'.
The students identify constructive feedback from experienced fellow musicians (mainly individual feedback from the person 'next to me') as a highly valuable way of learning in orchestra practice. Again, social relations play an important role, this time very much in line with the Vygotskian concept of the zone of proximal development.22)Vygotsky, Mind and Society.
Now I have realized that a concert is about the music and playing together. I got to play in the big band with the locals here in Hammerfest. It was all about getting a grip of the music and make a good show.
The Hammerfest students start to question the reasons for becoming a musician, and what kind of musicians they would like to become. The project 'made me start thinking' about the future. A student questions whether 'how I look, how I sound' is all there is to it. 'Should I just keep doing that for the rest of my life? … If I start teaching, what will my role be?' and she adds: 'Shouldn't we expand the expectations?' The students may not want to continue doing all of the activities they did in Hammerfest, but they find the experiences coming from the project important for their development as future musicians.
All the Orchestra students also find the programme highly valuable. Student A says 'I am big-time satisfied', and Student D says that the programme is the very reason he applied for the Master's programme in the first place. It is the single most important thing for him, he says, because it is about what he wants. There are several reasons the students value the placement programme. One is as a pathway into a professional, high-level orchestra. 'It is a way in', the students say. A second, related issue is networking. The students find this highly valuable: 'You get the chance to talk to people. And boom, you are in. In a way, that is what the Master's programme is about'. Third, the students are grateful for the work experience the placement programme gives them, to be given the chance to play in a real orchestra for two years. And they state the importance of working in the same orchestra with the same people during an extended period of time. This gives them the chance to get to know the orchestra culture, to understand what kind of musicians the orchestra is looking for, and to pick up some hints about what to focus on in auditions. According to the students, things are more difficult to understand as a freelancer, as freelance work means shorter contracts in a number of orchestras. When asked about whether the placement programme has changed their view of their professional role, Student B says that it has. Her goal is no longer to become the solo player on her instrument (in the orchestra). She has realized that she rather would play second. She likes to follow, to blend in, she says, and is happy to avoid the stressful solo position. Her colleague, Student A, maintains that her goal is still to become the solo player.
In the last part of the interview, the students start discussing another course in the Master's programme, in which students develop their own projects in creative ways. Student B is critical, or even ironic, and describe the idea as «these creative projects that preferably should be with cool lighting, smoke on stage or at places with no people, and the best is perhaps if you don't play a single note'. These students seem to be devoted to the idea of becoming orchestral musicians, and talks about this as Plan A. The Master's Programme, however, seems to «start with Plan B from the very beginning', according to Student D. That is, to prepare students for a job situation outside the orchestra.
In sum, the two contexts of learning could be seen as core practices,23)Grossman et al, 'Redefining Teaching', pp. 273–89. due to their resemblance of real life musicianship. The Hammerfest week seems to have raised a range of questions: about the role and tasks of the students as future musicians, about musicians' identities, about music itself, about working as a portfolio musician, and about 'expanding the frames'. In this sense, the Hammerfest project is probably more capable of developing the kind of innovation, professional flexibility and understanding of cultural differences and social contexts that Gaunt and Westerlund identify as the way forward for HME.24)Gaunt and Westerlund, Collaborative Learning in Higher Music Education. And it may have the potential of providing 'new forms of activity which are not yet there'.25)Engeström, 'Expansive Learning at Work', p. 138. In comparison, the orchestra students highlight the importance of getting a chance to understand the orchestra culture, and of networking, getting an entrance into the orchestra, a 'way in'. The students perceive their participation as a dream come true and as experience with real life. These statements hint at the strengths, or powers, of the social mechanisms at play in these rather different social contexts, the local, cultural municipality and the professional orchestra, which seem to affect both the learning outcomes and the ways of learning.
Figure 2 Understanding the orchestra culture. (Photo: Zbigniew Ziggi Wantuch).
Both groups of students compare the experiences from practice with 'normal' on-campus learning. As we have seen, the Hammerfest students see the project as different because of the emphasis on collaboration, reflection on action, the wide range of professional tasks, and the way in which they are taken out of their comfort zones.
Student B: Well, [in the professional orchestra] it is not just about a conductor standing there repeating the same section for 15 minutes because people haven't prepared, or because people don't know how to listen, or don't know how to count. In a professional orchestra, everyone knows what to do. And I, as a student, who is also well-prepared, will, I think, learn more from knowing how to act and behave in the orchestra. Or how to better connect [musically] with other instruments. Or when to listen to the second oboe player. And how to hear the second oboist at all, way over there. Those things. There is no focus on such things in the orchestra at the Academy.
Student B: You are in a way not so focussed on just practising, practising, practising. You are more focussed on how to be in the orchestra, in a way. How the attitude is supposed to be, how to work as effectively as possible.
Student A: Like listening, for example. Where to listen? Who to watch? Not many know that on the bachelor level [laughs].
Student D: Nobody tells you have to do those things.
Student B: Nobody tells you how to do those things. It isn't until I have worked professionally that my attention has been drawn to this.
Researcher: Can you give any examples of such things?
Student A: Yes, for example that no one has ever said 'now you should look at the double basses, they have the rhythm there'. Or if you are playing unison with the violins: 'don't look at the conductor, look at the concert master'. And things like that, which no one tells you.
The students describe how they learn ways of listening, ways of watching and of acting in the orchestra. They even talk about 'learning how to be in the orchestra'. These ways of learning, or these learning experiences, are probably best understood as results of taking part of a community of practice,26) Wenger, Communities of Practice: Learning, Meaning and Identity (Cambridge: Cambridge University Press, 1998). as being enculturated in a specific, professional orchestra culture, with its codes, procedures, musical and bodily actions, and, of course, spoken statements and feedback. The orchestra offers the students a range of tools for understanding orchestral playing and acting. The students are onto this themselves, when they underline the importance of being allowed a long-term placement programme in a specific orchestra. They get to know the desired ways of acting musically in this particular orchestra, while acknowledging that orchestras are not all the same. Their critique of the student orchestra is perhaps due to the lack of such a developed orchestra culture, with its extensive rehearsal hours and the perceived narrow focus on 'just playing in time'. The learning that takes place, is in other words highly situated and contextual.27)Lave and Wenger, Situated Learning; Wittek, 'Sosiokulturelle tilnærminger', pp. 133–48.
Based on the findings of this empirical study, professional work placement has the potential of playing a major part of HME Master's programmes, as it has in other higher education settings. Interestingly, both contexts of practice described in this article are valued highly by the involved students, despite the many differences between the contexts. The Hammerfest context is characterized by high degrees of collaboration, reflection, responsibility and freedom, and by the number of unfamiliar musical challenges and tasks. The unfamiliar challenges and the high degree of responsibility and freedom creates a high-risk setting, which students handle through collaboration and reflection. The project seems to stimulate students to develop their understanding of the role and identity of the musician, the role of music in society, the relationship with audiences, and their confidence in facing an expanded array of musical tasks. The students seem to have learned a number of things they did not expect, and to have discovered aspects of musicianship of which they were not yet aware. In comparison, the Orchestra context is valued primarily for its relevance, in the sense of representing the very professional arena for which these particular students prepare. High-risk features, in particular high musical quality, high expectations and little room for failure, also characterize the context. The students therefore experience a great deal of responsibility, but less freedom. The students learn ways of performing, listening and acting in a professional setting, and this learning takes place because the students are included in a highly experienced community of practice.
In sum, both forms of practice seem to complement on-campus teaching and learning in important ways. The Hammerfest context offers a collaborative, reflective and explorative practice setting in which students can experiment with different components of musicianship, and in which they are given freedom to falter. The orchestra students are given an entry into a professional, high-quality community of experienced musicians who can guide the students in developing high-quality orchestra musicianship. The fact that both contexts are found valuable and relevant makes it difficult to suggest that one context should be preferred to the other. This article has shed some light on the details of these differences, however, and on the details of the different foci, ways of learning and types of outcome in these forms of practice. In that respect, the Hammerfest project seems to meet the requirements of what is described as features of future musicianship the best.28)Bishop and Tröndle, 'Tertiary Music Performance Education'; Gaunt and Westerlund, Collaborative Learning in Higher Music Education; Smilde, Musicians as Lifelong Learners; Smilde and Halldórsson, 'New audiences and Innovatice Practice'. Still, the orchestra placement students are devoted to the idea of becoming orchestral musicians, and for these particular students the placement programme is of vital importance. The findings of this study suggest that instead of choosing between such forms of practice, higher music education institutions should find ways of including a range of professional practice settings precisely because of their differences. The findings underline the importance of learning in and through practice, and of the role of practice also when it comes to developing professional musicianship. At their best, these forms of practice have the potential of bringing dedicated people together in order to discuss, reflect on and develop the multifaceted reflective and craftsmanship dimensions of becoming a musician for the future.
1. ↑ Esther Bishop and Martin Tröndle, 'Tertiary Music Performance Education: An Artistic Education for Life or an out-Dated Concept of Musicianship?', Music & Practice 3 (2017), https://www.musicandpractice.org; Rineke Smilde, Musicians as Lifelong Learners: 32 Biographies (Delft: Eburon Academic, 2009).
2. ↑ Dawn Elizabeth Bennett, Understanding the Classical Music Profession the Past, the Present and Strategies for the Future (Farnham: Ashgate, 2008).
3. ↑ Bishop and Tröndle, 'Tertiary Music Performance Education'.
4. ↑ Rineke Smilde and Sigurdor Halldórsson, ''New Audiences and Innovative Practice': An International Master's Programme with Critical Reflection and Mentoring at the Heart of an Artistic Laboratory', in Collaborative Learning in Higher Music Education, ed. by Helena Gaunt and Heidi Westerlund (Farnham: Ashgate, 2013).
5. ↑ See Helena Gaunt, 'One-to-One Tuition in a Conservatoire: The Perceptions of Instrumental and Vocal Students', Psychology of Music 38 (2010), pp. 178–208; Bjørg J. Bjøntegaard, 'A Combination of One-to-One Teaching and Small Group Teaching in Music Education in Norway: A Good Model for Teaching?', British Journal of Music Education 32 (2015), pp. 23–36; Ingrid Maria Hanken, 'Peer Learning in Specialist Higher Music Education', Arts and Humanities in Higher Education 15 (2016), pp. 364–75; Morten Carlsen, 'De- and Relearning the Violin: A Short Reflection', Arts and Humanities in Higher Education 15 (2016); Helena Gaunt, Andrea Creech, Marion Long and Susan Hallam, 'Supporting Conservatoire Students Towards Professional Integration: One-to-One Tuition and the Potentional of Mentoring', Music Education Research 14 (2012), pp. 25–43; Julius Pranevicius, 'Rich Feedback and Assessment Environment in a Horn Studio: Practising Scales', Arts and Humanities in Higher Education 15 (2016), www.artsandhumanities.org/journal/rich-feedback-and-assessment-environment-in-a-horn-studio-practising-scales/.
6. ↑ Donald J. Boyd, Pamela Grossman, Hamilton Lankford, Susanna Loeb and James Wyckoff, 'Teacher Preparation and Student Achievement', Education Evaluation and Policy Analysis 31 (2009), pp. 416–40; Suzanne M Wilson, Robert E. Floden and Joan Ferrini-Mundy, 'Teacher Preparation Research: An Insider's View from the Outside', Journal of Teacher Education 53 (2002), pp. 190–204.
7. ↑ Harald Jørgensen, Research into Higher Music Education. An Overview from a Quality Improvement Perspective (Oslo: Novus Press, 2009).
8. ↑ See also Magnus Dahlberg, 'Learning across Contexts: Music Performance Students' Construction of Learning Trajectories' (PhD diss., Norwegian Academy of Music, 2013).
9. ↑ Robert K. Yin, Case Study Research. 4th edn (London: SAGE, 2009).
10. ↑ Victoria Wibeck, Fokusgrupper: Om Fokuserade Gruppintervjuer Som Undersökningsmetod (Lund: Studentlitteratur, 2010).
11. ↑ David L. Morgan, Focus Groups as Qualitative Research. 2 edn (Thousand Oaks: Sage Publications, 1997).
12. ↑ See Lev S. Vygotsky, Mind and Society. The Development of Higher Psychological Processes (Cambridge, Mass. Harvard University Press, 1978).
13. ↑ Helena Gaunt and Heidi Westerlund, eds, Collaborative Learning in Higher Music Education (Farnham: Ashgate, 2013), p. 1.
14, 22. ↑ Vygotsky, Mind and Society.
15. ↑ Line Wittek, 'Sosiokulturelle Tilnærminger Til Læring', in Pedagogikk: En Grunnbok, ed. by Janick Heldal Stray and Line Wittek (Oslo: Cappelen Damm Akademisk, 2014), pp. 133–48.
16. ↑ Donald Schön, The Reflective Practitioner: How Professionals Think in Action (New York: Basic Books, 1984).
17. ↑ Pamela Grossman, Karen Hammerness and Morva McDonald, 'Redefining Teaching, Re-Imaging Teacher Education', Teachers and Teaching: Theory and Practice 15 (2009), pp. 273–89.
18. ↑ Pamela Grossman, Christa Compton, Danielle Igra, Matthew Ronfeldt, Emily Shahan and Peter Williamson, 'Teaching Practice: A Cross-Professional Perspective', Teachers College Record 111 (2009), pp. 2055–2100.
19. ↑ Yrjö Engeström, 'Expansive Learning at Work: Toward an Activity Theoretical Reconceptualization', Journal of Education and Work 14 (2001), pp. 133–56.
20. ↑ Bennett, Understanding the Classical Music Profession.
21. ↑ Grossman et al, 'Teaching Practice'.
23. ↑ Grossman et al, 'Redefining Teaching', pp. 273–89.
24. ↑ Gaunt and Westerlund, Collaborative Learning in Higher Music Education.
25. ↑ Engeström, 'Expansive Learning at Work', p. 138.
26. ↑ Wenger, Communities of Practice: Learning, Meaning and Identity (Cambridge: Cambridge University Press, 1998).
27. ↑ Lave and Wenger, Situated Learning; Wittek, 'Sosiokulturelle tilnærminger', pp. 133–48.
28. ↑ Bishop and Tröndle, 'Tertiary Music Performance Education'; Gaunt and Westerlund, Collaborative Learning in Higher Music Education; Smilde, Musicians as Lifelong Learners; Smilde and Halldórsson, 'New audiences and Innovatice Practice'.


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Search Engine Land » SEO » Ecommerce » What's Up With The Google Balls Logo On The Google Homepage Today?
What's Up With The Google Balls Logo On The Google Homepage Today?
Visiting the Google homepage today may make you go "wow." It has one of the most wild and explosive special Google logos I have ever seen. There are dozens of balls that make up the Google logo, and they bounce around the screen all to come together to form "Google." The balls in the logo […]
Barry Schwartz on September 7, 2010 at 7:45 am | Reading time: 2 minutes
Visiting the Google homepage today may make you go "wow." It has one of the most wild and explosive special Google logos I have ever seen. There are dozens of balls that make up the Google logo, and they bounce around the screen all to come together to form "Google." The balls in the logo will bounce off your cursor, so if you move your cursor off the browser window, the logo will come together.
Here is a video and a static logo:
A Google spokesperson emailed us about the logo:
Today's doodle is not related to a birthday but is fast, fun and interactive, just the way we think search should be.
Google's birthday has been celebrated on various dates in September but lately, it has been Sept. 27 that's used as the official date, as our Finding The Real Google Birthday article explains more.
As for the statement, it may imply that something "fast, fun and interactive" will be announced at tomorrow's big search event that Google is holding. I suspect until then, we really won't know the true meaning of this logo.
The sad part is that there are many complaints about Google going over the top today for their logo. Personally, I like it but many do not.
For more about Google logos, also see our Those Special Google Logos, Sliced & Diced, Over The Years article and Insert Coin, Play Pac-Man — In The Google Logo! A 30th Anniversary Tribute, which covers another interactive logo that Google featured earlier this year.
Postscript: You can read our live blogging or learn how to watch the Google search event live at 9:30 PST by going here.
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Home / News / MOBY RICH TEAMS UP WITH BROODS FOR "LOSER" REMIX
MOBY RICH TEAMS UP WITH BROODS FOR "LOSER" REMIX
Today, alt-pop duo Moby Rich joins forces with Broods for the remix of their latest single "Loser"—listen to "Loser" (Broods Remix) HERE!
Of the "Loser" remix, Moby Rich says, "Ever since we toured with Broods, we've wanted to do something with them, and the perfect opportunity came when they said they were down to remix our song 'Loser.' They have such amazing musical sensibility, and they totally re-imagined the song in a way we would have never thought to do. We can't wait for everyone to hear it!"
Caleb of Broods chimes in saying, "We're big fans of these Moby Rich boys. Fell in love with their first single 'Yoko Ono' last year and asked them to open up for us on a tour of Australia this year. We got to know them and the rest of their music pretty well, so when they asked us if we would want to remix their new single 'Loser,' we of course jumped at the chance."
Moby Rich recently premiered the video for "Loser," directed by Scottie Cameron and featuring a special cameo from the iconic Jay and Silent Bob. The song is featured in the latest installment of filmmaker Kevin Smith's Jay and Silent Bob Reboot.
Moby Rich recently wrapped their North American run with Matt Maeson on "The Day You Departed Tour." The duo also teamed up with grandson on their collaboration, "Happy Pill," out now. "Loser" is the follow up to Moby Rich's Songs We Didn't Write released earlier this fall—featuring their own unique interpretations of Weezer's iconic "Say It Ain't So" and Lizzo's chart-topping "Truth Hurts."
Stay tuned for more from Moby Rich as they gear up for a massive 2020!
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Solar player Hannah Waesch called up to the U.S. U-18 Women's National Team holding ID Camp
By jennifer | October 3, 2019 | 1
Congratulations Hannah Waesch from Solars U19G DA
CHICAGO – The U.S. Under-18 Women's National Team is holding a 39-player identification camp from Oct. 1-8 at IMG Academy in Bradenton, Fla.
U-20 WNT head coach Mark Carr will lead the camp and has called up 39 players, all born in 2002. Three players on the roster were a part of the U.S. team that played at the 2018 FIFA U-17 Women's World Cup in Uruguay in forwards Talia DellaPeruta and Trinity Rodman as well as defender Smith Hunter. Forward Samantha Kroeger represented the USA at the 2018 Concacaf Women's U-17 Championship.
The age cutoff for participating in the 2020 FIFA Under-20 Women's World Cup is players born on or after January 1, 2000, so this group of 2002s are looking to work their way into the consideration for U-20 Concacaf qualifying next year. However, this age group is primarily focusing on the run to the 2022 FIFA U-20 Women's World Cup.
Thirty-one of 39 players have spent at least one season in the U.S. Soccer Development Academy. Seven players were named to Academy Best XI teams at the end of the 2019-20 season: Mia Justus, Olivia Migli, Amber Nguyen and Paige Tolentino in the East Conference, Emily Matthews in the Central and Hunter in the West.
U.S. U-18 WNT IDENTIFICATION CAMP ROSTER BY POSITION (CLUB; HOMETOWN)
GOALKEEPERS (4): Taylor Fox (West Florida Flames; Titusville, Fla.), Leah Freeman (Mustang SC; Berkley, Calif.), Mia Justus (IMG Academy; Amherst, Ohio), Alia Skinner (United Soccer Alliance; Fleming Island, Fla.)
DEFENDERS (9): Abby Allen (Lonestar SC Academy; Austin, Texas), Nya Harrison (San Diego Surf; San Diego, Calif.), Smith Hunter (Reign Academy; Seattle, Wash.), Tabitha LaParl (So Cal Blues SC; Lakewood, Calif.), Emily Mason (Players Development Academy; Flemington, N.J.), Emma Misal (Penn Fusion Soccer Academy; Mechanicsburg, Pa.), Madison Perez (Legends FC; West Covina, Calif.), Karly Reeves (San Diego Surf; San Diego, Calif.), Paige Tolentino (NC Courage; Pinehurst, N.C.)
MIDFIELDERS (12): Margaret Boade (Real Colorado; Highlands Ranch, Colo.), Aislynn Crowder (Hawaii Rush; Mililani, Hawaii), Cailey England (Lonestar SC Academy; Dripping Springs, Texas), Alexa Gonzalez (Legends FC; Riverside, Calif.), Kayleen Gowers (San Jose Earthquakes; Los Altos, Calif.), Isabel Loza (LAFC Slammers; La Mirada, Calif.), Emily Mathews (Nationals; Macomb, Mich.), Amber Nguyen (Tophat; Snellville, Ga.), Michaela Rosenbaum (Star Academy; Santa Rosa, Calif.), Madeline Simpson (Tophat; Atlanta, Ga.), Hannah Waesch (Solar SC; The Colony, Texas), Aki Yuasa (GPS Vermont Synergy FC; Charlotte, Vt.)
FORWARDS (14): Abigail Borchers (San Jose Earthquakes; Fresno, Calif.), Michelle Cooper (IMG Academy; Clarkston, Mich.), Talia DellaPeruta (Koln/GER; Cumming, Ga.), Jazlynn Ellis (Real Colorado; Parker, Colo.), Mollie Griswold (Arizona Arsenal SC; Gilbert, Ariz.), Dilary Heredia-Beltran (Sporting Blue Valley; Overland Park, Kan.), Samantha Kroeger (World Class FC; West Milford, N.J.), Paige Lacey (Portland Thorns FC; Central Point, Ore.), Quincy McMahon (Real Colorado; Highlands Ranch, Colo.), Asha Means (Charlotte Soccer Academy; Huntersville, N.C.), Olivia Migli (FC Virginia; Haymarket, Va.), Trinity Rodman (So Cal Blues SC; Laguna Niguel, Calif.), Reilyn Turner (So Cal Blues SC; Laguna Beach, Calif.), Grace Watkins (LAFC Slammers; Manhattan Beach, Calif.)
Posted in Coaching
Rosa Worthley on October 3, 2019 at 12:16 PM
Congratulations 🎉
Jaedyn Shaw wins 2022 US Young Female Player Of The Year
Yasmine Aissaoui called up to Moroccan Women's National U17 Team
Solar U19 Sawyer Wins the U19 USYSA National League
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Solar ECNL Player, Emily Parker, Gets Called Up to the U17 Switzerland Women's National Team Camp
Instagram Test


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Codexis Appoints Scott Watson as Vice President of Sales and Marketing
REDWOOD CITY, Calif.–(BUSINESS WIRE)–Jun. 4, 2013–
Codexis, Inc. (NASDAQ: CDXS), a developer of engineered enzymes for
pharmaceutical, biofuel and chemical production, today announced the
appointment of Scott Watson as Vice President of Sales and Marketing,
effective May 2013. Mr. Watson has more than 25 years of experience in
sales, marketing and business development, including in the
pharmaceutical and fine chemicals markets.
"Scott brings a strong track record of success to Codexis, along with a
wealth of knowledge and connections from his various roles in the
pharmaceutical and fine chemical industries," said John Nicols,
President and CEO of Codexis. "We continue to expand our pharmaceutical
business through new collaborations with strategic partners, and this
hire will allow us to capitalize on the many opportunities within both
the pharmaceutical industry and other complex chemistry markets where
our tailored enzymes can provide significant benefits for our customers."
"Codexis is the world leader in developing biocatalysts for the
pharmaceutical industry and I am very excited to be joining the team at
this time," said Scott Watson. "The opportunities in the pharmaceutical
market continue to grow, and I look forward to helping Codexis further
expand its presence, in pharmaceutical and other complex chemistry
markets, during the coming years."
Before joining Codexis, Mr. Watson served most recently as the Executive
Director of Sales and Marketing at AMPAC Fine Chemicals, a leading
manufacturer of custom small molecule active pharmaceutical ingredients.
From 2008 to 2009, Mr. Watson served as Vice President of Sales and
Marketing for Girindus, a diverse service company to the pharmaceutical
industry, where he was responsible for realigning the company's sales
strategy. Prior to Girindus, Mr. Watson held sales positions of growing
responsibility with various companies, including Aptuit, DSM and Eastman
Chemical Company.
Mr. Watson is a former officer in the U.S. Navy and holds a B.S. in
Chemistry from the U.S. Naval Academy and an M.B.A. in Finance and
Marketing from George Mason University.
Codexis, Inc. engineers enzymes for pharmaceutical, biofuel and chemical
production. Codexis' proven technology enables scale-up and
implementation of biocatalytic solutions to meet customer needs for
rapid, cost-effective and sustainable process development – from
research to manufacturing. For more information, see www.codexis.com.
This press release contains forward-looking statements relating to the
expansion of Codexis' pharmaceutical business, Codexis' abilities to
capitalize on business opportunities in the pharmaceutical and other
markets and the benefits that Codexis' enzymes can provide its
customers. You should not place undue reliance on these forward-looking
statements because they involve known and unknown risks, uncertainties
and other factors that are, in some cases, beyond Codexis' control and
that could materially affect actual results. Factors that could
materially affect actual results include Codexis' dependence on a
limited number of customers and a limited number of products in its
pharmaceutical business, Codexis' abilities to develop and commercialize
new products for the pharmaceutical market, Codexis' dependence on its
collaborators and the successful management of these relationships in
developing and commercializing new products, Codexis' ability to deploy
its technology into market spaces adjacent to its pharmaceutical
business and Codexis' customers receiving regulatory and market approval
of their pharmaceutical products.
Source: Codexis, Inc.
Paul Cox, 212-362-1200
ir@codexis.com
Connor, +44 161 359 3255
jemma.connor@notchcommunications.co.uk


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Karanina Sumeo: It's time to end the secrecy over unequal pay
International Women's Day is a time to reflect on how far we've come in valuing, respecting and honouring the dignity of the women in our homes, communities, workplaces.
While we are doing better than some countries, gender equality remains an unachieved goal.
This International Women's Day, I'm calling on New Zealand to accelerate progress towards gender equality by ending pay secrecy. The inability to compare pay between two people of different sex, for work of equal value, is a major obstacle to gender equality.
The Equal Pay Act makes it unlawful to refuse to offer the same pay, terms of employment, training, promotion based on the sex of a person. However, the lack of data to compare salaries and wages makes it difficult to bring an equal pay claim against an employer, because employees don't have access to this information.
Ending the gender pay gap is particularly important for closing the economic gap for women at the bottom of the ladder, including Māori, Pacific, disabled, and ethnic minority women.
The pay gap for these women's groups is much wider than the often reported 9 per cent for women generally, compared with men.
I have had experience of the gender pay gap for Pacific women. In a previous position, I found out that I was paid on a different salary scale than colleagues in a very similar role. The top end of the salary scale I was on was about $40,000 lower than the one being used for those in a similar role.
I challenged and convinced management, the human resources team, and the relevant union of my equal pay claim.
The whole process took about five to six months for the amended pay scale to come into effect. The positive impact on the wellbeing of my children, and peace of mind for a single mother, was significant.
My concern is that women less aware of their rights, unfamiliar with the system, struggling with English, with limited literacy, desperate to hold onto their jobs, or with low confidence, may struggle to remedy the situation, with or without a union to support them.
We have a duty under international and domestic human rights law to ensure equal pay for work of equal value. This is not a right women should be left to bargain for without the tools they need – including data about the gender pay gap in their workplace.
If we want to ensure women are not being discriminated against when it comes to their salary, wages and progression, then the Government needs to include pay transparency in legislation.
We are far behind other developed countries. Australian companies have been reporting this information annually to the Workplace Gender Equality Agency since 2012. The United Kingdom brought in legislation requiring companies to report their gender pay gap in 2018. They are now debating whether to require companies to also report on their ethnic pay gap.
In 2018, Iceland enacted a law that required both public and private organisations with more than 25 employees to be audited annually and prove that they provide equal pay to men and women. Iceland's gender pay gap was between 14 and 22 per cent in 2015. With this new law, its government hopes to close the gap by 2022.
Our Government's Equal Pay Amendment Bill is currently before a parliamentary select committee. The bill's purpose is to enact the recommendations of the Reconvened Joint Working Group that was set up after the successful campaign to address pay inequity for aged-care workers, who are predominantly female.
I believe the bill needs to be made stronger by including pay transparency. In addition, the Government needs to establish an independent body to ensure transparency in reporting about pay equity. This body would receive transparency reports and provide information and resource services to employees for potential pay equity issues.
Making pay transparent means employees in companies with more than 100 people know what their colleagues, and those in similar occupations, are being paid.
Pay secrecy has allowed women to be underpaid for 45 years, since the Equal Pay Act was made law in 1972. It reinforces racial biases and often hides structural inequalities. If wages and salaries are made transparent, it simply becomes harder to hide.
It's time for New Zealand to end the secrecy. Add your name in support.
This first appeared in the Dominion Post on the 8th of March.


OSCE, the international organisation has already issued its preliminary statement following the Hungarian elections in April.
The organisation launches Election Observation Missions only to countries upon the official invitation of the government. In their preliminary statement, the Mission concluded that the parliamentary elections "were characterised by a pervasive overlap between state and ruling party resources, undermining contestants' ability to compete on an equal basis".
The report also emphasised that, although there was a wide range of options, media bias and the lack of real political debate hindered voters' ability to make a well-informed and grounded decision. In the final report, these concerns are even more stressed.
As the report states, campaign financing was vague and chatoic due to an overlap between the financial resources of the state and the candidate ruling party. Concerns were raised regarding the state of Hungarian media.
As we have written about it earlier, several online sources have expressed similar opinions: The Guardian wrote about the worrying tendencies in Hungarian media freedom, while an American journalist reported about Hungary as a "failing democracy".
According to OSCE, media coverage during the campaign period prior to the elections was extensive, but highly polarized. Public media has met the requirements that were posed in terms of providing coverage to all candidates in its news program, but other than that, it was clearly biased towards the ruling coalition.
As the report stresses, women are highly underrepresented in Hungarian politics, and the media paid nearly any attention to the empowerment of women candidates. The organization included some recommendations in the report to help Hungary fulfil international obligations and standards in the future.
The focus is on clear and transparent campaign financing, safeguarding the public broadcaster's independence and possibilities for broader citizen observation.
Observers from the Organization for Security and Co-operation in Europe (OSCE) issued stern criticisms of Hungary's parliamentary election process on Monday, which they said was "characterized by a pervasive overlap between state and ruling party resources, undermining contestants' ability to compete on an equal basis."


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définition - Vagrancy (biology)
Vagrancy (biology)
Laughing gull, a species of the Americas, photographed in Wales.
Vagrancy is a phenomenon in biology whereby individual animals appear well outside their normal range; individual animals which exhibit vagrancy are known as vagrants. The term accidental is sometimes also used. There are a number of factors which might cause an individual to become a vagrant — genetic factors and weather conditions are two — but the causes are overall poorly understood. Vagrancy can be a precursor to colonisation if individuals survive.
Vagrancy is known to occur in birds, insects, mammals and turtles.
1 In birds
2 In insects
3 In mammals
4 In reptiles
5 Alternative uses in botany
In birds
In the northern hemisphere, adult birds (possibly inexperienced younger adults) of many species are known to continue past their normal breeding range during their spring migration and end up in areas further north (such birds are termed spring overshoots.)
In autumn, some young birds, instead of heading to their usual wintering grounds, take "incorrect" courses and migrate through areas which are not on their normal migration path. For example Siberian passerines which normally winter in Southeast Asia are commonly found in Northwest Europe, e.g. Arctic Warblers in Britain. This is reverse migration, where the birds migrate in the opposite direction to that expected (say, flying north-west instead of south-east). The causes of this are unknown, but genetic mutation or other anomalies relating to the bird's magnetic sensibilities is suspected.[1]
Other birds are sent off course by storms, such as North American birds, blown across the Atlantic Ocean to Europe. Birds can also be blown out to sea, become physically exhausted, land on a ship and end up being carried across the ocean.
In insects
Vagrancy in insects is recorded from many groups — it is particularly well-studied in butterflies and moths, and dragonflies.
In mammals
In mammals, vagrancy has been recorded for bats, seals, and kangaroos.
In reptiles
Vagrancy has been recorded for turtles, snakes (e.g. Pelamis platurus ), crocodilians, and probably also occurs in lizards. It therefore seems to be a fairly widespread phenomenon in reptiles. Saltwater crocodiles are especially prone to vagrancy, with individuals occasionally being recorded in odd locales including Fiji, Iwo Jima, and even the Sea of Japan.
Alternative uses in botany
The term vagrant is also used of plants (e.g. Gleason and Cronquist, 1991), to refer to a plant that is growing far away from its species' usual range (especially north of its range) with the connotation of being a temporary population. In the context of lichens, a vagrant form or species occurs unattached to a substrate ("loose"), not necessarily outside its range.[2]
^ Vinicombe, Keith; David Cottridge (1996). Rare birds in Britain and Ireland a photographic record. London :: Collins,. pp. 192p., 96p. of col. plates : ill., maps ; 24 cm.. ISBN 0-00-219976-9.
^ Rosentreter, R. & McCune, B. 1992. Vagrant Dermatocarpon in Western North America The Bryologist. 95:15-19.
Retrieved from "http://en.wikipedia.org/w/index.php?title=Vagrancy_(biology)&oldid=490975285"
Toutes les traductions de Vagrancy (biology)


*All above positions are the current pressing needs. We ALWAYS welcome those who have different skill sets than the above listed and would like to see how they could use them in the ministry. Contact us if you're interested.


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Student Portal | E-Learning Portal
Department of Business Publications
Department of Economics Publications
sbe@embuni.ac.ke
Welcome to the School of Business and Economics
School of Business & Economics Linkages
The School has also partnered with KASNEB to offer CPA courses. The School has also excelled in industry partnerships and extension. Among other linkages, the School has partnered with the Institute of Economic Affairs and the Kenya School of Government, looks forward to more partnerships in the near future. In its outreach mission, the School trained entrepreneurs from Embu County on 27th March, 2019. Topics covered ranged from book-keeping and taxation, detection of business failure and mitigation measures and managerial skills required to run a business.
Dean, SBE
Dr. Kennedy N. Ocharo
PhD. Theses and Dissertations
Masters Theses and Projects
Undergraduate Application Form
Postgraduate Application Form
Exam Pastpapers
The school offers the following Diploma Courses Click Here
The School offers the following Bachelor's Degree Click Here
The School offers the following Postgraduate Courses Click Here
Complaint/Compliment
Board of Postgraduate Studies
P.O Box 6-60100,
Embu, Kenya
admissions@embuni.ac.ke
The University of Embu is ISO 9001:2015 & ISO/IEC 27001:2013 Certified.
Copyright © 2023 University of Embu. All Rights Reserved.


Purchase a fitted sheet for your Lullaby® playard. This premium sheet is made from extra-soft brushed fabric, custom-tailored for a perfect fit, and is machine-washable for easy cleanup.
Cover the mattress pad (padded side up) with the fitted Sheet. Thread the 4 hook-and-loop straps through the coordinating openings on the fitted sheet. Make sure the sheet fits properly and securely around the corners of the mattress. The sheet should lay flat on the mattress.
Please refer to the care label for instructions on cleaning the fabric. Removable fabrics may be machine washed as separates in cold water. Wash on delicate cycle; do not use bleach; drip dry.
Is there any elastic around the edges? Also what is the dimensions of the sheet?
This sheet is a fitted sheet. There is no elastic around the edges. The dimensions of the sheet are 39 x 26 inches.
Will this sheet fit the Lullaby Baby 3-stage Portable Playard Empire mattress pad?
This Lullaby playard mattress sheet is compatible with the Chicco Lullaby Baby, Lullaby Dream, and Lullaby Glow mattresses.
This Lullaby Playard Mattress Sheet cover fits the following playards: Lullaby Baby playard Lullaby Dream playard Lullaby Glow playard Thank you.
Does this sheet fit the lullago bassinet too?
The Chicco Lullaby® Playard Mattress Sheet does not fit the Chicco Lullago® Bassinet. If you should have any other questions or concerns, please contact Chicco Customer Service at http://www.chiccoshop.com/contactus or call at 1-877-424-4226. Thank you.
what is the dimension of this sheet and make of material?


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Op-Ed: Prosecuting Elizabeth Holmes was never the solution to curbing lies by startups
On Monday, Elizabeth Holmes was acquitted on charges that she misled doctors and patients as she raised money for her blood testing company, Theranos. The jury found that she did not intend to harm or mislead providers and recipients of care, but she was found guilty on four counts of wire fraud for lying to and deceiving some of the smartest and most sophisticated investors in the world.
The fact that she misled or outright lied to her backers is clear, and the discussion about whether there is a difference between lying and puffery has been exhausted and isn't getting us anywhere. Frankly, the terminology doesn't really matter. What does matter is that in order to express outrage at perceived excesses, we are misusing the purposes and sanctions of the criminal law.
The United States has a federal agency charged with the oversight and protection of investors: the Securities and Exchange Commission. The SEC has the power to act — to require such things as audited financial statements in appropriate circumstances, and to require review of offerings.
When a private company decides to go public, the SEC subjects it to very strict disclosure and review requirements. However, there are no similar requirements when a private company raises private funds from wealthy investors. There is no reason why there should not be significant disclosure and review requirements on companies such as Theranos, which at its peak was valued at $9 billion, when they are raising money.
Presumably, the SEC is lax in monitoring these private offerings because it believes that investors at this level have the sophistication and means to assure that they are protected from misstatements. And indeed they do. The mostly super wealthy investors in Theranos made the choice not to protect themselves.
The SEC has made the choice not to require protections that would likely have avoided the Theranos debacle. (The SEC charged Theranos with securities fraud in 2018, but that was years after reporting raised questions about the company's practices.) Under those circumstances, why is the criminal law, as opposed to the civil law system, being used to sanction the consequences of what was inevitable when oversight is abandoned by those with the means and authority to provide it?
Some say that Holmes was prosecuted to send a message to Silicon Valley, one about truth, overstatement and transparency. But will her conviction really send that message? Not a chance. One or two cases, even with severe criminal sanctions, will not change the culture of lying or overstatement. The potential benefits are too high, and the fact remains that the odds of a criminal case being brought are very slim, with the standard of proof beyond a reasonable doubt exceptionally difficult to meet and prosecutorial resources too stretched to be a credible detriment.
When a contractor lies to a customer, we use the civil system to remedy the situation. Just as the civil law system is used to enforce contract violations, so too should that same system be used to enforce truth and transparency in cases like that of Theranos. Holmes deserved bankruptcy for her misdeeds, but at the same time investors should know that they have the responsibility to protect themselves by doing due diligence.
The U.S. has a tradition of misusing criminal law. In the 1970s and '80s the mail fraud statute was used for increasingly creative prosecutions, often unrelated to the purpose or meaning of the statute, which outlaws the use of mail in schemes meant to defraud. (Ultimately this misuse of the criminal law was rejected by a unanimous Supreme Court opinion that essentially limited the scope of mail fraud to bribes and kickbacks, but only after lives and careers were destroyed.) In the famous Drexel Burnham investment bank case, Michael Milken was prosecuted and convicted — though ultimately pardoned — for violating a hyper-technical provision of the securities law for which no one had ever been prosecuted.
Elizabeth Holmes lied. That was not a good thing. But it's important to think of her case in context. She never cashed out, and plenty of other CEOs have left failing companies without facing criminal charges.
Criminal law is being misused in cases like this and it's a shame. When we allow criminal law to lead the charge in campaigns to change social norms — and to supplant the role that civil agencies like the SEC should perform to protect even sloppy investors — we risk the legitimacy of criminal sanctions. And that risks hurting our nation much more than what has been done to the few rich and sophisticated investors who foolishly invest in charming founders with big dreams and brazen lies.
David Mills is a professor of practice of law at Stanford Law School.
https://www.latimes.com/opinion/story/2022-01-08/elizabeth-holmes-verdict-fraud
curbing, Elizabeth, Holmes, lies, OpEd, Prosecuting, solution, startups
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