JanSport's $299 Alt Pack holds a bit less cargo overall than the $100 Audio Pack, also reviewed on Playlist, but has gadget cache to spare; in fact, you could get lost in all of its pockets, pouches, and compartments. Made of slightly thicker nylon than the Audio Pack, the Alt Pack is available in black and weighs 2 pounds, 11 ounces empty. The rear-most compartment includes a rigid, removable laptop sleeve that accommodates laptops up to 15.4-inches (screen size), although the sleeve isn't quite long enough for 15-inch widescreen laptops and is a bit loose for Apple's thin MacBook Pro. (If you have your own favorite laptop sleeve, you can use it instead.) With a laptop in the sleeve, there's still room for magazines and files, or a thick book. In front of the laptop section is a second large compartment with a generous organizer panel and two wide pouches (one zippered). In front of that is a smaller padded pocket for a non-iPod portable player, a mobile phone, a small digital camera, or even a Sony PSP. In front of that -- I told you there were mucho pockets -- is another larger pocket, padded and divided into two sections, perfect for larger gadgets, laptop batteries, and AC adapters. Finally, in the very front of the bag is another large pocket with two elastic mesh pouches inside; this pocket is sizable enough to hold a small pair of shoes or a folded jacket. On the right side of the pack is a vented, soft-lined pocket (I'm not sure what the vent is for), and on the left side is a similar pocket with a mesh extender; when open, the latter holds a good-sized water bottle. A nice bonus: A zipper on the very bottom of the Alt Pack reveals a "rain coat" that covers the entire outside of the bag -- after all, if your pack is full of gadgets, you need to keep them dry.
The Alt Pack uses the same iPod connections and controller as the Audio Pack: You place your dockable iPod in a zippered pouch at the top of the bag. Two plugs -- one for your iPod's dock-connector port and the other for its headphone jack -- connect your iPod to the bag. (You'll want to enable your iPod's Hold switch to prevent bumps to the Click Wheel from affecting playback.) Near the top of the right-hand shoulder strap is a standard stereo miniplug, into which you plug your headphones; lower on the strap is a set of soft-button iPod controls: Play/Pause, Volume Up, Volume Down, Forward, and Back. These buttons worked well and were easy to use, while resisting minor bumps -- I was surprised how infrequently I accidentally hit a button while using the backpack. Another feature that I really liked was the small elastic pouch at the very top of the right shoulder strap (near the shoulder) that can be used to store your earbuds. The pouch is too small to fit your earbuds and all of their cables without some effort, but for quickly stashing the earbuds themselves, leaving the cables free, it worked well.
But the Alt Pack also includes Bluetooth connectivity. Why would a laptop backpack include Bluetooth? If you're listening to your iPod, you can't exactly be expected to pause playback, remove your headphones, take your phone out of the bag, and answer it, can you? (JanSport's answer would be "no," by the way.) Instead, you pair your Bluetooth-enabled mobile phone with the bag -- a small Bluetooth button and indicator light can be found on the left-hand shoulder strap. When your phone rings, press the Bluetooth button and your iPod pauses, your phone's audio comes through your headphones, and a microphone hidden near the Bluetooth button picks up your voice. Press the Bluetooth button again to hang up; your iPod resumes playback. A small (2-by-3.5-inch) battery/Bluetooth pack fits in a pouch in the laptop compartment of the bag; Bluetooth functionality requires 3 AAA batteries.
There are also a couple minor improvements I'd like to see in the bag in general. Unlike the Audio Pack, the Alt Pack's iPod pouch isn't padded; given that the pocket is on the outside, it should offer more protection. And considering how expensive the bag is, and how many (possibly heavy) gadgets you can stuff inside it, better padding on the shoulder straps (similar to that of the Audio Pack's straps), along with chest and waist straps, would make this a killer backpack for the gadget-laden road warrior.
UPDATE 8/27/06: A minor glitch with Bluetooth functionality was mentioned in the original review, above. JanSport has since provided Playlist with a second Alt Pack, and this second sample did not exhibit the issue.
Laptop backpack with iPod and Bluetooth integration.


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Athelstan Players
Malmesbury's Amateur Dramatic Society
Our annual programme of activities includes one-act play entries and three-act plays. Below are details of some of the plays we have performed, including a synopsis and a programme, where available.
Nov 29th and 30th, Dec 1st 2018
This warm, witty, funny play is an ideal alternative to the usual Christmas fare. Mizzis Horrocks' class is about to perform their nativity play at Flint Street Junior School for the proud mums and dads – and the occasional social worker. Squabbles and ego's arise and liven up the traditional script
Dig for the Diggers
The Athelstan Players entered the Hj1Act Play Festival in Pewsey on Friday 23rd March with their one act play Dig for the Diggers by Lynn Brittney. It is a WW1 play about the the first Australians that were DNA tested from the battle of Fromelles on the 19th and 29th July 1916. The characters in the play are fictitious but the historical facts are all true.
Don't Dress for Dinner
Bernard (Andy Duncan) is planning a romantic weekend with his chic Parisian mistress (Amanda Duffin), in his charming converted French farmhouse, whilst his wife Jacqueline (Natasha Gray), is away. He has arranged for a Cordon Bleu cook (Tracy Bridgeman) to prepare gourmet delights, and has invited his best friend, Robert (James White), along too to provide the alibi. It's foolproof; what could possibly go wrong? An unexpected husband (Fozz Ellis) perhaps? When Jacqueline changes her plans, Bernard has to think on his feet… a superb comedy of confusion ensues with mistaken identities, cover ups, dresses off and truly appalling cooking It's a real "who's who" of who's-whose-lover, full of twists and turns. Naughty and sublimely silly the clever cast pile on the comic chaos.
"Who Killed the Director?"
1st, 2nd and 8th April 2016
An evening of mystery and intrigue with a play in 3 short acts giving you a chance to solve the murder.
You and your team will witness the unfolding drama set in the fictional Footlight's Theatre, in the quiet village of Finkleton Fold. The 'Powder Keg Players', led by their dynamic director Ralph Valentine, are rehearsing their own murder play called 'A Stab in the Dark'. Rehearsals are not going well and the company are under pressure. Tensions are running high. There is a death in the actors' production, yet rehearsals come to an abrupt halt when Ralph is stabbed for real onstage. But who switched knives? Who holds a grudge bitter enough to engineer his murder?
The Honeymoon Suite.
Act 1: Something Old, Something New. Jet, an ageing rocker, finally accepts his hell-raising days are over when he learns some home truths, and his sham marriage to his long suffering PA, Pat, becomes something more.
Act 2: Something Borrowed. Gaynor, a northern lass, takes control of the situation when her new husband Sam, a cockney lad, loses all his money and his business on a horse.
Act 3: Something Blue. Enrico gets more than he bargained for, as Paula seeks revenge during a dirty weekend.
Frances, the genial, Irish hotel porter passes through all three plays with her homespun philosophy.
Act 1 won Best Play at the 2015 Harold Jolliffe 1 Act Play festival (Best Director for Jackie Morris and Best Actress for Natasha Gray), then won the All England Play festival Quarter Final at Wootton Bassett (Best Director for Jackie Morris, Best Actor for Bob Charman) and the Semi-Final at Ferndown, Dorset. This play was one of the 4 finalists in the English Finals in Harrogate on 6th June.
Isolation at Eyam
10th-12th April 2014
The play is about the plague that came to Eyam in Derbyshire in 1665 - to contain it the villagers cut themselves off from the outside world until the plague was over.
Athelstan Players won the Betty Peck Rosebowl at Swindon Harold Jolliffe One Act Play festival for the Winning Play in April 2014. Amanda Duffin won a cup for best adult performance by an actress and the group won the BBC Wiltshire Audience award.
Sue Poole, Jackie Peel and Val Chapman made all the authentic costumes and this was highly praised by the adjudicator.
Mystery at Greenfingers
May 4th, 10th - 11th May 2013
This 'comedy of detection', as Priestley called it, is set in the 1938 in the Greenfingers Palace Hotel on the edge of the Peak District. A small advance party of staff arrive a fortnight early to prepare the hotel for the opening season and find themselves snowbound as the weather takes a turn for the worse, roads become impassable and telephone lines go down. This, however, does not prevent surprise visitors arriving at the hotel, the first of whom is Mr. Crowther, the hotel company's detective.
Unusual events leave Detective Crowther with a cartload of mysteries to solve. Never one to shy away from the task, he immediately sets to work, interrogating and accusing staff members one by one, ingeniously discovering clues, and coming to audaciously clever conclusions – or, at least, so he thinks.
Daisy Pulls it Off
2nd April, 8th and 9th April 2011
Daisy Pulls it Off by Denise Deegan is a tongue-in-cheek look at the world of the girls' private school. It is about the attempts of superachiever Daisy Meridith to hide her poor elementary school background, and be accepted into the snobby confines of Grangewood School for Young Ladies.
The plucky girl undergoes many tribulations, but comes right in the end with Daisy saving the lives of snobby Sybil and toady Monica, discovering hidden family treasure, scoring the winning goal at hockey and finding her long-lost father!
6th, 7th, 13th and 14th June 2008
Idle chat, romantic delusions and licentious gossip give us a comical insight into six ladies of various dispositions waiting for that elusive Number 165 bus, in this one-act modern play.
Elsie and Norm's Macbeth
Elsie and Norm have decided to have a bit of a bash at culture by staging a production of Macbeth in their living-room. After a spot of judicious re-writing by Norm to make it snappier and more punchy, and undaunted by the large cast, Elsie and Norm set out to act "one of the greatest pieces of literature what has ever been wrote in the English language", playing all the characters between them. The hilarious results set Shakespeare spinning in his grave!
The Birds Stopped Singing
Fri 19th, Sat 20th May 2006
See a review that was published in Swindon Advertiser.
It is 1930 and in a roadside inn outside Berlin Pavel Alexandrovich sits reading - keeping very much to himself. A salesman, Liszt, arrives in search of lodgings. He engages Pavel in conversation about the war period. Reluctant at first, Pavel eventually recounts how he assisted in the execution of Tsar Nicholas.
It has haunted him ever since. His story leads to the perennial mystery of Anastasia's fate. Surprisingly, Pavel suspects that a prostitute at the inn could be the Russian princess. The denouement is even more surprising - but by then Pavel is too sunk in alcoholic oblivion to realize it.
Winner of the One Act Play Festival, Swindon 2006 including Best Actor, Best Supporting Actor, Best Supporting Actress, Best Director, Best Technical Achievement.
The Playgoers
Friday 19th, Saturday 20th May 2006
A naïve young couple's offer to treat their servants to a trip to the theatre causes chaos in this light-hearted one act comedy
The Athelstan Players have also performed the plays below.
© 2013 Athelstan Players.

redpajama_set_name: RedPajamaCommonCrawl


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Man charged with causing death by dangerous driving after minicab driver and passenger killed
A man has been charged with causing death by dangerous driving after two people died following a road traffic collision in Croxteth on Wednesday 27 February 2019.
At around 5.10am, emergency services were called to the junction of the East Lancs Road and Stonebridge Lane following a collision between a BMW and a Ford Mondeo private hire car.
The private hire driver and his passenger were taken to hospital with serious injuries but later passed away.
The 51-year-old PHV driver, David Sherwin, died on Wednesday 13 March 2019 in hospital.
The 35-year-old passenger, Michelle Jennings, died on Wednesday 27 February 2019 in hospital.
The driver of the BMW, 26-year-old, Ryan Howard of Windermere Avenue, St Helens was charged with two counts of death by dangerous driving and is to appear at Liverpool Knowsley and St Helens Magistrates Court on Tuesday 28 January 2020.
Officers continue to urge anyone with information, who witnessed this collision or who has dash-cam footage, to contact @MerPolCC, call 0151 777 5747 or 101, quoting reference 19100077634 or @CrimestoppersUK on 0800 555 111.
Image credit: Merseyside Police


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search hit 17 of 18
Interactions in lipid stabilised foam films
José Luis Toca-Herrera, Nadejda Krasteva, Hans-Joachim Müller, Rumen Krastev
The interaction between lipid bilayers in water has been intensively studied over the last decades. Osmotic stress was applied to evaluate the forces between two approaching lipid bilayers in aqueous solution. The force–distance relation between lipid mono- or bilayers deposited on mica sheets using a surface force apparatus (SFA) was also measured. Lipid stabilised foam films offer another possibility to study the interactions between lipid monolayers. These films can be prepared comparatively easy with very good reproducibility. Foam films consist usually of two adsorbed surfactant monolayers separated by a layer of the aqueous solution from which the film is created. Their thickness can be conveniently measured using microinterferometric techniques. Studies with foam films deliver valuable information on the interactions between lipid membranes and especially their stability and permeability. Presenting inverse black lipid membrane (BLM) foam films supply information about the properties of the lipid self-organisation in bilayers. The present paper summarises results on microscopic lipid stabilised foam films by measuring their thickness and contact angle. Most of the presented results concern foam films prepared from dispersions of the zwitterionic lipid 1,2-dimyristoyl-sn-glycero-3-phosphorylcholine (DMPC) and some of its mixtures with the anionic lipid — 1,2-dimyristoyl-sn-glycero-3-[phospho-rac-(1-glycerol)] (DMPG). The strength of the long range and short range forces between the lipid layers is discussed. The van der Waals attractive force is calculated. The electrostatic repulsive force is estimated from experiments at different electrolyte concentrations (NaCl, CaCl2) or by modification of the electrostatic double layer surface potential by incorporating charged lipids in the lipid monolayers. The short range interactions are studied and modified by using small carbohydrates (fructose and sucrose), ethanol (EtOH) or dimethylsulfoxide (DMSO). Some results are compared with the structure of lipid monolayers deposited at the liquid/air interface (monolayers spread in Langmuir trough), which are one of most studied biomembrane model system. The comparison between the film thickness and the free energy of film formation is used to estimate the contribution of the different components of the disjoining pressure to the total interaction in the film and their dependence on the composition of the film forming solution.
Krastev, Rumen
https://doi.org/10.1016/j.cis.2014.02.016
Advances in colloid and interface science
electrostatc interaction; foam films; hydrophilic interaction; lipids; van der Waals interaction
570 Biowissenschaften, Biologie
Lizenzbedingungen Elsevier


If a Dynaform is submitted while fields are being uploaded in a Multiple File field, the files will not be properly saved. To prevent this from happening, an onsubmit event handler can set with form.setOnSubmit() to loop through all the files in a Multiple File field to check that all of them have finished uploading. If any haven't finished, then the submit action can be terminated by returning false in the event handler.
To better understand this code, see Accessing files through their fileCollection. If aFiles[i].attributes.percentage does not equal 100 then it hasn't been 100% uploaded and false is returned to stop the Dynaform's submit action.
This page was last edited on 11 December 2018, at 02:08.


VAPEVINE STAFF REVIEW: "You asked, and Five Pawns delivered! Three new, High VG flavours at great price! Sure to be your new favourite summertime, poolside vapes!
From the legendary Five Pawns, comes a new line of affordable, ultra-premium eliquid that combines higher vegetable glycerine (VG) concentrations with fresh, all-day flavour profiles.
Unlike the famous Insignia Series, which is generally 50/50, this new Taken Three brand was developed specifically for sub-ohm vapers who tend to prefer higher VG blends.
30ml glass bottle. Handcrafted in Irvine, California.
-The Five Pawns take on a traditional Glazed Lemon Zest Sugar Cookie. Focusing on the lemon zest, this blend tastes like a soft and chewy lemon sugar cookie that's been coated with just enough frosted glaze to offset the acidity of the zest.
–Kibitzer is a spot on Pineapple upside-down cake. The grilled pineapple adds a fresh caramelized element to this moist yellow cake blend.
-A traditional Boston Cream pie is a dense yellow cake filled with a rich cream filling and frosted with chocolate. Brevity takes this Boston Cream Pie recipe to the next level, adding Ripe Banana Slices to the custard filling for over-the-top deliciousness.


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Alonso Ruizpalacios on the Arresting Developments of "A Cop Movie"
Stephen Saito· November 4, 2021
"A Cop Movie"
At this point in the continually surprising career of Alonso Ruizpalacios, the most subversive thing the director of the mischievous comedies "Gueros" and "Museo" could do is take his talents to a show like "Narcos: Mexico" where the already established style and narrative would test his abilities to bend formula without breaking them. He hadn't yet had the particulars down for "Una pelicula de policia," or "A Cop Movie," as it would be known in the States, but his time presiding over clashes between cops and cartels within more traditional parameters surely inspired him to color outside the lines in his latest feature.
"It gets you into the genre and then playing with that, but in a different context allows you to have this distance, which is where irony comes in and I think it helps," says Ruizpalacios, who mixes real reportage with dramatic techniques, enlisting actors to play the real people he met on the force for a "A Cop Movie." "We did it because it helps to reveal the distance between the reality and our expectations. What you think of policemen as and what they actually are, there's a huge gap, so making the fiction in this way helped to enhance that."
After taking great pains to recreate an infamous 1985 heist of Mayan treasures in the Mexico City-set "Museo," Ruizpalacios infiltrates the metropolis' police department quite literally, getting to know partners Teresa and Montoya, who became a couple after being assigned to the same detail and have plenty of wild stories to trade with one another at the end of the day. The filmmaker takes as many of those tales as he can and doesn't dilute the absurdity of them, opening "A Cop Movie" with an outrageous birth scene in which Teresa is asked to deliver a child when the city's overtaxed ambulance system fails and following Montoya through a busy subway station, giving chase to criminals in such a way that does far more damage than their crimes. However, after presenting their exploits with the widescreen grandeur and boisterous soundtrack that no doubt underscores their own perspective as heroes in their own mind, Ruizpalacios flips the script by revealing the dramatization at work, getting at altogether another truth when he's asked Monica Del Carmen and Raul Briones Carmona, the actors playing Teresa and Montoya, to train at the local academy as if they were going to actually become cops and exposing both the kinks in a hinky chain of command and the injustice that renders for the entire community they're responsible for serving.
Both wildly entertaining and infuriating, "A Cop Movie" actively undoes the cultural conditioning that's gone into preventing the police from ever being seriously questioned about their tactics or rationale in pursuing the cases that they do and how they treat their own, and Ruizpalacios is increasingly asserting his place as one of the most exciting filmmakers to watch in the world. We were fortunate enough to get to speak to him shortly before "A Cop Movie" hits Netflix this week, following a premiere earlier this year at Berlinale, and he spoke about how he could build his own interrogation of power structures into the style of the film and using the traditional narratives around police work into a shrewd critique.
Given your interest in institutions, had the police been a subject you were interested in for a while?
Not really, not per se. We arrived at the police after deciding to make a documentary about the crisis of corruption and impunity that plagued Mexico. Originally, we were going to do it about the public ministries and we shifted towards the police force as we discovered what their lives are like. It was the most cinematic way of dealing with this crisis of corruption that runs through all of the Mexican Government and the law enforcement. It was an interesting process of discovery that kind of dictated to us the way it wanted to be shot as we went along. I think it's by far the most free of the films I've made, in that nothing was predetermined. We were responding to things as they evolved and reshaping the structure, so all of that came very organically. This movie was particularly thrilling to do for me because all throughout the project, we were testing the limits and finding new things — the irony was one of them. But we took the cue from the interviews. That's what guided all the decisions that we made.
What was it like honing in on Montoya and Theresa as subjects?
Once we decided that we wanted to make a movie about the Mexican police, we interviewed a lot of cops, looking for the characters. There were some interesting people that we talked to, I have to say, but when we met Theresa and Montoya, it was love at first sight. There was something about the way they tell their stories that is so full of humor, and it's a very self- effacing type of humor and at the same time very earnest. Also the fact that there's a love story in the middle of this was irresistible.
You come to learn that the actors playing them have stories of their own to tell, so what went into bringing Raul and Monica in?
Actually, Raul and I have worked together before many times because we have a theater company together, so [I know] he's a very brave and committed actor and very disciplined. And he had done actually a very avant-garde theater piece in Mexico City with another group. Where they did an immersive process, he went to live with a family in Tepito, which is a very rough neighborhood in Mexico City, and they created a play that was to be performed there at the house of those people. Monica was in that project as well and I knew that I wanted Raul because he likes those types of challenges and he suggested, he said, "Well, I need a woman. Let's bring Monica because she's done this type of immersive work before and she's very brave." So they were perfect.
You certainly throw them into the fire – there's that event where Montoya has to stand guard on the sidewalk as he's being heckled at a huge public event – what was it like seeing people's reactions to him?
Yeah, absolutely. The film plays constantly with the boundaries of fiction and documentary, so there was a lot of spontaneous things that we shot that you cannot plan. And that was one of the most interesting days when we shot the Gay Pride [Event]. We put him in the middle of all these things, and people wouldn't even notice us [behind the camera] because there's so much going on and so many people, so it was really interesting, this contrast of this policeman trying to look very tough in the middle of the Gay Pride and people coming up to him and doing all kinds of things. It was really fun to shoot.
The subway chase also looked like it might've been a blast to film, if it wasn't so logistically daunting. What was it like to figure out?
That was fun. I knew I wanted to do a little tongue-in-cheek moment of seeing the cops in action, and how they tell it — when you hear them tell it, it's like a cop movie. We wanted to reference cop movies with a little irony, so we looked at different classic kind of cop programs and movies from the '70s mainly. It was fun to shoot, but it was also tough because it's quite a small-budget movie, smaller even than it looks, so we were shooting in the subway and we couldn't control the crowds and we just had to do all this crazy chasing with very specific camera movements, but you can't stop the crowds. It was quite challenging, but fun.
You've got a killer soundtrack here, what was it like putting music to this?
It was interesting, because I had the title of this film before anything. Once we decided it was going to be about cops, I wanted to call it "A Cop Movie." I can't really explain why, I just thought it was a good title because it's a silly title, and in a way it's a stupid title but that is what makes it special for me. It's blunt and it is a cop movie but it plays with your expectations of what a cop movie is. In the way that when you watch it, you discover something else from what you expect about the police force. I wanted to do that cinematically as well, so the music was important to round out that concept.
We looked for soundtracks of cop movies, and we started with more recent soundtracks, but they were all too flashy and there was no irony and no fun in it and musically, I just wasn't interested in them. And then we discovered Lalo Schifrin, this great Argentinian composer who composed the music for "Mission Impossible" and he has a huge catalog of music that he wrote for cop series in the seventies, both television series and movies, so I dived into that. That was one of the most enjoyable things of the whole process, just listening to all of that music and picking the right tunes, and we decided it's going to be as if Lalo Schifrin had composed the music for the movie, so we just picked the music that we liked and we licensed it.
The other really striking stylistic element is how you move back and forth between iPhone framing and ultra-widescreen compositions. Was that duality in mind from the start?
It was something that evolved along the way. When we were testing lenses and cameras, we accidentally found this format, which is a larger format — it's wider than usual, it's 2.66 as opposed to 2.40 or 2.39, which is the standard widescreen format because we put one of these anamorphic lenses on a camera that had a bigger sensor. So it was an accident that we bumped into this format, but we really liked it. It was very elegant and very undocumentary like and very aesthetic. And then when we came to do the iPhones, there was a weird thing in turning it vertically, so it was like the same [dimensions], but turned vertically, [which] was interesting when the movie was thematically shifting as well. That's why we decided to go with it.
You've got the greatest opening where you quote lines from the winning poem at a "regional police poetry contest," though when the officer mentioned shares the same last name as one of your producers, it seemed like you might be having a little bit of fun. Was that actually based on something real?
No. There are similar sorts of competitions in the police force where we shot a lot of it, but that particular poem and that particular contest was bullshit. [laughs]


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Q: Actionscript 3.0 - Changing FPS for scenes won't work I have a scene where if you push a button, it goes to a different scene.
At the beginning code of Scene 2, I have -
stage.frameRate = 40

But, to my surprise, it stays the same FPS!
Should there be a variable for it or something?

A: Your Main Timeline being a MovieClip...
trace(this, this is MovieClip); // [object MainTimeline] true

you can use the [read-only] property currentScene of a MovieClip:

"The current scene in which the playhead is located in the timeline of
  the MovieClip instance."

...and the [read-only] property name of a Scene:

"The name of the scene."

Scene 1
function modifyFrameRate():void {
    stage.frameRate = this.currentScene.name == 'Scene 1' ? 2 : 40;
}
modifyFrameRate();

Scene 2
modifyFrameRate();

Adobe Help to read more about Scene Class.

redpajama_set_name: RedPajamaStackExchange


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Diana Weinrich, President
RSI has been working with individuals with therapy needs and their families since 1983 when it was founded by Speech-Language Pathologist, Sandra Tirnauer, MS, CCC-SLP. Sandra began RSI to "do some good" in the world by way of helping individuals in need of therapeutic intervention. Its longevity and success is due in part to the agency's responsiveness to the community as a whole and to the families they service. Sandy passed on her legacy of caring to her daughter, Diana Weinrich, who is the current owner and President of RSI. Diana continues in her mother's footsteps by being involved in the daily operations of the agency. Ms. Weinrich has been working full-time with RSI since 1992. She holds an MBA & MS from University of Maryland at College Park. Prior to working with RSI, Ms. Weinrich worked in management and financial analysis.
Sandra Tirnauer, Founder
Speech-language pathologist Sandra Tirnauer, MS, CCC-SLP, founded Rehabilitation Services, Inc. (RSI) in 1983. Sandy's vision for RSI was to always put people before profits. As a business owner who was also a practitioner, she understood the legislative, financial, and regulatory challenges therapists face when treating patients. Sandy helped her staff treat patients effectively and empathetically, while working within the constraints these challenges.
In 1992, Sandy was diagnosed with a terminal illness. Her daughter, Diana Weinrich, moved back to Maryland to help "hold down the fort" at RSI during her mother's illness. Sandy had a lung transplant in 1993 and lived for another 15 years. Sandy & Diana worked side-by-side during that period to shape RSI into what it is today.
Today, Diana leads RSI with the same vision and values as her mother: compassion, professionalism, and a commitment to delivering outstanding patient care.


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America is laughing at Oregon for having to pump its own gas
Oregon passes a state law allowing self-service at rural gas pumps, which some residents fear is too 'hazardous' and may cause them to smell like gasoline
America is laughing at Oregon for having to pump its own gas Oregon passes a state law allowing self-service at rural gas pumps, which some residents fear is too 'hazardous' and may cause them to smell like gasoline Check out this story on Freep.com: http://on.freep.com/2lPD2Na
Brian Manzullo, Detroit Free Press Published 12:09 p.m. ET Jan. 3, 2018 | Updated 12:35 p.m. ET Jan. 3, 2018
Rideshare.org measures things like vehicle price, loan term and fuel efficiency to let users know whether it's cheaper to own a car or use an app like Uber or Lyft. USA TODAY
Gas pump(Photo: FeelPic, Getty Images/iStockphoto)
Jan. 1 was a monumental day in the state of Oregon, and not just because it rang in a new year.
A brand new state law went into effect that day, and it's a big one. It's a first for the Beaver State. And it's sending shock waves across all 98,000-plus square miles and all 4 million residents as we speak.
For the first time — in counties with fewer than 40,000 people — Oregonians are allowed to pump their own gas.
Reread that last sentence. Take a moment to process it. Oregon didn't pump its own gas. And it still won't in its major counties. The only other state that doesn't allow you to pump your own gas is New Jersey.
► Expect higher Michigan gas prices in 2018
For Michigan — the birthplace of the automobile — this is unthinkable. Heck, for the rest of America, this is unthinkable. What's so complicated about pumping gas?!
It gets worse.
At least several Oregonians are freaking out about the new law.
Case in point: KTVL CBS 10 News in Medford, Ore., posted this Facebook poll on Dec. 29, asking followers if Oregon should allow self-serve gas stations statewide.
Post by KTVLNews10.
Here are some of the, um, more concerned responses, and they're all quite serious:
♦ "Not a good idea, there are lots of reason to have an attendant helping, one is they need a job too. Many people are not capable of knowing how to pump gas and the hazards of not doing it correctly. Besides I don't want to go to work smelling of gas when I get it on my hands or clothes. I agree Very bad idea."
♦ "I don't even know HOW to pump gas and I am 62, native Oregonian.....I say NO THANKS! I don't want to smell like gasoline!"
♦ "I've lived in this state all my life and I REFUSE to pump my own gas. I had to do it once in California while visiting my brother and almost died doing it. This a service only qualified people should perform. I will literally park at the pump and wait until someone pumps my gas. I can't even"
So, to recap: Pumping your own gas is too difficult. It's too hazardous. It's too unsafe. And, heaven forbid, you might end up smelling like gasoline afterward. (Somewhere out there, Brian Fantana is smiling at that last one.)
To be fair, these Oregonians have a point: Pumping gas is a pretty difficult task, right up there with scraping your windshield and turning the heat on. And the fear of smelling like fuel is all too real when there isn't enough time in the day to shower.
Look, Oregon, if you're reading this, we're here to help. Here's a handy guide from roadandtrack.com on how to pump your own gas. It's only 13 steps long.
In the meantime, while the rest of us point and laugh, maybe don't proclaim you're a better state than Michigan for a while. Okay?
Contact Brian Manzullo: bmanzullo@freepress.com. Follow him on Twitter @BrianManzullo.
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Very true. This is the mentality of anyone that speaks up for the invasion of the US by Mexico.
if they were to take over the southwest, it would become one big garbage can and giant hell hole.
It is well on it's way to becoming a garbage hole already. I have a brother in LA that has always suported illegal immigrants. He has finally seen the light and the decay all around him from the illegal immigrants and is leaving LA. He said he was tired of living in Mexifornia. They will end up making the south western states the cesspool Mexico is. The rest of the stas teshould be prepared to drive them out when they run to them.
I am getting really sick of Mexicans tallking about their pride of Mexico yet they all flee from it because it is so corrupt and as dangerous as any muslim country. Pride in what I ask?
Well, if they try to take over, we'll have to go to war with them. It's that simple and it IS getting that serious. You see it all around and if you know anything about the US-Mexico border and the bordering states then you know that it is a mess down there. I don't like violence and it saddens me that it has to be this way, but this is the country I was born and raised in and Mexico and illegal immigrants are being illogical in what they think is owed to them. I love when illegal immigrants and pro-illegal immigration people in states that had nothing to do with Mexico use the excuse that Europeans and "Americans" stole land from them. How can an illegal immigrant in Kentucky or New York City use that excuse? They aren't just coming into California and Arizona, they are living in Tennesee, Illionois and other places by the tens-of-thousands and even millions. They can't use those excuses until they start just staying in the Southwest. If they want to try to pretend that what happened a century ago justifies them coming in illegally then that should be taken as a threat and should show that they are intent on "taking back land" and those are fighting-words. We can thank our federal government though if it comes down to that. It will be another thing that we could have avoided if actions were taken to prevent it.
I don't know anyone old enough to have had land stolen from there or a relative. How did we steal land from someone from Guatemala?
You want the USA invaded and taken over by a foreign country. You said it yourself. And if you want Mexico to take back the states of the SW -- but it's curious you left out Spain which was country that had actually made it's claim on these lands, not Mexico, you must also want Russia to take back Alaska, France to take back it's lands of the Louisiana purchase, and England to take back the 13 states it once had.
It sure does sound like you hate the USA. You are working for it's destruction, how much more hatred could you have for this country?
Well, I don't know the history of the US with Guatemala, but that is a good point. That is another example, if I recall correctly, Guatemala has a high-up-there percentage of illegal immigrants here, I hope they don't use the same "We're-just-taking-back-our-land" argument?
First, Guatamala was not part of Mexico, surely you can figure that one out fairly quickly, it was ruled by its own Captain General.
it landed an Army at Veracruz which fought its way to the Capitol City, took it, and held it for two years. It also sent an army across the Rio Grande into the heart of Mexico, another army into Nuevo Mexico, taking the Capitol, Santa Fe, where it split, one army went south into the heart of Mexico, the other went west taking territory until running into a Mexican Army and was in the process of getting wiped out when it was rescued by a force of sailors and Marines from Navy ships which had taken San Diego, another army came down from the north taking the coast of California before meeting with the rest of the invaders.
5 armies and the Navy attacked a country which had done them no harm, occupied the Capitol and major ports for several years, and took half the country.
It was an invasion without pretext, it was highly unpopular in the Republic of America, and it cut a neighboring nation in two taking half that nations land.
And you think the Mexicans should get over it???
Hell, the Jews waited 2,000 years to get their land back, and by golly they did. It may take Mexico that long, but, it would be hard to blame them anymore than we blame the Jews for getting their land back.
No, You simply do not know your history.
I asked a simple question, mmm no one can answer it? Is Mexico wrong in teaching that the USA stole half the country?
A yes or no answer should suffice.
REad the real history...The areas were still frontiers.
Convenienty left out of the discussion is the fact that southern Arizona and southwestern New Mexico, as they exist today, were purchased after the treaty. The Gadsden Purchase is the reason for the current borders; those areas were not stolen.
Funny that this argument keeps popping up. I live in one of the aforementioned areas and they can take back my land and my ranching homestead over MY DEAD BODY.
The United States won it fair and square, paid Mexico for the land, and forgave some debts, in addition to the Gadsden Purchase afterwards. We never stole anything.
Interesting that so many Mexicans have been brainwashed to think otherwise, isn't it?


text:
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Kraken release Wright for World Juniors
The Seattle Kraken have loaned forward Shane Wright to play for Team Canada at the upcoming World Junior Championship in Halifax and Moncton.
TSN.ca Staff
Shane Wright , The Canadian Press
Wright, 18, is expected to report to Team Canada in Moncton on Thursday, according to TSN Hockey Insider Darren Dreger.
The 6-foot centre is fresh off scoring his first NHL goal on Tuesday night against the Montreal Canadiens in a 4-2 loss for the Kraken. He has a goal and an assist in eight NHL games this season. He had four goals in five games during a conditioning stint with the AHL's Coachella Valley Firebirds.
Drafted fourth overall by Seattle in June, Wright is the sixth player in Canadian Hockey League history to be granted exceptional status to join the OHL a year early. He won CHL Rookie of the Year in 2020. The Burlington, Ont., product had 32 goals and 62 assists in 63 games with the Kingston Frontenacs in 2021-22.
Internationally, he captained Canada to gold at the 2021 IIHF U18s, where he was second in tournament scoring with nine goals and 14 points in five games. Wright was named to the 2022 World Juniors team but only played in two games before it was cancelled. He did not participate in the rescheduled tournament in August where Canada won gold.
The tournament is set to run from Dec. 26 to Jan. 5. Canada kicks off its tournament on Boxing Day against Czechia on TSN at 6:30 p.m. ET/3:30 p.m. PT.


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Homepage/Top Stories
Student Hits Hole in One With Golf Research
Wade Cormack
Wade Cormack went from PhD student to celebrity in a matter of minutes.
The recent U of G graduate garnered international media attention when he was selected by Scottish golf experts to take on the scholarly task of researching the origins of their culturally sacred sport.
The 25-year-old is the recipient of the Royal Dornoch PhD studentship, a unique one-time doctoral research program funded by Royal Dornoch Golf Club and the University of the Highlands and Islands in Inverness.
Under the studentship, Cormack will be researching the history of sport and culture from 1600 to 1800 in the Moray Firth region, which is just northeast of Inverness. But what's of particular interest to the funders is the history of golf in that area during that time period. The goal is for Cormack to have his research on the history of golf complete in time to be showcased in a historical exhibit commemorating 400 years of golf in Dornoch in 2016.
"It's a fantastic opportunity," says Cormack. "Scotland is seen as the birthplace of the game of golf, and the area along the shoreline facing the North Sea where I am studying has one of the earliest recorded histories of the game. As a result golf is held in high esteem in this area, so I feel very fortunate to be a part of such a valued project."
Scottish golf star and 1999 British Open winner Paul Lawrie along with the Dornoch Golf Club president and the Highlands and Islands principal were all at Cormack's side for the official announcement of the studentship last summer. Media from across the globe covered the event held at the Royal Dornoch Golf Club.
Once the news was out, Cormack was bombarded with interview requests, and stories appeared on BBC in Scotland, the Scottish television news programs Reporting Scotland and STV News as well as in numerous Scottish newspapers. The announcement even made its way to several papers across Canada, including the Ottawa Citizen.
It was a new experience for the Huntsville native.
"It was nerve-wracking but also really exciting."
For Cormack, the studentship is a combination of two of his favourite things: Scottish history and golf. He has been playing golf since he was 10, and his passion for Scottish history stems from the fact that he has ancestors from the country on both sides of his family.
After completing his BAS at U of G in 2011, Cormack decided to follow his passion and pursued a master of history under Guelph's Centre for Scottish Studies. His master's thesis examined the history of Scottish tourism and sport.
Cormack learned of the international competition for the studentship just months before his graduation last June and decided to apply.
He will spend three years in Scotland conducting his research with the University's Centre for History in Dornoch.
Since hardly any research has been done on the topic, he will spend most of his time at the National Archives of Scotland in Edinburgh scanning family letters from people who lived in the area, church documents detailing what was happening in the community and town council records about building developments.
"There hasn't been much academic research in this area," he says. "It's somewhat of a dark spot until the Royal Dornoch Club was formed in 1877."
Although little is known about the evolution of the sport in the Moray Firth region, researchers do know the game of golf was played as early as the 1600s. One of the earliest documented references to the sport in Dornoch dates back to 1616 when 10-year-old John, the 13th Earl of Sutherland, bought golf clubs and golf balls, says Cormack.
But it's up to Cormack to try and dig up what happened from that point to the 1800s.
In between his hours of research, he also hopes to hit the links. Some of the top golf courses are located along the coast, including Dornoch Golf Club's champion course, which was ranked fourth in the world in 2011 and is consistently in the top 20.
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Prof. James Fraser Aims to Help Scottish Studies Program Thrive
Squid Game Is Influenced by the Horror of Survival Comics and Real-Life Debt
Posted Monday, January 6, 2014 Filed under
Homepage Top Stories


text:
using Dropcraft.Common.Package;

namespace Dropcraft.Deployment.Configuration
{
    /// <summary>
    /// Class PackagesConfigurationOptions.
    /// </summary>
    public class PackagesConfigurationOptions
    {
        readonly DeploymentConfiguration _configuration;

        /// <summary>
        /// Initializes a new instance of the <see cref="PackagesConfigurationOptions"/> class.
        /// </summary>
        /// <param name="configuration">The configuration.</param>
        public PackagesConfigurationOptions(DeploymentConfiguration configuration)
        {
            _configuration = configuration;
        }

        /// <summary>
        /// Allows to define custom package configuration source
        /// </summary>
        /// <param name="source">Custom configuration source</param>
        /// <returns>Configuration object</returns>
        public DeploymentConfiguration AddConfigurationSource(IPackageConfigurationSource source)
        {
            _configuration.PackageConfigurationSource = source;
            return _configuration;
        }
    }
}

redpajama_set_name: RedPajamaGithub


text:
Home » From the Archive »
From the Archives | Rhythm & Blues, Blacks & Jews
How a Bunch of Upstart Jewish Independent Record Producers Helped Turn African American Music into a National Treasure
By Andrew Muchin
From the Archive, Latest
LEONARD CHESS was dubious about the blues songs that his Chicago company, Aristocrat Records, was recording one April day in 1948. Aristocrat usually recorded jazzy blues with horns, but this session featured a lone singer and his guitar, accompanied by a bass fiddle.
Bluesman Muddy Waters had only recently switched from acoustic to amplified electric guitar in order to be heard in the Windy City's noisy taverns. His guitar playing was piercing—reminiscent of the acoustic blues of the Mississippi Delta, where he grew up—and loud. His singing was expressive and strong but he slurred his words and had a thick southern black accent. Chess couldn't understand a word.
"What's he saying? What's he saying? " Chess snapped, relates Nadine Cohodas in Spinning Blues into Gold: The Chess Brothers and the Legendary Chess Records. "Who's going to buy that?"
He soon had an answer. The first 3,000 copies of Waters' "I Can't Be Satisfied " sold out in two days. The once-skeptical Chess heard the ka-ching of countless Chicago cash registers. "Chess began to come close to me, " Waters later told Living Blues magazine.
Chess brought in his brother Phil as a partner, after founding partner Evelyn Aron left the company. Within a decade, the Polish immigrants turned the renamed Chess Record Corp. into an internationally known independent recording company that produced influential blues, jazz, doo wop and rock 'n' roll, paving the way for the British Invasion of the 1960s.
The Chess story is typical of the wild independent record business that developed around the emerging black music of the 1940s and '50s. Sure, Jew s weren't the only whites involved in black music. But the independent record business was dominated by young Jewish men who started out wit h nothing, me n in short-sleeved white shirts and skinny black ties who were equally fluent in black slang and Yiddish, and who could have just as easily sold appliances and bowled with a B'nai B'rith lodge. Instead they made it their business to promote the creative sounds that were coming from the black world.
These men—and occasionally women— came from all over the country. Syd Nathan owned three labels, King, Queen and Federal Records, in Cincinnati. In Los Angeles, Art Rupe founded Specialty Records; Paul Reiner owned Black & White Records; Leo, Edward and Ida Messner had Aladdin Records; Lou Chudd had Imperial Records; Jules, Saul and Joe Bihari had Modern Records. In Ne w York, Mo e Asch owned Folkways Records, Alfred Lion co-owned Blue Note Records, Milt Gabler founded Commodore Records and Norman Granz owned a series of labels, most notably Verve Records and Pablo Records. Across the river, Herman Lubinsky had Savoy Records in Newark, and Fred Mendelsohn owned, at various times, Savoy, Regal and Herald Records, all in New Jersey.
"Jews got into the record business on a large scale in the late '30s and early '40s because Columbia and the other majors dropped 'race music ' in the 1930s," explains jazzman, scholar and owner of Gojazz Records Ben Sidran. "Jewish small businessmen took their place in what was often a 'nickel and dime' business."
Art Rupe's Specialty Records hit the big time with Little Richard, Sam Cooke, Fats Domino, Percy Mayfield and other musicians (Credit: Michael Ochs Archives, David Goldberg)
The three major record companies of the time—Columbia , Victor (RCA), Decca, and new kid on the block Capitol—had pulled out of black music in order to cut down their use of shellac, a major component of records at that time. Shellac, imported from Asia, was in short supply due to the war with Japan. To get their record orders fulfilled, the new independent producers ingratiated themselves with the record pressers and fit themselves into holes in the companies' press schedules. Some went so far as to collect scrap records that the pressers could melt and turn into new ones.
"I think one thing these guys all had in common was that they loved the business, " adds Sidran. "They were tumelers—shmoozing, hanging out in delis. There was a rough-and-tumble atmosphere. Jews have been drawn to that."
These ambitious businessmen didn't always have a choice. "The '40s were a time when even bright Jews could not easily find a place in the WASP world of communications," Arnold Shaw writes in Honkers and Shouters: The Golden Years of Rhythm and Blues. "The music business, however, was wide open for Jews as it was for blacks."
In the beginning, producing 78 rpm "race " records, which were sold by the song, didn't look very profitable. Even the musicians had no inkling of their music's economic potential.
Until then, the main market for black music had been blacks. It wasn't until they started turning out discs that white producers realized there was crossover potential into the larger music world; that is, the white music world. Only in hindsight did it become clear that the label owners were part of a much larger movement—that of Jews who played key roles in developing and popularizing African American music: blues, jazz, rhythm and blues, and soul. Some produced records while others wrote, performed and published black songs, managed entertainers, or ran the clubs where the music could be heard. Still others studied black music academically. Journalists wrote critically, and lovingly, about the musicians.
But no one in this movement dreamt that the black music they were introducing to the world would inspire generations of musicians, leading to the development of rock 'n' roll, and inspiring the music of mega-influential white musicians such as Elvis Presley, the Beatles, and the Rolling Stones.
CHICAGO'S LEONARD and Phil Chess were street-wise South Side Chicago greeners. After working for their father in his scrap yard, they opened the Macomba Lounge and booked small jazz groups, writes Cohodas. Leonard Chess's knowledge of black Chicago led him to join Aristocrat in 1948. Later, when his brother Phil joined him in the record business, they sold the Macomba.
The renamed Chess Records gave the world the newly electrified and still wildly popular Chicago blues. The blues derived from the acoustic music that southern blacks played, and had brought with them as they moved north in search of jobs.
Having worked among the newcomers, the Chess brothers saw an untapped potential audience. They discovered great singers and produced big hits. Muddy Waters and Howlin' Wolf championed a rough, rhythmic, melodic sound. Later, label-mates Bo Diddley and Chuck Berry added breakneck rhythms to the blues and produced early rock 'n' roll chart-busters such as "Bo Diddley" and Berry's "Maybelline. " Etta James crooned R&B hits like "I'd Rather Go Blind" while Koko Taylor had a blues hit with "Wang Dang Doodle."
Meanwhile, out in Los Angeles, Art Rupe was trying his hand at the record business.
Rupe, born Arthur Goldberg, grew up in racially-mixed McKeesport, Pa., just outside of Pittsburgh.
"There was a tremendous amount of ethnic intermingling," recalls Rupe, now in his eighties. "In a picture I remember seeing of me with my classmates, I look like a sugar cube in a coal bin. W e were all poor, and whether white or black, aspects of our culture were the same. I particularly enjoyed listening to blues records in one of my black friend's homes. What bonded us was a culture shaped by our similar economic status, not our ethnicity."
Tall and skinny, Rupe was a star Hebrew pupil at the local temple, which offered him a scholarship to rabbinical school. Instead, he headed west to get into the movie business. When he couldn't get his foot in the door, he tried to get a job writing for Bob Hope and Red Skelton's radio shows. Broke and unemployed, his third choice of career was producing records to sell in small stores in Watts and other black neighborhoods.
Rupe approached his new business methodically. Unlike the Chess brothers, he decided to focus on the black urban market, and he carefully studied the kind of music his target audience wanted. Buying stacks of records, a metronome and a stopwatch, he timed the recordings' introductions choruses, repeat choruses, and analyzed the lyrics in order to find out what worked in the most popular songs. After determining that urban blacks preferred horns and a polished sound, he decided on "a big band sound, expressed in a churchy way."
Typical of the independent labels, his Jukebox Record s operated on a shoestring. His first "office" was a cigar box, rented for $2 a month on someone's desk, where he received mail. Success didn't take long: Jukebox's first record, the Sepia Tones' "Boogie No. 1," sold 70,000 plus copies, a respectable amount in the 1940s.
Rupe sold Jukebox in 1946 and opened Specialty Records. His artists Roy Milton, Joe Liggins, and Camille Howard all had hits. In search of new talent, Rupe was one of the first label owners to gravitate toward New Orleans.
He arrived in the birthplace of jazz in 1952, attracted by singer/pianist Fats Domino. On that trip, Rupe signed singer Lloyd Price. Price's "Lawdy, Miss Clawdy " was rated the #1 R&B record in 1952 by Billboard and Cashbox magazines, says Rupe. "If there had been Grammies, it would have taken them all home. It was considered one of the first crossovers of black music to white teenagers."
Price urged singer Richard Penniman to send a demo tape to Rupe, who in 1955 recorded the young man, under the name Little Richard. Penniman's very first session produced the manic hit "Tutti Frutti." He had a string of 11 more hits for Specialty, including "Long Tall Sally" and "Good Golly, Miss Molly. " Little Richard, who quickly became a nationwide sensation, was one of the first major crossover artists.
Rupe also recorded Percy Mayfield who wrote the hits "Hit the Road Jack, " and the anti-racism song "Please Send Me Someone to Love " as well as many others. Another major coup was Sam Cooke. "Forty to fifty percent of Specialty's business was gospel," Rupe says. "Sam Cooke was a gospel singer and recorded gospel for us for seven years. We recorded his hit 'You Send Me.' "
Syd Nathan with a young James Brown (second from left) (Credit: Michael Ochs Archives)
Rupe, who became personal friends with some of his artists, couldn't believe his success. "When I got into the business, few white people fooled around with this kind of music," he says. "It was called 'nigger' music, and one of my friends called me a 'nigger lover.' I've never forgotten that…I had no idea that it would ever appeal to many white people."
While Rupe was striking gold in L.A., back east in Newark, Herman Lubinsky was producing hits with a slightly different formula. Stubby-fingered, cigar-smoking, copyright-hungry and notoriously cheap, Lubinsky was running a small record store in 1942 when he started Savoy Records. At first, the label released records by leading jazzmen. Then, throughout the 1950s, the label produced R&B hits, often with the songs of Jewish songwriters Jerry Leiber and Mike Stoller, who were later inducted into the Rock 'n' Roll Hall of Fame.
Another independent producer was former department store owner Syd Nathan. Nathan opened King Records in an old icehouse in suburban Cincinnati in 1945. Nathan began with white country music, but soon added "race" music in order to increase his market share. He released R&B music on a subsidiary he called Queen Records, co-writing the Bull Moose Jackson hits "All My Love Belongs to You" and "I Can't Go on Without You" using the name Sally Nix.
His other artists included veteran bluesman Lonnie Johnson and singers Ivory Joe Hunter and Wynonie Harris. In 1956, soul singer James Brown had his first hit, "Please, Please, Please," on King, and the label's recording of Bill Doggett's "Honky Tonk" rose to #1 on the R&B charts.
Nathan also operated Federal Records, which scored a hit with the Midnighters' sexually suggestive "Work with Me, Annie."
"Overweight and a careless dresser, [Nathan] hardly looked like the man who could transform a defunct icehouse into one of the country's giant record independents," writes Arnold Shaw. "Nathan developed a plant in which he could record, master, press and produce finished disks, including the printing of album covers. He was one of the Henry Fords of the record industry."
Leonard Chess, circa 1967 (Credit: Michael Ochs Archives)
JERRY WEXLER grew up a self-described jazz record hound. He became a pioneering music reporter for Billboard in New York, convincing the magazine to replace the term "race records" with one he had coined—"rhythm and blues."
Through his work at Billboard he met Herb and Miriam Abramson and Ahmed Ertugun, owners of Atlantic Records. Joining Atlantic as a co-owner, he supervised the recording of hits by some of R&B's top singers. In Rhythm and the Blues: A Life in American Music, written with David Ritz, Wexler recalls working with LaVern Baker, Ruth Brown, Wilson Pickett, Solomon Burke, Etta James and his big three: Aretha Franklin, Otis Redding and Ray Charles.
Wexler's talent as a producer was to adopt whatever role a performer needed from him. With the multi-talented Charles, he basically stayed out of the way, beginning with Charles's first big hit, "I Got a Woman. " With Franklin, he scuttled her pop style in favor of her gospel roots. Wexler matched Redding with the Stax Records studio band in Memphis, Booker T. & the MGs.
Wexler worked closely with Leiber and Stoller, like him East Coast Jews who became sincere "white Negroes. " The songwriters reveled in black culture, claiming even before they graduated high school that they didn't write songs for
whites. The pair's hits include "Hound Dog," performed first by blues singer Big Mama Thornton, "Jailhouse Rock," "Smokey Joe's Cafe," "Kansas City, " "Poison Ivy," "Love Potion, #9," "There Goes My Baby," and, with Ben E. King, "Stand By Me " and "Spanish Harlem."
New York was also the stomping grounds of Norman Granz.
Phil Chess and Aretha Franklin, circa 1967 (Credit: Michael Ochs Archives)
"The single most important recording producer and concert producer was a Jew, Norman Granz," writer Nat Hentoff said in an interview. His Pablo Records recorded Louis Armstrong, Count Basie, Duke Ellington, Ella Fitzgerald, Dizzy Gillespie, Billie Holiday, Charlie Parker and Oscar Peterson. "Particularly in the 1970s, when rock music began to take over and extraordinary jazz men couldn't get recording contracts, Granz recorded them with Pablo," Hentoff explained.
Another New York exec was Milt Gabler, a record store owner who founded Commodore Records in 1937. Gabler wrote lyrics for Duke Ellington and Nat King Cole, paired Ella Fitzgerald with Louis Armstrong and even handed out
cash to needy musicians. In 1939, he recorded Billie Holiday singing "Strange Fruit," a controversial ballad about lynching written by Abel Meeropol, a Jewish New York schoolteacher.
Jewish immigrant Alfred Lion co-founded Blue Note Records, one of the world's most influential jazz labels, in 1939.
"When he was kid in Berlin, he got hooked on black musicians, " Hentoff explained. The New York-based label bit its stride in the late 1940s, releasing records by bebop pianists Bud Powell and Thelonius Monk.
LIKE EVERYTHING small in America, the independent record labels, both R&B and jazz, died out in the 1960s and '70s. That moment in music time—and the niche market—vanished when barriers fell between black and white music, in part because of the success of the Jewish independent producers had in mainstreaming their artists. At the same time, the music industry, engorged on rock 'n' roll, became big business. The little guys got out of the way, often selling at a profit.
Charges that the "little guy " label owners made more money in many cases than the artists they recorded—particularly in blues, R&B and soul—have haunted them since the 1940s.
Herman Lubinsky parlayed his small record store in Newark, N.J. into a major label—Savoy Records (Credit: Michael Ochs Archives)
"Lubinsky was the cheapest [guy] in the world, " record producer Ralph Bass told Shaw. "Both Nathan and Lubinsky thought the same way. You couldn't make a g-d damn phone call with Lubinsky. 'Write a letter!'—unless it was life
or death—'Write a letter.'…But despite it all, I have no ill feeling toward any of them…They worked so hard making money, and they were financial geniuses for their times."
Singer/songwriter/producer Willie Dixon called Leonard Chess "a maneuverer. He was dealing with people who didn't know anything about the recording business," Dixon claimed in I Am the Blues: The Willie Dixon Story, written with Don Snowden. "I call it swindling, but most people call it smart business when you can take advantage of some one who don't know no better…Chess would always find one way or the other to take my money."
Marshall Chess, son of Leonard Chess and a onetime Chess Records executive, disagrees. "My father was tough, " Marshall says. "He was no angel. But he wasn't a thief, and he wasn't a crook."
Music publishers and record labels were necessary and hardly inherently evil, argues Sidran, who also has a doctorate in American studies. Nineteenth-century songwriter Stephen Foster died broke, he explains, "because there was no publishing business for music. " Moreover, Jews aren't responsible for "the system, the economics,
and the way the economy has never been based on justice for all."
Aretha Franklin and Phil Chess in the studio (Credit: Michael Ochs Archives)
Musicians, adds Brace Iglauer, owner of Alligator Records in Chicago, a contemporary blues label, may feel cheated, but they need to see the big picture.
"When we enter into our business relationships, all the financial risk falls on me, " he says. "I'm the one who's paying for everything, so I don't think it's wrong that if the gamble pays off, that I should expect to make more per record than you the artist do, because if the gamble doesn't pay off, I lose more than you do."
The Jewish R&B producers gambled on the talent they found. They gambled on local, regional and sometimes national musical tastes. And they won, catapulting black music into the forefront of the music business, creating legendary songs, albums, and reputations.
"People forget these Jewish fellows in the business were entrepreneurs who spent their money to make hit records," Art Sheridan, head of a small independent Chicago label called Chance in the 1950s, told journalist Mark Lisheron for an article published by the now defunct CommonQuest magazine.
"There wasn't any more altruism at the time than there is today in the music business. The singers wanted to be heard. We wanted to sell records."
Top image: Phil Chess and Etta James, circa 1962 (Credit: Michael Ochs Archives)
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The Intersection of Music and Prayer with David Broza and Amy E. Schwartz
To internationally renowned Israeli singer-songwriter David Broza, music is a platform for dialogue and tolerance. Themes of social justice and peace are embedded in his music and are integral to his humanitarian work. Now Broza, known for his dynamic guitar performances, has put his prodigious talents to work creating new music for the Shabbat service. He is in conversation with Moment books and opinion editor Amy E. Schwartz about his new album, Tefila—prayer in Hebrew—which reimagines the service with genres such as pop, jazz, gospel, folk and classical for a fresh and engaging Shabbat experience.
Arts & Culture, Black Jewish Relations Zoominars, Latest, Music Zoominars, Zoominars
Blacks, Jews, Jazz & Blues with Loren Schoenberg, Eric K. Ward and Nadine Epstein
In the 19th century Black spirituals were inspired by biblical stories in the Old Testament, especially those we remember during Passover. In the early decades of the 20th century, Black and Jewish musicians, often living side by side in the same impoverished neighborhoods, connected through legacies of oppression. With the music industry one of the few fields open to them both, it's no surprise that blues and jazz became rich, crossover genres. Join Loren Schoenberg, senior scholar at The National Jazz Museum in Harlem, Eric K. Ward, executive director of Western States Center and Nadine Epstein, Moment editor-in-chief, for a conversation about these musical connections, the bonds and tensions, and a taste of the music itself including Joshua Fought the Battle of Jericho and Go Down Moses to Bei Mir Bist Du Shein.
Antisemitism Zoominars, Arts & Culture, Latest, Zoominars
God, Sex and Politics in the Lyrics of Leonard Cohen with writers Erica Jong, Marcia Pally and Letty Cottin Pogrebin
Five years after singer-songwriter Leonard Cohen's death, his lyrics and legacy still speak to us with special urgency. Marcia Pally, author of From This Broken Hill I Sing to You: God, Sex, and Politics in the Work of Leonard Cohen, and Erica Jong, author of Fear of Flying, is in conversation with Moment columnist Letty Cottin Pogrebin, a founding editor of Ms. magazine, about Cohen's probing of Jewish theology and his doctrine of relationship and personal responsibility and its relevance for the present moment. They also explore his legacy through a Jewish, feminist lens.
Culture, Latest, Music Zoominars, Zoominars
Music Between Cultures: The Sounds of Jewish America with musician Joe Alterman
Throughout the 20th century, Jews have always contributed to American popular music, from Irving Berlin to Carole King and beyond. But according to musician Joe Alterman, executive director of Neranenah Concert & Culture Series, the Jewishness of the music is defined by its story and not necessarily its melody. Part performance, part storytelling, Alterman, shares great American music with its fascinating Jewish stories woven in.
Arts & Culture, Latest, Music Zoominars, Zoominars
The Fifth (Jewish) Beatle with Walter J. Podrazik and Harry Castleman
Walter J. Podrazik and Harry Castleman, authors of All Together Now – the first complete Beatles discography 1961-1975, discuss Brian Epstein, the Jewish record store owner who discovered and managed the Beatles.
Arts & Culture, Latest, Zoominars
Jews, Music and the American Dream with Musicians Ben Sidran and Joe Alterman
Jews have always been at the forefront of American popular music. Musician and music producer Ben Sidran, author of There Was A Fire: Jews, Music and the American Dream talks about: Who is a Jew in America? What is Jewish about popular music in America? What's the prognosis for the future? Ben is in conversation with pianist Joe Alterman, executive director of Neranenah Concert & Culture Series, which celebrates Jewish contributions to music and the arts.
Arts, Culture, Latest
The Stars of David that Aren't
By Dina Gold
Violins decorated with mother-of-pearl six-pointed stars have gained popularity and value with claims of Jewish or Holocaust origins. What do the experts say?
A Soundtrack of the Jewish People – Additional
Additional answers to Moment's musical journey through time and space charting the breadth of the Jewish soul
2020 November/December, Arts & Culture, Big Questions
A Soundtrack of the Jewish People
Moment spoke with a diverse array of musicians, scholars and music lovers to gather together music with Jewish significance. The result is a rich tapestry of genres evoking the breadth of Jewish spirituality, culture, and history.
Theodore Bikel's The City of Light with Aimee Ginsburg Bikel
Love, Laughter and Tears: Theodore Bikel's The City of Light with Aimee Ginsburg Bikel. This zoominar is part of the Martha's Vineyard Jewish Book Festival, in partnership with Moment Magazine, the Chilmark Library and the Martha's Vineyard Hebrew Center.


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Labour & Delivery NEWS Pregnancy Real Stories
Mum Finds Epidural Needle in Her Spine 14 Years After Giving Birth
By Jenna Galley Apr 10, 2018
They say the pain of labour melts away as soon as you set eyes on your little one. But, for Florida mum, Amy Bright, this is far from the truth.
Fourteen years after giving birth, Amy was still experiencing pain. And no freakin' wonder! She had a massive epidural needle lodged in her spine.
And we're not talking about a teeny tiny pin prick. We're talking a three centimetre porker that sends shooting pains radiating down her back and leg.
Epidural needle in spine? Yep, that's gotta sting
The pain started shortly after giving birth to her eldest child back in 2003. Amy was given an epidural as part of the standard c-section procedure.
Image via Sean B. Cronin, Esq
However, she never imagined she would be stuck with the epidural needle in her spine for the rest of her life.
"It feels like fire, like a poker next to my tailbone," Amy explains. "And then on occasion, it shoots down the left side of my leg on my calf, like my calf side, and then down and into my foot."
The mum-of-six lived with the pain for several years, relying on pain killers, muscle relaxants and other medications before undergoing a CT scan in 2017. During the scan doctors discovered the entire tip of the needle embedded into her spine. The three centimetre needle is lodged directly into Amy's spine with two centimetres buried in the bone.
But it gets worse.
Due to the position, Amy claims the needle cannot be removed as it could result in paralysis. It has also been suggested that the pain is expected to get worse over time.
Although it is unclear just HOW a giant needle got trapped in Amy's body, Amy believes doctors must have known about it and failed to mention it.
"They knew this was in her, according to our experts," Amy's attorney, Sean Cronin explains."When you pull out the needle, you look at the needle and make sure that the tip is there. That's missing. It's documented in her medical records."
She has since filed a lawsuit against the federal government for medical malpractice, fraud, and negligent concealment.
"If they were any kind of human whatsoever, they would've said 'Hey, I'm sorry I made a huge mistake, let's fix it,'" Amy adds. "But instead they didn't tell me."
Although the whole 'epidural needle in spine' thing is VERY VERY rare, it definitely makes you think. And possibly consider taking the whole 'natural birth' route the next time around. Check out these winning birth photos to help ease you into the idea. And put your mind at ease – after all, not every birth is going to end with a giant needle stuck in your spine. We promise.
Author Jenna Galley
Born and raised in Canada, Jenna now lives in Far North Queensland with her tribe. When the mum-of-three is not writing, you can find her floating in the pool, watching princess movies, frolicking on the beach, bouncing her baby to sleep or nagging her older kids to put on their pants.
Remember Hanson? Check Out the Brothers and their Tribe of Kids Now
Peppa Pig and Paw Patrol too Violent for Kids? This Study Says So!


The efficiency and consistency with which goals are met plays a pivotal role in the success and strength of the modern business. Establishing, reaching and ultimately exceeding targets can make the difference between a brand of real prowess and a struggling underdog. Professional project management therefore underpins both short and long-term business success – a specialism that incorporates a variety of disciplines. Across public and private sectors alike, demand for outstanding project managers at all levels is uniquely strong and consistent.
This project management certification online, builds the perfect foundation upon which to begin or enhance rewarding careers in a wide variety of business settings. Though an interest in business management is preferable, no specific experience or prior education is required to benefit from this course. Over the course of seven intensive modules, of online certificate project management, candidates explore the importance of project management from a contemporary corporate perspective, along with the duties and responsibilities of the professional project manager. Course content introduces risk assessment, project time management, key communication skills and the importance of comprehensive project planning. Along with an outline of various tools and techniques of importance to the project manager, candidates are provided with an overview of international project management.
The course begins with a broad introduction to project management as a contemporary concept, incorporating an overview of the duties and responsibilities of the project manager. Additional concepts introduced and explored include project constraints, the project life cycle, important project management tools and a series of associated core principles.
Course content in Module 2 focuses on the project planning phase, guiding candidates through initial planning considerations, project initiation and the ultimate implementation of the project. Professional project closure is also brought into the discussion, along with an outline of effective project management control techniques/strategies.
The primary core focus of Module 3 is project scope management, which also outlines the key differences between product scope and project scope. Project plan implementation is discussed at length, along with the key components of both the project scope statement and scope management plans.
The importance of effective and efficient project time management follows in Module 4. Along with the overall value of professional time management, candidates explore a variety of time management tools, project constraints, risk management plans and how to plan and implement detailed and accurate project schedules.
Course Module 5 turns attention to risk assessment and management from the perspective of the professional project manager. Along with a variety of risk categories and associated identification techniques, candidates investigate the Strengths, Weaknesses, Opportunities and Threats matrix (SWOT analysis) in-depth.
Communication is focused on more intensively in Module 6, in which candidates explore the value and role of strategic communications at all levels throughout any given project. Additional concepts and subtopics covered include administrative closures, project constraints, effective communications planning and modalities.
Closing the course, Module 7 provides candidates with a broad overview of international project management, along with a series of associated challenges and opportunities. Conflict management and communications management are explored from a global project management perspective, along with collaborative management strategies.


WASHINGTON—The Migration and Refugee Services of USCCB and Catholic Charities USA (CCUSA) today issued the following statement on the ongoing efforts to reunite children separated from their families at the border.
Migration and Refugee Services (MRS) fulfills the commitment of the U.S. Catholic bishops to protect the life and dignity of the human person. For more than 50 years, MRS has served and advocated for refugees, asylees, migrants, unaccompanied children, and victims of human trafficking. To learn more about MRS, please visit www.usccb.org/mrs.
Catholic Charities USA (CCUSA) is the national office for the Catholic Charities ministry nationwide. CCUSA's members provide help and create hope to more than 8 million people a year regardless of religious, social, or economic backgrounds. To learn more about CCUSA, please visit our website at www.catholiccharitiesusa.org.
Keywords: U.S. Conference of Catholic Bishops, USCCB, Migration and Refugee Services, MRS, Catholic Charities USA, CCUSA, Justice for Inmigrants.


Heavy metal legends Metallica will hit Palau Sant Jordi on February 7th. In anticipation, Hard Rock Cafe joins forces with Metallarium España to host the official pre-show fiesta on February 6th, an occasion for all Metallica fans to rock out.
This ultimate fan-club experience will include a themed dinner, karaoke, raffles to win exclusive merchandise and many other surprises.
Tickets are €26, purchase early to avoid disappointment.


Van den Hoven Pacific 155 "Joie de Vievre": Hull build at the Pacific shipyard in Waspik and completed at the B. Van den Hoven shipyard in 2001. Three cabins, bathroom, second toilet in the front, double glazed windows and Kabola cental heating. "Joie de Vievre" is equipped with a single 235 HP Volvo Penta diesel engine, bow- and sternthruster and a Mastervolt Whisper 8000 generator. Make an appoinment to view this well equipped and maintained Van den Hoven Pacific!


" 'Curious George And The Pizza' by H.A. Rey is very exciting. The part I liked was when George made his own pizza. I wish I was in the story because I would want to learn how to make pizza because I like to eat pizza. It's my favorite food."
"If you like mysteries, you should read 'The New Adventures of Mary-Kate and Ashley: The Case of the Ballet Bandit' by Laura O'Neil. It's about these twins trying to catch a bandit for a lady and I think you might like it."


The cube, supplied with the Starter Pack, is the "system intelligence" and contains all user settings. It communicates with smartphones and tablets thanks to the MyCubodomo app, and interacts with all wireless system elements.
The sensor supplied in the Starter Pack replaces the conventional thermostat and controls boiler ignition or opening of zone valves, thanks to its internal relay. Ideal for both radiant and radiator systems, this sensor ensures precise measurement of the effective room temperature and sends data via wireless connection to the cube.
These enable temperature control of each radiator fitted with a thermostatic valve. Via wireless communication with the cube, these ensure the option of controlling the temperature in each individual room.
Additional sensors (without on-board relay) can be installed in each room for more efficient measurement of room temperatures. These are essential for configuration with the Wiring Center in radiant systems, but can also be used in systems with radiator actuators.
The relay actuator manages opening of a zone valve thanks to the internal relay. By replacing all existing thermostats with additional relay actuators, it is possible to control the temperature of each area of the house, both with radiant and radiator heating systems.
Combined with electrothermal heads mounted on distribution manifolds, the wiring center manages opening/closure of radiant system circuits. Interacting with the cube and temperature probes, it can adjust temperature in each room. It turns a radiant system from single zone to multizone (up to 8 zones per board).
Visit the FAQ section or contact us and we will answer all your questions.
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With CUBODOMO you can manage your home temperature wherever you are.


Introduction and Shared Themes: Purpose and Background; Methods; Benefits and Significance of Traditional Foods Programs in Indian Country; Key Findings and Shared Themes -- Highlights on Traditional Foods Initiatives: An Interview with Suanne Unger, Author of Qaqamiigux: Traditional Foods and Recipes from the Aleutian and Pribilof Islands, Aleutian Pribilof Islands Association, Inc (APIA)—Alaska; Native American Foods and Health Program, First Nations Development Institute (FNDI)—Colorado; 2013 Traditional Foods Program Grantee Partner Meeting, Southeast Alaska Regional Health Consortium (SEARHC)—Alaska -- Traditional Foods Programs: Healthy Roots Project, Eastern Band of Cherokee Indians; Food is Our Medicine (FIOM), Seneca Nation—New York; Healthy Traditions Project, Confederated Tribes of Siletz Indians— Oregon -- Special Highlights on the Eagle Books: Building Community—Strengthening Traditional Ties, Indian Health Care Resource Center of Tulsa—Oklahoma; Living Well Traditionally (LWT) Diabetes Prevention Youth Camp, NATIVE HEALTH—Arizona; Community Health Program, Salish Kootenai College—Montana -- References and Resources: Contact Information; Additional Resources; References -- Appendices: Seneca Nation's Native Plant Policy; Seneca Nation's "Recommended No-Planting List" (for non-native species); Native Landscape of Seneca Nation's Administration Building.
For more than a decade, the CDC's NDWP has supported tribally-driven efforts to promote health and help prevent type 2 diabetes in AI/AN communities. Among many promising efforts, such as the highly acclaimed Eagle Books series and the Diabetes Education in Tribal Schools (DETS) K–12 Curriculum, a particularly innovative approach to diabetes prevention has been the NDWP's Traditional Foods Program.
From 2008 to 2014, NDWP's Traditional Foods Program helped support 17 tribal communities through cooperative agreements. The partner grantees represent tribes and tribal organizations from coast to coast, each taking a unique approach to restoring and sustaining a healthful and traditional food system. While supporting health promotion and type 2 diabetes prevention efforts, these projects also addressed critical issues such as food security, food sovereignty, cultural preservation, and environmental sustainability.
it became apparent that tribal representatives participating in the project wanted their stories to be shared with all who could learn from them, with the hope that those who heard the stories would then share stories of their own. The nine stories presented here comprise Part III in the series—a compendium of stories involving traditional foods—to achieve that goal.
To collect this compendium of interviews and stories, NDWP partnered with Chelsea Wesner (Choctaw), a program planner at the University of Oklahoma's American Indian Institute. Based on interviews with key people in each community, the stories in this compendium demonstrate how traditional foods programs are building food security, preserving cultural knowledge, and restoring health.
Rural Center for AIDS/STD Prevention. National Native American AIDS Prevention Center. Centers for Disease Control and Prevention (U.S.).


text:
Q: Wait for a lock to be released I have a thread.  At a certain point, what I want to do is check if a certain lock is free.  If it is free, I want the thread to continue on its merry way.  If it is not free, I want to wait until it is free, but then not actually acquire the lock.
Here is my code so far:
private object LockObject = new Object();

async void SlowMethod() {
  lock (LockObject) {
    // lotsa stuff
  }
}

void AppStartup() {
  this.SlowMethod();
  UIThreadStartupStuff();
  // now, I want to wait on the lock.  I don't know where/how the results
  // of SlowMethod might be needed.  But I do know that they will be needed.
  // And I don't want to check the lock every time.
}

A: I think you have classical XY problem. I guess what you want is start a Task with you SlowMethod and then Continue it with the UIThreadStartupStuff is UI thread.
Task.Factory.StartNew(()=>SlowMethod())
     .ContinueWith(t=>UIThreadStartupStuff(), TaskScheduler.FromCurrentSynchronizationContext());

or with async/await (make your SlowMethod to return Task)
try
{
   await SlowMethod();
}
catch(...)
{}
UIThreadStartupStuff();

A: You don't want to use a lock here. You need an event. Either ManualResetEvent or AutoResetEvent.
Remember, locks are used for mutual exclusion. Events are used for signaling.
You have your SlowMethod set the event when it's done. For example:
private ManualResetEvent DoneEvent = new ManualResetEvent(false);

async void SlowMethod() {
  // lotsa stuff
  // done with lotsa stuff. Signal the event.
  DoneEvent.Set();
}

void AppStartup() {
  this.SlowMethod();
  UIThreadStartupStuff();

  // Wait for the SlowMethod to set the event:
  DoneEvent.WaitOne();
}

A: I might not get what you want to achieve, but why not wait on the lock "properly"?
After all, it is a clear sign of the lock being free if you can take it.
Also, you can release it immediately if it is important.
void AppStartup() {
    this.SlowMethod();
    UIThreadStartupStuff();

    // now, I want to wait on the lock.  I don't know where/how the results
    // of SlowMethod might be needed.  But I do know that they will be needed.
    // And I don't want to check the lock every time.

    lock (LockObject) {
        // nothing, you now know the lock was free
    }

    // continue...

}


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IPA backs ABC managing Viewability Principles
Achieving a more transparent digital trading environment.
IPA Research Director Belinda Beeftink has welcomed the news that ABC will manage the UK's Viewability and AV (Audio Visual) Standards after playing an integral role in their development.
Following the merger of TAG and JICWEBS, the JICWEB's Board (comprising the IPA, ISBA, AOP and IAB UK) made the decision to pass these Standards to ABC who, drawing from their experience as the UK JIC for census data and the industry owned auditor, will lead their ongoing development in consultation with the wider industry.
ABC has worked closely with JICWEBS in developing the viewability principles since their initial creation in 2013. ABC's most recent work with these principles has been to develop mobile web and In-app viewability testing, enabling products to become certified for reporting viewable content in both desktop and mobile environments.
In addition, ABC will now oversee the AV (Audio Visual) metrics it first helped to develop over a decade ago. These robust industry standards form the basis of the census based data audits it has carried out for many years on behalf of BARB, the JIC responsible for delivering the UK's television audience measurement currency.
Says Belinda Beeftink, Research Director, IPA: "ABC has long played an integral role in helping the industry to achieve a more transparent digital trading environment. We fully support them in facilitating the continued development of these important principles, helping to deliver tangible insights and trusted guidance around online trading decisions."
Says Richard Reeves, Managing Director, Association of Online Publishing (AOP): "The JICWEBS Board was pleased to be able to pass these important principles to an organisation with such a wealth of experience in the field. ABC are experts in consulting on and evolving industry Standards and I have no doubt the ongoing development of these principles is in safe hands."
Says Simon Redlich, Chief Executive, ABC: "We're pleased to be managing these important Standards on behalf of the industry. They stand as clear benchmarks of good practice and have been the basis of our viewability and AV audit tests over many years. We look forward to facilitating discussions on future developments to best meet the industry's needs."
Marketing budget growth at strongest in over four years as UK recovery shifts up a gear
Total UK marketing budgets have increased at the strongest rate since Q2 2017 according to the Q3 2021 IPA Bellwether Report.
Taking on a new identity
Sherif Guindy and Matt McIntyre explore how to build customer relationships online without third-party cookies.
Sherif Guindy and Matt McIntyre
First speakers announced for RESET 2021
RESET will explore the UK's social and economic recovery, how we deal with the repercussions of COVID-19 and how we can deliver on our mission to rebuild public trust in advertising.
Last updated 10 November 2021