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An Act amending the act of June 2, 1915 (P.L.736, No.338), known as the Workers' Compensation Act, in additional coverages, further providing for the definition of "employe"; and making editorial changes.
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Act No. 108 of 2020, Nov. 3, 2020
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This bill amends the act of June 2, 1915 (P.L.0736, No.0338), known as the Workers' Compensation Act. Other bills that also amend the same statute are listed below.
SB 143 Sen. K. WARD
Memo: Restoring Workers Compensation as the Exclusive Remedy for all Work Related Injuries
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'South Park' celebrates with best-of DVD
PUBLISHED: September 20, 2006 at 12:32 p.m. | UPDATED: August 17, 2016 at 6:36 a.m.
"South Park" creators Matt Stone and Trey Parker say that choosing their favorite episode would be like choosing between their children. Not that they're above that.
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Authors have the right to offer, sell or otherwise distribute copies of their work (Art. 10 para. 2 (b) CopA).
Basically, authors have the right to decide whether, when and how they publish their work for the first time (right of first publication). In this case, the right to distribute determines the manner in which authors can publish their work. Authors can offer, market, sell, lend, rent and also give away their work. The right to distribute comprises all the forms as well as the scope of distribution (e.g. number, print run, time – when, place - where). It does not matter whether the distributed work is an original or a copy (cf. Hilty, Urheberrecht, 2011, 135 et seq.).
The principle of exhaustion should always be considered in connection with the right to distribute. This principle is regulated in Art. 12 para. 1 CopA and states that a work can be freely resold or otherwise distributed once the author has sold a copy of the work for the first time or agreed to its initial sale.
If an author assigns ownership of the work to a third party (e.g. by sale, exchange or gift) or agrees to such an assignment, the author is considered to have 'sold the work for the first time'. In this case, the third party may then freely resell (sell, give away, exchange) or otherwise distribute (rent out, lend, swap) the work without the further consent of the author. The principle of exhaustion therefore limits the author's right to distribute the work as authors lose the right to distribute the work when they give away their copy of the work. However, they do not lose any other rights – the author retains all the other rights of use pursuant to Art. 10 para. 2 CopA as well as their moral right.
For example, a library may lend out the works given once to the library by an artist without the artist's consent, but it may not reproduce these works (right to use pursuant to Art. 10 para. 2 (a) CopA). If one of these works has not even been published for the first time, the library is not permitted to publish the work for the first time (moral right of the author pursuant to Art. 9 para. 2 CopA).
Authors are not generally compensated for the loss of the right to distribute. However, if the conditions of Art. 13 CopA have been met, authors can share in the financial proceeds (explained in detail under 'Good to know: Copies of literary and artistic works').
The principle of exhaustion does not apply if an author only grants a third party the right to use a work, in particular if the work is rented or lent to a third party. Thus, if a third party is obliged to return the work to the author, the principle of exhaustion does not apply and the author still has the exclusive right to distribute the work.
In both cases, i.e. rental (Art. 253 SCO) and loan for use (Art. 305 SCO), an item is given to a third party to use with the obligation to return it. The essential difference is that a rental fee is payable when renting an item, but the loan of an item is usually free of charge.
When renting (i.e. transferring for use in return for payment) copies of literary and artistic works, the effect of Art. 13 CopA on the principle of exhaustion must be considered. According to the principle of exhaustion, the person who is granted ownership of the work by the author is also entitled to rent the work in return for payment. Pursuant to Art. 13 para. 1 CopA this person owes remuneration to the author if the rented work is a 'copy of a literary or an artistic work'.
Only physical works can be literary and artistic works in this sense, i.e. works that can be physically rented to a third party (e.g. books, CDs, etc.) and which must be returned. Works that are made available online are not included.
In addition, the lessor must rent the work in return for a rental fee; loans are not included as a loan implies that no payment is due for the item that has been transferred. This is based on the principle that authors should share in the rental income, even if they have given up their ownership of the work. Authors cannot claim payment directly; they can only be remunerated through a licensed collective rights management organisation.
In practice, this rule is mainly relevant for libraries: libraries actually lend out books (i.e. 'copies of literary and artistic works') free-of-charge, but most libraries collect a membership or user fee. Does this qualify as 'making something available for a fee', i.e. does Art. 13 para. 1 CopA apply to libraries? Joint Tariff (JT) 6a, 'Offering works for rent in libraries' applies a better definition to the rental of copies of works by libraries. Annual membership fees, one-off registration fees and administration fees do not qualify as payment (cf. section 1.4 JT 6a). Thus, if libraries levy annual membership fees as payment, which is the case for many libraries, they do not have to remunerate the author pursuant to Art. 13 para. 1 CopA.
4.2.2-1 Does Art. 10 para. 2 (b) CopA only apply to the distribution of originals?
No, the distribution of works applies to originals as well as copies (cf. Hilty, Urheberrecht, 2011, 135).
4.2.2-2 Does the principle of exhaustion pursuant to Art. 12 para. 1 CopA apply if a copy of a work produced without any authorisation ('piracy') is sold?
No, a work may only be freely resold or used in any other way if authors sell the work themselves or allow another person to sell the work. This does not apply here (cf. Barrelet/Egloff, Urheberrecht, 3rd edition, 2008, Art. 12 N. 9).
4.2.2-3 A photo given by an author to a third party is marked with 'not for further use. May this photo be sold to someone else by the third party?
Generally speaking, such a notice on a copy of a work is irrelevant because of the principle of exhaustion and the limiting provisions. This is different if the photo has not yet been published for the first time by the author and if the author gave the photo to the third party under the explicit condition that the photo may not be distributed further. The author has the exclusive right of first publication (Art. 9 para. 2 CopA); this is the author's moral right and is not affected by the principle of exhaustion (cf. Barrelet/Egloff, Urheberrecht, 3rd edition, 2008, Art. 12 N. 9a and 10).
4.2.2-4 May a legitimate buyer of a black-and-white photo convert this photo into a colour photo and justify this action with the principle of exhaustion?
No. Although the buyer became the owner of the photo, the conversion of the photo is an alteration pursuant to Art. 11 para. 2 CopA. Only the author may make alterations; it is the moral right of the author. This right is not affected by the principle of exhaustion.
4.2.2-5 Does the principle of exhaustion also apply if the author published their work for the first time abroad or for the foreign market?
Yes, international exhaustion applies. Pursuant to Swiss copyright law, the legitimate buyer of a copy of a work may then freely resell or otherwise distribute this copy (for more detail, cf. BGE 124 III 321 et seq.).
4.2.2-6 When is a book rented, and when is it lent to someone?
In both cases, a book is given to someone else for a certain period, and this natural person has to return the book after this period. If the book is rented, the person who rents the book must pay a fee for the use of the book. However, if someone only lends the book, no fee is payable.
4.2.2-7 Where in copyright law is this difference between renting and lending important?
With regard to the obligation to pay compensation for the rental of copies of literary and artistic works, Art. 13 para. 1 CopA.
4.2.2-8 Does Art. 13 para. 1 CopA (rental of copies of literary and artistic works) also apply to data made available on the Internet?
No, it only applies to physical objects. Only physical objects can be 'made available for a fee' pursuant to Art. 13 para. 1 CopA.
4.2.2-9 Are there exceptions to the right to rent pursuant to Art. 13 para. 1 CopA, i.e. rental without an obligation to remunerate the authors or collective rights management organisations?
if the rental company and a user concluded a contract regarding the use of the copyrights (e.g. contract between the rental company and cinema regarding the rights to screen a film) and the tools for performing the contract also have to be rented out (in this case, the film reel) (example based on Müller/Oertli-Pfortmüller, URG, 2nd edition, 2012, Art. 13 N. 6).
4.2.2-10 Who must be remunerated pursuant to Art. 13 para. 1 CopA?
The collective rights management organisations – Art. 13 para. 3 CopA. Only collective rights management organisations are entitled to assert claims for remuneration, not the authors.
4.2.2-11 Do libraries have to pay remuneration under Art. 13 para. 1 CopA, and if yes, to whom?
Pursuant to Art. 13 para. 1 CopA, libraries have to pay remuneration if they charge a lending fee. The term lending fee is defined in detail in para. 1.3. and 1.4. of Joint Tariff 6a, offering works for rent in libraries. This agreement was concluded between the collective rights management organisation ProLitteris and the libraries. If a library charges a fee for lending books to readers, it has to pay remuneration to ProLitteris pursuant to Art. 13 para. 1 CopA. The remuneration for books is 9% of the fee paid by the users (cf. para. 4.1 (c) JT 6a).


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About CIE
Mission of CIE
Affiliated Degree Programs
Affiliated Faculty & Staff
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CIE News
CIE Endowment
CIE Members
On-campus Students
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CIE Gatherings & Conferences
First Cohort Graduates from BMET Associate Degree Program in Kabul
Reported by Javid Mussawy
The graduation ceremony for the first cohort of Biomedical Equipment Technology (BMET) associate degree program was held at Kabul University of Medical Sciences (KUMS) on September 11, 2018. The cohort of 25 BMET graduates, which includied five women, successfully completed the program. The ceremony was attended by a number of high-ranking officials who spoke at the ceremony including the Dr. Omari, the Minister of Higher Education, as well as Deputy Ministers from Public Health and Higher Education, and the Chancellor of KUMS.
CIE, as part of its work in USWDP, is responsible for creating partnerships between US community colleges and Afghan universities to create Associate Degrees in employment-related skill areas. In Afghanistan these degrees are housed in four-year institutions rather than in separate community colleges. Unlike many of the technical and vocational education training programs in the Afghanistan, the associated degrees are explicitly tailored to the needs of employing institutions. Students are required to complete four semesters of course work, followed by a semester-long internship to expose students to real employment experience.
In fall 2015, CIE oversaw the creation of a partnership between Community Colleges of Spokane in Washington State and KUMS in Kabul to establish the BMET associate degree program. The US partner, Spokane Community Colleges provided extensive assistance in curriculum development, faculty capacity building, laboratory installation, and classroom renovation to assist KUMS in creating the new program.
The new BMET associate degree program was well-received by Afghan officials at the graduation ceremony. Introducing the rationale for development of the BMET program, the chancellor of KUMS stated, "Although the concept of community colleges is new in Afghanistan this newly-established Bio-Medical Equipment Technology (BMET) is already a huge success".
Dr. Omari (pictured right), the Minister of Higher Education concurred saying, "The BMET program speaks to the success of the MoHE academic programs showcasing the tireless efforts of KUMS leadership and faculty". Given the demand for this these technical skills, Mr. Omary added, "the current Associate degree programs should be expanded and new programs should be established in every university in Afghanistan."
The Deputy Ministry of Public Health, Mr. Naem echoed the sentiment, saying that, "based on a recent survey, we found that there is not a single bio-medical equipment technician in any of the public hospitals… we need to train at least 4,500 technicians in this field. I am glad to witness the graduation of the first cohort of BMET for whom we already have employment opportunities and for the many cohorts that will graduate after this".
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Swinging Modern Sounds #51: Free For One and All
By Rick Moody
Dean Wareham is sort of like Miles Davis. Miles Davis always played like Miles Davis, had a few stellar tricks up his sleeve (the mute, the wah pedal, the achingly vulnerable tone), but was, when you get down to it, Miles Davis, no matter in which setting he performed. However, he performed in a great variety of settings: acoustic, electric, cool, modal, fusion, orchestral. Dean Wareham is sort of like Miles Davis, in that he has been an astute talent scout, as regards collaborators. He has always been, up until now, about who he played with.
The considerable legacy of Galaxie 500, one of the really satisfying bands of the late eighties, has to do with the personnel. Damon Krukowski's significantly inventive drumming and Naomi Yang's trebly bass playing were the perfect setting for Wareham's learning-on-the-job rhythm guitar and his miraculous leads. (He seemed to have thought through tone unlike few guitar players of his time, despite any technical limitations he might have had, and this resulted in glorious leads that almost anyone might have played, though they did not.)
The idea of Luna, his next template, was very different: to sound like a major label band, and he recruited players to that end. Whereas Galaxie 500 (who covered both the Sex Pistols and Joy Division in their day) was a punk band, Luna was a commercial venture, at least for a while. It depended at first blush on a particular lineup, on Stan Demeski's clean, methodical drumming and Justin Harwood's in-the-pocket bass playing, and a more explicit linkage to the lineage of the Velvets, Television, and The Feelies than was present in Wareham's first band.
When Luna broke up, it broke up in part because of the blossoming of Wareham's musical collaboration with bass player Britta Phillips. The Dean & Britta releases, which now number three, have permitted, on the one hand, a sort of Gainsbourg/Bardot genre-hopping musical romance, but also a conceptual ambition that would have been impossible in the conventional rock band trappings of Luna. Luna would not have made an album of songs to accompany Andy Warhol Screen Tests.
Throughout these three aforementioned musical manifestations of Dean Wareham, despite the disparate settings, Wareham always sounds like Dean Wareham—vulnerable, weary, faintly comical, unhoodwinkable—with a singing style heavily indebted to punk and post-punk, and an approach to the electric guitar that is lyrical without being showoffy. What he had not done, however, excepting one single right after Galaxie 500, was record a solo album. The recently released Emancipated Hearts (a title that might seem to be about making a solo album) is a first therefore. In twenty-five years of making music. And while Britta Phillips plays bass on the album, and Jason Quever mans the board (and is advertised on the jacket with all the subtlety of Robbie Robertson's production credit on Neil Diamond's Beautiful Noise) and adds some keyboards, there's a sense of the album as a ratification of Wareham's personal strengths—great lyrics, simple melodies, pinpoint arrangements, lots of space—but without sacrificing what has been great about the Dean & Britta albums, a contemporary understanding of conceptual apparatus. This is an album with an outward lyrical gaze, a sense of the world happening around the songwriter, and therefore it is an album that transcends Dean Wareham indie rock personality, replacing him with an a sort of Emersonian transparent eye. Synthetic, perhaps, in the sense that the album is gathering disparate artistic tendencies together, and selfless in the sense that Wareham doesn't feel particularly confessional, nor to have a self at this point who needs expressing exactly. For me, that makes the album exceedingly musical, graceful, moving, with perhaps a hint of resignation: How can we face the storms within emancipated hearts?
There's a danger, at least, when you are like Miles Davis, a master of personnel, in stepping out and becoming entirely responsible for the songs, and there is also a liberation, a will to power, in that stepping out. An intoxication, a loneliness, an anxiety. All these things on this album, and in just 33 minutes (if you get the expanded edition, which you should for "Living Too Close to the Ground"), made in an entirely new setting (California, to which Wareham recently moved). Like an old punk album, therefore. (And apparently you can get a ten inch vinyl edition, for the old-time flavor of it all.) But also like an up-to-the-minute singles-only digital thing.
I spoke to Dean by e-mail in a couple of tranches over the last several weeks, sometimes in the context of the interview, sometimes not. He's a great writer, and possessed of a strikingly astringent and dry-eyed view of things (and in this regard you should read his truly inspired memoir, Black Postcards), without pity or self-pity or undue kindness, and what follows, I trust, will give abundant evidence of this.
The Rumpus: The jacket of Emancipated Hearts borrows its design from a paperback of Friedrich Nietzsche—I think it might be Beyond Good and Evil—and I'm wondering if Nietzsche is a shadow influence on the lyrics here. The song "Emancipated Hearts," for example has a bit of a Nietzschean thrust to its refrain . . .
Dean Wareham: Ah yes, "he's gone, he's gone, beyond recall, free for one and all." I guess I could be singing about Superman, or about Zarathustra coming down from the mountain, but in my mind I was singing about Julian Assange. I wish I could say that Nietzsche inspired my lyrics but all I can honestly say is I was inspired by the graphic design of these '70s paperback covers for Beyond Good & Evil and The Birth of Tragedy and The Gay Science.
Rumpus: So you're not going to cop to knowing your Nietzsche here? I was going to teach Thus Spoke Zarathustra in my lit class at NYU this semester, so I am fresh from having read a bit of it, and I am therefore equipped to operate as exegete thereof. Was it not something one learned with the ample supply of postmodernism in Cambridge in the eighties? I can remember lots of punks in Providence with both Beyond Good and Evil and Metal Box.
Wareham: Metal Box I loved. I saw Public Image at the Palladium around that time; the show lasted about 30 minutes before John Lydon invited people up from the mosh pit and then he just left the stage and never came back; the band continued playing for a while with Jah Wobble lying on his back playing the bass. They didn't teach Nietzsche in the philosophy department at Harvard; philosophy there was strictly analytical stuff and the poetic ramblings of Nietzsche did not belong. And see—you are teaching it in a literature class—so they must have been right. I did have a Freshman seminar where we read Camus, Kierkegaard, Thomas Mann, Dostoevsky, and Zarathustra and Schopenhauer as Educator by Nietzsche. I don't pretend to understand him, but I can enjoy him as a poet and comedian. I liked the idea of the eternal return. Sometimes I think that being on tour year after year is an eternal return; you play a certain club in Copenhagen and then ten years later you are back again, traveling the same roads year after year.
Rumpus: And what's with the "Little Drummer Boy" quote in the chorus of "Emancipated Hearts"? Just because it sits nicely, in counterpoint, with the main melody? Or is there more to it than that?
Wareham: Hmmm. What would Jimmy Page say here? He would say "I really don't know about that." I have heard the song you mention, my favorite version is sung by Marlene Dietrich, arranged by Burt Bacharach. He was her bandleader for a time and according to a biography I read, there was more to their relationship.
Rumpus: A lot of the album feels a bit more pastoral and, in a way, a bit more psychedelic than anything you've done in a while (much more so, say, than the Screen Tests album, which has some industrial and Velvets-ish stuff around the edges). The Incredible String Band cover at the end seems to support this interpretation. How did that come to be part of the album?
Wareham: My good friend Chris Hollow (of the Sand Pebbles) sent me the Incredible String Band's "Air" last year. I love the lyric "You kiss my blood, and my blood kiss me;" it is of course about breathing, about the interaction between blood and oxygen. I was staying at Jason Quever's place in San Francisco and the two of us recorded this one in his living room and it immediately felt so good. Since then I noticed the song on the soundtrack to Olivier Assayas' recent film Something in the Air, which has a lot of interesting music from that late 60s period, Kevin Ayers, Soft Machine, ISB—not the usual songs we hear again and again to signify the 60s. As for the psychedelia, perhaps it is suggested by Jason Quever's meandering organ playing, it calls to mind an electric circus.
Rumpus: There are a lot of strings on the album. In fact, where most of the guitar solos might have gone, there are violins instead. Is this part of a strategy, or just inclination? Might one refer to a certain mid-60s chamber folk here? Or is it just what strikes you now?
Wareham: Well, at first we tracked some synth-strings, but I had violinist Gillian Rivers come over to the loft in Brooklyn and I set up a couple of microphones and in just a few hours she played these beautiful parts on viola and violin . . . she wound up being an important element on the record. It's true there aren't a whole lot of guitar solos but sometimes I think it's healthy to take a break from that. One friend already texted me: "not enough guitar solos." I promise to deliver the guitar solos in concert.
Rumpus: Why a solo album now? Is there more Dean & Britta coming?
Wareham: I actually don't quite count this as my solo album, it is six songs on 10" vinyl, which we had to do in Europe, because I couldn't find a pressing plant here. So I call it a deluxe EP or mini-LP. We have recorded three Dean & Britta albums. It seemed like a good time for us to do something different. Britta has been very involved in recording these songs, it's just that I handled the singing and writing. And she has also been working a solo album that is getting closer to completion, though it was slowed by the tragic death of producer Scott Hardkiss early this year.
Rumpus: Do you play on her album? Is the partnership in effect on these "solo albums," if only in a different, less marquee-oriented way? Or is there a strategic difference?
Wareham: I do play guitar on her album. Her producer Scott was a fan of my playing. He said I sounded like 1) a sad elephant and 2) a guy on a surfboard, always on the verge of wiping out but somehow keeping it together. Lately Britta is working long hours on her own, programming drums, playing bass, writing arrangements— in some ways that makes it more of a solo album than mine. We certainly depend on each other for input and advice. I am not afraid to tell her that a particular vocal rubs me the wrong way and she will do the same for me.
The Rumpus: How much of the sound had to do with the producer and studio? Did you conceive of the album once the team was in place?
Wareham: I am always making it up as I go along. Perhaps the biggest decision is choosing a producer, and that was Jason Quever, who creates his own unusual wall of sound. He certainly has his methods; he said from the beginning that he wanted to use more ambient microphones, bring the physical space into play. Instead of close miking everything, he likes to put microphones on the other side of the room, or down the hall, and see what that does. Tiny Telephone Studios in San Francisco has one great feature I have never used before, and that is a dedicated echo chamber, a room set up with a speaker and two microphones. You send the vocal (or anything you like) into that room and re-record the natural reverb, which is crisp and present. It is a very specific sound, the sound of great recordings from the 50s or 60s; it reminded me of records by Sam Cooke or Nat King Cole. The rest of the team is Britta on bass and piano and our drummer Anthony LaMarca who has been playing with us almost seven years now. He joined the band at age 19 when he was still a student at the New School's jazz program.
Rumpus: The Screen Tests album has a certain conceptual aspect to it—the songs have a specific visual component to which they are affixed. As such, it feels artful in a contemporary way. And Emancipated Hearts has, it seems to me, a similar apparatus: the lyrical relationship to moments of "found text." Each song has some reference to a book or a newspaper article, etc. As such, the whole seems to relate to your undergraduate studies: it's political. Do you see it that way? Did you write lyrics earlier in your oeuvre in this way? Or is it specific to this project?
Wareham: Well, I always use pieces of found text, but this time maybe I took it to another level. "The Ticking is the Bomb" I wrote after Nick Flynn's second memoir by that name; "Emancipated Hearts" is a phrase mentioned in a John Betjeman poem. And "Love is Colder Than Death" is the title of a Fassbinder film noir, but my song used that title for the chorus; the rest of the song feels like a non-sense nursery rhyme.
My sister sent me a novel by the poet Ben Lerner, Leaving the Atocha Station, which is also the title of a poem by John Ashbery, who figures in the story. The novel's narrator is an American poet living in Madrid in the 2000s; he gets stoned each day and reads the New York Times online, and notices that it is the same headline every day: "The Deadliest Day Since the Invasion Began." Certainly I remember those days when the nightly news was the same grim report week after week. So I took that observation and wrote this song around it. It seemed a more honest way for me to write a protest song. With my voice and manner, I can't really pretend to write or sing a song from the point of view of a soldier (like Tom Waits did beautifully with "Day After Tomorrow"), but I can write a song about watching the war on TV.
I am interested in politics but have stayed away from writing overtly political songs, or message songs, because I find it difficult to discuss politics intelligently in a 4-minute song. But I am finding there are ways to get bits and pieces of political thought across without preaching that the people have the power or we shall not be moved. Of course these sentiments have their place too—I'm not knocking Phil Ochs—but that's a different kind of music, songs to play at rallies, not to achieve a state of bliss.
Rumpus: Is a "state of bliss" the more ordinary goal of the popular song?
Wareham: Well there are different kinds of blissful states. I can get there with Brahms' "German Requiem" or Joy Division's "Love Will Tear Us Apart," but also with "Get Lucky" by Daft Punk. But if I look at my own recordings, I think generally there is a focal point within the song and often it's the instrumental bridge or a guitar solo where we try to do something unexpected, something beautiful or weird, or beautiful because it is weird. And of course I fail half the time, but yes that is the goal, to create even a few seconds of bliss, or sadness. The electric guitar is a great instrument for doing this because it is capable of surprising you. There are so many different sounds available.
Rumpus: What on the album is about moving to California? Anything? We all have ideas about what a California record sounds like, and ideas about the kinds of songs that are produced there (either like Heart Like a Wheel or Damaged), and it wouldn't be hard to construct an argument in which the politics undergirding some of these songs are a reaction away from an anticipated move to the West Coast . . .
Wareham: "The Longest Bridges in the World" is a phrase taken from a poem by Bertolt Brecht—now there is someone who could write clever protest songs—about the 1929 stock market crash. I took his lines about the longest bridges in the world, linking "scrap heap to scrap heap," but wrote my own song about leaving New York and moving to the West Coast by singing, "and now I see the traffic heading west / and nothing else remains." I kept visualizing us driving our Subaru across the country, leaving behind some 25 years in New York City. A move like that (leaving New York!) feels like you are killing part of your identity—but hey, it's not so bad here in Los Angeles; we have an avocado tree in the back yard, and there is certainly plenty of culture here. I think you could argue that Los Angeles is a more artist-friendly city than New York at the moment.
Rumpus: So the album is not a Dean Wareham interpretation of a California album?
Wareham: I'm trying to think what is Californian about this record. It is the only thing I have ever recorded and mixed in California, which must count for something. But it's not particularly sunny, is it?
I am resistant to the idea and the trappings of California rock and maybe this is what you are getting at. I never much cared for the 70s California bands that were so big, and I never got into the Laurel Canyon scene. As a teenager, I discovered punk rock and "Rockaway Beach" and "London Calling" made me feel much better than "Hotel California," and Jonathan Richman seemed more interesting than Crosby Stills & Nash. But of course I love The Beach Boys and Jan & Dean and The Doors at their best, and there was a short period in the early 80s where some of my favorite music was coming out of Los Angeles–early albums by the Dream Syndicate, the Three O'Clock, and Opal.
Rumpus: There's also a lot of droning and groove here. Was there anything constructed in the studio? Or were the songs all written ahead of time?
Wareham: The songs were written; I was prepared with melody and lyrics, but then some of the songs changed radically once we got into the studio, when instead of sitting in our practice room in Brooklyn we were in a large spacious studio and everything was miked up and everything sounded different, or we decided that a song was not working at all and needed a different approach. That is what is exciting—joyous even—about recording; the moments where a song goes from being one thing to another, sometimes in the space of an hour, maybe on account of a different drumbeat or tempo, or someone adds a new part that turns out to be a crucial element. But yeah, there is certainly some droning. "Deadliest Day" uses a drop-D tuning so that note drones all the way through the song. "Emancipated Hearts" is basically one chord all the way through—it's good to have at least one song like that on a record. Britta and Anthony tracked live drums and bass on top of a decidedly non-groovy little drum machine loop (you know, the kind of drum machine that starts "Heart of Glass") and that turned into the best groove on the record.
Rumpus: What remains to be done for you as a songwriter? Do you have larger ambitions for what happens around the bend of career? Or are you more interested in the songs that are right at hand?
Wareham: It's a scary question for a musician or songwriter today—what does the future hold? It is a strange time in the music business too; it feels like we are all in some kind of transitional period, stuck between old technology and new.
Writing songs does not get any easier, and that might be because I am harder on myself than I was twenty years ago. Hopefully, as we grow older and change, there are fresh topics, new perspectives, or at least there should be.
Right now I have this new record and another LP very nearly finished; the focus in the next year will be on performing live. It may be a year before I sit down to write another song. And someone just asked me to make an album that is all guitar and no vocals at all, which could be fun.
Rumpus: Are you writing more prose these days?
Wareham: I write the occasional essay or review, like for The Talkhouse. But writing prose is slow work for me. Reviewing a couple of albums for that site made me realize how hard it is to write about music. I can see why record reviewers use the same adjectives over and over again; there are only so many ways to say "delicate." Though apparently you write about music with ease, or so it appears to me—I picture the words literally pouring out of you. I do enjoy writing tour diaries. Last year I wrote one for The Paris Review. Being in a different place every day is helpful for obvious reasons, it automatically delivers something to write about.
Rick Moody is the author of six novels, three collections of stories, a memoir, and a volume of essays, On Celestial Music. His most recent publication is Hotels of North America, a novel. With Kid Millions of Oneida, he recently released the album The Unspeakable Practices (Joyful Noise recordings). More from this author →
Tags: California, dean wareham, Music, Punk Rock, rick moody, swinging modern sounds
Filed Under: Music, Rick Moody, Rumpus Original
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On US 36/72 heading west/south, continue to the intersection with I-55, choose I-55 South, following it to Toronto Road exit (#90). Turn left (east) at top of exit ramp, proceed through 2 traffic signals; at 3rd signal, turn right (south) onto North Cotton Hill Road. Lake Pointe Subdivision is on the left.
On I-55 headed south, leave the interstate at the exit (#90) for Toronto Road. Turn left (east) at top of exit ramp, proceed through 2 traffic signals; at 3rd signal, turn right (south) onto North Cotton Hill Road. Lake Pointe Subdivision is on the left.
On US 36/72 heading east/north, continue to the intersection with I-55, choose I-55 South, following it to Toronto Road exit (#90). Turn left (east) at top of exit ramp, proceed through 2 traffic signals; at 3rd signal, turn right (south) onto North Cotton Hill Road. Lake Pointe Subdivision is on the left.
Proceed through town on South Fifth Street, merging into I-55 South. Continue to Toronto Road exit (90). Turn left (east) at top of exit ramp, proceed through 2 traffic signals; at 3rd signal, turn right (south) onto North Cotton Hill Road. Lake Pointe Subdivision is on the left.


text:
Q: live streaming plot that accumulates I am totally new to D3 and trying to make a live streaming plot similar to the third one found here.
The difference, however, is that I need the data to accumulate/build up rather than pass by. I have tried to replicate the code from here and simply commented out the part where they translate and pop off old data, but that still doesn't do it.
<!DOCTYPE html>
<meta charset="utf-8">
<style>

svg {
  font: 10px sans-serif;
}

.line {
  fill: none;
  stroke: #000;
  stroke-width: 1.5px;
}

.axis path,
.axis line {
  fill: none;
  stroke: #000;
  shape-rendering: crispEdges;
}

</style>
<body>
<script src="//d3js.org/d3.v3.min.js"></script>
<script>

var n = 40,
    random = d3.random.normal(0, .2),
    data = d3.range(n).map(random);

var margin = {top: 20, right: 20, bottom: 20, left: 40},
    width = 960 - margin.left - margin.right,
    height = 500 - margin.top - margin.bottom;

var x = d3.scale.linear()
    .domain([1, n - 2])
    .range([0, width]);

var y = d3.scale.linear()
    .domain([-1, 1])
    .range([height, 0]);

var line = d3.svg.line()
    .interpolate("basis")
    .x(function(d, i) { return x(i); })
    .y(function(d, i) { return y(d); });

var svg = d3.select("body").append("svg")
    .attr("width", width + margin.left + margin.right)
    .attr("height", height + margin.top + margin.bottom)
  .append("g")
    .attr("transform", "translate(" + margin.left + "," + margin.top + ")");

svg.append("defs").append("clipPath")
    .attr("id", "clip")
  .append("rect")
    .attr("width", width)
    .attr("height", height);

svg.append("g")
    .attr("class", "x axis")
    .attr("transform", "translate(0," + y(0) + ")")
    .call(d3.svg.axis().scale(x).orient("bottom"));

svg.append("g")
    .attr("class", "y axis")
    .call(d3.svg.axis().scale(y).orient("left"));

var path = svg.append("g")
    .attr("clip-path", "url(#clip)")
  .append("path")
    .datum(data)
    .attr("class", "line")
    .attr("d", line);

tick();

function tick() {

  // push a new data point onto the back
  data.push(random());

  // redraw the line, but don't slide it to the left
  path
      .attr("d", line)
      .attr("transform", null)
    .transition()
      .duration(500)
      .ease("linear")
      //.attr("transform", "translate(" + x(0) + ",0)")
      .each("end", tick);

  // don't pop the old data point off the front
  // data.shift();

}

</script>

A: Inside your tick function you need to add these lines:
  data.push(random());//generate the random points
  x.domain([1, data.length - 2])//update the x axis domain
  xaxis.call(d3.svg.axis().scale(x).orient("bottom"))//redraw the x axis

working code here

redpajama_set_name: RedPajamaStackExchange


Improbable launched his career with a maiden victory in late September, followed by an impressive 7 1/4-length score in the Street Sense Stakes at Churchill Downs on Breeders' Cup Friday.
He followed that blowout win up with another dominant score, winning the Grade 1 Los Alamitos Cash Call Futurity by five lengths on Dec. 8 and picking up 10 qualifying points for the 2019 Kentucky Derby Presented by Woodford Reserve.
Improbable did not start again until March 16, 2019, making his 3-year-old debut in the first division of the Grade 2 Rebel Stakes at Oaklawn Park. Despite a wide trip throughout, Improbable seized command in the stretch and looked destined for the winner's circle, but Long Range Toddy collared him in the closing strides of the 1 1/16-mile race. Improbable returned to Oaklawn for the Arkansas Derby on April 13. In his final Kentucky Derby prep race, Improbable drew alongside Omaha Beach on the final turn as the duo separated from the rest of the field, but he could not get past his game opponent and settled for second. The 40 points, however, punched his Kentucky Derby ticket.
The flashy chestnut colt is a son of City Zip who was purchased for $200,000 as a yearling. He's owned by WinStar Farm, China Horse Club, and SF Racing, a similar ownership group to that of Triple Crown winner Justify.


Tail Tamer Collapsible Bucket comes folded in a single layer for easy storage and expands to 11 inches tall, ideal for toting water etc. at fairs and shows. When you're done just fold it back down and easily store it in your trailer, tack room or locker until next time!


Hey, it's been a while since my last post and I'll take a second to tell you why….I got a new job as CTO of a little company called The Carto Group. I niavely thought that nothing would change and I could do all my normal day to day blogs, tweets and awesome screenshots….how wrong I was! Being a grown up is hard work! There was all this new stuff like "responsibility" (whatever that means) and employees….furthermore there were these things called "proposals" which constantly need to be written and then tweaked until the last 30 seconds of submission. It is a whole new world and one that I will share in future posts.
Back to normals….vertex normals are a 3D geometry thing. Essentially they tell the object which orientation the faces should have, if you ever had a play with Sketchup, you'll remember how the inside of a building was always darker than the outside, this was because the software was telling you that the inside of the faces were facing inwards and the outside of the faces, facing outwards…..sometimes this would go wrong and you would get wrongly coloured faces, this would be due to the vertex normals (hereon called just normals) being the wrong way around.
Now, there are normals and there are normals….in the gaming industry it is quite common to have issues with normals and you simply take the model into Blender, Unity, MeshLab, 3DS Max or any other 3D modelling software and you fix it with a "reverse normals" button. You can even select individual faces to reverse normals. It really isn't an issue.
In the geospatial world it is a whole new world of pain…does ArcGIS have a magic "reverse normals" button? Does QGIS? I'll save you the effort of searching and tell you, NO. Currently no GIS on the market has an option to reverse normals on 3D geospatial data (please correct me in the comments below). The only software which is geospatial that I know of is CityEngine and in fairness, it is more a gaming software than a GIS but it DOES handle geospatial data.
But what about all these cool 3D worlds that are being built? I'll be honest with you, many are a lie, some are fudged and the others aren't quite what you think they are. Let's look at some fancy LOD 2.2 data from CyberCity3D (CC3D) – the data looks awesome, the demos they give of the data rendering on Cesiumjs make it look plain awesome. Not only that, the data is built from photogrammetry and pretty lightweight, light enough to use on mobile and web mapping….here is the sting….The normals are inverted, if you were to bring the data into any other GIS it would look flat until you reversed the ALL the vertex normals, which, in something like CityEngine isn't too difficult as long as you aren't doing too much data or care about transformations between coordinate systems (a conversation for another day). When I say that all the normals are reversed I am assuming that Cesiumjs is wrong and Esri, Blender, CityEngine, Unity and Unreal are right….
Okay, so the normals are all reversed on the CC3D data but because they are ALL reversed it is not a problem as it is consistent. What about if we use buildings from the Trimble 3D Warehouse?….firstly the positional accuracy is shocking but mostly you will find that they have inconsistent normals, many of the faces will be reversed in odd places, again, when doing one or two buildings it is not a problem and can be fixed in CityEngine….but this is not what many of the 3D geospatial people I know do….CityEngine is expensive, so the users convert the data to collada, obj or fbx, THEN fix the normals and THEN convert it back to a geospatial format, usually KML or KMZ which is THEN converted to a geopackage or geodatabase multipatch…..god knows what happens to the data as it is pulled, poked and warped through the washing machine but anyone who considers accuracy would be pulling their hair out. Let's not even approach those (you know who you are) who simply paint the models inside and out to hide inconsistencies….it doesn't work that well and can look ugly.
I've sampled some of the OSM 3D building data and it has the same normals issues as the 3D warehouse data and the same can be said for a fair few of the open source data I have come across. Let's be clear, I'm not saying the data is bad or it is wrong, I am merely pointing out that although we have some amazing 3D GIS now, we are lacking the tools for working with the data. Furthermore, a few people need to be a little more honest about their data processes and levels of accuracy.
Of course, there is FME, the ETL which now offers fixing of vertex normals….you guessed it, it is okay for the CC3D type scenarios where you have consistent normals issues but identifying individual issues is a no go.
So what is the answer? At the moment I can only advise you to use CityEngine if you already have 3D geospatial multipatch data which you need to ensure has correct vertex normals. If you are given a non geospatial 3D data and want to bring it in to a 3D GIS, firstly consider whether you will be using Cesium or any other GIS/ 3D GIS, as your normals will need to be inverted or non-inverted, then fix the normals with Blender or if you have 3DS Max, use this. Once all the normals are the way you want them, THEN convert to a geospatial format.
The other day I spotted an "invert normals" button on the new QGIS 3D viewer and also there was mention that GlobalMapper might have something coming….as soon as I hear something I will let you know.
One last question to postulate – Cesium & Esri have agreed a common 3D format exchange, at some point we will be able to work between 3D Tiles and slpk in both respective software….but with the normals issues, how will that work?
Until then, watch your normals!!…..Maybe the next rant should be non-manifold models…..


Markus Gärtner, author of ATDD by Example: A Practical Guide to Acceptance Test-Driven Development, tears apart different levels of working with acceptance tests. He takes a closer look at the technical origins of Agile software development in the practices of extreme programming, and outlines a gradual line of improvement for teams working with ATDD.
In the second edition of his book Extreme Programming Explained: Embrace Change, Kent Beck distinguishes between primary and corollary practices in extreme programming.  Among the primary practices, Beck lists pair programming, the informative workspace, and a 10-minute build. Among the corollary practices, he mentions incremental deployment, a single codebase, daily deployments, and so on. Beck explains that he learned between the first and second editions of Extreme Programming Explained that teams won't be able to implement the corollary practices until they have some of the primary practices in place. For example, without a 10-minute build, daily deployment becomes impossible. Without pair programming, continuous integration, and test-first programming, practices such as shared code, code and tests, and a single codebase become a nightmare.
While I was writing and implementing the acceptance test-driven development (ATDD) examples for ATDD by Example: A Practical Guide to Acceptance Test-Driven Development,  I assumed that teams can work with automated acceptance tests on multiple levels. I don't claim that I invented any of these tests. In fact, I recently read a 2005 German book, Testgetriebene Entwicklung mit JUnit und FIT: Wie Software änderbar bleibt (Test-Driven Development with JUnit and FIT: How Software Stays Changeable),  in which author Frank Westphal combined then-current ideas about mock objects and outside-in development. Those ideas led to Steve Freeman and Nat Pryce's 2009 book Growing Object-Oriented Software, Guided by Tests.  In another 2005 book, Fit for Developing Software: Framework for Integrated Tests,  Rick Mugridge and Ward Cunningham wrote about ATDD and collaboration across all the roles in a project. So, in fact, the ATDD approach is quite old.
Having seen how all these different people apply test-driven development in one way or another, it occurred to me that a similarity exists between the application of ATDD and Kent Beck's primary and corollary XP practices. Teams can gain the biggest benefits by starting with the involvement of a real customer. This refers back to specification workshops, where ideally a customer talks with us about upcoming features for our products. The next step for most teams lies in automating the examples that they and their customer identified in the workshops. At first, automation might follow this process; however, if the team improves its process continually, over time they should be able to develop tests and functionality in parallel. I've rarely seen a working outside-in development approach put into practice. However, if the team achieves collaboration across all roles involved, they can develop the software based on the high-level examples from their customers. Let's take a closer look at these three different parts of the process—specification workshops, automated functional tests, and outside-in development—and relate them to the primary and corollary practices of XP.
Kent Beck lists real-customer involvement as part of the corollary practices. Yet teams that are new to Agile processes often struggle with customer collaboration. Without a whole team sitting together in its informative workspace, getting real customer buy-in becomes a difficult duty. I work with teams from their first day to get in touch with the business side. One of the main advantages of this approach becomes apparent when the team delivers working, useful software to the customer for the first time. With every new on-time delivery, a trusted relationship is fostered. I think this practice is crucial in software development.
XP describes the role of the onsite customer. The idea is that a customer is in the same room with the team, working closely with the team on a daily basis. Scrum talks about the role of the ProductOwner in this regard; the ProductOwner should be available to the team at least 50% of the time. With such direct collaboration, teams avoid playing the children's game of "telephone," and they can implement software that really enlightens its users.
Specification workshops should involve the whole development team, or at least every special role should be part of it. At minimum, the "three amigos"—the ProductOwner, a programmer, and a tester—should attend.  On a basic level, you can hold specification workshops after forming your whole team. Specification workshops then become a corollary practice to the whole team practice from XP.
In the light of real-customer involvement, however, specification workshops might also be one step further away. Without real-customer involvement, it will be hard to derive and trawl the requirements for the upcoming features. While the ProductOwner or onsite customer can help the team as a customer proxy, the tacit knowledge from real users will be distorted—like messages becoming lost in translation among kids in the telephone game. On the other hand, if the team manages to involve a real customer, a real user, or a real stakeholder of their product into their specification workshops, then the workshops as a practice become a corollary to XP's real-customer involvement. I recommend at least starting to work on this relationship early with real users.
So specification workshops might be both first-level and second-level practices, in relationship to the workshops Beck mentions in his second edition of Extreme Programming Explained. But there is certainly more to ATDD than just specification workshops. Let's consider another aspect.


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text:
/ Recent developments / Get behind the club that's risen from the ashes
August 28, 2008 By Mort Smith
Get behind the club that's risen from the ashes
There are lots of good causes looking for your support through the year but one which I believe deserves special mention is the third annual River Festival staged by the Weybridge Mariners' Club (WMC) – a cruiser club based on the lock island at Shepperton.
The club, which has been in existence since 1960, was hit by a terrible fire in March 2006 which totally gutted its classic old clubhouse and it has been struggling to get back on its feet ever since.
Now, more than two years on, a new clubhouse has risen from the ashes of the old one and work on the outside fabric of the building is virtually complete.
Club secretary Glen Lavier said: "We've got a roof, walls, floors and windows now so it is beginning to look like a proper clubhouse again – but there is still a huge amount of work to do on fitting out the inside of the building. Our insurance paid for the majority of the heavy duty building work, but we're going to have to handle the fitting out ourselves."
Which is one very good reason to get down to Shepperton lock island between noon and 4pm on Saturday, September 6 to enjoy the attractions of the River Festival and, hopefully, help raise funds to enable WMC to move back into its new clubhouse sooner rather than later.
The attractions will include radio-controlled model boats, a display of birds of prey, a fly-fishing demonstration, a mini boat jumble, an RNLI stand, loads of stalls to keep the kids amused and, for the parents, a Pimms booth.
Additionally, WMC will be running a raffle with prizes including £175-worth of John Lewis vouchers and a George Foreman grill.
The club, which has over 100 members and around 50 boats, stages regular cruising weekends up river to Windsor, Abingdon, Oxford and beyond and down river to various venues in docklands for long weekends.
Once a year they go over to the Continent or cruise the East Coast. The club also puts on a varied social programme including murder mystery evenings, quiz nights, a Summer Ball and a weekend away for a dinner/dance.
The club was originally formed by a group of boat owners based at Weybridge Marine who decided to get together to pool ideas and common interests. WMC's first home was the rear end of a converted barge called Greywell for which they were charged the princely sum of £2 a year rent. It was not until 1972 that the club found a new home in a rebuilt boathouse on the lock island which was then owned by the Thames Conservancy.
It was a devastating blow for Weybridge Mariners when the clubhouse – which had been the subject of a huge amount of refurbishment and TLC by the members – burned to the ground as a result of an electrical fault.
Glen Lavier said: "We were determined to keep the club going despite this setback and now, thanks to a lot of hard work, the new clubhouse is nearly there."
THE weekend after the WMC River Festival, the club will again be the focus of attention as the destination for the annual Association of Dunkirk Little Ships veteran's cruise from Kingston. This event, on Sunday, September 14 is staged to mark the evacuation of the British Expeditionary Force from the beaches of Dunkirk by a flotilla of small boats, many of which are still afloat on the Thames. The organisers are keen to tempt Dunkirk veterans to join them on this year's cruise. If you were involved – or if you know someone who took part in this iconic historic event – please contact Ian Gilbert on 07828 812648 or email him at papillon1930 [at] yahoo.com
I'll be doing a detailed piece about the veteran's cruise in a couple of week's time.
Association of Dunkirk Little Ships, Dunkirk, Weybridge Mariners
Pushing the boats out
Making waves for 50 years
Fierce competition at annual regatta


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Now that Treme is filming its last hours, it seems that it might be relevant to list those ongoing projects for Blown Deadline Productions that are in development. For some of these — those still in the reporting and research stages — we are interested in hearing from individuals who might have first-hand knowledge or experience with the specific topics.
To be clear, these projects have not been greenlit by HBO or anyone else and there is no budget. We are not in the mode of being able to pay consultants for material and/or guidance, so if you need to be compensated directly in order to sit down and share recollections it's understood and acceptable, but we are not at the point of doing so. In the event that these projects go forward into production, it is possible that we will be maintaining a small coterie of consultants to help us with matters of detail and accuracy. But again, there is no guarantee of such and when it happens, those positions are reserved for those who can provide continuous and detailed insight to the production on specific realities. But we are a long way from that and no one should engage us at this point on the premise of a payday.
LEGACY OF ASHES: A history of the Central Intelligence Agency, based on the book by Tim Weiner
We are currently researching and writing the period from 1945 and the end of World War II through 1953-1954 and the overthrow of Mossadegh in Iran as well as the CIA-sponsored coup that same year in Guatemala. Understanding that certain discussions of the agency are subject to confidentiality restrictions, we would be interested in hearing from anyone who was engaged in American foreign policy, either with OSS, the CIA, the State Department and the FBI counterintelligence functions during this period and specifically, with American involvement in Germany, Italy, Guatemala, Iran, Japan, Vietnam, China or Korea during those years. We are interested not in classified secrets so much as in achieving accuracy and nuance in our portrayal of fictional and non-fictional characters, in dialogue and in physical depiction both. If you are interested, and you have direct experience with the subject matter, send us a brief explanation of your history in email form with "Legacy of Ashes" in the subject line to [email protected]
TIMES SQUARE: A history of midtown Manhattan from the early 1970s to the late 1980s
We are currently researching a narrative that parallels the history of midtown's rise as a porn-and-drugs demimonde to the point where it came to dominate the culture and economy of central Manhattan. If you were engaged in any way in the criminal aspects of midtown Manhattan in those years, or the nightlife of Times Square, if you participated in the porn industry during those years, or if you policed or prosecuted that world and you have distinct memories that you would be willing to share, we would be interested in hearing from you. We are as or more interested in the economic issues of the adult entertainment industry as in the overt sexual aspects, so if you were involved in the real estate, or the economic or criminal control of Times Square, or its surrounding neighborhoods from any point between 1972 to 1987, we could use your insight or assistance. Again, send us a brief explanation of your history in email form with "Times Square" in the subject line to [email protected]
SHOW ME A HERO: A miniseries based on the book by Lisa Belkin
A six-part series depicting the housing desegregation fight in the 1980s and 1990s that tore the city of Yonkers and its political leadership apart and resulted in more than a decade of political trauma and racial divisiveness. Working off the material in the book and other interviews, our research is complete and we are completing script work. No additional research is being undertaken.
THE GOOD FRIDAY PLOT: A miniseries based on the books "Manhunt" by James L. Swanson and "American Brutus" by Michael W. Kauffman
A nine-part series that begins with the second inauguration of Abraham Lincoln and concludes with the trial and execution of the Booth conspirators, making allegorical reference to the recent post-911 period. Research is based largely on both books and script work is underway. No additional research is being undertaken beyond the material in the two books, along with other historical documents and research already completed.
THE AVENUE: Book project, Henry Holt Books
In conjunction with William F. Zorzi Jr. a history of the rise of heroin and cocaine as mass-market enterprises in Baltimore from 1951 to the cocaine epidemic that begins in the late 1980s. If you were directly involved in the Baltimore drug trade — particularly in West Baltimore — between those years and we have not made contact with you over the last four years, and you wish to offer your recollections on the rise of the drug trade from back-alley vice to mass-market drug corners, we would love to sit down with you, understanding that for most criminal activity, the statute of limitations now protects the conversation. This is a work of non-fiction journalism and as a work of journalism, we cannot pay sources for information. In addition to those directly engaged in the drug trade during those years, we are interested in speaking to law enforcement officials, political functionaries and attorneys with strong recollections on the subject matter. If you would be willing to sit down with the authors and talk, please email an explanation of your history with "The Avenue" in the subject line to [email protected]
Again, with the exception of the book project, none of these projects have been greenlit and therefore they are unbudgeted and haven't been scheduled for production. Those familiar with the entertainment industry will understand that everything at this stage of development is speculative and many projects never proceed to production for any number of reasons. Nonetheless, if you were a player in the worlds that we are trying to recreate and you are willing to share your recollections, we would love to hear from you if for no other reason than that we want to get the details right.
Thanks for your interest and patience.
D.Simon
https://www.gofundme.com/f/q8mhhy-help-for-scottie
This is probably a long shot but the man who played Sofia's boyfriend in Treme, the musician named Scottie, suffered a hit and run three years ago that left him with a traumatic brain injury. A month ago he found himself in a bad way and landed in a hospital due to an overdose. He has a long road to recovery ahead of him with only his mother to help him, who is on a fixed income. They are living in North Carolina now with very little resources. Any donation would help and I am hoping that either David or someone who loved Treme may find it in their hearts to help this musician.
Kira Davidson says:
I was a victim of a police handcuffing and jailing when I was a homeless young woman in 1982. I wrote a book about it.
I believe David Simon could make a wonderful movie about it.
Idir says:
Is it possible to have the professional e-mail from Mister David Simon ?
I'm huge (french) fan and I would like to talk with him about something I dream of.
David, do you ever ready this or get these messages relayed to you? I have a pitch and think it's something you would be interested in and Nina Noble producing.
Ian Richard Sparks says:
Clearly you are fully occupied. However, I just read a history of the crimean war and it struck me as a piece of history in step with your favorite themes and dark sense of humour.
As many lives lost as the amercian civil war, its reach truly global. (Esquimalt was fortified against agression, for example) And truly all for nothing. Was it all for which monks could hold the keys to a grotto? It wasn't not for that reason, at the very least.
Charactors and events that include Florence Nightengale, Charge of the Light Brigade, a British Ambassador who felt he had the authority to declare war, and many many more.
I even have a title I can give you for free,
World War Zero
It would be incredibly expensive, well regarded, and an absolute ratings failure. How can you say no?
Love your work,
Ian Sparks
Patrick Creeden says:
You've covered the Baltimore PD, why not a project ( book or tv series) about the Baltimore FD?
Or are the higher ups in fire hq not willing to participate in such an endeavour?
THE WHITES (Novel, 2015)/Epilogue | Priced Out says:
[…] The Wire collaborators David Simon and George Pelecanos. Simon has a more extensive description on the "In Development" page of his blog. Cool to hear that this project may still come to fruition, but it does seem to undermine my […]
David Simon Miniseries SHOW ME A HERO His Next For HBO says:
[…] is a work that sort of came out of the blue. Though it is listed on Simon's website it was not the work we were expecting, though we're not complaining. As stated previously, we […]


EFFECT: The magician shows a half dollar to the audience and asks a spectator to hold it in her hand. He takes a lighter and moves the flame around her hand 'to heat up the coin', explaining that he will extract the metal from the coin. The magician then reaches over to her hand and extracts a small lump of silver! When the spectator opens her hand she is holding a completely clear half dollar!


text:
Home EDITOR'S CHOICE
EXCLUSIVE RESEARCH: STATE OF THE NATION's TOP 10 WATCH RETAILERS (No.6 to No.10)
Rob Corder
Total sales for the ten largest retail jewellery and watch groups rose by 10% to £1.73 billion in the most recent financial year. Reporting periods vary, but the majority of the ten businesses in this study have published accounts ending in the first quarter of 2018. We have indicated where the accounts are for the 2017 financial year.
Click here for the Top 5 retailers.
Or continue to scroll down here for numbers 6 to 10.
Boodles was voted the UK's best independent luxury jeweller at the 2018 WatchPro Awards, and its financial results confirm the enduring strength of the fine jewellery and watch business. Sales were up by 5.6% to £70.8 million for the 12 months ended February 2018, a new record for the family-owned company.
Sales exported overseas totalled £17 million, around one-third of group turnover.
Patek Philippe is the only watch brand sold by Boodles, providing a prestigious range of watches that complement its fine jewellery in six out of its nine boutiques in the UK. The watches account for around one quarter of turnover, according to managing director Michael Wainwright.
The company's most recent opening in Manchester sets a new benchmark for luxury in the city, while its London showrooms in Bond Street, Sloane Street and Harrods are institutions attracting customers from all over the world.
Operating profit was down by 36% in the financial year, which Mr Wainwright says is due to a "slightly more difficult trading environment" and an exceptional cost of £930,000 relating to ending a venture between Boodles and Grovesnor House Hotel. He also revealed that a rents and rates review for London stores had doubled those costs for the business.
Rent and rates reviews take place every five years, and Mr Wainwright is confident that the current financial year will see a return to operating profits above £10 million that the business achieved in 2015-16 and 2016-17 financial years.
F. Hinds stocks over 50 watch brands online and across its nationwide network of 118 stores. The company operates at the volume end of the market, with the majority of the watch brands selling at the sub-£500 price point that has been so challenging in the UK for the past four years (down 14% year on year, according to GfK).
It is a notable achievement, therefore, for the business to have nudged sales up by 1% in the year to March 2018, with turnover of £62.1 million. Margins remain tighter than some of its competitors at the luxury end of the market, but the company still returned a healthy £3.2 million, a slight increase over 2017.
To give that result some context, F. Hinds's direct competitor, H. Samuel, saw sales dip by 4% in its most recent trading results.
Diamond jewellery has become an important part of the mix at F. Hinds with engagement rings commanding much higher prices than watches, and better margins.
T. H. Baker's most recent financial results are for the 12 months ending October 31, 2017, so are roughly six months less current than other businesses we feature in this report.
The company currently says it has 22 stores, although the network is in a state of change with Pandora franchise stores closing and more multi-brand T.H. Baker stores opening. B
y December 2017 the group had only one remaining Pandora store and 18 T.H. Baker doors. It also owns multi-brand jeweller Green & Benz, which has three outlets.
In September this year, the company took over the leases of six Goldsmiths stores in Portsmouth, Hanley, Wolverhampton, Tamworth, Cambridge and Ipswich. They had all been re-branded and refurbished as T.H. Baker in time for 2018's Christmas period.
The 2017 figures presented here are, therefore, rather dated. They cover a year when the business opened two new stores, refurbished four and re-located two.
2017 was a breakthrough year for Leeds-based Berry's, with turnover surging by 33% to £52 million and operating profit rising 41% to £7.5 million.
Not only does that give Berry's a place in this year's Top 10, it was a timely result as the business has ploughed a seven figure sum into the expansion and refurbishment of its flagship store on Albion Street, which only fully re-opened in the fourth quarter of 2018.
A second store in the Victoria Quarter arcade has also been upgraded with a Panerai shop in shop added on the first floor this year.
Berry's has almost single-handedly put Leeds on the map as a destination for fine watch aficionados, drawing in fans of brands including Patek Philippe, Panerai, Hublot, IWC and Jaeger-LeCoultre to the Yorkshire city. Not that the business is without competition on the parade of top end jewellers on Commercial Street.
WatchPro tried and failed to tease the 2018 financial year figures out of managing director Simon Walton. All he would say is that "You will like the story!"
George Pragnell Ltd, the trading name of luxury jeweller Pragnell, saw sales rise by 18% in a transition year during which the company's store in Rugby closed but a boutique stocking Rolex and Patek Philippe opened in London's Mayfair.
The addition of the Mayfair showroom in November 2017 is likely to have been a significant contributor to surging overseas sales for the group. For the first time, overseas sales exceeded domestic business.
Group turnover rose to £43.3 million, of which £23 million was from overseas business and £20 million was from domestic customers. Operating profit dropped by one-third in the year ended May 21, 2018. Charlie Pragnell, managing director for Pragnell, says sale of stock at lower margins from the Rugby store that closed in May last year coupled with the cost of opening in Mayfair were responsible for the dip in profits.
"Adding back the exceptional costs of £1,324,195 to profit before tax would give a result of £3,976,428 for the group for 2018 which is a comparable result to profit before tax in 2017 of £3,946,568," Mr Pragnell says.
Since the end of the 2018 financial year in May, Pragnell has rebranded the Tarratt stores that the group owns so the showroom on Market Street in Leicester has now become a third national outlet of Pragnell, joining the original Stratford Upon Avon store that is currently expanded into a neighbouring retail unit, and the boutique on Mount Street in London's Mayfair that opened in Q4 last year.
In a trading update for the six months since the end of the 2018 financial year, Mr Pragnell tells WatchPro that: "Halfway through our current financial year the company is performing as forecast."
Top 10 Watch Retailers
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EXCLUSIVE RESEARCH: STATE OF THE NATION'S TOP 10 WATCHMAKERS
STATE OF THE NATION'S TOP 10 WATCHMAKERS: No.10 – Breitling UK Ltd
STATE OF THE NATION'S TOP 10 WATCHMAKERS: No.9 – Time Products UK Ltd and Luxury Ltd


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