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The United States is the largest producer of oil, natural gas, and alternative fuels in the world. The federal government manages and oversees a number of activities related to these industries, including oil and gas development on federal lands and waters, petroleum refining, oil and natural gas transportation, and federal biofuels requirements.
But federal agencies, including the Department of the Interior (Interior), could improve how they manage and oversee these activities.
Interior's management of federal oil and gas resources is on the High Risk list due to challenges with revenue determination and collection, and human capital. Four priority recommendations in 2022 to Interior also involved improving oversight of offshore oil and gas activities. For example, royalties that companies pay on the sale of oil and natural gas extracted from leased federal lands and waters constitute a significant source of revenue for the federal government. However, Interior may not be collecting all of the royalties that oil and gas companies owe the federal government. Interior's Office of Natural Resources Revenue could better ensure the accuracy of royalty payments from companies with federal leases.
Oil and natural gas wells on federal land bring in billions in federal revenue. However, if operators don't properly manage these wells, the government may end up paying to clean them up when they stop producing. Interior's Bureau of Land Management (BLM) identified 89 new wells between July 2017 and April 2019 that it would be responsible for cleaning up because operators' bonds were too small to cover cleanup costs. BLM should adjust bond amounts to better reflect the costs of cleanup.
Interior's Bureau of Safety and Environmental Enforcement helps manage oil and gas production offshore in federal waters. The Bureau has allowed the offshore oil and gas industry to leave 97% of pipelines (18,000 miles) on the seafloor when no longer in use. Pipelines can contain oil or gas if not properly cleaned in decommissioning, but the bureau doesn't ensure that standards, like cleaning and burial, are met.
More than 2.7 million miles of pipelines transport and distribute oil, natural gas, and other hazardous products throughout the United States. The recent cybersecurity attack on the Colonial Pipeline Company caused a temporary disruption in the delivery of gasoline and other petroleum products across much of the southeast United States—and highlights the urgent need to address long-standing cybersecurity challenges facing the nation.
In 2019, about 39% of U.S. natural gas exports went through export facilities—in which the gas is liquefied and loaded onto ships for transport. Multiple federal agencies regulate export facility design. Federal guidance says that agencies should review regulations every 3-5 years and adopt necessary technical standards for safety and environmental protection. But some regulations haven't been updated.
To help reduce greenhouse gas emissions, the Renewable Fuel Standard requires that U.S. transportation fuels contain 36 billion gallons of renewable fuels by 2022. However, the nation will likely not meet the emissions goals set for it through 2022, largely because advanced biofuels—which reduce emissions more effectively—haven't been produced as expected.
The Strategic Petroleum Reserve, managed by the Department of Energy (DOE), exists to minimize the effects of disruptions in the supply of petroleum products. As of March 2018, it held about 665 million barrels of crude oil. However, a review by DOE didn't determine an optimal size for the reserve, and did not fully consider factors like changes in current and future market conditions.
Oil and Gas: Interior Should Strengthen Management of Key Data Systems Used to Oversee Development on Federal Lands
GAO-21-209
Published: May 27, 2021.
Publicly Released: Jun 28, 2021.
Offshore Oil and Gas: Updated Regulations Needed to Improve Pipeline Oversight and Decommissioning
Published: Mar 19, 2021.
Publicly Released: Apr 19, 2021.
Oil and Gas: Onshore Competitive and Noncompetitive Lease Revenues
Published: Nov 19, 2020.
Publicly Released: Dec 09, 2020.
Crude Oil Markets: Effects of the Repeal of the Crude Oil Export Ban
Published: Oct 21, 2020.
Publicly Released: Nov 20, 2020.
Natural Gas Exports: Updated Guidance and Regulations Could Improve Facility Permitting Processes
Published: Aug 06, 2020.
Publicly Released: Aug 06, 2020.
Oil and Gas Permitting: Actions Needed to Improve BLM's Review Process and Data System
Offshore Oil and Gas: Opportunities Exist to Better Ensure a Fair Return on Federal Resources
Published: Sep 25, 2019.
Publicly Released: Oct 24, 2019.
Oil and Gas: Bureau of Land Management Should Address Risks from Insufficient Bonds to Reclaim Wells
Publicly Released: Sep 18, 2019.
Renewable Fuel Standard: Information on Likely Program Effects on Gasoline Prices and Greenhouse Gas Emissions
GAO-19-47
Strategic Petroleum Reserve: DOE Needs to Strengthen Its Approach to Planning the Future of the Emergency Stockpile
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In the wake of Hurricane Ida, oil spills—including 1 over 10 miles long—were soon spotted in the...
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Q: Python print split take char 5-10 for instance I want to split string that I have.
Lets say string is hello how are you.
I want to print only the how are (meaning start after hello and finish after are
My code for now just start after the hello, but print all the rest.
Want to avoid the you.
ReadJSONFile=JSONResponseFile.read() # this is the txt file with the line
print ReadJSONFile.split('hellow',1)[1] # this gives me everything after hello

A: You could use string slicing:
>>> s = "hello how are you"
>>> s[6:13]
'how are'

A: Combine two str.split calls:
>>> s = 'hello how are you'
>>> s.split('hello', 1)[-1]
' how are you'
>>> s.split('hello', 1)[-1].split('you', 1)[0]
' how are '
>>> s.split('hello', 1)[-1].split('you', 1)[0].strip()  # remove surrounding spaces
'how are'

A: If you have the start and end indices you can extract an slice of the string by using the slice notation:
str = 'Hello how are you"
# you want from index 6 (h) to 12 (e)
print str[6:12+1]

A: This should help: (Using index and slicing)
>>> start = h.index('hello')+len('hello')
>>> end =h.index('you')
>>> h[start:end].strip()
'how are'

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Publishers that produce media packs for the benefit of securing tenancy deals have the potential to increase revenue because advertisers may pay for additional coverage on their websites. The question becomes, what is a media pack?
Media packs are very similar to media kits that most Website Magazine readers are familiar with. They summarize a website – including what kind of content a user will find there, what kind of traffic does it receive and what (if any) advertising or sponsorship opportunities are available to the person reading the media kit. For the unfamiliar, here are three media kits that have elements that could double as part of a media pack.
Every good media kit (or pack) starts with a good cover page. And wouldn't you know it, Website Magazine's media kit has a sharp and telling cover page. In a quick glance, its readers understand that Website Magazine comes in many formats – print, Web, and apps for mobile and tablets. Additionally, Website Magazine includes two of its industry awards from the previous year – giving the information publisher instant credibility.
Visa's corporate media kit provides a complete overview of the "who, what, when, where and why" of Visa. Complete with executive bios, awards and quarterly earnings, Visa's media kit also includes statistic overviews (pictured), which any company producing a media pack may want to include to catch the attention of "scanners" or readers who simply skim pages.
Speaking of readers who simply scan pages to find the information they want – or think they want – an India-based shopping site Yebhi.com put its media kit on Slideshare, which provides a better viewing experience than a long-form PDF. Additionally, its title page immediately states a value-add, "Reach 23 million e-commerce audience." Further into the media kit, Yebhi includes many media kit best practices, like visual examples of ads (and their sizes) on its site (see image), rate cards and more.


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1 Chronicles 18:5; 1 Chronicles 18:9
5 And when the Syrians of Damascus came to help Hadadezer king eof Zobah, David struck down 22,000 men of the Syrians.
9 When hTou king of Hamath heard that David had defeated the whole army of Hadadezer, king eof Zobah,
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Kristyn Getty is an award-winning singer-songwriter. Her voice is synonymous with hymns, having founded, along with her husband, Keith, the Getty Music Organization, which helps people learn the Bible through hymns to carry for life. Kristyn performs annual shows at Carnegie Hall, the Kennedy Center, and the Grand Ole Opry, where she leads the Sing! conference—based on her book by the same name. She is particularly passionate about helping children and families learn their faith through song. Kristyn and Keith are originally from Northern Ireland and now live in Nashville, Tennessee, with their four daughters.
David Cochran Heath (1952–2022) was a narrator who worked on over 140 audiobooks. Heath worked in radio and theater for thirty-five years, including voicing characters for computer games and television, narrating a radio program for kids, and working as a senior member of the acting ensemble of the Lamb's Players Theatre.

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Home » Features » The 5 Greatest Death Metal Albums Of 1991!
The 5 Greatest Death Metal Albums Of 1991!
1991: the greatest year in death metal history!
Posted on July 5, 2020 by Chris Jennings in Features
Source // cdn.discogs.com
Let's face it, with scene leaders adapting and transforming the very fabric of death metal in an attempt to one-up the previous years achievements, 1991 was always going to be a special year for death metal.
The result was a glut of material that shook the foundations of death metal and culminated in the greatest year the genre has ever witnessed.
The 5 greatest death metal albums of 1991….
5. Carcass – Necroticism – Descanting the Insalubrious
Source // 2.bp.blogspot.com
Dumping grindcore in favour of a (slightly) more accessible death metal sound, Carcass truly proved their mettle on Necroticism – Descanting the Insalubrious, culminating in their finest hour and one of the defining moments in UK death metal history.
Managing to be both a prime slab of mutilated old-school death/grind and a pioneer of tech/progressive death metal, Necroticism – Descanting the Insalubrious blew fans and critics away on its release in 1991 and continues to be revered as a defining moment in death metal history (UK or otherwise).
With a new guitarist in the formidable shape of Mike Amott (Arch Enemy) adding layers to their sound, Carcass as a unit were obviously improving at a formidable rate with across-the-board performances proving exemplary and arguably never bettered. Each track was a mind-blowing cacophony of tempo-changes, melodic guitar leads, brutal riffing and Jeff Walker's instantly recognisable growls culminated in an extreme metal masterpiece for the ages.
4. Death – Human
Source // Hellbound.ca
Chuck Schuldiner changed the landscape he originally helped to mould when Death released Human in 1991.
Out went the gore and in came the intelligence, Chuck dismissing the lump-headed violence of old and embracing an introspective, humanistic approach. Backed up by a formidable death metal supergroup in its own right, Chuck and guitarist Paul Masvidal (Cynic), bassist Steve DiGiorgio (Sadus, Autopsy, Testament, Iced Earth) and drummer Sean Reinhart (Cynic) changed the face of death metal overnight and, alongside the influence of Atheist's Unquestionable Presence and Pestilence's Testimony Of The Ancients, birthed a new breed of technical, progressive death metal.
Death's flawless freedom of expression floored the majority of their peers with "Flattening Of Emotions", "Lack Of Comprehension" and "Vacant Planets" particularly showcasing the diversity each band member bought to the table. Flurries of frenzied riffs and intricate bass and drum work competed with jazz-fusion passages of improvisation while still maintaining the backbone of death metal; these were songs you could philosophise over while still head-banging to your head fell off
3. Suffocation – Effigy Of The Forgotten
Where the fuck did this come from?!
In 1991, Suffocation were beyond brutal, they were another beast entirely and while Effigy Of The Forgotten must have come as quite the shellshock to the uninitiated; the furious technicality on display and multiple layers that rewarded the brave with each subsequent listen bringing into question the very nature of what death metal could achieve….and how extreme it could go!
With the most brutal vocals imaginable, courtesy of Frank Mullen's pioneering throat savagery, a monumental and groundbreaking performance from Mike Smith on drums and some of the first breakdowns heard in death metal, Effigy Of The Forgotten was a true unknown and changed the face of death metal overnight
2. Morbid Angel – Blessed Are The Sick
Following up Altars Of Madness was always going to be tricky but Morbid Angel cast off the shackles of their genre-defining debut by further establishing themselves as one of the most weirdly unique sounding outfits to emerge from death metal's first wave.
Morbid Angel operated without limitations, the past having no baring on their own innovation and it left them free to explore new realms. Their blackened souls were further charred via Trey Azagorath and Richard Brunelle's inhuman riffs, David Vincent's outstanding (and most importantly audible) vocals and Pete Sandoval's tireless drumming invention which, when so flawlessly combined, flung the band headfirst into the abyss
With other-worldly song structures creating a singular vision, Morbid Angel's ability to achieve true heaviness by slowing down (as opposed to many of their peers speeding up in order to reach similar peaks) led to one of the most unique collections of audible nightmares ever conceived and a collection of songs that somehow managed to invoke pure chaos while somehow remaining resolutely catchy.
1. Atheist – Unquestionable Presence
The finest progressive death metal album ever conceived? We certainly think so and with Unquestionable Presence, Atheist transformed the death metal landscape in a blitzkrieg of technical bass lines, dissonant and warped riffs unaccustomed to generic structure and an almost improvised feel to Steve Flynn's commanding drumming.
Led by Kelly Schaefer's rasp-inflected growl, the primitive nature of death metal was dissolved overnight within a framework of challenging lyricism and even more challenging musicianship. Structured chaos reigned as thrash, death, jazz, fusion and prog rock collided in an esoteric force of will, fuelled by integrity, vision and an unwavering commitment to forge forward into new terrain. While Atheists' debut, Piece Of Time, had turned heads, Unquestionable Presence blew minds.
Unquestionable Presence remains a landmark record in the history of death metal and it's more than a little unnerving to think that this pioneering piece of artistry came from the minds of 4 human beings.
Unquestionably unmatched, unparalleled and utterly unique.
1991 was such a perversely productive year in death metal history that we simply must doff our collective cap to the sheer number of classic albums also released in 1991!
Including, but not limited to: Asphyx – The Rack / Autopsy – Mental Funeral / Benediction – The Grand Leveller / Bolt Thrower – War Master / Cancer – Death Shall Rise / Cannibal Corpse – Butchered At Birth / Convulse – World Without God / Dismember – Like An Everflowing Stream / Entombed – Clandestine / Gorefest – Mindloss / Gorguts – Considered Dead / Grave – Into The Grave / Immolation – Dawn Of Possession / Malevolent Creation – The Ten Commandments / Massacre – From Beyond / Pestilence – Testimony Of The Ancients…..
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About Chris Jennings (1591 Articles)
I love Heavy Metal. Always have. Always will. As editor of Worship Metal - a site dedicated to being as positive about Metal and its myriad of sub-genres as possible - my aim is to 'worship' Metal through honest reviews, current news and a wide variety of features; offering the same exposure to underground bands as we do to mainstream/well known acts. Our mantra; the bands are partners and we exist to serve the bands \m/
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2 Comments on The 5 Greatest Death Metal Albums Of 1991!
Rob // July 5, 2020 at 11:12 pm // Reply
1991 was a monster year for death metal
5 absolute god-tier death metal releases right here
I mean, you basically are stuck leaving Dawn of Possession, Mental Funeral, Testimony of the Ancients, and War Master out, because that year was so thick with classics.
Chris Jennings // July 6, 2020 at 6:09 pm // Reply
Exactly! Such a strong year.
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19. Hotel del Coronado, US
This hotel in California is said to be haunted by the ghost of Kate Morgan, who was found dead days after she checked in. Guests who have been brave enough to stay in her room report flickering lights, the TV turning on by itself and seeing a woman standing by the window.
20. Ahwahnee Hotel, US
This sixth floor of the Alwanhee Hotel in Yosemite National Park is said to be haunted by the ghost of a former employee, Mary Curry Tresside. Staff have reported seeing a spectral rocking chair on the third floor, significant because president John F Kennedy requested one while visiting in 1962.
21. Ballygally Castle Hotel, Northern Ireland
Another ghost story with a gruesome origin, this hotel is said to be haunted by the ghost of Lady Isobella Shaw. Lady Isobella, who was a resident of the castle in 1625 is said to have been locked alone in a room by Lord Shaw after giving birth to their son. Attempting to escape, she fell from a window and died and is now said to wander the castle, desperately searching for the son who was taken for her.
So, that's the 21 most haunted hotels in the world. We hope you enjoyed the tour and… sweet dreams!
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The Sorento is manufactured and sold by Kia Motors America. The Sorento is a mid-size Sport Utility Vehicle that provides lots of room for passengers and cargo. Just as with any vehicle, there are times when the Kia Sorento may have trouble starting and will require troubleshooting. Before calling in a professional mechanic or having your Sorento towed to a garage or dealership, there are a few basic things that you can check when your Sorento won't start.
Attempt to turn the key in the ignition of your Kia Sorento. If the key does not turn at all, check to be sure that the steering column is locked. If it is not, turn the steering wheel until your hear a click indicating that it is locked. Try to turn the key again. If the steering column is not locked, you will be unable to turn the key and start your Sorento.
Check to be sure that there is enough fuel in the vehicle. If the fuel level is low or empty, the engine will not start. Add one gallon of gas to the tank to be sure that there is enough fuel and try to start the engine.
Attempt to start the engine and listen for any sounds that may indicate a problem. If you do not hear any sounds when attempting to start the engine, the ignition switch may be faulty. Clicking sounds indicate a problem with the starter of your Sorento. If the engine starts but stops shortly after, the problem may be in the fuel system.
Adjust the key so that it is in the "Accessories" position and turn on the headlights or interior lights. Check to see if the lights come on. If they do not you may have a problem with your Sorento's battery. The battery may need to be charged, replaced, or jump-started.
Pull the level to pop the hood. Open the hood and locate the oil, transmission fluid and coolant. Check the fluid levels in each. If the fluid levels are not between the minimum and maximum marks, add the appropriate amount and type of fluid. If fluids are not filled correctly, problems with the engine and starting your Sorento can occur.
Contact a professional mechanic for further diagnostic testing if your Kia Sorento still won't start. Tow or have your Sorento towed to a local auto mechanic garage or dealership.


WINONA, Minn. — Jazz students at Saint Mary's University will swing into the holidays with their Red Bird Club show "Christmas in New Orleans" on Friday, Dec. 7, at 7:30 p.m. at the Valéncia Arts Center, 1164 W. Howard St.
The Red Bird Club opened its doors in 2014 at the Valéncia Arts Center. If you have never heard of it, it may be because the doors only open once every two years. Every other December, the Academy Theater is transformed into an American Jazz Cabaret, showcasing the talents of Saint Mary's University student musicians.
This year the Red Bird Club will take a trip to New Orleans, the birthplace of jazz. "Christmas in New Orleans" will feature a quartet of crooners, an emcee, beer and wine service, and new this year — a dance floor. Make your reservations today or you'll have to wait until their next performance in 2020.
For more information, contact Director of Jazz Studies A. Eric Heukeshoven at 507-457-7292 or eheukesh@smumn.edu. Tickets are $10 for adults, $5 for students and seniors and are available at pagetheatre.org or by calling the Page Theatre Box Office at 507-457-1715.


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Nano-washing the car - progress or ..?
Nano wax for car
Today, many car washes you can see the colorful advertising on the use of modern nano-technology to preserve and improve the appearance of the car. Supposedly nano body wash will give Your car a totally unrealistic Shine, will hide small scratches and even provide a stable surface protection for a long time after high quality polishing. The unique effect of washing is guaranteed almost throughout the month. Is it really so? Can you believe such ads? And what is really behind a mysterious and attractive the definition of "nano-washing"?
Features nano washing
So, what is a nano washer? It's a car wash, using special chemicals designed carefully to remove all impurities and create a strong molecular lattice on the car body. This chemistry was used to restore the Shine to paint surfaces and migrated to the car wash. Special chemistry provides the removal of dirt at the molecular level and gives a deep gloss varnish. It is assumed that after nano washing the car becomes more protected from street dust, dirt, water droplets and ultraviolet radiation.
Nano car wash is carried out in three stages:
1. Touchless car wash primary structure
At first the car wash primary structure without the use of alkalis, cleansing the body from dirt and dust. For this purpose, usually a foam generator high pressure, able to ensure the uniformity of the detergent. The important thing is that touchless car wash primary composition does not damage the painted surface of the car body, while ensuring a good quality of cleaning.
2. Nano shampoo
In the next stage of the car through a set of foam applied to a special nano shampoo, often produced in Germany. What kind of shampoo? It was originally designed for efficient recovery of so-called nano paint (2K nano). The shampoo has in its composition a special nano particles on the basis of the charges of the cations that are on the surface and formed stable molecular networks for protection against external influences. Characteristics of the shampoo were so effective that it was used on all types of paint surfaces.
After applying nano shampoo evenly distributed throughout the car body via the porous sponge. The action of this shampoo can be compared with the effect of car polishing wax polishes. While gently removes dirt, on the body of the car become less noticeable different scratches thanks to the return of the deep color of the car and right to the refraction of sunlight.
Within a few hours after washing the formation of molecular lattices, begins more clearly to view the effect of restoration to the paintwork. Nano particles are on the surface lacquer and can withstand due to the connections between them. This protection gradually weakened under the influence of various external effects of road chemicals, UV rays, rains and dust.
3. Preservation the paint surface
The final stage of washing becomes preservation of the paint surface with a special wax, the particles of which also form a kind of grille to protect against external influences. Preservation allows you to keep "fresh" look of the car for a longer period. However, nano shampoo in a single composition may combine as directly cleaning the paint of contaminants and its subsequent conservation. It all depends on the type and form used in cleaning chemistry.
Advantages of nano washing
Thus, it is argued that nano washing due to the formation of an invisible grid on the surface of the paint is able to provide long-term protection from aggressive environmental effects, including strong chemicals, and ultraviolet radiation. Among the advantages of nano washing also called very gentle and effective cleansing of the body of the car from various contaminants, achieving exceptionally smooth surface and superior Shine body. Is it really so or the nano-washing is just a successful publicity stunt to pull with car owners more money with the use of such a popular and magical words like "nano"?
Unfortunately, to determine at a glance the advantages of nano wash and its great difference from a conventional washing is difficult. On this score there are the most contradictory opinions and assessments. We can only note the fact that if Your vehicle is not processed at the sink special nano chemistry, it's just a normal touchless car wash, which is issued for the service nano washing.
If, however, the sink uses nano materials which removes ingrained dirt, then the effect of its application is comparable to the effect of the same wax. It can be concluded that nano-sink is the same sink, but only with the use of modern chemical components obtained by nano technology and is able to bring the car wash to high-quality polishing.
The effect of nano shampoos and other components – in fact, the action of the same liquid wax for the next 2 – 3 weeks. In this sense, perhaps, the name "nano-washing" does not reflect the essence of the process and is really more designed for attracting additional clientele.
Use of such nano sink, given that it is significantly more expensive than usual, but its effects are questionable, every owner decides for himself. However, nano washing can be quite a good option, for example, to impart additional Shine to the car before selling it. As polishing, nano washing is a quick and easy way to restore painted surfaces.
Car polishing with liquid glass
Polishing a car body with liquid glass: features of the procedure and the advantages of means for maintaining the smoothness and shine of the car's appearance.
Liquid glass for auto guard
What is liquid glass for a car and what are the functions of the product. How to cover a car body with liquid glass with your own hands: primary and mirror polishing, features and rules of coating. The advantages and disadvantages of the tool.
What is car wax and what is it for? Types of machine wax, how to use, results.


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What about children under 16 years of age?


The University of Findlay is hosting a Senior Art Exhibit through March 23 in the Dudley and Mary Marks Lea Gallery of the Virginia B. Gardner Fine Arts Pavilion.
The works, made with different mediums, are by Katy Flint, Jessica Meek and Kacie Pohlman. Some are for sale.
A reception will be held Sunday, March 19 from 1-3 p.m. in the fine arts pavilion.
Flint, a studio art major from Clinton, Michigan, is exhibiting 10 pieces that incorporate digital design, oil, Conté crayons and ceramic. She typically focuses on two styles, one that uses graceful ink lines for detailed technique, and another that is quicker, but more expressive.
"Whether I spend hours on a carefully crafted creature, or doodle up a quick little figure, all my work speaks of the hope and magic of life," Flint explains in her artist statement.
Meek is a children's book illustration major from Kilaueau, Hawaii, who has 14 pieces in the show. Her works range from using mixed media to watercolor.
Pohlman, a Fostoria resident, is majoring in psychology. She is exhibiting nine pieces, some of which are the largest in the gallery. She works with oil, acrylic, charcoal and digital photography.
"Bold markings, thick applications, and spontaneous subject matter are what bring my art to life. I lean toward more flexible mediums because I like being able to appreciate mistakes," Pohlman's artist statement mentions.
To purchase art in the show, contact art faculty member and Lea Gallery Director Spencer Cunningham at cunninghams@findlay.edu.
The Lea Gallery is open daily from 8 a.m. to 8 p.m. All of its exhibits are free and open to the public.


One of the most demanding jobs a pianist can have is playing for individuals or groups of people while they sing.
Why is it so difficult? It doesn't have to be, but it is very different from playing on your own. Here are some tips for you to consider as you prepare to accompany your favorite singer in a performance.
This might seem like an obvious suggestion, but you might be surprised at how many times pianists are un- or under-prepared for their task. So, the first and most important part of a successful performance is to be very familiar with the music. Where are the tough parts? Marking them in with a highlighter so you know when they are coming can be helpful. How can you be ready for page-turns? Do you need to recruit someone to turn pages for you? Are there unexpected key changes or time-signature changes? Your vocalist partner will be counting on you to be aware of these things and to be prepared.
2. Make sure your volume level is appropriate for the setting.
You need to take a look at the room where you will be performing before you begin. Check the acoustics to be sure the piano is not too loud. It can be very easy to get involved in the beautiful music you're playing and not realize that you're too loud or too soft. If possible, have someone else listen from various spots in the room to see how your instrument sounds. Is the vocalist using a microphone? Is your instrument miked? You need to check on all of these things in advance. If you are fortunate enough to have a sound person on hand, make sure he is aware of the level of your instrument's sound levels, and not just focusing on the singer. It is important to be sure you have a well-balanced sound. Unbalanced levels can spoil an otherwise exquisite performance.
3. Don't play the melody along with the singer.
This may be questionable advice, depending on the circumstances of your performance. If you are playing for an amateur or a child, you may find that you need to help them in their performance, or that they can't find the melody without you. However, if you are playing for a professional or even a good amateur, you probably don't need to play the melody. In fact, at times it can be quite annoying to hear the melody line played along with the singer.
What do you do if the sheet music includes the melody in the accompaniment? You can usually simply avoid the lead line. Sometimes this means leaving out the top line of three staves, or the notes with tails pointing upwards on the treble line of a grand stave. If you are a good enough pianist, you may be able to improvise a counter-melody with your right hand. Another option, If you are capable of it, is to follow the guitar-chords that are often included above the staves. This kind of improvisation can be challenging if you are not used to doing it, but it can be particularly effective if you are playing jazz or pop music.
Of course, this advice is given with the understanding that the vocalist must be comfortable with whatever you choose to do, which brings me to the last bit of overall advice.
4. Make your vocalist into a star!
I'm sure you are a great pianist and you are to be congratulated for all the years of hard work it takes to get where you are. That being said, when you are accompanying a vocalist, you must always strive to stay in the background. If you do your job correctly, the listening audience should hardly be aware of your presence.
Follow the singer, no matter what! You may be an excellent sight-reader. You may always be right. That is not the most important fact during a vocal performance. The vocalist is the star, and you are there to back her up, no matter how great you are. It may be very likely that you are the better musician of the two of you, but your job is to make her shine, so even if she makes mistakes, you must do all you can to prevent your audience from knowing it.
If you need to slow down or speed up to follow her, do it. If she is a good vocalist, she will be interpreting the music according to the emotion of the piece, so it's essential that you follow their lead. Don't forget to employ your soft pedal when needed to make the dynamics of the music bring out the emotion of the singer, and come out strongly with energy and power to highlight the excitement and drama when appropriate as well.
Although the singer is the star, no performance is complete without the talent of a good accompanist. You can make or break it! By remembering and practicing these simple tips, you can become an accompanist extraordinaire!
Church music ministry looks different than it did 20 years ago, and even 10 or 5 years ago things were vastly different than they are today. Church pianists have to adapt. Skills that worked long ago must be developed, updated, and built upon.
As one of our church's pianist, I'm constantly reminded of the need to change things up. Change is a good thing. Here are a few ways you can change things up, and hopefully see improvement in your worship service.
I'm not suggesting that we need to be less creative. The fact is, it takes a great deal of creativity to accomplish your accompanying goals in a minimal manner, as opposed to using more and louder notes. Less truly is more.
When it comes to congregational singing, what is the most important element? The accompanist? No, not really. Sure, the accompanist provides support and confidence, but the singers are the most important part. It's what it's all about.
Seek ways to emphasize the congregational singing. For me, it involves not always playing the melody, especially when it's a song that the congregation knows extremely well. For example, songs like "Amazing Grace," "In Christ Alone," and "I Sing the Mighty Power of God," rarely need the melody played. I can emphasize the congregational singing by minimizing the notes that I play.
Let's face it: The model and techniques we were taught in the university 20, 30, or 40 years ago aren't always relevant to what we're doing today. You're going to need to modernize your approach. The stride that was popular generations ago is–by and large–rarely ever used today. I rarely use full 4-note chords to achieve a loud sound. I've found I can achieve a loud sound with just a few notes, and be even more effective.
I'm not suggesting that older techniques and effects were wrong. They served their generations well. It's just that modern ears are used to something different. Find out what that is, and employ it.
This is the first in a series of articles I will be writing about challenges facing church pianists today. It grows out of this article, which seemed to hit a nerve.
Church pianists are valuable resources to the church. Just ask someone who attends a church without a pianist, and they'll tell you how important they are!
When a pianist prepares an instrumental solo, what's involved? Many things. Initially, there is the time investment to peruse and discover new and appropriate repertoire. Then there is a financial investment made to obtain this music. Finally, there is the mental and time investment for preparation, which may include many hours of rehearsal. Add to that the stresses of performance, like perhaps dealing with the quarks of a less-than-ideal instrument, awkward or difficult page turns, air handlers blowing your music everywhere, or coping with stage fright and performance anxiety.
All of this, so that the congregation can take part in a special aspect of worship through music. Scripture is replete with God's desire for instrumental music (2 Chronicles 29:25-28; Psalm 150; Revelation 5:8, 14:2-3, 15:2-3). Psalm 33:3 seems to have a directive specifically for instrumentalists: play skilfully and loudly. The passage seems to emphasize a need for precision and confidence. When this is achieved, an opportunity for worship (minus the distractions) exists for those who listen.
I also think you can make a case that, when instrumental music is not accompanying singing, it ought to be used to remind us of songs the congregation already knows, so that the truths of those songs can be non-verbally communicated (reminded) through the music. Not everyone sees it this way, and there is certainly room for varying viewpoints. Bottom line: the music serves a purpose.
If a congregation is unengaged, uninterested, or otherwise distracted, it will deflate any purpose of the instrumental worship. Ultimately, a church pianist is not responsible for the behavior of a congregant, any more than a senior pastor is responsible for bad behavior during his sermon. It's important for pianists to remember this. We should be very thankful for pianists who dutifully perform their responsibilities, regardless of the attention level, response, or outcome. They have the right perspective. They are ultimately playing for the Lord, and they are grateful for the handful of people who "get it," and find encouragement and worship opportunities through their keyboard artistry.
A congregation that is disruptive during an instrumental offertory simply doesn't understand the opportunity for worship they are carelessly discarding. A church pianist would be wise to work with the leadership of the church (the pastor, the worship pastor, the song leader, etc.) to identify the problem, and seek appropriate resolution. Perhaps a song leader merely needs to occasionally remind the congregation that the offertory is not filler, but rather an important part of service. If there are "main offenders," they need to be gently and personally approached, and dialog should take place to find a solution.
What else can be done to emphasize the spiritual ministry of the instrumental? Make lyrics available to the congregation, whether on overhead projected screens, or in the bulletin. Even if lyrics to the entire song aren't practical, include just the refrain, or a main thought from the text. In addition to helping emphasize the meaning of the music, this might just help with quieting people down.
Pianists should also evaluate their playing. Listen to recordings of your performances. Ask some questions to help when evaluating. Is this arrangement interesting? Is it unnecessarily lengthy? Am I playing with expression and dynamics (or am I just pounding)? What can I do differently to build more engagement into the mix? Would I enjoy listening to someone else play this?
In my experience, the prelude and postlude serve as background music, and talking by an entering or exiting congregation is expected. I plan accordingly. But for offertories, we still regularly feature the instrumental solo, and our congregation knows this is an opportunity to worship God through their joyful giving in the offering plate, and through thoughtful meditation of the Scriptural truths presented through the message of the song being played. It is our prayer that we will point people to Christ through our ministry.
I recently posed this question on my Facebook page: "What challenges do you face as a church pianist?" There were many responses. It was surprising. You can view the post here for yourself.
People talking during the instrumental offertory. So, apparently this doesn't just happen at my church! 🙂 The prevailing consensus is that it really comes across as rude, especially to the performer (effort, time investment, etc.), and to the purpose of the offertory (to minister through the message of the song).
Phasing church pianists out. Many churches are transitioning from traditional music to contemporary music, from the traditional choir and orchestra, to a few featured voices and a band. As a result, the trend seems to be putting church pianists out of a job, or at least out of a job as they knew it. Some fortunate church pianists will adapt, although not always happily. Others will be out of a job. It certainly doesn't feel good to have a ministry that is no longer needed.
Finding music that works. While some have difficulty finding more challenging music (publishers seem to be publishing more intermediate level music, no doubt because it probably sells better), others have trouble finding music that isn't too difficult for them. I'm pretty sure this is a challenge that faces all musicians, and each musician has their own method for finding the music that works for them.
Finding music that works for the musicians they serve with. Many church pianists are involved in the planning and preparing of church music for vocalists and other instrumentalists. It can be challenging finding music for your musicians, especially if they are not all studio musicians. 🙂 Less experienced musicians will need easier music, or music that is simplified. It sure would be nice to have a go-to resource that would provide such music, or at least point people in the right direction.
Training future church pianists. This is such an important endeavor, something that today's church should take a long and hard look at. There seems to be a distancing from education in the church. While the church's purpose is not primarily education, it is undeniable that the church should have a role in training future church musicians. Specifically, church pianists face the challenge of how to convey their artistry and years of experience to young learners. A further challenge is finding opportunity for these young learners to participate in worship, so that they have the chance to gain experience and grow as a church musician.
Lack of dedication from other church musicians they serve with. In my experience, church pianists are some of the most dedicated church musicians. I'm not just saying that because I am one. Really. It can be very discouraging when another scheduled musician chronically cancels at the last minute, or half the choir doesn't show up to rehearsal. Added to this challenge is the fact that most church pianists aren't in a position of authority to deal with this issue. In most cases, other than appealing to the church leadership (worship pastor, choir director, pastor, etc.), they very often have no recourse and must altogether keep silent on the matter.
Too much of their time monopolized. I can see this. If a church has only one pianist, my heart goes out to that pianist. No doubt they are asked to play for every service, for multiple elements in each service. All of this takes rehearsal, and often, much preparation is needed before rehearsal can even happen. This has got to be a big challenge for many church pianists today.
I'm convinced: being a church pianist is not for the weak of heart. There are genuinely difficult challenges for those in this field. I'd be interested in learning of other challenges you face as a church pianist. Even more importantly, I'd like to know how you overcame some of these challenges.
As church pianists, our goal should not be to wow the congregational with our technical fireworks. Rather, we should focus on communicating a message, and by doing so, touching hearts.
Sometimes you just need to simplify the arrangement you are playing. Maybe it's too technically demanding for you. Maybe you don't have adequate time to prepare. Maybe you were handed the song moments before the service started (crazy, I know). Whatever the reason, I promise you, there's nothing wrong with simplifying.
Here's an example of the refrain of "At Calvary." Taken at a quick tempo, this right hand could be a challenge to some intermediate players.
This should make life easier, at least until you have adequate time to rehearse the first example. There's no reason why everything you play in church has to be difficult to you. Find your "sweet spot," and play in it. The more you do, the more you'll be able to effectively minister and touch hearts.
Being a church pianist can be a tough job–especially when you are the only pianist in the church. Greg Howlett wrote a great post for the busy church pianist a few years ago on this blog. Check it out, because he provides some great advice.
Truthfully, I have been blessed to be in churches where the keyboard accompanying responsibilities have been able to be spread out among at least a couple individuals. Currently, we might have one accompanist who plays for the choir, another who might play for a soloist or ensemble, another who might play for an instrumental offertory, and I play for the congregational music. As much music as we do, it is almost a necessity to have this many pianists involved.
However, many churches have just as much music, and have only one capable pianist who can play adequately for the service.
Ouch! This has got to be hard. These pianists plod forward week after week, service after service. They are very faithful (they have to be!), arriving early and staying late for additional rehearsals, spending various amounts of their free time learning music to play that will probably not be repeated. They have choir music, music for specials, instrumental offertories, preludes, postludes, and invitational music to learn/rehearse/brush up on. And yet they must avoid even the appearance of burn out.
My hat goes off to these musicians. If you are one, I say: bravo! And, thank you. I used to think I could do it all, but the older I get, I am just thankful when I get a break in the service and someone else plays. And I've noticed that when I play for the majority of the service (more than normal) that my brain starts to slow down, and I make a lot more mistakes.
If you have more than one accomplished pianist in your church, be thankful, and utilize them to the degree that they desire to serve. If, however, you only have one, be sure that they are taken care of and appreciated. It's hard work, and it can be a thankless and unappreciated job, especially in volunteer settings.
What's your experience? Do you serve with other accompanists? Or are you the only one?
Please join me at my church (Mikado Baptist Church in Macon, Georgia) for a gathering of church pianists! This year, on October 20th, I have the distinct privilege of hosting this conference with guest clinician Cindy Berry.
Click here for the official information as well as online registration.
Many of you are very familiar with the music of Cindy Berry. She has been writing for choirs, children's choirs, and church pianists for years. As a church musician herself (and a spouse of a music pastor), she has been blessed with a unique understanding of the needs and concerns of pianists who serve in local churches. Her experience, expertise, and meek spirit will inspire and challenge you to "next level" artistry and ministry.
So register today! The registration deadline is Monday, October 15th.
I will periodically be posting new information about this 1 day conference on my Facebook page, so be sure to "like" the page so you can keep up with all the exciting news. As I met and have gotten to know a little more about Cindy (exclusively through email!), I can tell you that it's going to be a great seminar full of helpful topics and useful information.
The wait is over! Many have asked, How (or when) can I get the sheet music for the songs on your Wondrous Love CD? I'm pleased to announce that all of the songs from Wondrous Love have been published by Alfred Music Publishing in two Sacred Performer Collections: Wondrous Hymns, Books 1 & 2.
Publisher's description: Arranger James Koerts thoughtfully created these fresh renditions of traditional hymns. His contemporary arranging style, which blends syncopated rhythms and unexpected key changes, is sure to encourage inspired performances. Titles: Amazing Grace * Day by Day * He Leadeth Me * Jesus Is All the World to Me * Love Lifted Me * My Redeemer * Only Trust Him * 'Tis So Sweet to Trust in Jesus.
Publisher's description: Arranger James Koerts thoughtfully created these fresh renditions of traditional hymns. His contemporary arranging style, which blends syncopated rhythms and unexpected key changes, is sure to encourage inspired performances. Titles: Crown Him with Many Crowns * Holy, Holy, Holy * I Sing the Mighty Power of God * I Stand Amazed in the Presence * It Is Well with My Soul * Our Great Savior * The Solid Rock * What Wondrous Love Is This?
The Mikado Academy of Music is hosting a seminar for church pianists on Saturday, October 9.
Last year's church pianist seminar was such a huge success that we decided to make it an annual event. This year we'll be featuring guest pianist, composer, and recording artist, Faye López.
If you're interested in developing your skills as a keyboard musician in your church, then consider attending this one-day event. You'll be encouraged in your ministry work. Your registration ($25; $15 for students) includes a seminar notebook, a catered lunch, and some extra freebies. It will also be an opportunity to meet and connect with other church musicians in the field.
Check out the seminar brochure for more information. Also, check out the seminar's website to learn more and register. I hope you'll consider attending; I'd love to see you there!
Great choirs have great accompanists. The extent of a choir's success, to a large degree, is dependent upon it's accompanist. The choir accompanist plays a vital role in the overall choral ensemble.
As a musician, there's always room for growth and development. There are some excellent resources out there for church choir accompanists. (An excellent recommendation is Choral Questions and Answers, Vol. 5: Accompanying [Pavane Publishing]. You can check it out here.) I know of very accomplished (and professional) musicians who continue attending private music lessons to further their musical development. Not a bad idea.
There are basics to choral accompanying that are essential. The accompanist is part of the leadership team and, as a result, must remember that greater expectations exist for leaders. Concepts such as arriving on time, dependability, and being prepared for the rehearsal, are critical. Further, a right attitude and team spirit are vital to the success of the music ministry. (This can be especially difficult in situations where an accompanist may feel they have more training or are a better musician than the director.) Finally, a good church accompanist exemplifies godly character and is a role model to young Christians.
If you're looking to take your accompanying skills to the next level, I'd like you to consider a couple of things. You can develop and master these to become a much sought-after choir accompanist.
Working together with another musician (the director) will probably require great flexibility on your part. The director may have an entirely different interpretation of a song than you. Be willing to publicly embrace all suggestions and ideas, and save your opposing opinions for private appeals. Regardless, be willing to follow and support the direction of the leader.
During rehearsal, an accompanist—if not careful—can actually slow down the choral learning process. Over time you will have the opportunity to study your director and how they operate a rehearsal. You will be able to sense when he wants all vocals parts played consecutively. When he says, "let's rehearse the tenor section here," you will be able to know to immediately play the tenor's starting pitch. Though genuine mind-reading will never truly be achieved (wouldn't that be nice!), you can develop your anticipation of the process. Anticipation requires attentiveness to details, a clear knowledge of the director's approach, and an alertness to all instructions.
I'd like some feedback, if you would. As an accompanist, what things have allowed you to excel in your field? As a director, what else would you recommend to any accompanists that might potentially read this article?
Here's a list of ten things you probably shouldn't say to your church pianist, whether or not they're true.
That song was one of my favorites. What was the name of it, again?
You play like a man.
Thanks for your offertory. It gave me just enough time to read the church bulletin from cover to cover.
You did a great job. Did you ever take piano lessons?
I would give my left arm to be able to play like you.
That was the best you've ever played. I only heard a few mistakes.
Did you sneak a Paul McCartney tune in your prelude?
How exactly did your song selection fit with the rest of the worship service?
I'm dizzy after hearing you play all those notes!
You sounded much better when I turned off my hearing aids.
Can you add to this list? What else should be left unsaid regarding church pianists?


Resilience IPA release at the brewpub!
On Giving Tuesday (Nov. 27), along with more than 1,000 other breweries nationwide, we brewed Resilience IPA to help support the Butte County community and those impacted by the Camp Fire. On Friday, Dec. 21 at 11 a.m., we're tapping this benevolence-filled brew at both our Rehoboth brewpub and our Milton Tasting Room & Kitchen … and 100% of its sales will be donated to the Sierra Nevada Camp Fire Relief Fund. So, come on out and grab a glass (or two), and help us – and thousands of other beer-lovers across the country – spread the benevolence!


1982 House Bill 0774. An Act Lowering The Age By Which Certain Homeowners May Qualify For A Real Estate Tax Exemption.
Title 1982 House Bill 0774. An Act Lowering The Age By Which Certain Homeowners May Qualify For A Real Estate Tax Exemption.


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The federal ban on corporate loans leaves some managers scratching their heads.
Boards are supposed to monitor top executives, but too often give them carte blanche. That's why regulators are writing stricter rules for the corporate-governance game. Plus: Finance executives sound off about audit committees in a new CFO survey.
If you think new accounting rules will make acquisitions more transparent, think again.
Why don't CFOs want to chair audit committees? Only their estate planners know for sure.
A CFO survey suggests that recently passed rules for auditors may be a wise idea.
Executive compensation practices won't change until accounting rules for options are fixed.
Private investors are starting to put their mountains of cash to work.
If banks have to come clean about their off-balance-sheet leverage, get ready to pay more for money.
New rules for special-purpose entities may result in bigger corporate balance sheets.
After a slow start, banks are taking another look at electronic presentment and payment.
To expense or not to expense? A U.S. led coalition prepares to do battle with the international standards boards over the treatment of stock options.


The animation was great, style was impecable, and the story nearly made me cry (ok, I'd probably have cried if I wasn't in a room full of grownups).
Daniel Martínez Lara has been an inspiration for me ever since I got started with 3D, reading his interviews in 3DWorld maganize, and reverse-engineering his sample files for 3ds Max back in the day. It's a pleasure now that someone like him is creating such great artworks with Blender.
Now this short film is being highly awarded, and even made it to the Oscars 2017: exciting!


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Mia founded the Swedish thrash metal band in 1994 as an all-female act. Due to attrition male members crept in and the group began transforming. Demo '97 featured yet another cover version, this time Venom's In League With Satan. Bassist Camilla Hedén left. Former Deathwitch drummer Karin Blomqvist also took off. The band entered Los Angered and recorded 1999's Demonic Women.
Labyrinth Of Darkness arrived this side of the century. Five years passed before the full-length demo Infernal Damnation appeared. The theme of the album revolved around Dante's The Divine Comedy. 2014 brought another demo, Ravenous Bloodlust, until Infernö Records noticed the female singer and released 2017's Cursed To The Night.


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The missed opportunity in the closure of torrent tracker UK Nova
The closure of yet another website offering copyrighted TV content for free is no longer news.
Earlier this month, Surfthechannel owner Anton Vickerman was sentenced to 4 years in jail by Newcastle Crown Court.
Two things are interesting about Vickerman's case: firstly, it was a private criminal prosecution brought by UK trade body FACT, the Federation Against Copyright Theft, after the Crown Prosecution Service had previously declined to mount a public prosecution.
Secondly, Surfthechannel hosted no infringing content itself, only links to infringing content hosted elsewhere; hence Vickerman was convicted of conspiracy to defraud rather than copyright infringement, the argument being that his website incited others to commit copyright infringement, thereby depriving legitimate copyright owners revenue.
FACT were able to show legitimate owners were deprived of revenue whilst Vickerman profited through adverts hosted on his site. Fraud. Bang.
I don't necessarily agree that Vickerman deserved 4 years jail for his crime, but I'm more comfortable with this prosecution than I am about, say, the ongoing extradition of Sheffield student Richard O'Dwyer to the US for his role hosting TVShack - a one-time rival to Surfthechannel.
We can and should prosecute UK web users here in the UK.
But the closure this week of UK Nova is noteworthy as the website's owner took what they claim to be a highly ethical stance to the torrents they tracked on the site.
Like Surfthechannel, TVShack and countless other sites, UKNova did not itself host copyrighted content. It hosted links to content elsewhere; in UK Nova's case these links were bittorrent trackers.
Depending on which side of the fence you sit in the great copyright wars of the new millennium, the concept of ethical copyright infringement might raise an eyebrow or two.
Ethical as in Co-op banking, or ethical as a kind of digital Robin Hood, stealing from the rich? Robin Hood could be justified in helping the poor eat, but how can you justify stealing copyrighted content to give to those who can't afford it??
In this case the team running UK Nova policed their own content. No content was allowed on the site that was commercially available. So anything available for example on DVD, on paid or free streaming services, currently showing on TV or in the cinema was disallowed.
The site, its owners claim, was there to provide links to rare content unavailable elsewhere.
It doesn't take a well-paid copyright lawyer to point out that even content not currently commercially available is still protected by copyright.
I've often thought it absurd that e.g a TV advert - which the owners pay stacks of cash to get into as many living rooms as possible - is still protected in the same way by copyright as a feature film.
So, in theory at least, uploading an advert onto YouTube without the copyright owner's permission could land you in jail, even though the copyright owner was paying through the nose to get as many people as possible to watch that advert.
Of course I doubt anyone's going to jail for such a trivial infringement. Arguments about implied consent through running an ad campaign might wash; plus the copyright owner is unlikely to complain in the first place - unless the ad is placed in an unflattering context by the infringer, but then it might be justified anyway as legitimate comment under Fair Dealing provisions of UK copyright law.
Back on topic, UK Nova wanted to avoid infringing on commercial profits by disallowing content that was commercially available elsewhere.
But copyright infringement is not couched in terms of commercial profits; so, on the surface, this puts the 'ethical' torrent tracker in the category of not evil but legally wrong.
Although there's a kicker. The site, remember, hosts trackers: links to content stored elsewhere on the internet. It hosts no copyright infringing content itself, therefore it would be tough - under UK law, at least - to prosecute them for copyright infringement.
As in the Surfthechannel case I mentioned at the start, prosecution authorities have in the case of trackers preferred to level an alternative charge: conspiracy to defraud.
But for UK Nova it might be possible to defend against a conspiracy to defraud charge.
A qualified lawyer I'm sure will make a better job of describing fraud, but in lay terms the prosecution needs to show the defendant has gained at the expense of the legitimate owner.
An ethical torrent site defrauds no-one as they disallow any content that is otherwise commercially available.
So it could be argued UK Nova commits no copyright infringement, because torrent trackers are just links, not an actual copy of the copyrighted material; and defrauds no-one because of the ethical hosting policy.
But I don't blame UK Nova for caving in without a fight. I'm sure FACT or some other trade body will come up with yet another legal instrument with a conspiracy prefix; conspiracy to commit copyright infringement, maybe.
With the threat of extradition or jail time we're well into a dark era, with otherwise law abiding website owners running scared of copyright claims.
But the forced closure of UK Nova is a massive own goal by those claiming to represent copyright owners.
I've blogged many times that the solution to the digital copyright conflict will in all likelihood be a messy compromise, with neither side getting all they want.
Of course it's silly to chase down those trying to catch up on a missed episode of Parade's End after it has disappeared off iPlayer but before the DVD comes out.
But it's equally barmy to believe a free and open internet will allow free access to anything and everything, irrespective of commercial reality.
One-size-fits-all copyright is as dead as many business models from a bygone era.
Whilst most content on UK Nova would not cost copyright owners much in lost sales, the odd TV episode might; e.g. a show which becomes suddenly popular may find it difficult to bring an unplanned release if their show is already all over the internet.
The missed opportunity here for copyright owners was to work with ethical sites like UK Nova to help build them as a preferred alternative to other less scrupulous torrent trackers.
With a website seemingly keen and willing to play ball it appears as though its owners would have gone to great lengths to further minimise their impact on legitimate sales.
Instead, the copyright cops closed a website which had promised never to transgress on commercial profit, pushing the content and a stack of well-meaning users underground.
Underground?
The dandy copyright defenders are probably at this moment confident, buoyed by a string of high-profile legal successes. The Pirate Bay: blocked; O'Dwyer and Dotcom facing extradition to the spiritual home of all English-language content (the US); TVLinks, Surfthechannel and numerous other links websites: closed; Vickerman: Jailed; Jammie Thomas and Joel Tenenbaum: bankrupted...
With the copyright police cocksure of mastering the internet why would they want to have to bother working with an ethical torrent tracker when there will soon be no underground file sharing?!
The reality was brought home to me at a party over the weekend. No, I wasn't offered illicit drugs... I was offered loan of a terabyte hard drive stuffed full of the music being played at the party, plus a bonus of "over a hundred DVDs".
A law abiding citizen I of course said no. But it wasn't so long ago a friend of the family offered me a similar package. When I pointed out it was illegal the friend was genuinely shocked, "but I got this from a copper I play cricket with!"
In a democracy there will always be an underground supply route. The measures required to close down the black market come at too high a price through loss of freedom, a price which far outweighs the benefits of closing the black market.
And physical data transfer isn't the only underground route. Distributed trackers and trackerless torrents have emerged in recent years. New methods which are almost impossible for authorities to shut down - at least without banning bittorrent and other peer-to-peer technologies outright - are making websites like The Pirate Bay redundant.
In turning their backs on UK Nova copyright owners have not only missed an opportunity to work with a torrent site to e.g. promote legitimate content and quickly remove content which harms their businesses, they have shown a blatant disregard for a new generation - of people and technology.
@JamesFirth
Posted by James Firth at 14:14
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Lighthouse Reports produces public interest journalism across the themes of conflict, corruption and migration. Lighthouse pioneers emerging technologies and matches them to important stories.
Dramatic footage filmed by protesters in Sudan shows masked security agents chasing down protesters, beating them and dragging them away to secret detention centres. Who are these hit squads? Where are these detention centres? And what happens inside their walls?
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Have an idea or question? Like to work with us? Feel free to drop us a line.
Returns are fast emerging as the favoured tool of policymakers responding to the perceived need to control migration to the developed world. Deportations and voluntary returns of asylum seekers and migrants are being scaled up in Europe with little public scrutiny or understanding of the socio-economic costs or consequences. The Returns Network, launched in October 2018, is an independent journalistic venture that seeks to address serious gaps in publicly reported data.
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Purpose At Work: How Liberty Mutual Ensures Our Most Vulnerable Neighbors Get Support
Liberty Mutual Insurance operates in 29 countries and economies today. But it didn't begin as the household name it eventually became. With roots in Boston, it opened its doors just before WWI to provide worker's compensation insurance. It offered its first automobile insurance policy more than a century ago — when there were only about five million passenger cars in the US (27 years after the first recorded auto accident in Ohio City, Ohio!)
As the company grew, it pioneered safety innovations in the home, at the workplace, and on the highway, and even helped develop the first prosthetic limb to use electronic signals from the brain. The company grew internationally, opening its first office outside North America in 1973, as well as domestically, through acquisitions like Seattle-based P&C carrier Safeco Corporation in 2008. Customer-forward innovations remain strong today, with dedicated idea incubators like its Solaria Labs division, launched in 2016.
The sixth largest property and casualty insurer globally, Fortune ranks it number 71 based on its 2020 revenue of $44B (its profits are around $758 million).
Crucial to the company's ESG, CSR, and philanthropy efforts is Melissa MacDonnell, President, Liberty Mutual Foundation & VP, Liberty Mutual Insurance. She's a Lead With We forerunner.
Underwriting people's full potential
MacDonnell uses Liberty's foundational principles — its core "identity" — as a touchstone when considering, creating, adopting, or activating any endeavor in the purpose, community service, and giving spaces:
Progress happens when people feel secure
Help people embrace today and confidently pursue tomorrow
Promise protection for the unexpected, delivered with care
To that end, Liberty started its foundation in 2003, to bolster individual and communal "security" in the communities in which its 45K+ people live and work worldwide. In partnership with its grantees, the foundation's common purpose is to invest the expertise, leadership, and financial strength of the company and its crew "to improve the lives of our most vulnerable neighbors," says MacDonnell.
The company itself through its Liberty Torchbearers program — thousands of Liberty Mutual employees who participate each year in its Give with Liberty, Volunteer with Liberty, and Serve with Liberty initiatives — demonstrate their passions, their purpose, and their empowerment in 23 countries. With majority participation, the company, which matches employee donations, gives millions, and logs thousands of hours of volunteer time each year.
But the foundation extends that service with a budget last year of $40 million, "offering a very structured and inclusive approach so that all of our NGOs have equal access to information and resources that align with our priorities, which are: advancing access for people with disabilities; empowering individuals — especially youth and young adults — experiencing homelessness; and expanding educational opportunities for underserved students." MacDonnell says, "all that aligns" with its parent, Liberty Mutual Insurance's, core values, "because we've focused on our most vulnerable neighbors" today, "so they can look forward to a brighter future" tomorrow.
In terms of the unexpected — the essence of the notion of insurance — people are not secure today nor tomorrow unless they're relatively protected against inevitable catastrophe.
"I know this is going to sound a lot like an insurance professional's point of view here," says MacDonnell, but "everything we did before the pandemic set us up extremely well for the crisis of COVID when it came."
Liberty was ready during the height of the COVID-19 pandemic, when accessibility, homelessness, and education all became real problems for many in most of the communities Liberty serves, for the company and the foundation to act as first responders, deploying emergency grants and flexible use funds for its nonprofit partners. This was particularly necessary for people who were experiencing significant vulnerabilities. "There is this intense isolation and struggle to begin with," says MacDonnell, "and the pandemic only exacerbated that."
MacDonnell led Torchbearers Calling, a program of employees calling people they didn't regularly speak with who were shut-in and isolated owing to COVID, and another of employees decorating thousands of bags with gifts and supplies for children entering foster care during that difficult time.
The foundation removed restrictions on the $14.4 million out in program grants in 2020, "so organizations could use them as they needed." And it committed a further $15 million in crisis grants to community partners helping to respond to the coronavirus.
Access, as a policy
Liberty Mutual Insurance and its foundation have identified a few real and significant problems in the real world that their constituents are passionate about, and uniquely qualified to address. And, at least from a corporate standpoint, they're out there with few others working on solutions. "Certainly, accessibility is much more broadly defined for us today," says MacDonnell, and "there are not a lot of companies in that space." Accessibility is not necessarily a core value for most companies, although many, such as Ernst & Young, KPMG, and Aetna, all excel in the space.
Our focus on "accessibility, to a large extent," says MacDonnell, "is somewhat of a nod to our heritage starting as a worker's comp company, and helping people to live as fulfilling lives as possible."
For example, the foundation has built "universally-accessible" playgrounds in multiple cities. "It's not a playground just for kids with disabilities, and it's not a playground just for kids without disabilities," MacDonnell says, "This is so that children of all abilities can play together right from the get-go."
Access dovetails with the availability of safe housing. Regarding businesses combating homelessness, MacDonnell points out, "there are also not many others there." She thinks that focusing on those three interconnected priorities "gives us the opportunity as a company to really make an even more pronounced difference … and allows us to really be leaders … on some more hidden issues … being a leader is about being places where others may … not be, and saying 'This is an issue that really matters.'"
Change agents at heart
At the heart of MacDonnell's philosophy and programming is a psycho-social framework leaders at Liberty use, called "Theory of Change." Simplified, it's not so much an abstract "theory" per se as a practical prescription for how to bridge the "missing middle" between the goals of a given initiative, and the all-important impact that proves it's been a success (achieved its intended outcomes). That's a lot harder and more complex than it sounds.
Your business, even if it's a paragon of purpose and service, nevertheless must prosper to stay in business so that it can continue to do well in a virtuous loop. But it's not all about the bottom line. Liberty understands, according to MacDonnell, that real "ROI is associated with the long-term outcomes for the community … that our health is intricately connected to the health of the community at a high level."
Those generalized "health outcomes" must be meaningful and measurable, and the results transparent. "If we say we want to be a part of reducing the achievement gap in education, then that's what we ultimately get measured on. When we're together as a board, we're looking at [whether we're] reducing homelessness. Or asking, are we creating more opportunities for people with disabilities to get access to cultural and recreational activities, and workforce opportunities? What do those numbers look like? That is what we are held accountable for," says MacDonnell.
Getting to that point where the momentum of your ESG and other purpose-driven efforts becomes self-sustaining because the impact is so clear begins with listening, MacDonnell says — listening widely and well. Include as many stakeholders as possible. Really identifying the challenge in front of you, and studying it.
For example, she recounts, "When we look at and address youth and young adult homelessness, we do it by partnering on national efforts, by conducting research [with experts], by being at the table with city leaders. And then we have a portfolio of youth homelessness groups that we convene every quarter." On this issue, the foundation then employs a "five-part approach: early identification; education and workforce development, specifically for youth who are experiencing homelessness; health and well-being; permanent connections; and having a caring adult in their lives."
Looking at the pillars of that one program together is critical in grasping the interrelatedness of most challenges. Which gets even more thorny in the field. For example, MacDonnell points out, "We know there's a very high population of Black and brown children and youth who end up homeless. We know that nearly 40 percent of youths who are homeless are LGBTQ … And then, if a young person has a disability, the challenges just skyrocket." Such problems are interwoven in a way that compounds disadvantages and complicates any potential change.
In short, "It's about listening, and it's about being present," MacDonnell reminds us. You might need "years and years of listening and being in the community." Then you need to partner, starting with your own people, in the culture your company has striven to cultivate. Then collaborate with experts, "community partners on the ground, city and state leaders, funders and clients."
You need to, as Liberty does, Lead With We: Says MacDonnell, "Our voice, our passion, our talent, our resources, the collaboration that's existing today is better than it has ever been. Bringing partners together, being at the table, and not having these siloed results, but looking at collective impact will continue to be key. The level of engagement and care that we see and we know exists, especially if you look at our employees, is profound."
If you'd like to dive deeper with more purpose-led companies like Liberty Mutual, check out the Lead with We podcast here, so that you too can build a company that transforms consumer behavior and our future.
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Australia Florin: 1951 50th Year Jubilee
Welcome! » Collectors Resource Center » Coin Library Australia » Australia Florin: 1951 50th Year Jubilee
Jubilee Florin Info
Jubilee Florins on Ebay
Composition: 0.50 silver
Weight: 11.31 grams (0.1818 ounces of silver)
Reverse Design: Sceptor & Sword
To mark the fiftieth anniversary of Australian Federation, 1901 – 1951, a special florin commemorative was issued for circulation. Coins were minted in Melbourne for one year only (1951) and was issued with a composition of 50% silver and is officially known as the 50th Year Jubilee of Federation .
The obverse, designed by T.H. Paget, features the bust of George the VI facing left. At the bottom of George's neck are the designer's initials "HP". On the outer periphery are the words "GEORGIVS VI D.G. BR : OMN : REX FIDEI DEF." (latin for "George VI, by Grace of God, King of all the Britons, Defender of the Faith").
The reverse, designed by Leslie Bowles, features a scepter (or mace) and sword crossing below a crown. The stars throughout the design are from the Southern Cross constellation that is also represented on the Australian flag. Flanking both sides of the design is the dual date 1901 – 1951 while on the outer periphery is the country name "AUSTRALIA" and denomination "FLORIN".
Coins were saved in considerable numbers and remain affordable.
It is important to note that before dies were provided to the Melbourne Mint, a limited number of pattern proof copper nickel versions were made by the London Mint in the U.K. and are extremely rare.
floringeorge-vijubileesilver