Voice-over-IP (VoIP) telephony services don't just stand to benefit your IT department and your company's budget. Mercury Magazines reports that organisations typically net 20% – 30% cost savings when implementing VoIP. Despite initial investment costs in equipment, these savings are typically realised within 18 months.
While there will almost certainly be cost savings associated with the switch, your entire organisation can stand to benefit from significant productivity gains. VoIP offers features that can facilitate better efficiency for all connected employees within the enterprise. Here are five lesser-known features of VoIP that can make your workers far more connected and better at what they do.
With VoIP, voice and data communications are transmitted over a single network. In a business climate where companies are increasingly opting to offer multiple channels for internal and external communications, this potential for integration can be massively helpful.
With VoIP, it's easy to integrate your phone system with your employee's email, allowing their inbox to act as a centralised repository for customer and coworker communications. Voicemail-to-text transcription services allow employees to easily catch up on missed calls from a single point. When your voice and text communications are integrated with your customer relationship management (CRM) tools, it can significantly improve your ability to provide accurate and high-quality customer service.
Call center management can be complex, particularly for organisation that have what Nextiva refers to as a "wide spread of seniority" among customer service representatives. However, many VoIP providers offer several options for automated call distribution in a contact center setting, allowing their clients to pick the option that best fits their business requirements.
If your contact center or reception desk function prefers a "uniform" distribution to the longest idle user or for all phones to ring simultaneously, these options are easy to program into your VoIP management platform.
Interactive voice recognition (IVR) can eliminate your customer's frustration with complex phone menu systems. Effective IVR features within a VoIP implementation can seamlessly integrate with your plan for automated call distribution, virtually eliminating the need for a human switchboard operator and significantly reducing inaccurately routed customer calls. No client wants to feel as if they've been fighting against a confusing phone menu or "passed around" needlessly by your customer service representatives. Effective voice recognition tools can improve your chances that calls go to the right person immediately.
Many VoIP solutions allow internal administrators to seamlessly manage VoIP through a single, Web-based portal. Depending on your internal talent and your agreement with your VoIP vendor, this can include scaling phone lines up or down, and performing other adjustments to your VoIP network. Since a Web portal can be accessed from anywhere in the world, this eliminates much of the need to have on-site talent with the ability to manage the phone system.
For employees who may work remotely or need to remain accessible 24/7, VoIP's ability to automate call diversion can eliminate the chances of missed customer communications. By forwarding calls directly to an employee's mobile device or another selected number, your employees can communicate seamlessly with clients and coworkers, even if they're working out of the office or traveling. Perhaps best of all, as IT Donut highlights, automated call diversion with VoIP is not noticeable to client callers.
Your business phone system should never inhibit productivity. If your employees are struggling to manage multiple communication channels without integration or keep up with several phone numbers, it's likely time to make the switch to a centralized means of phone communication. With an effective VoIP implementation, both IT and other departments can become more efficient at communicating internally and externally, which can lead to important gains in customer satisfaction.


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Budget Tracker
The U.S. Government and Multilateral Global Health Engagement: 5 Key Facts
Kellie Moss Follow @KMossGH on Twitter , Josh Michaud Follow @joshmich on Twitter , and Jennifer Kates Follow @jenkatesdc on Twitter
Global health donors, such as the U.S., provide funding and other support primarily through two types of channels: bilateral (i.e., country-to-country) and/or multilateral (i.e., multi-country, pooled support often directed through an international organization). Donors make different choices about the distribution of their global health support between these two mechanisms, and these choices may change over time due to political, technical, or other considerations.1 While the U.S. has decidedly been a bilateral donor to global health (channeling 81% of current global health assistance bilaterally), it has helped to found, and serves as a key donor to, several major multilateral health organizations. These include some of the first international health organizations, such as the Pan American Health Organization (PAHO) in 1902 and the World Health Organization (WHO) in 1948, and newer partnerships, such as Gavi, the Vaccine Alliance (Gavi) in 2000 and the Global Fund to Fight AIDS, Tuberculosis and Malaria (Global Fund) in 2002. These multilateral organizations have contributed significantly to improvements in global health2 and, in some cases, serve as key components of the U.S. global health response. This response includes financing, governance, oversight, and technical assistance.
Multilateral global health organizations are those jointly supported by multiple governments and, often, other partners (versus bilateral efforts, which are carried out on a country-to-country basis). Examples include:
health-focused or health-emphasizing specialty agencies of the United Nations (U.N.), such as PAHO, WHO, the Joint United Nations Programme on HIV/AIDS (UNAIDS), the U.N. Population Fund (UNFPA), and the U.N. Children's Fund (UNICEF); and
international financing mechanisms for global health, such as Gavi, the Global Fund, and the TB Drug Facility (at the Stop TB Partnership), which pool and direct resources from multiple public and private donors for specific health causes.
Still, U.S. support for multilateral institutions has fluctuated over time, reflecting, in part, changing U.S. leadership views on the relative value of bilateralism versus multilateralism. Following a period of increasing U.S. support for multilaterals, particularly during the Obama Administration, the Trump Administration has signaled skepticism about such engagement, requesting less funding for international organizations (including multilateral health organizations) and withdrawing from several multilateral agreements.3 Even so, our polling shows that most Americans – in fact, an increasing percentage – believe the U.S. should be working in coordination with others on international health efforts (see Americans' Views on the U.S. Role in Global Health).
New @KaiserFamFound brief examines how the U.S. government engages with multilateral organizations to address key #globalhealth challenges
With ongoing questions about future U.S. support for multilateral health efforts as well as important markers on the near horizon, including donor replenishment conferences for both the Global Fund and Gavi within the next two years, this brief highlights five key facts about U.S. engagement with multilateral global health organizations. It focuses on those organizations to which Congress specifically directs funding (there are eight, including five U.N. entities; see Box 1) but is not meant to be an exhaustive review of all multilateral health initiatives in which the U.S. may participate.
Box 1: Multilateral Health Organizations Supported by the U.S.*
U.N. Agencies
Pan-American Health Organization (PAHO)
Joint United Nations Programme on HIV/AIDS (UNAIDS)
United Nations Children's Fund (UNICEF)
United Nations Family Planning Agency (UNFPA)
Non-U.N. Financing Mechanisms
Global Fund to Fight AIDS, Tuberculosis and Malaria
TB Global Drug Facility (at Stop TB Partnership)
NOTE: * indicates includes those organizations to which Congress specifically directs funding.4 Multilateral global health initiatives the U.S. supports without direct congressional appropriations are not covered in this brief, including the Global Polio Eradication Initiative (GPEI); the Global Health Security Agenda (GHSA); and the Global Financing Facility (GFF), among others. Such organizations may receive funding determined at the agency level.
1. U.S. multilateral funding for health has grown over time but, mirroring overall trends, flattened more recently.
The amount of U.S. global health funding directed multilaterally varies each year but has generally grown over time, both in amount and as a share of the U.S. global health budget. The U.S provided initial support for Gavi (launched in 2000) and the Global Fund (launched in 2002), while continuing its support for U.N. health agencies, and U.S. funding to multilateral global health organizations has generally increased over time since then. From FY 2008 through FY 2018, U.S. multilateral health funding5 increased from $1.2 billion to $2.0 billion, with a peak of $2.2 billion in FY 2014 (see Figure 1). This represents funding specified by Congress in appropriations for contributions to the five U.N. entities identified in Box 1 – provided as "regular," "core," or "assessed" contributions6 (generally used to support essential functions and operations) and contributions to Gavi, the Global Fund, and the TB Global Drug Facility. More recently, general budget pressures led to a flattening of U.S. global health funding, including for multilateral efforts.
Figure 1: U.S. Global Health Funding Overall and Bilateral & Multilateral Shares, FY 2008 – FY 2019
In addition, U.S. agencies at times provide other funding that is not specified by Congress to U.N. entities; these additional contributions are often referred to as "voluntary" or "non-core" contributions and used for specific projects or initiatives the U.S. seeks to support. In some cases these voluntary contributions are quite sizable (see Appendix). For example, in FY 2017, about three-quarters of U.S. contributions to WHO were voluntary, and nearly half of U.S. contributions to UNAIDS were non-core contributions.
As a share of the U.S. global health budget, multilateral funding has also increased over time, rising from 15% in FY 2008 to 19% in FY 2018 (its high point was 21% in 2013 and 2014); see Table 1. This growth in part reflected an increased emphasis placed on multilateral cooperation by the Obama Administration, as well as growing support in Congress.
Table 1: Bilateral and Multilateral Shares of U.S. Global Health Funding, FY 2008 – FY 2019
Channel FY08 FY09 FY10 FY11 FY12 FY13 FY14 FY15 FY16 FY17 FY18 FY19
($ in Billions) $8.5 $9.4 $10.3 $10.0 $10.1 $9.8 $10.5 $11.3 $10.6 $10.6 $10.8 $10.8
Bilateral 85% 84% 85% 85% 82% 79% 79% 83% 81% 81% 81% 81%
Multilateral 15% 16% 15% 15% 18% 21% 21% 17% 19% 19% 19% 19%
NOTES: Represents funding (base and supplemental) provided through the State Department, USAID, CDC, NIH, and DoD as specified in appropriations or sometimes determined at the agency level; additional funding for contributions may be provided at the agency level for voluntary or non-core contributions, but these are typically counted as bilateral spending since they usually support specific projects or aims identified by the donor. FY13 includes the effects of sequestration. FY18 and FY19 are preliminary estimates. Some global health funding that is not specified in the appropriations bills but determined at the agency level is not yet known for FY18 and FY19 and is assumed to remain at prior year levels.
The Trump Administration, however, has called for significant budget cuts to foreign assistance, including for multilateral health programs.7 For FY 2018, the Administration proposed a 24% (or $481 million) cut to multilateral global health funding. This was rejected by Congress, which instead provided a $16 million increase over FY 2017 levels.8 For FY 2019, the Administration requested a 37% cut ($735 million) to multilateral health funding, which, if enacted, would have returned funding to pre-FY 2009 levels and was a steeper proposed cut to multilateral programs than bilateral programs (19%).9 Congress rejected this proposed cut as well.
2. U.S. contributions to multilateral health organizations are significant.
The U.S. provides significant support to a number of multilateral global health organizations (see Appendix). In many cases, the U.S. is the largest, or one of the largest, donors to these organizations. For example, the U.S. is the top contributor to five of the eight organizations: the Global Fund, PAHO, UNAIDS, UNICEF, and WHO.10
However, this is not always the case, and U.S. contributions to multilaterals can change over time. For example, while the U.S. helped to found the United Nations Populations Fund (UNFPA) in 1969 and was a leading supporter for many years, its support has fluctuated significantly over the years, due to ongoing political debates about abortion. Most recently, the Trump Administration determined it would withhold U.S. support to the agency, invoking the Kemp-Kasten Amendment of U.S. law to do so (see KFF's explainer).11
3. U.S. support for multilateral health organizations often complements its bilateral programs in support of global health goals.
Multilateral initiatives complement U.S. bilateral global health efforts, helping make progress toward U.S. goals in various program areas. In some cases, multilateral support allows the U.S. to reach a larger number of countries; it also may help to leverage additional funding and provide opportunities for improved coordination and technical consultations. For example:
HIV. While primarily bilateral, U.S. global efforts to fight HIV under the umbrella of the President's Emergency Plan for AIDS Relief (PEPFAR) include multilateral support, primarily through contributions to the Global Fund but also to the Joint United Nations Programme on HIV/AIDS (UNAIDS). U.S. investments in the Global Fund, in particular, are recognized as the "multilateral arm"12 of PEPFAR. PEPFAR coordinates its bilateral spending and activities in PEPFAR countries with the grants provided to and activities supported in countries by the Global Fund. Furthermore, U.S. contributions to the Global Fund extend the reach of PEPFAR by reaching an additional 78 countries where the PEPFAR bilateral program does not operate (see Figure 2). In addition, since U.S. law requires that the U.S. contribution cannot exceed 33% of total contributions from all donors, the U.S. contribution to the Global Fund leverages other donor contributions. See KFF fact sheet on PEPFAR and the fact sheet on the Global Fund.
Figure 2: Geographic Reach of PEPFAR and the Global Fund to Fight AIDS, TB and Malaria
Maternal and child health (MCH). In addition to U.S. bilateral efforts to improve MCH, the U.S. also provides multilateral support for MCH through contributions to the United Nations Children's Fund (UNICEF) and Gavi. For example, in the area of immunization, UNICEF and Gavi are key U.S. partners in working toward ending preventable child deaths, which is a U.S. priority, and they play a critical role in expanding vaccine access by addressing affordability and vaccine development issues. UNICEF (a U.N. agency aiming to improve the lives of children, particularly the most disadvantaged children, to which the U.S. is the largest donor) is one of the largest purchasers of vaccines and distributes childhood vaccines worldwide, while Gavi (a multilateral financing mechanism aiming to increase access to immunization in poor countries to which the U.S. is one of the largest donors) provides funding to eligible countries to accelerate introduction of new and underused vaccines and strengthen vaccine delivery systems. These global efforts complement U.S. bilateral efforts, where in a subset of countries the U.S. provides technical assistance to immunization programs to strengthen routine immunization systems and identify areas where more equitable vaccine access may be improved. See the KFF fact sheet on global MCH and the KFF fact sheet on Gavi.13
4. U.S. multilateral engagement influences international priorities and contributes to global standard-setting.
The U.S. government shapes multilateral global health efforts not only through funding but also through its participation in governance structures and the development and execution of technical and standard-setting guidance, agreements, plans, and programs:
Funding. As mentioned above, the U.S. is often the largest or one of the largest donors to multilateral health efforts. Without U.S. core funding, many U.S.-supported multilateral organizations' essential operations and functions would be jeopardized. Additionally, U.S. funding for "voluntary" or "non-core" contributions is also a key budget component driving global efforts. Further, U.S. policies related to funding can also greatly influence financial support for multilaterals. As mentioned above, the U.S. contribution to the Global Fund leverages other donor contributions, since U.S. law requires that the U.S. contribution cannot exceed 33% of total contributions from all donors.
Governance. The U.S. government is active in the governance structures that oversee multilateral global health organizations and initiatives, including holding permanent or rotating seats on many of their boards. It currently participates in key governance mechanisms for all of the eight key multilateral health organizations identified (see Table 2). For example, the U.S. government has a permanent Board seat on the Global Fund's Board and is currently an alternate member of the Gavi Board, and this year, the U.S. again assumed a seat on the WHO Executive Board.
Table 2: Selected Multilateral Organizations and Initiatives Related to Global Health and Current U.S. Participation in Governance
Organization Current U.S. Participation in Governance
alternate member for one of the Donor Countries Governments constituency seats of the Board (rotating seat among U.S./Australia/Japan/South Korea);14,15 current seat on Board committees for Audit and Finance; Market Sensitive Decisions; and Programme and Policy16
permanent member of the Board;17 current seat on Board committees for Audit and Finance, Ethics and Governance (as Chair), and Strategy18
member of the Executive Committee19 (rotating seat among member states)
TB Global Drug Facility
(at Stop TB Partnership)
member of the Stop TB Partnership Board (CDC has current seat, 1 of 2 that rotates among technical agencies; USAID has current seat, 1 of 3 for financial donors)
member of the Programme Coordinating Board (rotating seat among Western European and Others Group) 20
permanent member of the Executive Board (since 1948)21
UNFPA
member of the Executive Board (rotating seat among Western European and Other States)22
member of the Executive Board (rotating seat among the Americas region)23
NOTES: As of Jan. 25, 2019.
Technical assistance and standard-setting. The U.S. supports the role of multilaterals in technical guidance and standard-setting plans and programs in several ways. For one, the U.S. government seconds a number of employees to or designates staff to serve as liaisons to these organizations, including to WHO and PAHO.24 The U.S. Centers for Disease Control and Prevention (CDC) and the National Institutes of Health (NIH) run several WHO collaborating centres for various global health issue areas (such as global cancer control, influenza, malaria, reproductive health, and viral hemorrhagic fevers25). U.S. multilateral engagement also influences WHO and other international organizations that set standards related to health, such as essential medicines and recommendations on specific treatment protocols. Lastly, the U.S., as a member-state of WHO, weighs in on global plans to respond to a range of health issues, such as NCDs or various infectious diseases, as they are developed and considered for approval by the larger body.
5. The next two years will reveal much about U.S. commitment to multilateral health engagement.
With several key international meetings and replenishment conferences on the horizon, the next two years will provide a number of opportunities for assessing the level of U.S. commitment to multilateral global health efforts. For example:
In September, U.N. member states will come together at the High-Level Meeting (HLM) on Universal Health Coverage (UHC) to discuss improving access to and the quality of health care worldwide. However, this has been an area where the U.S. has shown only lukewarm involvement in the past, even as the UHC agenda has been adopted by most countries around the world and is a key component of the U.N.'s Sustainable Development Goals. U.S. participation in the HLM could either be a moment of change or one in which the U.S. maintains the status quo.
In October, the Global Fund will hold its replenishment conference for the 2020-2022 period, and in 2020, Gavi will hold its replenishment conference for the 2021-2025 period. In the past, these conferences have provided an opportunity for the U.S. government, including the Administration and Congress, to demonstrate their commitment to these multilateral financing institutions. These upcoming conferences will present a similar opportunity, though in light of recent proposed cuts to the Global Fund and Gavi by the current Administration – cuts that Congress ultimately rejected, there will likely be significant discussion between the Administration and Congress about the levels of funding the U.S. should pledge during the conferences. U.S. actions will be closely observed particularly in the case of the Global Fund replenishment, as the U.S. has always been the leading donor to the Global Fund and has used its contribution to leverage other donor investments in the Global Fund.
It will be important to keep these key facts in mind over the next two years, as discussion and debate over U.S. contributions to these and other multilateral health institutions continue.
Appendix: U.S. Contributions Related to Global Health to Selected Multilateral Organizations, FY 2008 – FY 2019
Table A: U.S. Contributions Related to Global Health to Selected Multilateral Organizations, FY 2008 – FY 2019
FY08 FY09 FY10 FY11 FY12 FY13 FY14 FY15 FY16 FY17 FY18 FY19
U.S. Contributions*
Gavi 71.9 75.0 78.0 89.8 130.0 138.0 175.0 200.0 235.0 275.0 290.0 290.0
Global Fund 840.3 1000.0 1050.0 1045.8 1300.0 1569.0 1650.0 1350.0 1350.0 1350.0 1350.0 1350.0
PAHO (assessed) 57.9 59.1 59.8 60.5 63.1 65.7 65.7 65.7 64.5 64.3 65.3 65.3
UNAIDS (core) 34.7 40.0 43.0 42.9 45.0 42.8 45.0 45.0 45.0 45.0 45.0 45.0
UNFPA (core) 0.0 46.1 51.4 37.0 30.2 28.9 30.7 30.8 30.7 0.0 0.0 —
UNICEF (regular)b 128.0 130.0 132.3 132.3 131.8 125.2 132.0 132.0 132.5 137.5a 137.5 137.5
WHO (assessed) 101.4 106.6 106.6 109.4 109.4 109.9 109.9 113.9 112.8 111.4 112.9 112.9
TOTAL** 1249.1 1471.8 1536.0 1532.7 1824.5 2093.7 2223.3 1952.5 1985.5 1998.2 2014.2 2015.7
Additional U.S. Contributionsb
PAHO (voluntary) 6.1 6.1 2.1 6.6 23.7 12.5 3.0 22.5 13.1 — — —
UNAIDS (non-core) 5.2 6.0 5.8 2.0 6.5 21.2 14.4 6.6 22.6 37.4 — —
UNFPA (non-core) 0.0 0.0 5.9 1.4 3.6 6.9 17.8 45.0 32.6 5.8c — —
WHO (voluntary) 112.0 110.0 304.4 112.4 222.4 221.1 101.7 324.3 228.0 401.1 — —
NOTES: FY13 includes the effects of sequestration. FY18 and FY19 are preliminary estimates. Some global health funding that is not specified in the appropriations bills but determined at the agency level is not yet known for FY18 and FY19 and is assumed to remain at prior year levels.
— indicates amount is not yet known or set.
* indicates represents funding (base and supplemental) provided through the State Department, USAID, CDC, NIH, and DoD as specified in appropriations or sometimes determined at the agency level including for U.S. contributions that are considered "regular," "core," or "assessed" contributions, which are usually identified in congressional budget justifications and/or appropriations legislation and related material and specifically directed by Congress. UNFPA amounts reflect funding provided after funding level adjustments due to congressional requirements, including presidential determinations under the Kemp-Kasten amendment, have been applied to appropriated funding levels; the FY19 UNFPA contribution amount is still to be determined.
** indicates the total does not include additional (other resources, non-core, or voluntary) contributions provided at the agency level; these are typically counted as bilateral spending since they usually support specific projects or aims identified by the donor.
a includes $5 million in funding designated for female genital mutilation.
b indicates that the U.S. also provides additional contributions to UNICEF but that since within this amount it is difficult to identify the portion that is directed to health versus non-health activities, they are not reflected in this table.
c indicates funding is due to multi-year agreements.
PEPFAR
KFF Global COVID-19 Vaccine Coverage Tool: Current and Projected Coverage
U.S. International COVID-19 Vaccine Donations Tracker
Assessing the Role of Treaties, Conventions, Institutions, and Other International Agreements in the Global COVID-19 Response: Implications for the Future

redpajama_set_name: RedPajamaCommonCrawl


There are three New Yorker-related books that have stood the test of interest for me since the mid 1970s when the New Yorker became the place I wanted and had to be: The Thurber Carnival, Brendan Gill's Here At The New Yorker, and Burton Bernstein's Thurber. A box-ful of New Yorker-related books have been published since (and a smaller box-ful were published before), but these three forever fascinate and educate. The Thurber Carnival came first — it was my entry point for his drawings and writing. Luckily for me, both Gill's book and Bernstein's were published soon after I first devoured Carnival — both, in fact, came out in 1975 — coincidentally(?) the year the New Yorker celebrated its 50th anniversary) and not-so-coincidentally, exactly at the time I was ready for them to take over my world. Bernstein's book, read while I was still in college, helped push me forward to living in the big city and going all out to break into the New Yorker. I had already decided I needed to be part of what Thurber was part of — reading his biography only made it more imperative (as there was no plan "b").
Luckily, I had a chance to meet Mr. Bernstein just a few years ago and tell him how important his book was/is to me. I explained how tattered my copy has become, and how, like Gill's book and my first copy of Thurber Carnival, it is never far from where I work. True then, true today.
I'm happy to say Thurber's influence runs through me daily. There are days I'm aware I'm trying to do something in the spirit of what he has done. A drawing recently published was an homage to Thurber's Seal in the Bedroom. Even more recently I sold a drawing (not yet published) to the New Yorker that was heavily influenced by my all-time favorite Thurber drawing, "What have you done with Dr. Millmoss." I'll note it here on the Spill when it is published. Now in my 41st year of contributing to the magazine, my debt to Thurber is never paid. The same can be said about the other two authors who assisted in bringing me here.
A departure this Sunday from previous Sundays in that the book above contains only New Yorker covers, and zero cartoons. However, of the thirty-six cover artists represented in the book, twenty-eight also contributed cartoons. This seemingly lop-sided representation of the magazine's cartoonists doubling as cover artists was not at all out of the ordinary in the pre-Tina Brown days (Ms. Brown inverted the cartoonist/strictly-cover artist ratio, reducing the percentage of cartoonists on the cover to a minimum. Non-contributing cartoonists have been in a wide majority since).
The book, published in 1984 by United Technologies Corporation, with the heavy lifting done by the National Academy of Design, is a must have for any library stocked with New Yorker collections. It's a coffee table book that doesn't need a coffee table (measuring 10″ x 13″, but just 160 pages).
The folks at the National Academy did a splendid job of designing the book, taking great care to present us with not only the covers as they appeared as New Yorker covers, but full page, sans New Yorker logo. The book is divided into the four seasons; the only non-seasonal cover is the magazine's very first (by the incomparable Rea Irvin) beautifully reproduced on the page just before we enter Spring.
My my, how times have changed. The are still "three or four types of art work" but covers that "contain a mildly satiric swipe" are now a thing of the past.
On a personal note, I was just into my seventh year as a New Yorker contributor when I received an invitation to attend the gallery exhibit of some of the covers in the book. Here's a very short excerpt about my visit to the opening from my still in-the-works/ongoing New Yorker journal. At the time I was living in upstate New York after having somewhat recently moved from Greenwich Village.
Perhaps missing some of Manhattan's hubbub, I decided to attend the Seasons At the New Yorker opening at the National Academy of Design on 5th Avenue hard by Central Park — new-ish territory for me, other than my infrequent visits to the Metropolitan Museum. I was half-a-block from the party when I noticed the New Yorker writer Brendan Gill holding court out on the sidewalk. He was wearing a dark suit and looked to be holding a glass of champagne. 5th Avenue! Champagne! Brendan Gill! THE Brendan Gill — the man whose book, Here At the New Yorker helped drive me to this magazine. The idea of introducing myself to him that evening was out of the question: just to be here at this party was more than enough excitement.
After rounding the exhibition looking at the framed covers, I sat down for a moment on a circular stuffed sofa next to a very nice woman, somewhat older than me. After some initial pleasantries, I discovered that she had been married to Robert Kraus, a former New Yorker cartoonist (and later owner and editor in chief of his own publishing house, Windmill Press, publishers of William Steig's children's books).
Eventually I made one more pass around the gallery space and found myself walking into the New Yorker's art editor, Lee Lorenz and his (then) wife. I knew Lee wouldn't know me by sight — we'd only met once before, but I thought it would be silly not to speak with my editor. As I suspected, Lee looked confused and slightly unhappy when I walked up to him, but was relieved and seemingly amused when I told him my name. Lee looked me over and said, "You look like an ice cream salesman." And perhaps following up on the theme, his wife said, "Oh, you're the one who does all the ice cream cartoons." My self-confidence at once damaged and lifted, I made small talk, then drifted back out to 5th avenue, and back upstate.
Below: From the Spill's files, the invitation (my friend, Jack Ziegler didn't call me the "boy archivist" for nuthin).
Every so often the Spill likes to take a look at the last cartoon published by one of the magazine's artists. This week it's a drawing by Peter Arno — the cartoonist the New Yorker's Roger Angell called "the magazine's first genius." I won't go on and on here about why Arno is one of the magazine's greatest — some say the greatest of the magazine's artists, but if you want more on the subject there is a biography of him floating around (forgive me for lifting the bolded passage below from the aforementioned biography).
"Oh, grow up!" wasn't the last Arno published by the New Yorker. His last cover appeared the following June, and the magazine has, from time-to-time brought out one of his older covers or drawings. But it was certainly the last published in his lifetime. The drawing appeared in the anniversary issue, dated February 24th, 1968. It would've been out on the newsstands a week earlier, the week of February 18. Arno died on February 22.
If you have access to the New Yorker's digital edition or happen to have a print copy, it's certainly worth a visit to this issue — it's a gem. Rea Irvin's Eustace Tilley is, of course, on the cover (and Mr. Irvin's classic masthead for the Talk of The Town is in its place). The issue's cartoons are by some of the greatest names on the magazine's roster of artists (the magazine had a history of making sure the anniversary issue was loaded up with a good number of its big guns. In my Arno research I came across a note to Arno from the New Yorker's founder and first editor, Harold Ross expressing concern he (Ross) did not have a Arno drawing available for the upcoming anniversary issue).
In this issue you'll find terrific cartoons by Robert Weber, Alan Dunn, George Price, James Stevenson, William Steig, Steinberg, Richard Decker, Warren Miller, Frank Modell, Syd Hoff, Charles Addams, Whitney Darrow, Jr., Lee Lorenz, Mischa Richter, and Barney Tobey. (At this particular time the magazine's stable of cartoonists was all male. Mary Petty's piece appeared in 1966, and Nurit Karlin's work did not begin appearing until 1974).
Next week, the Spill will return with its usual Monday Tilley Watch.


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Slayer adds second date to its final Southern…
Slayer adds second date to its final Southern California send-off at The Forum
Tickets go on sale at 10 a.m. Friday, July 19 via Ticketmaster.com.
Slayer has added a second show at The Forum on Nov. 29. The last two gigs (Nov. 29-30) will be the cap on the band's 18-month long Final World Tour. (Photo by Drew A. Kelley, Contributing Photographer)
By Kelli Skye Fadroski | kfadroski@scng.com | Orange County Register
PUBLISHED: July 16, 2019 at 12:10 pm | UPDATED: July 16, 2019 at 12:13 pm
After selling-out a date at The Forum on Nov. 30 in less than 24 hours, metal band Slayer has announced that it will give Southern California fans just one more chance to see the band's The Final Campaign Tour in Inglewood on Nov. 29.
The back-to-back shows are hometown gigs for the Huntington Park quartet and will be the last U.S. dates of the band's lengthy Final World Tour, effectively ending Slayer's career where it began back in 1981. Tickets for the newly added date are $49.50-$99.50 and go on sale at 10 a.m. Friday, July 19 at 800-745-3000 or Ticketmaster.com.
The November shows also include sets by Primus, Ministry and Philip H. Anselmo and the Illegals performing "A Vulgar Display of Pantera."
In January 2018, the band announced it was embarking on its final world tour as a thank you to fans that have given the band support over nearly four decades. The 18-month journey landed the band in 30 countries around the world and included 40 stops within the U.S. Slayer kicked off the first full season at the all-new, temporary FivePoint Amphitheatre in Irvine back in 2018.
Nickelback and Stone Temple Pilots announce a tour stop at FivePoint Amphitheatre
Alice Cooper, Tesla and Lita Ford will play the Hollywood Bowl
Temecula bans short-term rental homes, sets $1,000 fine
Kelli Skye Fadroski
Kelli Skye Fadroski lives for entertainment. She's worked at The Orange County Register since 2006 and has covered all things music, stand-up comedy, horror and more. When she's not out reviewing a concert or interviewing some random famous person, she's catching up on episodes of 'The Walking Dead,' somewhere sampling craft beer, enjoying Taco Tuesday or yelling at the contestants through the TV on 'Celebrity Name Game' for not knowing basic pop culture trivia. She's also a diehard Detroit Lions fan.
Follow Kelli Skye Fadroski	@kelliskye
More in Music + Concerts


>I shudder to think what kind of story a news team might concoct about Leica!
criticism recently to hold the "big dog's" feet to the fire more.
(From an old grump who had a run-in with a teeny-bopper journalist today).


I posted earlier today about synchronizing an Entourage calendar to other macs and to my iPhone. Well, I've found what I believe is a better solution though not free. Spanning Sync is software made specifically for synchronizing your calendars and address books across multiple macs. What's nice about this solution is you only need Spanning Sync on your computers and nothing on your iPhone. This solution does assume you're already using MobileMe for calendar syncing. The problems I mentioned earlier, namely Calgoo Connect crashes and calendar changes not filtering back to Entourage, are not present with this setup.
To get started, download Scanning Sync from http://spanningsync.com and then follow the steps below.
Wait a minute or two for all your data to be created in iCal and then launch iCal to ensure it's all there properly. The new iCal calendar should be called Entourage.
If you have another mac computer (like I do) you can install Spanning Sync on it and walk through the same configuration steps. On any additional computers, you'll need to create an empty iCal calendar before pairing it with your Google calendar. You have to have a place for all those meetings to go you know!
After going through the steps above I had my work Macbook Pro syncing the Entourage calendar to iCal. I had the iCal calendar syncing to a Google calendar also called Entourage. On my person Macbook Pro I created an empty iCal calendar called Entourage and directed that calendar to sync with the Google Entourage calendar. All syncing is handled by Spanning Sync. An added bonus of setting up the calendar syncing on my personal Macbook Pro is the Entourage iCal calendar is automatically synced with my iPhone via MobileMe. No additional setup or configuration (i.e. Nueva Sync) was necessary. MobileMe sees I have a new calendar and sets it up appropriately on my iPhone within minutes. Nice!
Caveats: Event alerts only made it to my iPhone (MobileMe gets the thanks for this) and not my work Macbook Pro, Entourage, or Google calendar. This is okay if new events are created on either Macbook, directly in iCal. Events created in Entourage will not have built-in alerts when they make it to iCal or iPhone unfortunately.
Check Google Entourage calendar to see if event is gone. It was.
Check work Macbook Pro to see if the event is gone from iCal. It was.
Check work Macbook Pro to see if the event is gone from Entourage. It was.
In summary, Spanning Sync gets the nod as the best and most simple way to get calendar data from Entourage to just about anywhere else you need it. The software footprint is minimal as it uses a simple OS X preference pane and it doesn't create any strain on your system. If you can afford $25/year or $65 for a one-time lifetime licensing fee, I recommend you go with Spanning Sync.
This entry was posted by Aaron West on December 15, 2008 at 11:00 AM. It was filed in the following categories: Productivity, Mobile & Devices, iPhone, MobileMe, Mac. It has been viewed 14946 times and has 0 comments.


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ONION JACK PALE ALE
BREWER: Brasserie Voie B, Brittany
STYLE: Pale Ale
VESSEL: 33cl bottle
INSTAGRAM: #voieb is as good as it's gonna get party people
Onion Jack – I mean, are you serious? Someone (or some people) has actually decided to name a beer Onion Jack. I am assuming that it is meant to represent the fusion of French and English. That is, a French brewery making an English beer. If I so wished, I could go onto the internet and find out. But to be honest, I cannot be bothered as the team behind Onion Jack seem to have put so little thought into this product.
Anyway, as is a necessity, I need to sample this drink…I'm afraid it's not good. No, actually I am not afraid that it's not good. The reason for this is that Onion Jack is poorly conceived. It's poorly packaged. It's poorly brewed. All in all, it's quite a poorly beer.
The best that I can say for it, is it's just about drinkable. No more.
Look, there are so many great and good beers out there. This is not even worth bothering with.
On October 18th the third Onion Jack Tour will touch down in Dorset. They bring with them, tradition, onions, tunes, shallots, smiles, onions, entertainment, wine, garlic, onions and a whole lot of…………..P A R T Y ! !
Historically, it's always been a challenge to exactly date the start of a trade, and then predict when it may disappear or even decide when to revive it as well as sharing a joyful tradition. As such, the third edition of the Onion Jack Tour will be a journey connecting the past traditions to the future of this profession.
The association Onion Jack puts forward the tradition around the Johnnies in Brittany where the Roscoff pink onion is grown and conditioned in strings in a unique way and in Great Britain where this particular trade has become so scattered around the country it has now almost become a myth.
If you ever wondered where the cliché, most loved by the British, of the Frenchie wearing a beret and a stripy jumper and displaying a string of garlic around their neck comes from… seek no more! The trade of the Johnnies, those Breton farmers and sailors who cross the Channel to sell, among other local produces, the Roscoff pink onion to their British neighbours, has been ongoing for 200 years.
It is in Roscoff, a small city in Finistère with a past of hosting corsairs and the original home to the Johnnies that the celebrations will kick off.
As far as the party is concerned, a programme of live shows, music, circus entertainments will accompany the Johnnies to the centre of the Onion Jack village on the old harbour of Roscoff, from 17th to 19th May, to entertainment both adults and children. Once again this year, onions, shallots, strings of onions as well as various other Breton produces will be shipped by sailing boats from Roscoff to Bridport in October.
The Onion Jack is an opportunity to showcase Brittany through its traditions (parade of the Johnnies), its products (Breton market), its artists (gigs, street art performances), its rich maritime heritage (shipment of goods by sailing boats, sea parade, the French Sea Rescue Association stand, Surfer Rider association), its cuisine richness (non-stop catering service using local products), its youth (school activities, games and entertainment for children), its language (tea time with the Johnnies, Breton music).
Because history is like a succession of waves, sometimes with winds going in all directions, join us this year: in May in Roscoff and in October in England to blow into our sails, reviving the spirit of the Johnnies.
The Onion Jack Pale Ale sits perfectly alongside this band of merry Men and Women. Easy drinking, no fuss and sessionable beyond belief.
The fact it isn't very good doesn't really matter.
MOB review next weekend: 24 CARAT by REBELLION BEER COMPANY
IN TWO WEEKS MUSE ON BOOZE IS TWO
IN TEN DAYS YOU WILL HAVE A TOP TEN
Author Muse on BoozePosted on September 20, 2019
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Strictly speaking, this is an Albany County tax list, because it dates from 1779, 12 years before Rensselaer County was created from Albany County, in 1791. Leslie Potter kindly transcribed it from the the Lansing Papers, Call Number KT 13324, GY Lansing Papers Box 1, at the New York State Library in Albany. Leslie transcribed the list verbatim, retaining all spelling, wording and order exactly as it was in the original. If you would like to transcribe other tax lists from other years and contribute them to this site, they would be very welcome! You may email them in plain text in the body of an email message to me, Debby Masterson.
Daniel Shaw of Cook's Cor.


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Is 128 GB enough for an iPod touch?
The iPod touch has never come in this capacity before, so it's perfect for the music aficionados. While 128GB should be enough for most, if you never want to have to worry about remaining space on your iPod touch 7, or plan on having a lot of non-streaming media on it, then 256GB is the way to go.
How many songs does an iPod touch 128GB hold?
Around 30,000 if the song size is 4mb. If the song size is 8mb then 15,000. Do you find this helpful?
Do they still make ipods in 2021?
One of the most successful products Apple has ever made was the iPod. But now it is 2021 and despite having Apple Music on our iPhones and even being available on Android and some smart TV's, Apple still sells the iPod Touch.
Are iPod touches worth buying?
The iPod touch can do all of this and its much less expensive than buying an iPhone or iPad. The iPod touch is worth buying, even if you already own an iPhone. I've heard a lot of people say that the iPod touch is obsolete and isn't worth buying if you already have a smart phone. I used to think the same way.
Is 32 GB enough for an iPod touch?
The 32GB model will be enough if you rely primarily on streaming music services, even if you tend to cache music. You will need more storage if you store and record video.
Is 32 GB enough for an iPod?
Will there be a new iPod touch in 2020?
Moser said that Apple added "iPod Touch" to their Apple Music PR blurb back in November 2020. "This Fall Apple is planning to release the next version of the iPod touch," Moser said. The current iPod Touch in the market features a 4-inch display and is similar to the iPhone SE 2020 in terms of design.
Should I buy an iPod touch in 2021?
As in 2021, there's almost no reason to buy this iPod. For many people, it's a better investment to spend $100 more and buy the base-iPad model. With a bigger screen, better processor, and improved cameras, it takes advantage of the Apple Pencil, as well as the Smart Keyboard, perfect for homeschooling.
Can you text with an iPod?
Normally, SMS texting requires the use of a cellular carrier — even on an iPhone, you can't send SMS texts using the Messages app over Wi-Fi. But even though the iPod Touch can't use a cell connection, it offers two alternate methods for sending and receiving text messages: using iMessages or using third-party apps.
Should I buy my 7 year old an iPod Touch?
For younger children, or children who are more likely to damage an electronic device, the iPod touch 7 is a better "starter" device. Your child can listen to music, watch videos, play games, and FaceTime with grandma and grandpa.
How much does an iPod Touch cost?
Apple's New iPod Touch Has A Hidden Monthly Cost. The music-listening device also packs a 8-megapixel rear camera and improved front camera for FaceTime… Pricing for the revamped iPod Touch starts at $199 for the 16GB model. From there, it's $249 for the 32GB, $299 for the 64GB and $399 for the 128 GB model.
What is the sixth generation iPod Touch?
The sixth-generation iPod Touch (stylized and marketed as the iPod touch, and colloquially known as the iPod touch 6G, iPod touch 6, iPod touch (2015) or iPod 6, is a multipurpose handheld device designed and marketed by Apple Inc . with a touchscreen-based user interface.
How many GB does an iPod have?
iPods have plenty of storage space. The iPod shuffle has a 2GB capacity; the nano holds 8 to 16 GB; the iPod touch comes in 8, 32 or 64 GB capacities; and the classic holds a whopping 160 GB.
What did Dr Thomas Lecky invent?
How can I help my child learn to type?


Honestly there are so many AMAZING designers out there that design templates for these two blog frameworks…you could spend all day on google looking and oohing-ahhing over their work…so jump right on google and find that designer that makes you melt and go with their template!!!!!
If you are an amateur photographer, then running a professional photography business would be a dream come true. You could be shooting landscapes, nature, wildlife, weddings, seniors, corporate stills, children, flowers, babies, architecture and innumerable types of images. Do you know that some of the most successful photographers focused on a specialty or two early in their careers. Think about what camera and lenses would be most suitable for your area of specialization and think of investing in other essentials like a computer and the latest photo editing software.
You will have to purchase Cameras, and the accessories like tripods, lights studio props, background scenes on canvas, light modulators and digital photography essentials. Examine and compare other prices of other photographers by visiting their websites and fix up rates that are reasonable and competitive. You can also inquire with Kenyan press photographers who usually work for newspapers and magazines and find out what the current rates are for professional photography.
If you are able to present excellent samples of your work, then that will be very crucial and decisive in landing new assignments for you.
If you have not done enough work or projects to create a really attractive portfolio, start by choosing from among the best existing photos to showcase. More important is to create a social media profile, which will promote your services online and keep sending out regular updates as you work on regular promotions.
If a photography session goes badly, it's so easy to get discouraged or when someone disparages your images. Sharing is caring, click on one of the following buttons to share this article with your friends.
ABOUT KUZABIASHARAStarting a business is a leap of faith even in the best of circumstances.
An infographic digging into some of the many ways to improve the design of your living space.
This infographic is a fantastic resource for all parents expecting a baby and not being experienced in bathing their little one.
I've been designing with their theme since 2009 and have sold thousands of beautiful websites to happy customers.
Which is why I've created tons of beautiful designs for you to start with and customize! Plus, we teamed up with the Bittersweet Design team and created marketing sets so you can have a cohesive and complete online & print brand.
I have been blogging for the past year (expanding it this year) and I remembered you had written an article about a web hosting service (in addition to WordPress).
If you're thinking of taking this passion a few steps further into starting your own photography business in Kenya (or any other part of the world), here are some useful tips and advice you should consider before taking the plunge.
The photography industry offers many opportunities for enthusiastic amateurs who want to make a living out of it. But have you ever noticed that professionals like Doctors and Lawyers always opt for a specialty? You will also need to decide whether you are going to rent a studio and what sort of lighting you will require. Any prospective clients will definitely want to see proof of your talent so they can be sure they will get their money's worth. You can also do a few projects for free so that you are able to get some really good photos for your portfolio. Kindly share your suggestions, questions and compliments with us via the comment box below.
We at Kuza Biashara are focussed to encourage these daring small business owners who have the potential to innovate and change the world by contributing to the nation's economy and livelihood. Since Daguerre captured the first known candid photo of a person in 1838, over 3.5 trillion photos have been taken worldwide, with most of them taken in the last few decades. Having been a professional photographer for 7 years along with teaching local photography workshops for over 5 years I'm now bringing it to you through Sixth Bloom. Will you join me in this journey of teaching you how to become a better photographer? Having been a professional photographer for 7 years along with teaching photography workshops for 5 years I'm now bringing it to you through the blog. In this matter your family and your friends would be ideal people to approach for small but good assignments.
All you need to do is get a good website created for your company and also advertise by distributing pamphlets in the local areas, schools, churches and clubs.
We'd love to hear what you have to say about starting a successful photography business in Kenya. There's no short cut or fast track to success…regardless of what many books and short term courses say. My mom and dad sent me a list of 30 ideas and as soon as I saw Click it Up a Notch, I knew that was it.
If this terrifies you, which it shouldn't, you can always call Bluehost to have them walk you through it. You want to choose a theme that will showcase your images how you want as well as help you accomplish what you want out of your site. I was just thinking that maybe even Clickin' Moms forum should have a topic designated to blogging. Reply Courtney SlazinikApril 21, 2014 at 11:21 AMYou would not need to pay to install WordPress. Once you have Bluehost set up, your WordPress site is included :) Reply juliaApril 22, 2014 at 6:53 AMGreat! We travel just about full time, with four kids, it's not always easy to find time to keep up with it, but I try to post at least once a week. I've been looking for a plug-in like thijs for quite some time annd was hopiung maybe you would hhave some experience with something like this. Like so, Jasmine LI Blog Reply BrianMay 14, 2015 at 8:09 AMWhile the tech side can be intimidating, I think most folks find it more diffuclt to make the time to take the photos for the blog and keep the posts up once your wordpress site is up.
Also, the edits I do on my iphone 5S do not get saved when I upload the photos to my computer.
Used rechargeable battery zoom out (widening the focal if you employ solely the auto.
One with deeper depth of area however that is a tutorial for an additional the more images.
The Wawona Hotel, it is a great half means experience, imagination.
Them in the appropriate spot, I don't say a lot that.
Did, we could not hire them stuff they know photoshop Elementsâ for photo.


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Revisiting the Black Sunday Hack
One of the most impressive hacks I've ever read about has to be the Black Sunday kill. Since the original 2001 Slashdot article I read on this is 99.9% quote, I'm going to do the same. I can see why they quoted so extensively; it'd be difficult to improve on the unusually succinct, well written summary provided by Pat from Belch:
One of the original smart cards, entitled 'H' cards for Hughes, had design flaws which were discovered by the hacking community. These flaws enabled the extremely bright hacking community to reverse engineer their design, and to create smart card writers. The writers enabled the hackers to read and write to the smart card, and allowed them to change their subscription model to receive all the channels. Since the technology of satellite television is broadcast only, meaning you cannot send information TO the satellite, the system requires a phone line to communicate with DirecTV. The hackers could re-write their smart cards and receive all the channels, and unplug their phone lines leaving no way for DirecTV to track the abuse. DirecTV had built a mechanism into their system that allowed the updating of these smart cards through the satellite stream. Every receiver was designed to 'apply' these updates when it received them to the cards. DirecTV applied updates that looked for hacked cards, and then attempted to destroy the cards by writing updates that disabled them. The hacking community replied with yet another piece of hardware, an 'unlooper,' that repaired the damage. The hacker community then designed software that trojanized the card, and removed the capability of the receivers to update the card. DirecTV could only send updates to the cards, and then require the updates be present in order to receive video. Each month or so, DirecTV would send an update. 10 or 15 minutes later, the hacking community would update the software to work around the latest fixes. This was the status quo for almost two years. 'H' cards regularly sold on eBay for over $400.00. It was apparent that DirecTV had lost this battle, relegating DirecTV to hunting down Web sites that discussed their product and using their legal team to sue and intimidate them into submission.
Four months ago, however, DirecTV began sending several updates at a time, breaking their pattern. While the hacking community was able to bypass these batches, they did not understand the reasoning behind them. Never before had DirecTV sent 4 and 5 updates at a time, yet alone send these batches every week. Many postulated they were simply trying to annoy the community into submission. The updates contained useless pieces of computer code that were then required to be present on the card in order to receive the transmission. The hacking community accommodated this in their software, applying these updates in their hacking software. Not until the final batch of updates were sent through the stream did the hacking community understand DirecTV. Like a final piece of a puzzle allowing the entire picture, the final updates made all the useless bits of computer code join into a dynamic program, existing on the card itself. This dynamic program changed the entire way the older technology worked. In a masterful, planned, and orchestrated manner, DirecTV had updated the old and ailing technology. The hacking community responded, but cautiously, understanding that this new ability for DirecTV to apply more advanced logic in the receiver was a dangerous new weapon. It was still possible to bypass the protections and receive the programming, but DirecTV had not pulled the trigger of this new weapon.
Last Sunday night, at 8:30 pm est, DirecTV fired their new gun. One week before the Super Bowl, DirecTV launched a series of attacks against the hackers of their product. DirecTV sent programmatic code in the stream, using their new dynamic code ally, that hunted down hacked smart cards and destroyed them. The IRC DirecTV channels overflowed with thousands of people who had lost the ability to watch their stolen TV. The hacking community by and large lost not only their ability to watch TV, but the cards themselves were likely permanently destroyed. Some estimate that in one evening, 100,000 smart cards were destroyed, removing 98% of the hacking communities' ability to steal their signal. To add a little pizzazz to the operation, DirecTV personally "signed" the anti-hacker attack. The first 8 computer bytes of all hacked cards were rewritten to read "GAME OVER".
Nobody knew how the satellite companies had suddenly developed such smarts. Until now. A recent Wired article exposes Christopher Tarnovsky as the mind behind the epic Black Sunday Hack.
Among the countermeasures he says he created was one known among pirates as the "Black Sunday" kill -- an elaborate scheme that destroyed tens of thousands of pirate DirecTV cards a week before Super Bowl Sunday in 2001.
Instead of being delivered all at once like other measures, the Black Sunday attack code was sent to pirate cards in about five dozen parts over the course of two months, like a tank transported piece by piece to a battlefield to be assembled in the field. "They never expected us to do this," Tarnovsky says.
The kill didn't last long before pirates found a way to jump-start the cards. But it holds an enduring position in pirate lore; for the first time, they could see a cunning mind at work on the other side.
It's fascinating to finally hear the Black Sunday kill described so intimately from the inside. It's a gripping tale of high stakes programming, a life of electronic warfare with millions of dollars at risk on both sides. I've never been a satellite television subscriber, but apparently the war rages on even today -- at least according to the Wikipedia entry on pirate decryption.
Whatever Happened to UI Consistency?
Strong Opinions, Weakly Held


Our 21 magazines (explosive storage buildings) are well stocked with quality professional pyrotechnic material. EFI's inventory range includes aerial shells from 2" to 16", a wide variety of candles, fountains, multiple-shot items, and other pyrotechnic materials. As a authorized distributor, we also maintain a large, fresh stock of Indoor, Proximate/Special Effects materials.
Our name, Entertainment Fireworks, speaks for itself. Our primary mission for our customers is to entertain. We want our pyrotechnic efforts to be judged for their entertainment value. Our representatives will work closely with customers to achieve this goal, and our displays will be carefully presented and choreographed to insure the precise effect and emotion.
Entertainment Fireworks is truly a place of excellence in pyrotechnics.


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GoPro HERO6 and HERO5 Built-In Fisheye Distortion Correction: Linear FOV
The GoPro HERO6 and HERO5 cameras have a new in-camera feature for something you could only do in post-production before: correcting fisheye in photos and videos.
Last updated about 2 years ago // Categories: Photos, Timelapse, Video
Tags: GoPro HERO5 Black, GoPro HERO5 Session, GoPro HERO6 Black
The extreme wide-angle lens of GoPros helps with that immersive look, putting you in amongst the action. But it also comes at the cost of a kind of bulging fisheye look, where horizons and straight lines get curved and subjects in the middle of the frame look artificially big compared with the things around them. And that might not be the look you're going for. You might be wanting a more "normal" perspective.
What is GoPro's Linear FOV?
The Linear FOV in newer GoPros is a field of view that corrects for the fisheye distortion of GoPro lenses. It straightens horizons and verticals and narrows the perspective. Linear FOV is particularly useful for aerial footage shot from drones, but it's also a good option to have any time you're after a more traditional perspective.
What Linear FOV Does
It has always been possible to correct for the fisheye look in post, whether you're shooting still photos or video. But until now it has involved extra work in post-processing. I've written about how to do that with still photos as well as with video.
But with the GoPro HERO6 Black and both HERO5 models, it's now possible to shoot in modes that correct the distortion in the camera, eliminating the need to do it later. It's a new Field of View setting available in photo modes and some video modes and called Linear FOV mode. It applies software correction to the lens distortion before it saves the image file to the memory card.
Get $100 Off HERO8 Black with the TradeUp Offer
You can get $100 off the GoPro HERO8 Black when you trade in any old digital camera, in any condition, any brand. It doesn't even have to still work or power on. GoPro takes care of the cost of shipping your old camera to them. When they receive your old camera, they'll send you out a brand new HERO8 Black with free 2-day shipping. It brings the price down to $299.99.
This deal is only available at GoPro.com.
The Linear FOV is now available in the HERO4 Black and HERO4 Silver. It was a new feature included with firmware v.05.00.00. It was added because the Linear FOV is especially useful in footage from a drone, and GoPro has updated the firmware of the older cameras to be compatible with the new GoPro Karma drone. It's available only in the video mode, not with still photos.
GoPro Linear FOV Examples
Here are a few real-world examples of what it does. These first ones are still photos shot with a GoPro HERO5 Black:
With the horizon already pretty much centered and the detail in the frame in the distance, the effect is less obvious in this one:
These are screen grabs from video shot side-by-side with a GoPro HERO4 in its standard Wide FOV mode and the GoPro HERO5 Black in its Linear FOV mode.
Limitations and Drawbacks of GoPro's Linear FOV
Linear FOV isn't available in all video sizes and framerates, in part because the software processing has to cannibalize information around the edges of the frame. These are the video modes it's available in:
1080p (60fps and below)
Linear FOV is available in the Timelapse Photo mode but isn't in the Timelapse Video mode.
As you can see, lines get straightened and the whole look is much less distorted. But there is a price to pay, and that's principally in terms of losing image real estate from around the edges of the frame and the parts near the edges can get a stretched look. It's pretty obvious is all of these examples, but especially so in the shot of the bridge above where it looks as though it was shot from a different spot. But in all of these examples, they were either shot using the same camera in the same spot or two cameras mounted exactly side-by-side.
There is also something to be aware of even if it's not a drawback, as such, and that is that shooting in Linear FOV mode is non-reversible. That is, once you shoot in Linear mode you can't revert the image or video footage back to the wide view as you can with the old post-processing method. So you'll want to be certain as you shoot that Linear mode is what you want.
Post-Processing Method
You can, of course, continue doing it the old way of shooting in the regular Wide FOV mode and correcting in post. It doesn't always give exactly the same results, but you can get close.
Here's a quick example where I corrected an image shot from the GoPro HERO5 Black in Lightroom using the method I've outlined here. At the time I originally processed this example and wrote this post, Lightroom didn't have a built-in lens profile specifically for the GoPro HERO5 Black yet. Used the one for the HERO4 Black and found that it worked well on HERO5 Black images. Since then, a new version of Lightroom (2015.8) has come out that adds HERO5 Black support.
For more details, I've put together a separate guide for how to remove fisheye distortion from GoPro photos in Lightroom.
For video, you should be able to use GoPro Studio to remove the fisheye, but for now Studio v.2.5.9.3372 needs an update–it's not registering HERO5 footage and giving the option for fisheye correction of video.
Categories: Photos, Timelapse, Video
KenJ45 says
Hello, sorry to dig up an old article, but I went on a vacation to Utah to hike the national parks there and wanted to get an action camera for it. I didn't want to get a gopro because I honestly cannot stand that fisheye distortion. I looked online for alternatives and found a Chinese brand called Firefly and got their 8se. It does what it advertises, has the distortionless lens that's only 90-degree FOV which I'm totally fine with, but honestly the picture quality really isn't all that great despite the generally positive reviews it has online. And after reading this article and others that all say the software distortion correction gopro offers would often result in some stretched looks around the edges and how it limits the video modes you can save in, I guess the solution is still one with an actual lens without the distortion rather than doing it the software route. So my question is, are you aware of any other action cameras on the market with really good features and picture quality but without that ultra-wide fisheye distortion lens? I've heard before that you can buy a lens to replace the one on the gopro but don't know much about that. Have you heard of that? Thanks for your time in making this comparison article.
I've tried quite a few different action cameras (although I haven't tried the Firefly), but most of them have that superwide fisheye distorted look. And yes, the Linear FOV can stretch around the edges. You can of course crop after that, but that's not an ideal solution either. There is an excepption: the Sony RX0 II. It's not strictly an action camera, and it's almost double the price of the top GoPro model, but it's roughly the same size, is waterproof and rugged, and the picture quality is excellent (24mm lens without fisheye). I've posted a review of the previous model here (I have the newer model but I haven't posted a review yet). They're great little cameras, but they are a big step up in price.
KH says
I have 3 gopro black cameras. In the live preview with linear fov mode, I noticed two cameras have the pincushion effect while the third looks normal.
Why is this happening and is one of my camera defective?
I've not run into that behavior and have just tried it on some of my cameras to see if I can replicate it. Which specific model? And which shooting mode–video or photo?
Rocketfish says
Subjective observation:
The fisheye distortion from the Wide FOV (GoPro Hero 5 Black) when shooting on land seems to disappear when using the same mode underwater. Is this due to the refraction of water or is it some other factor?
Yes, that's the water doing that.
We seem to be saying the same thing except that I'm putting more emphasis on what you're doing with it and what the users' priorities are. If you're recording and playing it back at 720p on web "HD", any perceived loss of detail is going to be minimal. If you're recording and playing back at full 4K, then yes you will notice more detail loss. And chances are there's more detail being lost in the re-encoding process, with all sorts of variables going on there too.
EDIT: The H7 Black doesn't offer Linear FOV at 4K–the highest resolution where it's available is 2.7K. So full-resolution playback would be 2.7K, not 4K.
luar says
For a beginner, what picture setting do you recommend? Also noticed that at night, picture comes better on my iphone…what settings do you recommend for night shots?
Assuming you're referring to photos (rather than video), I usually keep the Wide FOV on most of the time. It's much easier to work with the Wide field of view when editing and correct for the distortion than go the other way around. So it's more flexible. I usually use the RAW mode when possible (but it doesn't work with Burst Mode, etc). For night photos, the sensors GoPro uses have never been especially good in low light. Some of the cameras do have a night mode, but what that does is keep the shutter open longer. That's good if the camera is still or mounted somewhere solid, but it's not good for hand-held. You'll be able to squeeze a bit better quality out of low-light RAW files than JPGs, but it has nothing like the dynamic range of leading mirrorless cameras or DSLRs. The sensors in iPhones (and other smartphones) these days are very good, but in addition, they also usually apply a lot of automatic noise reduction that makes the photos look better. You can do that with GoPro photos too, but it's not done in the camera–you'll have to use editing software for that.
Melvin Altman says
Hey guys, I am a constant user of the GoPro Hero 4 Black, and I would like to know if shooting in Linear FOV has any effect on the quality of the footage detail-wise.
It depends what you're after. It does its corrections digitally, which means that it's going to stretch some bits to try to compensate for the usual fisheye distortion. Because it's not being done optically, there are areas where the pixels will get stretched. So on a pixel basis, there's likely to be some fudging going on in close detail. But whether it's noticeable or acceptable is a personal judgment call. Linear FOV is also non-reversible and crops information from the sides, so if that's not the FOV you want, it's probably not going to be a good default option. It's easier to go from Wide FOV to Linear FOV (or something very close) in post-production than the other way around.
fabian says
I don't agree with this answer.
The raw shot (event when captured in linear FOV) is the large angle shot which is then cropped and corrected resulting in a lower resolution, then digitally interpolated to the user-defined resolution. So the answer to the question is: " Yes image quality is affected when choosing linear FOV. As compared with a wide angle when shot at the same resolution". Agree with the rest of the author's answer: "whether the difference is noticeable depends on what you do with the shot". For upload, it won't matter but for a 27′ retina display, you'll definitely notice the lower quality of linear FOV.
thanks David for clarifying!
I have a follow-up question:
Since the linear FOV implies much more in-camera processing, compared with wide do you notice any difference in the heat generated and in battery autonomy? (which is really low in 4K60 ~ 4% per minute! ) on the model 7Hero Black
Good question. I share those same assumptions, but was interested to actually try it out before responding. I don't have a reliable way to measure the operating temperatures that precisely–they both get hot. But I could look into the recording time. I put two H7 Blacks side-by-side at 2.7K60, one with Wide FOV and the other with Linear (2.7K60 is the highest mode with the Linear FOV available). Both had fully charged original GoPro batteries and otherwise identical settings (Protune OFF, Stabilization OFF, wireless OFF, GPS OFF, etc). On the one with the Wide FOV, it ran for 1:09. On the one with Linear, it ran for 0:59.
Of course, this is hardly a rigorous test. It's just one sample, and there are all sorts of asterisks to go along with it. Most users, for instance, wouldn't necessarily be shooting continuously until the battery dies. And there are factors like ambient temperature that affect the battery life (although these were both in the same environment). But for what it's worth, the processing of the Linear FOV does appear to have taken a good chunk out of the battery life.
Somewhat related, too, is that I've been doing some side-by-side tests of the H7 Black with the H6 Black and have consistently found that the H7 Black gets less runtime out of the battery with otherwise identical settings. That would seem to make sense for the same reasons–that the clock speed of the H7 Black's chip has seemingly been ramped up over the identical chip in the H6 Black.
What is the 35mm camera lens equivalency of the Hero 5 in the linear mode?
Good question. I put a HERO5 Black set to Linear view it side-by-side with a DSLR, and from eyeballing it it looks to be somewhere around the 17mm mark, give or take.
I am about to update my GoPro H4S but before I update it, I'd like to know if I'll still be able to record video with the fish-eye FOV or is it gonna be linear FOV from now on with no option to switch from one to another. Thanks
No, it's just one option. The standard wide fisheye look is also there and is the default.
Jeff C says
I have some GoPro Footage here (I believe it is from the Hero 5) and I'm noticing that the GoPro Studio application is not allowing for ingest. I need to be able to remove the fisheye distortion. I've read that GoPro Studio is in need of an update in order get the Hero 5 footage to be recognised.
1. Has this been updated yet?
2. What solution do you suggest in order to remove the fisheye? I know there are other third-party solutions, but that doesn't sound like a solution to me.
Please advise?
Toni Novak says
Hi i dont have Gopro camera in Lens profiles on lightroom CC 2015.7 Release. How do I add it please?
Hmmm, it should be there by default without needing to install anything else. Is upgrading to 2015.8 a possibility? That includes profiles for HERO5 models. If they still don't show up, here's a quick guide to adding them manually that might help.
Raw photos in time lapse mode would be great.
ricky wong says
yes, I know for the current 5.0 firmware, but what stop them to add this to photo also with new firmware. thankds
I don't know what their plans are. If they've done it for video it's presumably technically feasible to add it for photos, although they might want to keep that feature as something distinct to the HERO5 models.
will Hero 4 silver have linear FOV for photo? thanks!
It's only available in video modes.
Daniel Smith says
Could you compare the native linear FOV with the post-processed linear FOV? I'm curious if the different correction methods produce different results.
Sure thing. I've added some examples above for still images. When Studio gets updated to allow fisheye correction of HERO5 video I'll add that too.
Bryan Haines says
Thanks for the side-by-side comparison. We just got our Hero5 Black a few days ago and haven't shot in linear FOV yet. This weekend…


text:
Parafia pw. Świętego Jana Chrzciciela w Bielsku-Białej – parafia rzymskokatolicka znajdująca się w Bielsku-Białej. Należy do Dekanatu Bielsko-Biała I – Centrum diecezji bielsko-żywieckiej. Jest prowadzona przez księży diecezjalnych.

Historia
Miejscowość Komorowice, leżąca po obu stronach rzeki Białej została założona u schyłku XIII wieku a po raz pierwszy wzmiankowana została w łacińskim dokumencie Liber fundationis episcopatus Vratislaviensis (pol. Księga uposażeń biskupstwa wrocławskiego), spisanej za czasów biskupa Henryka z Wierzbna ok. 1305 w szeregu wsi zobowiązanych do płacenia dziesięciny biskupstwu we Wrocławiu, w postaci item in Bertoltowitz.

Po raz kolejny wzmiankowana została w spisie świętopietrza parafii dekanatu Oświęcim diecezji krakowskiej z 1326 pod nazwą villa Bertholdi. Następnie w kolejnych spisach świętopietrza z lat 1346 – 1358 pod nazwą Villa Bertoldi lub Villa Bertholdi.

W 1457 na rzece Białej ustanowiono granicę między Polską a Czechami. Komorowice uległy wówczas podziałowi. Z czasem lewobrzeżna (czeska) część wsi została nazwana Komorowicami Niemieckimi (zdecydowaną większość jej mieszkańców stanowili wówczas Niemcy), a prawobrzeżna (polska) Komorowicami Polskimi.

W 1471 Komorowice Polskie stały się, z nadania Kazimierza Jagiellończyka, własnością magnackiej rodziny Komorowskich z Żywca, którzy ufundowali we wsi zbór kalwiński (zlikwidowany w 1658). W 1493 r. erygowano parafię w Komorowicach Polskich, w której skład, poza jej siedzibą, weszła także wieś Hałcnów, część Bestwiny, a także leżące po drugiej stronie granicy państwowej: Komorowice Niemieckie i częściowo Czechowice. W centrum wsi wybudowano w stylu śląsko-małopolskim drewniany kościół pw. św. Jana Chrzciciela.

W 1921 przystąpiono do budowy nowego kościoła parafialnego. Świątynia stanęła w sąsiedztwie starego, XVI-wiecznego kościoła. Budowa trwała dziesięć lat, natomiast zabytek przeniesiono w 1949 do Woli Justowskiej, dzielnicy Krakowa, gdzie został postawiony na terenie przeznaczonym przez władze wojewódzkie na, nigdy nie utworzone, Muzeum Budownictwa Drewnianego "Skansen" jako eksponat, ale równocześnie kościół parafialny miejscowej parafii. Cenny obiekt – spłonął w 2002.

Przypisy

Jana
Parafie pod wezwaniem św. Jana Chrzciciela

redpajama_set_name: RedPajamaWikipedia


text:
Sporty Entertainment
Super Eagles Star Moses Simon Wants To Join Real Madrid (See What He Said)
Super Eagles winger, Moses Simon, has said he is very keen to join La Liga giant, Real Madrid in the future.
Moses said his ambition is to play for Los Blancos one day in his career, adding that he drew inspiration from compatriot, Odion Ighalo, who joined his boyhood club, Manchester United on loan from Shanghai Shenhua.
The 24-year-old said this while speaking on his future in an interview with Brila.net.
"I can't say anything about my club at the moment," Moses said.
"I am a player of Levante and at the moment on loan to Nantes.
"Growing up, I loved the white and white colours of Real Madrid, and I hope to play for the club one day.
"Ighalo's ambition was to play for Manchester United, and he achieved that, I have the same target and hopefully I will play for Madrid."
Moses is currently on loan at French Ligue 1 side, Nantes from La Liga club, Levante.
Tags: Moses Simon
Man United Cancel Friendly Match After Player Tests Positive For Coronavirus
11th Of June Transfer Rumors


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The above quotation is something that I read recently in a Facebook post, shared by one of my friends. And, I have to admit, when I saw it, it made me pause.
The word here that draws most of my attention is the word 'hard', which can, of course, be used in many ways. You might say that something is 'hard', and yet the fact that it is difficult also makes it fun or worthwhile – like a hobby, or some sort of intellectual puzzle. Yet, when we say that somebody is 'hard to love', this is rarely the way that we mean it. Usually, 'hard to love' refers to an individual who is unpleasant, or difficult, or generally unlikeable – the personality equivalent to that old phrase "a face only a mother could love".
And, more than that, the phrasing of this quotation makes me think that this was what was intended as well. The person who is 'hard to love' is a 'they', an other, someone who the reader is not meant to relate to. Yet, the person who is trying (and, evidently, failing) to love them is referred to as 'you' – the reader. The way that this quotation is phrased, people who have been single too long are a difficult-to-love 'them', and those who are trying but ultimately unable to love them are 'you', the relatable one, the everyman.
Except, reading this quote, the one that I relate to is the 'them'.
So, I'm not going to lie, I've been single for… a while. In the past few years, I've been on dates, I've flirted with people, but ultimately, a mixture of not having a particularly stable or consistent home, as well as my own personal issues, have meant that I haven't really settled down into any sort of serious relationship.
And I won't lie; at first, it bugged me. Both for admirable reasons and less-admirable reasons. On the one hand, I just wanted someone to be with, but I was also worried about petty, stupid things, like: would I be able to afford a house, a car, and a life if I didn't have a partner? Would I ever be truly happy if I didn't have a partner? Would I ever be able to have a relationship at all if I wasn't gaining dating relationship experience right now?
It came to a point where I started to think that I should just latch onto the next person who came along, just so I could have someone, anyone, even if I didn't actually like them.
But, fortunately, I just wasn't in a place to maintain a relationship – physically or emotionally – which made it easier for me to resist this urge. Instead, I just… remained single. And, as time passed, it not only became easier – it changed the way that I saw both myself and any future potential partners.
Because there is something true about the quotation that I gave at the beginning: when you have been single for a long time, you learn how to live independently. You start planning your life around being single, and you learn that you don't really need someone else in order to live or be happy; there are always other options. There are always other goals to be fulfilled, other ways to make your life worthwhile. When you've been single for a while, you began to learn that relationships are nice, but they aren't a requirement.
And, personally speaking, I think that that's an important lesson to learn. I have seen many people start relationships for no other reason than that they want to be with someone. I have seen many people stay with people who treated them poorly, only because they were afraid to be single. And I don't want to pass any judgement on people who have done this; I completely understand the fear of being left alone. And, more than that, every experience, whether it be remaining single or choosing a mediocre relationship, comes with its life lessons. But, that being said, once we have learned that we don't require a relationship in order to be worthwhile and happy, then we realize that we don't have to settle for a relationship that isn't constructive to our lives. We don't have to stay with people we aren't interested in or who treat us poorly, because there's nothing wrong with being single.
And, really, what's wrong with our own company? We should be able to love ourselves, to respect ourselves, to treat ourselves, whatever that might mean, because we are beautiful and we are important. We deserve relationships that are going to make us happy, that are going to support us and build us up. Not relationships that hold us down, or that we only choose because we think we have no other choice.
End of day, people who have been single for a long time are not difficult to love. People who have been single for a long time have simply learned that they deserve a certain kind of love – a constructive kind of love. We won't settle for any old kind of love; we won't settle for something mediocre, something destructive, something unnecessary. We won't settle, because we know we have options – whether that be the option of another lover, someone who will deliver more to the relationship, or, quite simply, the option of our own company.
No love is perfect, of course, but love is intended to better our lives. Love is meant to build us up, to help us grow, to make us see new things and new experiences. And if it doesn't do that, then we just don't need it. We already have the love of our friends, the love of our passions, and, more importantly, the love of ourselves.


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Vernon Benjamin has a wide range of experience as a writer, journalist, researcher, administrator, public official, consultant, and advocate. His books, The History of the Hudson River Valley: From Wilderness to the Civil War and The History of the Hudson River Valley: From the Civil War to Modern Times have sold more than 8,000 copies to date.
Matt Bua is an artist, musician and researcher based in Catskill NY. His book Talking Walls: Casting Out The Post-Contact Stone Wall Building Myth explores our shared lithic landscape from the pre- European point of view. His most recent publication Washington Irving and the Great Manitou Transmission of 1818 is an in depth look at the Post Script of Rip Van Winkle.
Simona David, president of Writers in the Mountains, is a writer and media consultant. She is the author of Self-Publishing and Book Marketing, A Research Guide (2013), Art in the Catskills (3rd edition, 2016), and How Art Is Made: In the Catskills (2017). Her website is simonadavid.com.
Ginnah Howard's work has appeared in Water~Stone Review, Permafrost, Portland Review, and elsewhere. Night Navigation, Book 2 of her upstate novel trilogy, was a New York Times Book Review Editors' Choice. Currently she is putting together a collection of poetry and prose titled An Opera of Hankering. GinnahHoward.com.
Sharon Israel is the host of Planet Poet-Words in Space, an edition of The Writer's Voice on WIOX 91.3 FM. Her first chapbook Voice Lesson was published by Post Traumatic Press in 2017. As a poet and soprano, she collaborates with her husband, composer Robert Cucinotta, on works for voice, live instruments, and electronics. sharonisraelpoet.com.
Lissa Kiernan is the author of Glass Needles & Goose Quills and Two Faint Lines in the Violet, and is the founding director of West Hurley's Poetry Barn, a literary center offering workshops, readings, retreats, and the largest independent poetry lending library in the region.
Alison Koffler's poems often arise from where the human world and the wilderness intersect.
Glenn Kreisberg is a radio frequency engineer, author, researcher and licensed outdoor guide who served two terms as Vice President of the New England Antiquities Research Association (www.NEARA.org ) Glenn is cofounder and currently serves as chairperson of the Overlook Mountain Center in Woodstock, NY www.overlookmountain.org.
Jonathan Kruk's passion for communication, legend and learning, lead to Storytelling. What started as "Booczak Adventures" to entertain his rambunctious kid brother, turned into a full time career in 1989. Jonathan is best known for his signature shows of "The Legend of Sleepy Hollow" and "A Christmas Carol." He gives about 500 performances annually.
Pat Lamanna's songs have been praised highly by Pete Seeger, Peter Yarrow, David Roth, and others. They have a strong folk influence, and cover issues such as peace, religion and the environment.. She has three solo albums: "Full Circle" (2009); "Do I Know My Song Well Enough to Start Singing Yet?" (2012); and "Something Beautiful" (2017).
Cyndi LaPierre has lived in the Mountain Top area of the Catskills since 1970. During this time she has immersed herself in the history and literature of the area, serving on the Board of Directors and now as president of the Mountain Top Historical Society. She has also been involved with the Greene Room Players and is currently on the board at Catskill Center.
Laurie McIntosh (aka Story Laurie) is an enchanting entertainer who transports listeners of all ages to lands near and far with her delightful renditions of folk tales and vibrantly entertaining, socially conscious songs for kids and families. Her new CD is Groovin' in the Garden. www.storylaurie.com.
Lisa Mullenneaux has published the chapbook "Painters and Poets" (2012) and maintains the ekphrastic art gallery paintersandpoets.com. Her poems and literary criticism have appeared in the New England Review of Books, American Arts Quarterly, and World Literature Today. She is currently translating the poems of Milanese poet Anna Maria Carpi.
Carrie Bradley Neves, vice-president of Writers in the Mountains, is an Upstate New York native. For the last twenty-five years, Carrie has focused many of her writing goals on writing lyrics, making records, performing, and touring as a singer-songwriter and violinist. Her work-for-pay life is as a copy editor, specializing in cookbooks.
Emma Otheguy is a children's book author and historian. Her picture book debut, a biography of Cuban poet and independence leader José Martí, Martí's Song for Freedom (Lee & Low Books), was named a Best Book of the Year by Kirkus Reviews, School Library Journal and the New York Public Library. Otheguy lives in New York City with her husband.
Richard Parisio was the DEC's interpretive naturalist for the Catskills from 1996-2002. Parisio has been writing and teaching about the natural world in the Catskills and Hudson Valley for over three decades. His collection of poems, The Owl Invites Your Silence (Hudson Valley Writers Center, 2015), won the 2014 Slapering Hol Press Poetry Chapbook Award.
Guy Reed is a graduate of The American Academy of Dramatic Arts and author of the poetry chapbook, The Effort To Hold Light (Finishing Line Press). Most recently, he has two prose pieces published on the podcast, The Strange Recital. Guy has lived in the Catskill Mountains the past 20 years with his wife and their two children.
Cheryl A. Rice's chapbooks include Llama Love(2017: Flying Monkey Press), Moses Parts the Tulips (2013: APD Press), and My Minnesota Boyhood (2012: Post Traumatic Press). Her RANDOM WRITING workshops are held throughout the Hudson Valley. http://flyingmonkeyprods.blogspot.com/.
on John Burroughs' life and writings in the area, with one scheduled for Burroughs' hometown, Roxbury NY, starting August 11 this year at the library. She is a docent at both Woodchuck Lodge and Slabsides, Burroughs' writing retreats.
Sue Rosenberg has lived in Saugerties at the foothills of the Catskill Mountains for years. She is a retired social worker and delighted grandma and continues to work for social and environmental justice and peace locally and around the country. She carries with her the "blueprint" for making a better world which she began to learn about at Camp Woodland.
Leslie T. Sharpe is a writer, editor, and educator. She is the author of Editing Fact and Fiction: A Concise Guide to Book Editing (Cambridge University Press, 1994). Her new book, The Quarry Fox and Other Critters of the Wild Catskills, published by The Overlook Press in March 2017, is a lyric narrative look at the wild animals of the Catskill Mountains.
Anique Taylor has co-authored works for HBO, Scholastic, and Simon & Schuster. Her writing has appeared in The World, ,Rattle, Common Ground Review, Adanna, Earth's Daughters, Stillwater Review, and e-Bibliotekos' Pain and Memory. Anique teaches Creative Nonfiction for Writers in the Mountains.
Daniela Tully has worked in film and television for decades, and has been involved in projects such as Fair Game, Contagion, The Best Exotic Marigold Hotel, and the Oscar-winning The Help. She splits her time between Dubai and New York's Hudson Valley. Inspired by a real family letter received 46 years late, Hotel on Shadow Lake is her first novel.
T. G. Vanini, an Englishman born in Hong Kong, has lived for over 30 years in Woodstock, where he plays violin with some of the area's best songwriters, bands and Celtic sessions, and performs and records his own songs and song-poetry with The Princes of Serendip. Their most recent recording is Seed-Maid: Sentimental Songs (Jaiya Records, 2017).
Christine Wade, award winning author of Seven Locks (Simon & Schuster 2013), a retelling of a Catskill Mountain folktale, lives on a Catskill mountain by the Hudson River at the headwaters of the Schoharie and is so grateful to have clean water!!!!!
Dayl Wise was drafted into the US Army in 1969 with service in Viet Nam and Cambodia, and returned in the form of reconciliation in 1993 delivering medical supplies. He has written Poems and other stuff (PTP, 2004) and Basic Load (PTP, 2009). He lives in NYC and Woodstock with his wife, poet Alison Koffler, and is co-founder of Post Traumatic Press.