"[...]and there was that time she fantasized about Lindsay Lohan, but she's sure it doesn't mean anything."
Mr. Brightside wrote: You missed that?
wow... I was totally confused when I saw that, but now it makes sense... The thing about Charlotte does too (and now I know where Charlotte shows her crush for him).
But wait a sec, if Charlotte and Marshall go to different schools, how likely is it that she would know him, since she doesn't seem to be the party type (even though these are open invite)?
I thought what that was getting at was that with all those guys in the teen magazine, Lindsay was the only person who could really...um...help as she was naked in the afternoon.
I took it as an attempt to be interested in 'normal' things (guys), and yet, all she can think of is a more or less naked Lindsay Lohan. Which would make her gay, or at the least, her supressed interest in women dominant for the time being.
Though I am not aware of Sara EVER showing ANY interest in ANY guy.
Well, she does seem to appreciate the metrosexual.
Lamey wrote: Well, she does seem to appreciate the metrosexual.
Or other girl friends' boyfriends...?
Nah, he's just that feminine.
Valid point. Maybe she's just more into Beckhams than Hunx. Or indeed bisexual.
She could be homosexual and still find the occasional guy attractive, just as she could potentially be heterosexual and still be attracted to Lindsay Lohan.
Human sexuality is neither completely binary, nor wholey static. It's as prone to chaos as the rest of the human psyche really.


text:
Marc Chagall: 'Daphnis and Chloé'. Original colour lithograph, 1961.
$12,500.00 Approx £10080.65
Attributed to the ancient Greek poet Longus, "Daphnis and Chloé" is a story about the romance of two foundlings raised by shepherds on the island of Lesbos. Despite their many trials, love triumphs over adversity: protected by nymphs and the god Pan, the goatherd Daphnis and the shepherdess Chloé are finally united.
Chagall's interest in "Daphnis and Chloé" was kindled in 1952 by his friend, the publisher Tériade, a native of Lesbos, who suggested to Chagall that he create a series of lithographs to illustrate the story, believing him to be uniquely suited to bringing the tale vividly to life. As a prelude to this task, he encouraged Chagall to visit the Greek islands, where he was sure the artist would find inspiration. Chagall, who had just re-married, added Greece to his honeymoon itinerary, and he was enchanted. Deeply moved by the Arcadian landscapes and incandescent light of the Peloponnese, he made a series of gouache and pastel drawings in preparation for the lithographs that he would subsequently produce for Tériade.
The forty-two illustrations which Tériade published in 1961 were a triumph of the art of lithography, fully justifying the nine years it had taken to bring the project to fruition. Working with master printer Charles Sorlier, Chagall eschewed the usual six colours artists employed, utilising up to twenty-five colours per image. This enabled him to achieve a subtle layering of tone and hue through which he could express the rich emotion of the story.
Chagall's "Daphnis and Chloé" is one of his most accomplished works and we are pleased to offer this pristine image from the series. It is in excellent condition, the colours as fresh as the day the lithograph was issued.
Artist: Marc Chagall (1887 - 1985)
Title: "Daphnis and Chloé", 1961
References: Cramer Books, No. 46
Sheet size: 420 x 318 mm (16 1/2 x 12 1/2 inches)
Framed size: 620 x 505 mm (24 3/8 x 20 inches)
Edition: Proof aside from the edition of 250, on Arches wove paper. Created at Mourlot Studio Paris and published by Tériade.

redpajama_set_name: RedPajamaCommonCrawl


Drama is taught throughout the school to A-level and is a popular option choice. There are two subject teachers and three peripatetic members of staff.
Private Speech and Drama classes are available to pupils from Year 7 and above. Girls can be entered for examinations in Acting or the speaking of Verse and Prose held by 'The London Academy of Music and Dramatic Art' (LAMDA).
Pupils in Years 7 – 9 receive one hour-long lesson of drama each week. Classes are timetabled in form groups.
The schemes of work for Years 7 – 9 introduce pupils to a wide range of performance styles. The aim is to develop pupils' confidence in creating, performing and responding to drama. The curriculum is designed to provide structured progression, enabling pupils to access the higher-level skills required at GCSE and A-level.
Units of work include: improvisation, characterisation, melodrama, physical theatre and devised and scripted work.
Pupils in Years 10 and 11 study the AQA syllabus, which encompasses a strong practical element (60%) in addition to a written examination (40%). Pupils will produce devised and scripted performances and will study a set text from a performance perspective. In addition, there will be opportunities to see live theatre productions and complete written reviews.
Pupils in Years 12 & 13 study the AQA syllabus for A Level Drama and Theatre Studies. Over the two year course, pupils will explore set plays and analyse a range of live theatre productions to complete the written examinations, worth 40% of the final mark. They will also produce two practical performances; one scripted and one devised, which will equate to 60% of the final mark. Pupils will study and explore the work of influential directors and/or theatre practitioners and analyse the work of performers, designers and directors when creating live theatre.
Drama is taught in a Drama Studio with a computerised lighting system.
The school show is one of the main highlights of the school calendar. In 2019, our new school production will be the feel-amazing musical comedy Sister Act, featuring songs inspired by Motown, soul and disco.
Previous musical productions include: 'High School Musical', 'Bugsy Malone', 'Hairspray', 'West Side Story' and 'My Fair Lady'. In conjunction with the music department, we hold annual cabaret evenings to showcase the breadth of talent in music, drama and dance.
Every other year, we produce a drama play. In 2017, it was the powerful and inspiring A level text 'Our Country's Good' by Timberlake Wertenbaker. In 2016, we embarked on our most ambitious project to date - 'The Raft' - aiming to devise a production based on the refugee crisis, weaving together real-life stories and up to date facts and using physical theatre and video imagery to tell our unique story. This was received with critical acclaim and was shortlisted for consideration in the National Student Drama Festival 2016.
Previous productions have included 'These Shining Lives', 'Macbeth', DNA' by Dennis Kelly and 'Pat and Margaret' by Victoria Wood. In addition, we host GCSE and A-level drama performance evenings and hold an annual Drama Competition.
Ensemble Drama Club is open to pupils in Years 7, 8 and 9. This is an after-school drama club designed to develop pupils' acting ability through skill-based workshops and also to enhance their performance skills through participation in whole-school productions. Most recently, in our productions of 'Our Country's Good' and 'The Raft'.
Epic Drama Club is open to pupils in Years 9 –13. Pupils have the opportunity to devise their own performances, experiment with different dramatic styles and techniques and hone their performing skills. Pupils have taken lead roles and received critical acclaim for performances of 'The Raft' and 'Our Country's Good'.
Drama Fun is a lunchtime club for Years 7 and 8, where pupils can play drama games, explore scripted extracts and produce improvisations.
We organise regular theatre visits and arrange for theatre companies to visit the school. Most recently we have been to Storyhouse to see 'Things I know to be true' and 'The Crucible'; The Young Vic in London to see Brecht's 'The Life of Galileo'; to Theatre Clwyd to see Kneehigh's acclaimed performance of 'Tristan and Yseult' and to The Lowry Theatre to see 'The curious incident of the dog in the night-time' and 'Things I know to be true' by Frantic Assembly.
To extend our pupils knowledge and experience of theatre, we also offer additional opportunities to meet and work with visiting actors and casting directors. In the Autumn of 2016, a practitioner from Frantic Assembly came in to run physical theatre workshops with our GCSE and A-level pupils. In the summer term 2015, we had Salford TV workshop and Kerrie Mailey Casting come in and teach students about TV and film acting and audition techniques.
Read an interview with Head of Drama Mrs Larder here.


What do I do if my child has Special Educational Needs (SEN) prior to starting at Sandling Primary?
Children with SEN will settle more quickly into school if everyone involved in their learning and well being have a shared understanding of their needs. Therefore we encourage pre schools / feeder schools and parents to contact the SENCo, Mrs Ross (through the school office) at the point they are considering Sandling for their child to make an appointment to meet and discuss any reasonable adjustments that can be put in place. This will also involve a tour of the school if this has not already been done.
What do I do if my child is already at Sandling School but I have a concern that they may have a difficulty with learning?
The first point of contact is your child's class teacher as they are the person in school who they spend the most time with. Make a list of your concerns and an appointment to see the class teacher. The class teacher may agree that they have similar concerns or they may ask for a few weeks to observe these areas more closely and to meet with you again. We support all needs through the use of a provision map which details interventions being run for that class. Again these need to be trialled first as if they succeed no further investigation is required but if they do not help, a referral to the SENCo, Mrs Ross, will be needed.
If the class teacher feels that there may be a difficulty that needs exploring further they will complete a referral, with your permission, to the SENCo who will determine any assessment / observation that needs to be undertaken. These will be carried out within 25 school days and the results fed back to you along with any actions to be taken.
If there is an identified need that relates to learning then it will also be explained that your child is going to be placed on the SEN register in school so that the SENCo monitors your child along with the class teacher. It also means that you and your child, if they are in KS2, will be invited to SEN support meetings 3 times a year. These meetings last 10-15 minutes and involve, the SENCO, Class Teacher, Teaching Assistant and yourselves. They look at the long term targets for your child in the area they have difficulty and break these down into achievable steps throughout the year.
If this is the case then please contact the Family Liaison Officer, Mrs Tozer, to arrange a meeting to discuss requirements.
• designated staff trained in medical needs (as they arise), currently includes diabetes, epipen and incontinence.
• electronic white boards in teaching rooms – it is recognised that children with Learning difficulties and problems with their sight or are partially sighted find it easier to learn when an electronic white board is used.
• medical forms for parents to complete on entry to help us identify pupils and / or parents with disabilities / medical needs so that we can offer any support required.
• software purchased to support pupils with learning difficulties: Clicker, Wordshark, Numbershark, Memory Booster, Talking Textease.
A local authority survey of our site recognised that our corridors are too narrow to enable slope and step access and having been built on a slope most of the school site has stepped access which may affect those with mobility difficulties. There are 2 Year 3 mobile classrooms and 2 Year 6 classrooms with sloped access.
Please talk to us if considering a place at Sandling so that we can look into any reasonable adjustments that may be required, with you.
The school SEN policy and the accessibility plan (contained within the Public Sector Equality Duty Policy) are available from the policies section of the website.


text:
Knowledge for the Greater Good
History & Origins
Jobs at ERt
IRS Form 990s
Developing New Categories for Homelessness
Data Dive to Study Homelessness
Tools for Prioritizing Homeless Services
Homeless Attributes and Service Needs
Minimum Wage Research
South LA Promise Zone research
LAX-LAMP Community Based Study
10th Decile Project to House High Need Homeless
Greenhouse Gas and Wage Sustainability
Projects in need of Funding
The Cost Of Homelessness In Silicon Valley
May 26, 2015 / By Daniel Flaming, Halil Toros and Patrick Burns
Underwriter: Destination: Home Download
This report identifies the characteristics of the most vulnerable, distressed and costly homeless residents of Santa Clara County to guide strategies for stabilizing their lives through housing and supportive services, improving their wellbeing and reducing public costs for their care.
This report analyzes 25 million records for the entire population of residents who experienced homelessness in Santa Clara County at any point from 2007 to 2012 – a total of 104,206 individuals. This information includes the demographic and medical attributes of each person, justice system history, services received, and the cost of those services.
Records for this population were linked across all justice system, health care, social service, nonprofit, and housing agencies. With information about over one hundred thousand people over six years, including detailed records from each service provider, this is the largest and most comprehensive body of information that has been assembled in the United States to understand the public costs of homelessness.
The Cost of Homelessness
The Santa Clara County community spent $520 million a year providing services for homeless residents over the six years covered by this study. Health care costs accounted for 53 percent of expenditures for homeless persons. Social welfare agencies including nonprofit service providers and county Social Services accounted for 13 percent of expenditures. Justice system agencies accounted for 34 percent of expenditures, most of it for jail costs.
Homeless costs are heavily skewed toward a comparatively small number of frequent users of public and medical services. For example, for all county residents experiencing homelessness in 2012, the average annual cost per person was $5,148. However, individuals with costs in the top 5% accounted for 47 percent of all costs and had average costs of over $100,000 per year.
The highest cumulative public costs across all services are associated with individuals experiencing persistent homelessness. The share of persistently homeless residents in the combined ninth and tenth cost deciles is twice as large as the share of short-term homeless residents. In a given year, there are approximately 2,800 persistently homeless residents of the county with average public costs of $83,000 per year.
However, persistent homelessness by itself is not associated with sufficiently high public costs to offset the cost of housing. The typical persistently homeless individual has costs averaging $13,661 a year. By prioritizing housing opportunities for the group of 2,800 persistently homeless individuals with the highest costs, it is possible to obtain savings that more than offset the cost of housing.
A crucial issue is differentiating individuals whose high costs are the result of a one-time cost spike versus individuals with ongoing high costs. Roughly 70 percent of individuals in the top 5% have ongoing high costs and 30 percent have high costs that result from a one-time spike. Those with ongoing high costs are likely to have the greatest cost savings or cost avoidance when they are stabilized with permanently affordable housing and supportive services. An estimated 2,800 Santa Clara County residents are in the top 5% with continuing high costs.
Duration of Homelessness
The homeless population is dynamic, with many individuals making lasting exits after short episodes of homelessness, a smaller number of individuals cycling into and out of homelessness, and a very small number of individuals experiencing continuous, unremitting homelessness. From 2007 through 2012, 13 percent of the total county population of 104,206 people who experienced homelessness were persistently homeless during part or all of the six-years.
Outpatient health care is the most frequently used service supporting over half of homeless residents. Over a quarter used the emergency room; 17 percent used mental health services; 14 percent were hospital inpatients; 13 percent used drug and alcohol rehabilitation services; and 6 percent used emergency psychiatric services.
A third of the study population had criminal justice system involvement over the six years of available data. Among this group, a third were charged with felonies, half with misdemeanors and a fifth with infractions. A third of the charges were for drug offenses.
Risk Factors for High Public Costs
Mental illness, substance abuse, incarceration history, and persistent homelessness all have a strong impact on public costs.
Some medical diagnoses are widely prevalent among homeless residents and also have a high cost profile. Mental health disorders are foremost among these, with 26 percent of homeless individuals diagnosed and 40 percent with the diagnosis having overall public costs in the top two deciles. Diseases of the circulatory system, which include heart disease, chronic hypertension, and rheumatic fever, are diagnosed in 11 percent of Santa Clara County homeless residents, 41 percent of whom have overall public costs in the 9th and 10th deciles.
The highest public costs for homeless residents are in the health care and jail systems. If a homeless individual experienced any of the following over a two-year period, they were more likely than not in the top 5%:
7 or more hospital inpatient days,
11 or more emergency room visits,
4 or more emergency psychiatric service visits.
Comparable benchmarks for jail stays over a two-year period include:
7 or more days in cell block 8A, the jail mental health facility,
10 or more days in cell block 2B or 2C, jail medical facilities,
Substance abuse and mental illness double the likelihood of being and staying in the top 5%, with odds two and a half times greater than average for people with both of these attributes.
Four-fifths of youth who age out of foster care and experience homelessness have diagnosed mental disorders and 65 percent are involved with the justice system. Youth with both attributes are at high risk of having public costs in the top 5%. More effective support is needed to help foster youth achieve a successful transition into adulthood.
Males have above average and females below average prospects of ongoing presence in the top 5%. However, gender breakouts for the county show equal numbers of males and females experiencing homelessness and more females experiencing persistent homelessness. This is very different from national data, which show two or three times as many males homeless as females. This high rate of female homelessness should be investigated further.
Housed Individuals
The Housing 1000 Permanent Supportive Housing initiative was established by Destination: Home in 2011, in partnership with Santa Clara County, the City of San Jose and the Santa Clara County Continuum of Care, to provide supportive housing to homeless residents. This study captures public expenditure data on 469 individuals who were housed under this program. Half of homeless residents who were housed through this program were in the top fifth of the cost distribution for homeless persons, but only a fifth were in the top 5%.
Three quarters of the individuals housed by Housing 1000 remained housed, while one quarter exited housing. By strengthening post-housing supportive services, there is the potential that retention rates can be further improved.
For the 103 homeless residents in the tenth cost decile who were housed through Housing 1000 program, the estimated average annual pre-housing public cost was $62,473. The estimated average post-housing cost was $19,767, a reduction of $42,706 annually.
The purpose of this study is to develop a statistically validated portrait of the highest cost homeless residents of Santa Clara County. The descriptive factors that identify the highest continuing cost homeless persons can enable public institutions to provide housing and social services that will stabilize the neediest individuals and significantly reduce public costs. The next deliverable for this project is an operational screening tool for identifying homeless residents who have the highest public costs.
Give priority access to permanent supportive housing for persistently homeless residents with high public costs.
Strengthen post-housing supportive services to increase housing retention.
Enlist all public agencies that serve homeless residents in document homelessness.
Enhanced support for foster youth with mental disorders and justice system involvement
Provide scaled support for lower-cost, persistently homeless residents
Housing subsidies without supportive services
Expert help in qualifying for Supplemental Security Insurance
Continue linking records of homeless residents to understand needs and plan services.
The surprising holes in our knowledge of America's homeless population
By Andrew Van Dam, Washington Post, (September 17, 2019)
Homelessness can be ended; Santa Clara County has the formula
By Jennifer Loving, San Jose Mercury News (June 24, 2016)
Study Suggests Housing Santa Clara County's Homeless Is Cheaper Than Letting Them Live On Streets
By Jeffrey Schaub, CBS San Francisco Bay Area (June 1, 2015)
Giving Homeless People Homes Is Cost-Efficient Even In Pricey Silicon Valley: Study
By Eleanor Goldberg, Huffington Post (June 4, 2015)
Survival Amid Riches: Homelessness in the Silicon Valley
By Grant Whittington, Triple Pundit (June 4th, 2015)
Silicon Valley-area study known as the largest study of homelessness ever
By Brian Lehrer, CUNY Television (June 2, 2015)
Acting to end homelessness
By Michael Engh, S.J., and John A. Sobrato, Santa Clara Magazine (May 26, 2015)
Homelessness costs billions; let's spend instead on housing people
By Editorial Board, San Jose Mercury News (May 29, 2015)
Homeless in Santa Clara County: Report puts cost at $520 million a year
By Mark Emmons, San Jose Mercury News (May 26, 2015)
Silicon Valley Discovers the Cheapest Way to Help the Homeless: Give Them Homes
By Gabrielle Canon, Mother Jones (May 27, 2015)
Homelessness an issue of social justice and fiscal responsibility
By John A. Sobrato and Michael Engh, S.J., San Jose Mercury News (May 26, 2015)
Homelessness Costs $520 Million a Year in Silicon Valley: Report
By Lisa Fernandez and Bob Redell, NBC News (May 26, 2015)
Homelessness Costing Santa Clara County $520 Million A Year
CBS News (May 26, 2015)
Homelessness in Silicon Valley Costs $520 Million a Year
By Jennifer Wadsworth, San Jose Insider (May 26, 2015)
New homeless study shows financial cost also has a human toll
Silicon Valley Homelessness a $520 million problem
By Molly Martinez, KRON4 Bay Area News (May 26, 2015)
Study Finds Santa Clara County Homeless Cost $520 Million
By Chris Nguyen, ABC7 News (May 26, 2015)
Study shows helping South Bay homeless more expensive than providing housing
By Ann Rubin, Fox KTVU News (May 26, 2015)
Santa Clara County Spends $520 Million a Year on Homeless
By Michael Krasny, KQED Radio Forum (May 27, 2015)
Extreme Wealth and Absolute Squalor: Homelessness in Silicon Valley
By Alan Pyke, ThinkProgress (May 28, 2015)
The cheapest way to end homelessness is ridiculously simple, according to the largest-ever US study
By Drake Baer and Natasha Bertrand, Business Insider (May 28, 2015)
Homelessness Costs Santa Clara County Billions
By Jennifer Hodges, KGO810 (May 26, 2015)
Study: Silicon Valley Could End Homelessness for Free
By Greg Ferenstein, Breitbart News (May 28, 2015)
Study: Santa Clara County costs for homeless total $520M a year
By Ryan McCarthy, Daily Republic (May 28, 2015)
The Daily Journal (May 27, 2015)
By Associated Press, Washington Times (May 26, 2015)
New Santa Clara County homeless study shows financial cost also has a human toll
By Mark Emmons, Contra Costa Times (May 26, 2015)
Homelessness in Silicon Valley Costs $520M per Year
By Lamar Anderson, Curbed San Francisco (May 26, 2015)
Area of Work: People
Tags: Barriers, Behavioral Health, Cost Avoidance, Data Linkage, Disabilities, Economic Impacts, Employment, Health, Homelessness, Hospitals, Housing, Jails, Permanent Supportive Housing, Planning, Poverty, Prevention, Public Assistance, Public Costs, Risk, Santa Clara County, Screening, Silicon Valley, Social Outcomes, Social Safety Net, Social Services, Social Sustainability, Strategy, Welfare
Back to Publication List
Individuality within Homelessness
There is a solution to every individual's problems but there are no mass solutions.
System-Based Tools for Guiding System-Wide Engagement
Chronic homelessness is a catastrophe and the result of multiple failures, both before and after the onset of homelessness.
Antecedents of Chronic Homelessness
Tweets by @EconomicRT
244 South San Pedro Street, Suite 506, Los Angeles, California 90012 • (213) 892-8104


text:
Zysman is a surname. Notable people with the surname include:

Jack Hardy (born Dale Zysman, 1901–1993), American labor leader and teacher
John Zysman (born 1946), American political scientist
Shalom Zysman (1914–1967), Israeli politician

See also
 Zisman

redpajama_set_name: RedPajamaWikipedia


text:
Central Nervous System Therapeutic Targets in Friedreich Ataxia
Written: Monday, November 30, 2020
Friedreich ataxia (FRDA) is an autosomal recessive inherited multisystem disease, characterized by marked differences in the vulnerability of neuronal systems. In general, the proprioceptive system appears to be affected early, while later in the disease the dentate nucleus of the cerebellum and, to some degree, the corticospinal tracts degenerate. In the current era of expanding therapeutic discovery in FRDA, including progress towards novel gene therapies, a deeper and more specific consideration of potential treatment targets in the nervous system is necessary. In the present work, we have re-examined the neuropathology of FRDA, recognizing new issues superimposed on classical findings and dissected the peripheral nervous system (PNS) and central nervous system (CNS) aspects of the disease and the affected cell types. Understanding the temporal course of neuropathological changes is needed to identify areas of modifiable disease progression and the CNS and PNS locations that can be targeted at different timepoints. As most major targets of long-term therapy are in the CNS, the present review uses multiple tools for evaluation of the importance of specific CNS locations as targets. In addition to clinical observations, the conceptualizations here include physiological, pathological and imaging approaches, and animal models. This review, through analysis of a more complete set of data derived from multiple techniques, provides a comprehensive summary of therapeutic targets in FRDA.


The two most powerful therapeutic applications of cannabis are as an analgesic (pain reliever) and in the role of an anti-inflammatory. Because inflammation often leads to pain, cannabis medicine works on multiple levels to provide relief to many patients. Use of this herb for pain management is nothing new. According to Harvard University psychiatry professor Dr. Lester Grinspoon, cannabis has been used as medicine and to treat symptoms like pain for more than 5,000 years.
For those suffering chronic pain — often the result of an accident, operation, or serious disease — cannabis is a non-addictive alternative to opiates and other potentially harmful treatments. Neuropathic, or "nerve-related," pain is a major problem for sufferers of cancer, dystonia, diabetes, HIV/AIDS, and multiple sclerosis, among dozens of other diseases that feature a core symptom of recurring or unabating pain.
Chronic pain, which persists and sometimes never ceases, is characterized as discomfort that slowly increases over time until it becomes a consistent pain. This is very different from acute pain, which is episodic in nature, features a sudden onset, and results from an accident or injury. Unlike most cases of chronic pain, acute types are treatable with a wide range of drugs and therapies (including cannabis). Chronic pain is sometimes defined as pain that lasts three months or longer, regardless of the cause.
It is estimated that chronic neuropathic pain affects more than one in five adults. In the United States, which features a population of 322 million, roughly 75 million Americans suffer from daily pain, while 25 million experience acute pain resulting from an accident or operation.
Unfortunately, chronic pain is often unaffected by conventional medical treatments or pharmaceutical drugs. This is the major reason that so many patients seek out cannabis medicine — often without a doctor's recommendation. Standard pharmaceutical drugs used to treat pain include opiates and NSAIDs (non-steroidal anti-inflammatory drugs). Unfortunately, for millions of Americans, these conventional treatments are simply ineffective at relieving neuropathic and other forms of chronic pain.
A 2010 Canadian study found that more than one in ten patients suffering from pain were self-medicating with cannabis. "About 10 to 15 percent of patients attending a chronic pain clinic use cannabis as part of their pain strategy," reported researchers of the study. Additional causes of chronic pain include conditions such as carpal tunnel, arthritis, back and spinal injury, and fibromyalgia.
The vast majority of the medical establishment in America obviously doesn't embrace medical cannabis or rely on the efficacy of cannabinoids and terpenes to heal patients, either physically or psychologically. This is unfortunate, because opioids, the most popular way of treating pain, are both addictive and often feature significant tolerance building. Long-term use of opioids can produce gastric bleeding and may result in kidney or liver disease.
Stories continue to accumulate of how patients who have undergone surgery that results in chronic pain have chosen to replace pharmaceutical drugs with medical cannabis. It is believed that more than 75,000 Americans are hospitalized each year due to overdose or other complications of opiates, resulting in nearly 8,000 deaths that can be directly attributed to these dangerous and addictive drugs.
Suffering pain for merely a few minutes can be a very stressful experience for any patient, including those who are acclimated to it. The psychological impact of continuous, never-ending pain can easily push patients to the edge of their limits. One of the biggest challenges for those suffering chronic pain is avoiding the impulses that accompany suicidal thoughts. The sad part of the equation is that most chronic pain sufferers are not inherently suicidal; rather, they are simply trying to end their own suffering.
This effect of cannabis minimizes and often eliminates the "pessimism, hopelessness, [and] desperation" that sometimes results in suicidal thoughts. Thus, all parties involved, from patients and caretakers to budtenders, recommending physicians, and dispensary owners can assume that high-quality examples of medical cannabis are fully capable of preventing suicide.
In fact, due to its very low occurrence of physical addiction and almost complete lack of negative side effects, cannabis may be the best treatment for those who suffer from chronic pain that leads to suicidal thoughts. The fact that many strains of this highly medicinal plant also act as a powerful analgesic simply solidifies the argument that sick patients should be legally permitted to cultivate, possess, and consume cannabis.
Why are the strong anti-emetic properties of cannabis of value? Simply because pain patients, almost always prescribed opioids, often suffer a primary side effect of nausea and vomiting. The fact that cannabis can treat both pain and nausea is a testament to its healing powers and widespread efficacy. These benefits obviously do not include the mood enhancing benefits that are powerful enough to prevent suicidal thoughts from becoming suicidal actions.
A 2011 study conducted at the University of California at San Francisco involving another medical cannabis research pioneer, Donald Abrams, found cannabis — when combined with certain opiates — to be an effective treatment for chronic pain. The study, published in the journal Clinical Pharmacology and Therapeutics, involved use of a high-end desktop vaporizer for consumption of ground cannabis flowers and long-acting morphine or oxycodone. The study concluded that chronic pain patients who consumed both cannabinoids and conventional opiates enjoyed a greater reduction in pain than those who were treated with opiates alone.
A 2014 study conducted by Israeli physicians and published in The Journal of Pain and Palliative Care Pharmacotherapy examined the effect of cannabis to reduce otherwise untreatable nerve pain in a small group of human patients. Because human trials are largely prohibited or denied in the United States, any cannabis study involving humans that occurs outside the U.S. is of great significance.
Although not a study, a 2013 poll conducted by the New England Journal of Medicine found that 75 percent of clinicians would recommend cannabis for a hypothetical cancer patient.
Until cannabis is removed from Schedule I of the Controlled Substances Act, the federal government will continue to consider it more dangerous and addictive than methamphetamines and cocaine — both of which are less-restricted Schedule II drugs that can be prescribed by a physician. Congress has continually opposed robust research and human trials of cannabis as medicine for any condition, regardless of severity or the number of Americans affected.
Federal prohibition perpetuates a system in which patients with a wide range of diseases involving chronic pain will needlessly suffer due to a lack of research data and information. As long as Congress and most of the medical establishment continues to bury their collective heads in the proverbial sand, opiate overdoses and deaths from pain-induced suicides will continue to plague innocent patients who are denied safe access to laboratory-tested, pesticide-free cannabis medicine.
This post was originally published on February 15, 2016, it was updated on October 5, 2017.


text:
Metaloricaria (Металорікарія) — рід риб триби Harttiini з підродини Loricariinae родини Лорікарієві ряду сомоподібні. Має 2 види. Наукова назва походить від грецького слова meta, тобто «з», «після», та латинського слова lorica — «панцир зі шкіри».

Опис
Загальна довжина представників цього роду коливається від 27 до 29,5 см. Голова помірно велика, трохи сплощена зверху. З боків голови у самців присутні збільшені одонтоди (шкіряні зубчики). Вусики доволі довгі на верхній щелепі (перевищує довжину інших представників своєї триби). Рот помірно широкий. Зуби невеличкі, розташовані у 1 рядок. Тулуб подовжений, вкритий кістковими пластинками. Спинний плавець низький, з великим шипом. Грудні плавці подовжені, дещо широкі, серпоподібні. У самців на м'яких променях та шипі розташовані одонтоди. Жировий плавець відсутній. Хвостовий плавець невеличкий.

Забарвлення коричневе або довгувате з контрастними темними цяточками. Черево кремове або сріблясте.

Спосіб життя
Це демерсальні риби. Воліють до чистих і прісних водойм. Населяють швидкоплинні річки з піщаним дном. Активні у присмерку. Живляться переважно дрібними водними організмами, детритом, частково водоростями.

Розповсюдження
Мешкають у басейнах річок Ояпок, Сарамакка і Нікері (у межах Французької Гвіани та Суринаму).

Види
 Metaloricaria nijsseni
 Metaloricaria paucidens

Джерела
 Ferraris, C.J. Jr., 2003. Loricariidae — Loricariinae (Armored catfishes). p. 330—350. In R.E. Reis, S.O. Kullander and C.J. Ferraris, Jr. (eds.) Checklist of the Freshwater Fishes of South and Central America. Porto Alegre EDIPUCRS, Brasil.

Лорікарієві


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The Ik People and their Culture
The Ik people also identified as the Teuso, are the smallest Ugandan ethnic group of people. Though rapidly growing, they are a group of about 10,000 people who live in the North-eastern region of Uganda. They live in Morungole mountain just close to Kidepo Valley National Park and near Uganda's border with Kenya. The Ik people became popular around 1972 after a British – American anthropologist Colin Turnbull published his book, "The Mountain People". This book majorly portrayed the Ik people as loveless. However, when you take a cultural visit to Ik communities, you will surely disagree with what the book says about them. they are very interesting people, so hospitable and caring.
The Ik people live high in the Morungole mountains, on Uganda's border with Kenya near one of Uganda's finest safari destinations – Kidepo Valley National Park. With a total population of 10,000 people and still growing, the Ik tribe are believed to have migrated from Ethiopia and first settled in Kenya before migrating to their current home in Uganda. The Ik are believed to have been the first people to migrate to North-Eastern Uganda. The Ik were majorly hunters and fruit gatherers who also kept cattle. But due to the constant raids from the Karamojong of Uganda, the Turkana of Kenya and Tuposa of South Sudan, they lost a lot of cattle and thus gave up on cattle keeping and decided to adopt to subsistence farming instead. This also included rearing domestic animals and bee keeping.
The Ik spent most of their livelihoods in the forest where they survived on hunting wild animals and gathering fruits and honey in Kidepo Valley National Park. However, they were later displaced from their ancestral land in Kidepo by the Government in the efforts to gazette the area into a National Park. The problems of the Ik thus started escalating as they were constantly raided by other tribes who claimed that the Ik were a weaker tribe. The Ik faced a number of challenges including famine, scarcity of water and pasture for their animals. They had now lost their ancestral land and hunting grounds.
The Ik therefore decided to migrate up to Morungole mountain, somewhere high and far away from hostile tribes who were fond of disturbing their peace and have a fresh start. Until today, the Ik have been living up in Mount Morungole and though they live in isolation, they live in a harmonious community with one another.
Cultural Visit to the Ik People
Visiting the Ik people is one of the most exclusive cultural experiences that you can be rewarded with while on a Uganda safari to Kidepo Valley National Park. With the amazing views and spectacular vegetation that you will encounter while hiking up to the Ik communities will take your breath away. The hiking experience alone is one you shouldn't miss. The cultural experience will take you through the culture, traditions, norms, beliefs and way of life of the Ik. You will be amazed by their entertaining traditional songs, dances and ancient stories of origin.
During your Uganda safari to Kidepo Valley National Park, you can have a cultural visit to the Ik communities. The experience is done on foot and it involves hiking up the steep slopes of Mount Morungole. This will require one to be physically fit and in good shape. The experience will last a whole day hiking up and down the mountain. The cultural trail is about 8 kilometers long, it may seem long and tough but I can promise you, it is a worthwhile experience. You will trek until you arrive at the Ik communities. On arrival, you will be welcomed warmly by the Ik people and with the help of a local guide, take you through the daily life of the mountain people.
Community Set-up of the Ik People
The Ik live in a number of small villages arranged in groups which make up their whole community. Each village is enclosed in a fence and distributed into family neighborhoods called Odoks. The Odoks are also apportioned into small homes called Asaks. The asaks have front-yards intended for community-based relations and events. Inside the Asaks, the children's sleeping quarters are separated from their parents' side by cooking stones.
Traditional Set-up of the Ik
The Ik people are traditionally polygamous people who can marry as many women as they want. This depends on how many beehives a man owns. According to the Ik culture, to be regarded as respectable, a man should own about 50 beehives where he can give 5 to 10 hives as bride price. Every woman has their own hut and the husband is supposed to visit all his wives in rounds. Only the first wife can own the "husband" over the rest of the wives. In addition, wife inheritance is done after being widowed or divorced.
Children in the Ik community are meant to move out of their parents' houses and go live with their grandparents until are 11 to 13 years of age. When they turn the mentioned age, the girls get married and the boys have to team up and build a hut where they will stay until they marry. The boys make teams called age groups which are divided into two i.e., the junior group which is comprised of children between 3 and 8 years and the senior group which is comprised of children between 8 and 13 years. The Ik community raises their children quite differently from other ethnic communities. For instance, pre-marital sex is not a big deal in the Ik community. Close relations between boys and girls in the community is accepted because it offers a variety of opportunities.
Moreover, formal education in the Ik community is not quite common. Besides, polygamy is measured as part of life. However, sex and marriage in the same clan is portrayed as a taboo. More so, a case of adultery on the woman's side is punishable by death. Visiting the Ik people is always part of Uganda wildlife or cultural safaris to Kidepo valley National Park. when you visit this unique tribe of people, you will explore and learn more about their fascinating culture and traditional lifestyles. More so, cultural encounters to the Ik people will show you how nice and warm hearted the Ik are. You will be stunned by their entertaining traditional dances and folksongs. In addition, hiking the Morungole ranges to get to the Ik community is yet another wonderful experience. The trail maybe tough but the attractive views en-route the hike will make it a worthwhile one.
Previous: The Batwa Cultural Trail
Next: PRIMATES IN EAST AFRICA
Uganda Cultural Experiences
The Sebei of Uganda
The Karamojong People and Their Culture
The Bakonjo People & Their Culture
UGANDA, THE PEARL OF AFRICA.
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IN Person or Remote Get Brownsville In-Studio Education
Your BROWNSVILLE, TEXAS AUDIO RECORDING SCHOOL ALTERNATIVE
If you thought you couldn't find an audio engineering school in Brownsville, Texas, look again! The RECORDING CONNECTION is a program area of Recording Radio Film Connection & CASA Schools, a trade school or post-secondary institution but we're anything but ordinary in our approach. Recording Connection is an innovative Brownsville audio engineering school alternative that doesn't send its students into classrooms. Instead, we get you inside a Brownsville recording studio, where you will work as an audio student extern and learn music production, audio engineering, mixing, live audio, electronic music-and its many sub-genres (dub step, drum and bass, techno, jungle and more), club DJ and post production audio. In Brownsville, Texas, we believe there's no better way to launch a career in audio than by externing in a Brownsville recording studio. We're the ones who can make that happen.
Why would you spend 20-50 thousand dollars (plus relocation expenses) to go to an audio engineering trade school somewhere, when you can spend far less money and go to our alternative to conventional audio engineering school in a real recording studio in Brownsville? Learn from a working, in-industry audio engineer or music producer who will work with you one-on-one. Get connected as you get educated to the way things are really done inside of professional recording studios. Our audio engineering school alternative is the cost efficient alternative that doesn't want to waste your time or your valuable energy.
To APPLY for our Brownsville audio engineering school alternative, click here.
Brownsville, Texas is the southernmost city in the state, located in an area known as the Rio Grande Valley just across the river from Matamoros, Mexico. A rapidly-growing city of around 176,000, Brownsville hosts its own music scene, with area bands and musicians from genres ranging from country to punk playing in venues throughout the area. In keeping with the culture of the region, Tejano music has a large presence in the local music scene. Brownsville is home to the popular annual Brownsville Latin Jazz Festival, a three-day event held every autumn.
A number of recording studios make their home in the Brownsville area to accommodate the ongoing needs of the music community. If you are considering a career in audio as a recording engineer, live audio engineer or music producer, Brownsville holds plenty of opportunity for you to learn.
Sign up now for a personal virtual or in-person tour of a Texas studio and meet a professional music producer or audio engineer who will be your private teacher.
Our "Near Me" Brownsville Locations
Learn in a recording studio in or near Brownsville.
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Villa Los Pinos
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Our Alternative to Audio Schools in Brownsville
Donny Baker	Brownsville Donny Baker of ES Audio in Los Angeles
35th Street Studios	Brownsville Mentor
Everything from the blues to certain genres of electronic house music call Chicago home. And the 35th Street Studios has seen an equally eclectic group of musicians come through their doors. The Who and Crunchy Black, The Rolling Stones and Yolanda Adams, Cheap Trick and Kanye West.
Their ability to work with a wide variety of acts over the years, and housing several studios, a live sound stage, and more. It is the premier rehearsal venue in Chicago because of its size and has all of the gear to record podcasts, film, and video work. And, as one of Recording Connections mentoring studios, it's grooming the next generation of audio engineers and music producers.
"One of the things I appreciate every day is that I am surrounded by like-minded people," former extern Robert Avila said. "Those who have the expertise and patience to listen to a mix repetitively, and for as long as it takes, to accomplish what needs to be done. The qualities I see in my peers at the studio are great. Everyone at 35th Street Studios has their unique background, style, and personality type; nevertheless, they work together seamlessly- true teamwork- and I'm more than happy to be involved."
Work with Professionals
With our ability to place externs inside real-world studios, we feel our programs have a little something more to offer those looking to make it in the music marketplace. Using the latest hardware and software, our mentors will show you how to set up a studio, get the most out of an act's material, and how to use the most up to date recording software.
But it goes beyond knowing how to operate a digital audio workstation or knowing which mic to use. The Recording Connection gives you something very few universities or trade schools can: connections. Other schools may bring in guest speakers for an hour or two. The Recording Connection will give you the opportunity to work alongside those already in the industry.
With these opportunities, you can start to build your brand from within the business. Many of our externs find work immediately after completion of the program, often at the very recording studios they learned in. How many schools can say that? Not many. After all, they aren't looking for beat-makers, audio engineers, or music producers.
Many Recording Connection mentors are, however. We have helped hundreds of externs find work after completing their program. Some stay with their mentors, others are referred to other studios, and a few have even opened their own studios. They create music, beats, or samples that are used in video games, television, and film.
The one thing they all had in common when they walked through the 35th Street Studio doors, or any of our more than 250 locations in the United State, was pure passion. Learning how to engineer music isn't a hobby at Recording Connection, it's a way of life. Are you ready to Amplify Your Life? Apply today.
Crunchy Black
Kanye West.
Zack Phillips	Brownsville Mentor
Learn from Recording Connection mentor Zack Phillips or one of our mentors in the Bay Area.
Discovering his love of music while growing up in New York City in the '80s, Zack Phillips' approach to music is "part science, part mysticism." Gaining experience as a DJ and live sound engineer, Phillips received a formal education in audio engineering.
From there, Phillips honed his craft working at several studios before finally establishing his own studio: FreqLab Recording. In addition to recording, editing, mixing, and production, Phillips also works on developing the artists he works with, exploring innovative and inventive ways of engineering audio. Phillips has worked with a wide range of artists, including Talib Kweli, The Kooks, and Blue Hawaii.
You'll be working in a state-of-the-art facility renovated by Phillips himself. While he made sure to design the studio to get the most out of the space, he also wanted to make it as comfortable as possible for engineers and artists alike.
If you study at the San Francisco Recording Connection, you'll be working with people as passionate about music as you are. Up and comers, established stars, and other entertainment entities such as Comedy Central or Electronic Arts. But you won't be watching TV or playing video games – you'll be coming to work hard every day.
Andy Shoemaker, Rax Trax Recording	Brownsville Mentor
For Andy Shoemaker, Grammy-nominated audio engineer at Rax Trax Recording and Recording Connection mentor, it takes more than being a superstar with the gear. The best audio engineers and music producers also know how to take care of their clients.
"The way young engineers get early opportunities often comes from a situation where they can fill in at a time of need," he said. "But before I start saying, 'Hey man, can you do this session?,' I need to see, technically, they know enough of what they're doing to trust them enough not to screw up and also that I don't fear that they'll conduct themselves in a negative way with a client."
A bad demeanor on one side of the glass will lead to very little action on the other side of the glass. At the start of your career, musicians don't come to you – you have to bring them in. Think of it as being a salesperson. You may have the best product, but if you're lacking in the personality department, you're not going to be very successful.
"There are people that I think of very highly, like, 'Man, this guy is great. He knows what he's talking about,'" Shoemaker said. "But I just don't know that I can hand him a session because his people skills are a bit lacking. If someone can't read the artist and interact with them based on what the artist needs, then it isn't a good fit between engineer and artist."
It's About More Than The Gear
With the Recording Connection Audio Engineering & Music Production Program, you'll learn what you need to know about digital audio workstations (DAW) like Ableton Live or Logic Pro. As Shoemaker explains, however, it's just one tool. There's only so much that can be done with sub-par performances.
"So much of the tone comes from the player," Shoemaker said. "Artists themselves contribute so much more of the tone than we want to give them credit for a lot of times. I think as engineers, it's easy for us to idolize equipment. It's easy for us to idolize microphones and preamps and compressors, and those are all really important parts of the chain, but it comes down to the source.
"All those tools are going to help you capture the source in a more interesting or more pleasing way, but they themselves won't change the source. If you don't have that sorted out, then you're going to be struggling with it regardless."
Get What You Need From A Pro
At a traditional four-year university or trade school, you may get enough experience on a DAW, learn about music theory, or even work with other students to create music. But we feel it just can't compare with the immersive experience you get when working one-on-one with an industry insider in a real-world setting.
"I went through a traditional four-year style school," Shoemaker said. "In my final semester, I started an internship and I found that I was learning a lot of things that I'd never learned about in school. I was three semesters in at my school before I was doing some of the stuff that I might have my students do in their first week of the Recording Connection program.
"There are a lot of different audio programs out there. How effective any program is going to be for you personally really depends on what you put into it. You could really dive into any program and get something out of it, but I think Recording Connection provides an opportunity to do that in a different and more efficient way because it isn't isolated from reality."
Are you ready to get what you need to Amplify Your Life? Apply to Recording Connection today.
Sammy Adams
Steve Catizone, Infinite Recording	Brownsville Mentor
Learn from Recording Connection mentor Steve Catizone or one of our mentors in the greater Boston area.
From Aerosmith to Wyclef Jean, Steve Catizone knows the ABC's about working with international superstars. Catizone ran Sanctum Sound in Boston for more than a decade before moving across the country to give the West Coast and Los Angeles a try. Now he's back on the East Coast with Infinite Recording in the Boston Metro area.
No matter where he is, Catizone looks forward to working with the next generation of audio engineers and music producers. He knows what to look for in a Recording Connection extern and doesn't take long for him to spot those that have what it takes to make a career in the music industry.
And it has nothing to do with their previous musical experience or technical mastery of a digital audio workstation. A previous student, Scott Johnson, impressed Catizone enough to hire him to work at his state-of-the-art second studio, even have him run a tracking session with British pop-dance superstar Charli XCX.
"He just made himself available for things whenever and wherever he needed to be," Catizone says. "Luck is preparedness meets opportunity, and anytime I'd ask him to come in to shadow or assist, he was there. I told him, 'It's like anything else, she's like anybody else. She wants to come in, she wants to do her thing; just do your thing.'"
For Catizone, the Recording Connection Audio Engineering and Music Production Program offers an advanced way to teach those up-and-comers who want to make a name for themselves in the industry. Although major audio schools may have a "name," they don't always graduate students who have the conceptual side of things down, or know their way around a professional recording studio.
"He said he wasn't really getting much experience with them at all," Catizone says, speaking of former student Melvin Perdomo. "And it's funny because I went through some simple concepts with him, and it was obviously stuff that they didn't hit with him."
Besides, it isn't always what you know, but who you are. Like Johnson, Catizone could tell right away that investing in Perdomo would pay instant dividends.
"His temperament is perfect," Catizone says. "He's a go-to guy. I kind of knew that he was going to work out from the start, and I was pretty much right. So three sessions in, I was like, you know, 'We need somebody to help out.' And he's very chill and laid back. He's perfect."
A third extern, Shardinee Fort, was brought in to help with an audio recording of author/columnist David Savage. She had the right temperament for the job, so Catizone knew she'd be perfect.
"I needed someone who could help out and just be, you know, have a pleasant disposition and be in the studio as well," Catizone says. "She sat in and made herself available for whatever technical stuff needed to be done."
All of that is to say: when you apply to Recording Connection, you get more than a one-on-one education from an industry insider, you get the chance to prove your worth to a potential employer or reference. Those opportunities just aren't available at most universities or trade schools.
Former Catizone extern Jordan Schuh took advantage of the connections he made. Now he runs his own studio. The exposure he received with Catizone and Recording Connection was invaluable.
"I guess the best thing I can say about Recording Connection is that it proves its name," Schuh says. "In other words, what I valued most about the experience was the connections with real people in the recording industry."
Recording Connection mentor Steve Catizone on creating opportunities for his students
Recording Connection mentor Steve Catizone talks studio etiquette
Writer's Room Recording Studio	Brownsville Mentor
After starting his career in New Jersey and New York, Sheldon Ellerby moved South to hip-hop hub Atlanta. First with The Writer's Room and now with Private Sound Studios, Ellerby provides externs with a little of the old and a little of the new.
As an audio engineer or music producer, you need to have the right combination of both. Technology is constantly changing how we make music, making it more accessible for everyone instead of a select few. Digital Audio Workstations allow you to make music in the studio, in your home, or on a bus.
But it won't change the theory of music, how soundwaves travel, and the overall fundamentals of audio engineering.
"My approach is really to give them an understanding of the principles of recording," Ellerby said. "I like to go back to not just the start, but to even eras where you had The Beatles, James Brown, the Motown era. Everybody has the same principles of recording, and we still use those principles to this day."
While Ableton Live or Logic Pro has made it easier for the masses to make music, it doesn't necessarily mean it's good music. So many new music makers want to run before they can walk, with no foundation or understanding of the music in place. Digital audio workstations are great – but there's a lot of work to be done to get the most out of the software.
"I try to get people to understand that it's more than just running a program," Ellerby said. "Anyone can push a couple of buttons and say they're engineers. But if you don't know how to identify distortion, 'Am I getting a good signal?' or 'What mic should I use?' 'Does this mic complement his vocal tone?' I get into helping them build a real foundation and understand the how's and why's of what they're doing."
Love What You Do
You've come to Recording Connection because you want to make a career in the music business. But it takes more than "want." There's a determination that comes with establishing yourself in the industry and even more dedication to stay there.
"What drives me more than anything is passion," Ellerby said. "The passion to learn, always wanting to know more. One thing I really pass onto a lot of the students is never stop learning. You have to continue to learn because everything is always like a constant evolution with the technology."
The Recording Connection will give you the tools and the education you need to build a solid base. You will build your brand while expanding your portfolio. Learn how to move around the studio, interact with the talent, and how to market yourself. But what will you do with this opportunity you've given yourself? Are you ready to Amplify Your Life? Apply today.
Bernard Johnson	Brownsville Mentor
Learn from Recording Connection mentor Bernard Johnson or one of our mentors in the greater San Diego area.
Bernard Johnson didn't follow the usual path to becoming a Recording Connection mentor in El Cajon, Ca. He discovered a love of mass media as a 14-year-old, entering a certification program to find out how it all came together.
After finishing the program, he began co-producing a top-ten music show in Detroit and received an award for exemplary airwave checks from the Michigan Broadcast Association. Then his career took a turn: Johnson entered the military.
After a 20-year career in the military, often leading departments with 90 people, Johnson returned to what he loved as a teenager, earning a masters in audio production. While the military can be quite regimented, Johnson was attracted to the freeform method of instruction that Recording Connection offered students. As he knows better than most, the standard course isn't always the best course.
"When I saw (Recording Connection) model, I was like, 'Wow, this is it. I love it.'" Johnson said. "And it allows students to have the opportunity not to feel cemented to something like, 'This is what you need to do, this is the direction and the route you need to do it.'"
The Recording Connection Program gives you access to a professional engineer, fully-functioning studio, and hands-on education, it could also earn you a career. The Noize Factory is a perfect example of that: Johnson hired one of his former students (Efrain Matias) as a staff engineer.
But you have to work for it. Recording Connection students must be willing to put in the time, effort, and focus to get the most out of it. Johnson expects nothing less.
"I do want to say commitment, passion, perseverance, and finishing until the end," Johnson said. "They're not just doing something for money or just doing it 'just because.' They're literally passionate about it."
Recording Connection mentor Bernard 'IQue' Johnson Shares His Smarts & Hires from Within!
Recording Connection grad Goes to NAMM, Gets Hired, Gets Going in Audio!
Madison Records/The Oates Music	Brownsville Mentor
For Wyatt Oates, it doesn't matter if you already know a digital audio workstation inside and out, or if you've worked with multiple bands, or even cut a few demo tracks before. As a mentor, the technical side of making music, building a brand, and working on a portfolio will all come in time.
It's the little things that show Oates everything he needs to know about a new Recording Connection intern. How an extern holds themself in the studio, how they interact with others, just their overall demeanor.
"The very first thing would be being on time," Oates said. "The next thing I'm going to notice is attitude. And then it's just walking through what they're trying to do, try to get a feel for them."
And when it's time to get to work, how do the externs act? Even a technical genius on the gear needs more than being a technical genius on the gear. Local, regional, or national acts don't want to work with a robot, they want to work with someone who makes them sound better. Who can feel the music and make the needed adjustments.
When an artist is in the studio, this is the time for the extern to take a step back and watch the professionals at work. Learn when (and why!) they push, pull, or just sit back when the artist gets in a groove. Although this is a fully immersive, hands-on learning experience, there are times when it's best to observe.
"A good, safe starting point is being a fly on the wall, and don't interject your opinions into what the producer is doing, for example," Oates said. "It's just bad form. Don't solicit people right off the bat if you have your own music, your own productions. Treat them like normal people.
"Obviously, introduce yourself," Oates continued. "And if they seem like a hand-shakable person, shake their hand or whatever the proper greeting is in that culture, and don't overdo it. You should sit either at the console or back of the room, you know, leaving the sweet spot, so to speak, for the producer, engineer, artists. And just hanging out and paying attention."
But Oates also believes you need to make yourself useful. Once you've learned the DAW and other technical aspects, you'll begin to sit in on some sessions. Until then, learn to follow the cues your clients give you.
"Trying to be as proactive and predict the needs of the artist, producer, and engineer as much as possible," Oates said. "So if you hear that somebody is coughing and is obviously thirsty, then offer to run and get them a water, and go do it."
Take advantage of the opportunities
Stay alert during the process – the entire process. You never know when the chance to sit down and get to work will present itself. Getting the opportunity to put into practice what you've been learning is one of the most important parts of any Recording Connection program.
"I've seen a few people fall into the trap of putting their headphones on and just rocking out to some music while they're in session," Oates said. "You lose a lot of opportunities to be proactive and to really help the session along. I guess how I'd sum it up is, help the session along. During a recording session, do everything within your power to help the session along."
Hands down, it's Hands-On For The Win
"I've always loved the (mentor) model," Oates said. "I came up through it myself. That's how I learned engineering, producing, songwriting, all of that. So anytime I got a chance to help an intern or an assistant engineer up under me along the way, I always did.
"So when I found out about the Recording Connection and one of the guys called me from there to see if I would be interested in mentoring, I jumped on it," Oates continued. "One of the things that I thought was really cool about the Recording Connection was the fact that they focus on that model. I'm just a fan of it because it works. The real-world experience is always better than classroom experience for these kinds of careers."
Are you ready to start your real-world experience? Amplify Your Life and Apply Today.
Joey Heier	Brownsville Mentor
Learn from Recording Connection mentor Joey Heier or one of our mentors in the New Brunswick area.
Audio engineer and studio owner Joey Heier has been in the business of making music for decades. With a client list that includes names like Christina Aguilera, B.o.B., Jill Scott, and Dru Hill, Joey knows what it takes to work in music. Furthermore, he has a zeal for sharing his passion for audio with newcomers.
So much so, that he's gotten the nickname "Uncle Joey" from our students. He maintains contact with literally dozens of our graduates, many of whom have gone on to build great careers in the music industry.
We recently asked Joey Heier why he loves mentoring for Recording Connection. Here's what he said:
"It's a tremendous passion for me. I enjoy doing this so much. I have a style that I believe in. I talk with my students about a textbook answer that they're probably going to forget immediately, and then give them an 'Uncle Joe' definition that's two or three words that they're going to remember immediately. Then they're going to understand what the textbook definition is by hearing it in a simpler fashion.
"I have great kids that come in and really, really want to do this… I have an outstanding job, and there's no reason why I shouldn't do it with a smile. And that doesn't happen with every kid, naturally—it really depends if they want to do it. But if they want to do it, I am so honored to have the opportunity to teach, and I think that's why it works well for me."
NUGGETS OF TRUTH: Recording Connection mentor Joey ("Uncle Joe") Heier talks about the importance of hands-on training and his passion for teaching
Southern Eagle Music Group	Brownsville Mentor
RENEGADE EL REY, an audio engineer/producer with Stankonia Studios, the legendary studio started by Outkast, has been a Recording Connection mentor for a few years now. He has hired past externs and regularly keeps in touch with other students who are busy making a name for themselves in the business.
Like many of our mentors, he is more interested in working with externs that have the drive and determination to succeed rather than any particular technical skill. Digital Audio Workstations can be taught – having the right attitude can't.
Making yourself necessary during the Audio Engineering and Music Production Program is a great way to get in the good graces of your mentor. Yes, you're there to learn, and your mentors are there to teach. But they're also there to work.
By taking cues from the mentor, and the artists they work with, you'll learn more about the industry than you will from almost any book. When RENEGADE EL REY was coming up, he made himself necessary in the studio. Engineers, producers, and studio chiefs remember that.
"As far as the actual, physical work that was done, I made myself valuable," RENEGADE EL REY SAID. "And that was one thing that my professors always told us was to always make yourselves valuable, make people want to need you for whatever the case may be, and that's exactly what I did."
The Recording Connection offers one thing most traditional universities or trade schools just can't: Opportunity. By making yourself available, your mentor, other staff, and their clients will remember you as the one they can rely on for anything.
"I learned how to do several things, and that was just something that I always did," RENEGADE EL REY said. "I don't write my rhymes, my lyrics, but I keep pens and pencils, just different things that people need. So whenever they need something, they think to call you. I just made myself that guy, and it just took off from there."
Make Your Own Name
That's how he made his connections and earned his shot at Stankonia. But it's more than just making sure everybody else has what they need. The Recording Connection program wants to help you get what you need: a job making music in the industry.
We can give you the tools, but you have to put in the work. Both in the studio with your mentor and on your own. If you wait for things to happen for you, you'll be waiting a long time.
"Oh yeah, definitely," RENEGADE EL REY said. "I've always been the type to look ahead and try to say, 'Okay, what's going on next and where do I need to be?' Because things don't happen overnight. I'm always trying to reach out to the type of people that I need to reach out to ahead of time. You've got to get the ball rolling one way or the other."
The Recording Connection will place you in a one-on-one situation with music producers like RENEGADE EL REY, but what you do during that time will determine how far you go in the industry. Our most successful graduates go on to find work in the studios where they externed, other studios, and even starting their own studios.
Will you make yourself available, invaluable, and teachable? That's what our mentors are looking for. If you're ready to Amplify Your Life, apply today.
Aaron R. Reppert	Brownsville Mentor
Learn from Recording Connection mentor Aaron R. Reppert or one of our mentors in the greater St. Louis area.
Originally founded in 2000 by Recording Connection mentor Aaron R. Reppert, TravSonic Sound & Media has grown a lot since its early, humble beginnings. TravSonic Mobile, established in 2009, caters to a number of high profile clients in music, technology, the arts, and the corporate world. The thriving company offers a range of remote recording technologies and services for seminar, concerts, festivals, and events.
Today, TravSonic Sound & Media is an award-winning, full-service media production company serving clients from its Nashville and Overland offices.
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a detailed overview of the ESB B2 examination.
extensive preparation sections for the key problem areas of the examination.
extra Speaking and Writing sections for further practice.
The preparation sections cover all task types encountered in the examination with particular emphasis on Use of English, and the difficulties of vocabulary, grammar and idiomatic language often found there.
The vocabulary covered will also ready candidates for the range of themes in the Reading, Listening, Writing and Speaking sections.
ESB B2 - PREPARATION & 12 PRACTICE TESTS by C.N. GRIVAS will not only familiarise candidates with the examination, but also allow them to reach their goal of success at B2 level.


SAN SEBASTIAN — Carving out a reputation in Basque cinema as a regarded left-of-field short filmmaker over 20 years moving into features with "Ghost Ship," essay on fiction and commoditization of pleasure, Koldo Almandoz takes a partial step towards the mainstream in his fiction feature debut, "Oreina" (Deer), which world premiered Tuesday at San Sebastian. Starring newcomer Laulad Ahmed, Patxi Bisquert ("Tasio," "Backwoods") and Ramon Agirre – immortalized in Alex de la Iglesia's "El Dia de la Bestia," a Basque cinema Zinemira Prize winner for career achievement this year at San Sebastian – "Deer" brings a documentarian's eye and sense of revealing gesture and larger social trends to the tale of a second-generation Maghreb immigrant, Khali, who befriends a grizzled poacher living in a house beside some marshes with his estranged brother. Boasting scenes of extraordinary beauty, "Deer" is not for audiences who want on-the-nose explanation. It boasts scenes of extraordinary beauty, and a novel take on the real Basque country and a stealth phenomenon of immigration, happening now over much of Europe, but somehow ignored in much mainstream discourse. "Deer" puts it on the radar. Marian Fernández Pascal produces for Txintxua Films.
One of the singularities of the film is its portrait of the outskirts of a an unspecified big city, its a mix of the traditionally urban – trucks barraging down narrow main roads – with modern industrial complexes and ever encroaching wild nature, such as the extraordinary marshes and river of the film.
Yes, you can see this in other parts of Northern Spain, Asturias and Cantabria. My idea was to make a film set at the borderland between these areas. When I was 20something, I worked in the factory that's seen in the movie, on an industrial estate, a metallurgical factory, and walked down that road a lot. I was struck with the thought that this world hardly figured in our ideas of the Basque Country, how it is popularly imagined.
We always picture the Basque Country via bucolic pastoral scenes, or men fishing or at sea. The reality, however, is the landscape in which we live, in which I constantly move. Nature side-by-side with industrial parks and city centers. Developing the film, I also noted that many people who live in these spaces comes from outside the Basque Country. They don't live in city centers because they simply can't afford the prices. They live in working class homes on industrial estates. I was interested in not only showing this physical geography but talking about the people inhabiting this space.
The film is knit through by a sense of genres, maybe the most palpable the autumnal Western, the sense of the passage of one way of wilder life to another kind of civilization.
Yes, the film deals with the final days of two characters, at least in the Basque Country. One, José Ramón, the poacher played by Patxi Bisquert, is almost a kind of John Wayne, even in his characteristic grimace.
There's also a sense that the film, rather like many documentaries, discovers its center as it goes along…..
I wrote this story of these two estranged brothers and created a character, a secondary character that in Khalil who bridges between the two. But, when shooting and editing, I became more interested in the character of Jalil. Some characters lived in the past, Khalil is a bit more the now and the future. When I met Laulad Ahmed, who plays Khalil, I realized that I had written his biography. The only change is that I had him as Maghrebi, and he is from the Sahara. I wanted to address immigration, but in a way we don't see in newspapers or on the news. It is not the immigrant who crosses the Strait, or wants to go to France. It is someone who is already here and that in some ways integrated, already us.
Sure. Every time Basques address him, they speak in Spanish, because no one imagines he can speak Basque, but he does. There are people like that. In fact, there are many people like that. But we still have this thing of not having the feeling that they are us. That they are always immigrants and the immigrants in transit. I don't know if the film vindicates them, but what it wants to show is that in the end the world is going to be like this more and more.
The amount of information you give about characters varies. We know quite a lot about Khalil, but not why the brothers don't talk to each other….
In an earlier version of the script, I had explained why they fight. It was much more drama and comedy. Between they bitched a lot. But it seemed much more interesting to me to hide than to show. For me it was important not to underline things too much. When I go to the movies, I grate at films which emphasize everything, shepherd me. It's a bit like magic. If you see a magic trick you don't understand it fascinates you. I wanted the viewer to have some broad brushstrokes as to character, but not know everything.


Morestone got its name as a contraction of "Morris" and "Stone" who started distributing the toys in the 1940s. The company name budgie was introduced in 1959. The company was acquired by S. Guiterman in 1961, but went out of business in 1966 (Nigel 2013). After this, Modern Products kept making some of the Budgie models until 1969 (First Gear, no date; Ragan 2000, p. 27). Also after 1966, the H. Seener Ltd. company continued to produce slightly altered Budgie models which appeared under the "Seerol" name until the late 1990s (First Gear, no date). Modern Products, H. Seener, and Seerol produced models through the 1990s mainly for the London tourist market (First Gear, no date). Another company that took over dies from Modern Products was Starcourt, so it took a while for Budgie Model production to truly cease. In 2017 the original dies for the matchbox size VW beetle and Microbus reappeared under new ownership and are being offered online by the creator of DG copy models, Dave Gilbert under the budgie models website.


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The SA Weather Service has issued a level 2 yellow rain warning for the Western Cape. Photo: Stock Image / Pixabay
Cold and wet weather conditions in parts of Western Cape on Thursday
Parts of the Western Cape will experience wet and cold weather conditions on Thursday. The SA Weather Service has also issued a warning.
The South African Weather Service (SAWS) has issued a level 2 yellow rain warning for parts of the Western Cape on Thursday, 19 May 2022.
The warning is valid from 10:00 until 23:00 on Thursday.
COLD WEATHER CONDITIONS IN PARTS OF WESTERN CAPE
The weather service said rain associated with a cold front is expected to spread to the coastal areas of the Garden Route on Thursday.
"Rainfall accumulations are expected to reach 30-40mm in the George, Knysna and Bitou municipalities from Thursday late morning into the evening. Due to the expected rain figures, there is a high likelihood of minor disruptions affecting the above mentioned areas in the Western Cape," the weather service said.
ALSO READ: 'This winter will be cold': Weather forecasting for April, May, June
Possible impacts:
Localised flooding of susceptible formal/informal settlements and roads may occur
Localised motor vehicle accidents are likely on wet slippery roads
Difficult driving conditions on dirt roads can also be expected
⚠Yellow level 2 WARNING: Disruptive rain for: SE Garden Route of the WC and south-western parts of the EC today (19 May 2022). pic.twitter.com/ePATTec2Hw
— SA Weather Service (@SAWeatherServic) May 19, 2022
WINTER WEATHER SYSTEM TO HIT WC FIRST
On Tuesday, SAWS said a cut-off low will bring cold and wet weather to large parts of the country this week. The whole gamut of winter weather is expected – from rain, strong winds and hail to snowfall over mountainous regions,
A cold front is expected to move over the southwest coast of the Western Cape by Wednesday afternoon, 18 May, and the rain is predicted to move along the south coast and adjacent interior by the evening.
"Gusty winds of 45-55 km/h can be expected ahead of the cold front over the interior and south coast of the Western Cape as well as the interior of the Northern Cape," said SAWS.
By Thursday, an upper-air trough is expected to intensify and cause widespread rainfall over the eastern parts of the Western Cape and the western parts of the Eastern Cape.
ALSO READ: Heavy rain and cold weather expected in these THREE provinces today
South African Weather Service
Newspaper front pages from around the world, 31 January 2023


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Home News Who will make the cut for the top six?
Who will make the cut for the top six?
As we come to the business end of the Danske Bank Premiership, it is getting interesting to see which of the top teams will play after the split in the top six. This comes with its own rewards. Not just the crowning of the Champions, the top six will slug it out for the all-important money-spinning European slots, and the windfall that comes with them.
Who would have even envisioned that Crusaders could miss the split? Well, as I sit here without blinkers on and with no excuses for their indifferent season, and yes, I say bad, because with two games left before the split – Ballymena and Glenavon sit one point behind them in joint seventh.
So, for this week, I will consolidate the runners to the split.
Sitting healthy at the top of the tree – nine points ahead of second-place Coleraine. The Blues still look the team to beat in this title race. They are currently on a four-game unbeaten run, and last time out, they had a draw away to Larne. The difference between the Blues to everyone else. They are picking up points against teams they should be. They are also picking up points against the teams in and around them. Except for the Glens. Their biggest rivals have got a hold over them this season. But take nothing away from that, the Blues will finish the top of the tree – then the re-build into full-time football will start.
What a great season so far it has been for the Bannsiders. The form guide shows a picture of a team that should be on top of the table. But due to the Blues decent form this season, the Bannsiders have found the South Belfast club a hard team to catch. The Bannsiders biggest threat will be the emergence of a fully competitive Glentoran team. Only two points separate the two teams and the Glens have a game in hand. But in all fairness, the Bannsiders have been faring better against the teams around them rather than the Glens. On Tuesday night, the two teams played out a 2-2 draw at the Oval. An interesting finish ahead for the second spot.
Glentoran
The Glens are now starting to hit a little bit of form. They are now on a seven-game unbeaten run and have their sights fully engaged on that European spot. Personally, I think this is going to be a great finish between the Bannsiders and the Glens. I will put my neck on the line and say that the Bannsiders will – and should take the second spot. But what a season next season should be for the Glens. With the progress, full-time football and another transfer window – this team can only go from strength to strength.
This brings me onto the fight for the rest of the top six spots. Larne and Cliftonville will make the top six in the split. Reason for my thinking. Larne is on 52 points should be enough to see them claim a spot. The Reds, sitting in the fifth position on 50 points, still have a game on the two teams below them. It is theirs to lose.
The real talking point and place for debate is who takes the final spot in sixth place. This is between Crusaders, Ballymena United and Glenavon. Looking at the fixtures, you would say it will be the Crues. But up next for them is Glenavon. They have not fared too well against the Lurgan Blues this season. This game might not go the way they want. Their other game is away to Dungannon Swifts and we know how that ended up the last time the two met. On a plus for the Crues in the two games, the Sky Blues have left. Away to the Blues – then a home derby against the Bannsiders. A big ask indeed. The Lurgan Blues could sneak it if they can beat the Crues this weekend coming. They then have Point and the Blues away.
The top of the table is now shaping itself – but over the next 2-3 games it is going to be all eyes on that sixth spot and who will take.
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Featured July 18, 2019
Linfield goes four points clear at the top of the Danske...
Bohs gain ground in title race
News August 17, 2020
Danske Bank Premiership: three way race for top spot today
Columnist January 23, 2021


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You know I didn't realise how long it had been since my last blog. I've been busy. Really busy like you wouldn't believe. Also had a wee injury set back but back on the horse now. Did manage to take my unfortunately more substantial frame (thank you Chocolate Orange n Fry's creams…) round the club … Continue reading London, can you wait?


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West Papua students 'shot by militias' as video of soldiers firing on crowds emerges
The Guardian - September 2, 2019
Ben Doherty and agencies – Three West Papuan students have reportedly been shot in their dormitories by militia groups amid growing tensions in the region, as disturbing footage emerged of Indonesian soldiers firing on peaceful demonstrators during clashes last week in which protesters say six died.
The Papuan students were attacked in a dormitory in Abepura district, Jayapura, by police-backed armed militias on Sunday. One student was killed by a bullet wound to the chest. The students were reportedly attacked as they tried to defend themselves from vigilantes from a pro-Jakarta group calling itself Masyarakat Nusantara (Archipelago Community).
Papuan protesters allege non-Papuan vigilante groups are being encouraged by police and military to attack Papuans during what has been more than a fortnight of protests over racial discrimination and abuse as well as calls for independence from Indonesia.
Despite an internet blackout across Papua and West Papua, footage has emerged showing soldiers firing at a crowd of demonstrators outside a government office in Deiyai last week: some of the demonstrators are standing with their hands in the air, as soldiers move in.
Protesters say six people were killed in the confrontation, and more than a dozen injured, after a police opened fire on a peaceful demonstration that had occupied the regent's office in the middle of Deiyai city.
Victor Yeimo from the West Papua National Committee said: "They [went] inside peacefully, but suddenly, without any provocation police opened fire into the mass of demonstrators. Then... people attacked with bow and arrow."
Photos have emerged of the body of one Indonesian soldier killed in the clash last Wednesday, his body pierced with arrows.
Papua police spokesperson Commander Anton Ampang has disputed the death count, saying one protester was killed, and that security forces opened fire only after being attacked.
"Around 1,000 people armed with arrows, spears and machetes joined the protesters and started to dance the Waita dance [a traditional war dance] and threw rocks at the security forces," Anton said in a statement. Military personnel in a car were attacked, he said.
"The crowd shot arrows and threw rocks at security personnel in front of the Deiyai regent's office and there were even sounds of gunfire from the direction of the crowd, leading security personnel to shoot at the attackers," he said.
Demonstrations have broken out across Papua and West Papua, often descending into violence after being opposed by security forces and vigilante groups. Because of an internet shutdown across the remote provinces, information on clashes is emerging slowly, and is hard to verify.
Footage from Fakfak on the south-west coast of Papua on 21 August has also emerged, showing armed militia, some carrying Indonesian flags, clashing with Papuan protesters. Police and military personnel move among the pro-Jakarta militia, and gunshots can be heard.
Alfa Isnaeni of the nationalist Banser militia, the paramilitary wing of Indonesia's largest independent Islamic organisation Nahdlatul Ulama, said 2,000 members were conducting "combing out" operations, seeking information on anti-Indonesia groups, but said militia members were prepared to conduct security operations if requested.
"If the TNI [Indonesian military] commander or the defence minister asks us, the only thing we can say is that we're ready," Isnaeni said.
And in Jayapura, a lone protester scaled a giant flagpole to tear down the Indonesian national flag, replacing it with the Morning Star flag on West Papua, an act that carries a potential 15-year jail term.
Police have responded to weeks of demonstrations by banning "anarchist" demonstration, and arresting dozens on Papuans accused of rioting in the region's capital.
"Everyone is forbidden from carrying out demonstrations and conveying opinions in public that could give rise to anarchist acts, damage, and burning of public facilities," a six-point police order said.
Indonesia earlier said it would deploy about 2,500 more police and troops to Papua, adding to about 1,200 personnel it had already sent after unrest first broke out.
The mineral-rich but under-developed and impoverished region of Papua has been the scene of a low-level insurgency against Indonesia's rule for decades.
But protests marking the August anniversaries of the New York Agreement and the Act of Free Choice – the political acts which formalised Indonesian control of Papua – have been further sparked by racist bullying of Papuan students in Java, and police reprisals against them for demonstrating.
The exiled leader of the United Movement for the Liberation of West Papua Benny Wenda said the independence movement was peaceful and that a free and fair referendum was the only solution to the long-running contestation of the region.
"As Indonesia deliberately tries to create ethnic conflict in West Papua with militia, I must stress that for West Papuans our enemy is not the Indonesian people. Our enemy is only the system of colonisation. We will not be provoked. Our peaceful struggle is for a referendum."
Dame Meg Taylor, the secretary general of the Pacific Islands Forum, said she was deeply concerned by the escalating violence, and called for calm and restraint from all parties. She said the "root causes of the conflict" must be addressed by peaceful means.
"These events make the proposed visit of the UN high commissioner for human rights to West Papua even more important."
Source: https://www.theguardian.com/world/2019/sep/02/west-papua-students-reportedly-shot-by-militias-as-video-of-soldiers-firing-on-crowds-emerges
Shootings & Violence Against Civilians
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Questions raised over bodies found in West Papua
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Renewed call for peacekeepers
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Escalating violence in Papua has led to the deaths of more than 30 student protesters
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'I feel like I'm dying': West Papua witnesses recount horror of police shootings
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ULMWP Chair - September 24, 2019
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Beaten, stabbed and threatened: One man's harrowing account from Papua
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Indonesian soldier killed in Papua clash, military says reports of protester deaths not confirmed
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Papua police discharge officer who shot civilian
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Papua police investigate killing by drunk officer
Radio New Zealand International - June 10, 2019
Investigation launched into election violence in Papua
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