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Issue #0, Online Only
The Line Between Science and Writing
An interview with Jason Bittel
Shannon Swearingen
Jason Bittel is a freelance science writer whose articles have been published by Earth Touch, The Dodo, and Pittsburgh's Maniac Magazine. A former recipient of National Geographic's Young Explorer grant, he writes the Species Watch column for Earthwire and contributes to National Geographic, The Week, and Slate. Jason also serves up science for picky eaters on his website, Bittel Me This.
At the upcoming 2015 Creative Nonfiction Writers' Conference, Jason will speak on several panels, including "How to Get Published" and "Platform Building & Self-promotion." In anticipation of the conference, Creative Nonfiction's Shannon Swearingen spoke with Jason about balancing fact and science with humor and creativity; the importance of persistence; and tapping into readers' sense of wonder.
CNF: Most of your current writing for Slate and for Earthwire's Species Watch column is science focused. Do you consider yourself a science journalist, a creative nonfiction writer, or both?
BITTEL: Let's go with both! The fun thing about writing for a bunch of different outlets is that I get to do different takes and voices, exercise different muscles. On Slate and often at onEarth, I really focus on taking the science and packaging it in a way that is surprising—whether that's the context, a dirty joke, or a pop culture reference. Forty other websites may have covered this topic by the time I get to it, so the creative part of creative nonfiction is crucial.
Why should someone take ten minutes to read about sturgeons? How do I make scale insects more worthy of your time than politics, sports, and celebrities? Every article is a battle against the reflex to click away to a million other things—fantasy football, Facebook, Game of Thrones fan theories—and the packaging is one weapon I use to (hopefully) win the battle.
At National Geographic, my role is a little more straight journalism—though this isn't to say there are no opportunities for creativity. There's a lot less I can get away with voice-wise over there, however, so I tend to try to find a way to report the story in a way other outlets haven't thought of yet. That can mean bringing in a different kind of expert or finding some sort of context that's off the beaten path. So again, the answer is both, but the ratio varies depending on the organization for which I'm writing that day.
CNF: What are the dividing lines between the two fields? How do the worlds of science and writing come together for you?
BITTEL: This is an important question right now. Our country is increasingly skeptical of science and scientists, even though we rely on scientific advances for literally every aspect of our lives. This makes good science writing all the more valuable. We need to persuade, but you can't persuade if you don't inform. And, I would argue, we stand the best chance of informing and persuading if we first entertain. I think it's fine to pull out all the stops—pop culture references, puns, and even some sensationalizing—so long as it's grounded in scientific evidence.
I've been criticized in the past for letting humor get in the way of meaning. Just give us the science, said the critic, keep the cleverness. But that's a bunch of bullspit. If you want straight information, there are plenty of newspapers left to read. Or better yet, pick up a scientific journal. I read scientific papers every day; they're the foundation upon which my craft is built, but I can tell you right now that you will not like the way they taste. They're thick, they're dry, and they're full of words you will have to Google. That's why I see it as my job to take all of those raw ingredients—facts, figures, and interviews—and turn them into something palatable. A spoonful of creative writing helps the science go down.
I've been criticized in the past for letting humor get in the way of meaning. Just give us the science, said the critic, keep the cleverness. But that's a bunch of bullspit.
CNF: Your background is in the humanities. What sparked your interest in science? How did you come to write for publications such as National Geographic?
BITTEL: On the first day of my creative nonfiction MFA program at the University of Pittsburgh, Lee Gutkind told us we had to have a book idea, and we had to have it by next week. I had just gotten done with a season spent trapping and shooting wild boars for the Great Smoky Mountains National Park, and Lee seemed to think that was curious enough, so I started writing my MFA manuscript about it. At the time, I saw the project as a narrative about all the interesting things I did. But the more I wrote, and the more good nonfiction I read, I realized that the boars and bears were a lot more compelling than, well, me and my thoughts. I dove into research, both scientific and historical. I learned about trophic cascades, invasive species, and conservation ethics. And somewhere deep in those 200 pages, I crossed over. All I wanted to do was keep researching lichen and azalea blooms and cannibalistic fireflies.
Of course, most of us don't walk out of an MFA and into a successful writing career. So I first took a job in advertising, and after I became thoroughly disgusted with my daily toil, I started a blog. (Nothing helps you hone in on what you really want to do like doing what you really don't like to do.) As any good romantic would, I stayed up late into the night writing my masterpieces. And like any burgeoning writer, I caught a lot of flack for spending time on things that had seemingly no value. However, unlike most writers we learn about in school, I wasn't interested in writing the great American novel. I was up at 4 a.m. writing about the two prongs of an opossum penis.
Nat Geo happened because of a little bit of luck and a lot of persistence. When I went to this very conference in 2008, Virginia Morell was one of the writers on a panel. Somewhere back in the Q&A session, she mentioned that young writers could (and should) apply for grants from the National Geographic Society. I took her advice, got a grant for my pig and bear research, and have been hassling them ever since. I appeared on one of their radio shows, and then followed the yarn for a few years just trying to find a way to get my foot in the door. Eventually, I pitched the right editor a story. He didn't assign it—I had no national magazine experience, and Nat Geo is basically the science writer's holy grail, after all—but he liked what he saw enough to pass me (and my blog and other online clips) along to the online editors. It was that simple: just six years of pestering!
CNF: How do you determine whether a piece you're working on will be in the first or third person?
BITTEL: Usually the outlet determines that. For Nat Geo News, it's always going to be third person. But for Slate, I could go either way. It really depends on what the story is and if I need to be in it. If I don't, I try to resist the urge to insert myself, though I don't think it's necessary to remain absent at all costs. Readers are people, and I think they like their writers to be people, too. So long as they aren't people they wouldn't want to have a beer with.
CNF: What do you find appealing about writing in the first person?
BITTEL: As I write, I like putting in some of the reporting. Stories don't just happen. Information doesn't just fall out of the sky. So if you have to hike 20 miles to get a quote or stick a thermometer into an elk's butt to get its temperature, I think it's ok to admit that it's you there doing those things. I hope to be writing in the first person more some day soon.
CNF: Do you gravitate toward first-person narratives as a reader?
BITTEL: My wife and I had our first child almost a year ago, so my reading time has been severely limited, but I think the overall answer is yes. The book I've come closest to finishing since then is Octopus! by Katherine Harmon Courage. It's an extremely in-depth story about everything we know and don't know about the octopus, and Courage is very present in it. Could she have written it without being there at all? Sure. But I personally like knowing that she was actually puking over the rails of a fishing boat in Spain or the way octopus suckers felt in her mouth when eating them for the first time. I don't think there's anything journalistically lost because she allows herself to be a character in the story.
CNF: Are there elements of your articles that are universal, or do you write primarily for the science community? How do you make hard science palatable for a general readership?
BITTEL: Obviously, there's an audience that will gravitate to my articles, but I really try with most of what I do to write for the universal. The hope is that something I write might get someone who's not otherwise interested in science to spend fifteen minutes reading about bat sex and then think, hey, I'd like to read more of this kind of stuff. Think about a five-year-old—all of us start life being universally curious about the world around us. I think we lose that somewhere around seventh grade chemistry, when we're tested on the ability to remember formulas and the names of old, dead white guys that will have no bearing on our daily life. I hope to tap into the reader's inherent wonder, even if it's been coaxed into dormancy since junior high.
All of us start life as being universally curious about the world around us... I hope to tap into the readers' inherent wonder.
CNF: How do you make the personal universal? In other words, how do you get readers to care about your stories when they're written in the first person?
BITTEL: Whether it's first or third [person], getting readers to care is always the name of the game. I think the best way to do that is to help them access the material, and sometimes a first person point of view can really aid that process. Science can be touchy. You don't want people to think they're dumb for not knowing something. I read and write about animals every day, but I'm still learning every day, too, so I try to bring readers into that process. You didn't know that a male dog's penis inflates like a balloon once inside the female, locking the two together for upwards of an hour? Yeah. Me, neither. Until now!
CNF: To what extent do you incorporate research into your first-person narratives? What kinds of research do you tend to use?
BITTEL: Always! I don't have a background in science, just curiosity, so I rely on experts and the literature to fill in those gaps. Field studies, scientific journals, and anecdotes from scientists and other experts.
CNF: Which process do you enjoy more: the research or the writing?
BITTEL: The research, hands down. I love research, and would gladly spend three times as long researching if it was financially feasible. For one, everything's just so interesting, and there are so many rabbit holes to go down. And two, I hate writing. Though, as Dorothy Parker said, I love having written.
CNF: How do you finally make yourself sit down and write when you would rather be researching?
BITTEL: Ha. Well. Deadlines help. And there is a point where you can reach critical mass. That is, you find so much good stuff that you start to forget/lose track of other good stuff. Not to mention, researching while I write is one of the best forms of procrastination.
CNF: Your articles have a humorous bent. How do you balance fact and fun in your writing?
BITTEL: Be as funny or lighthearted or sarcastic as you can get away with, but not a touch more. If it gets in the way of the information, then you have a problem. I've written paragraphs a hundred ways trying to arrive at a particular joke, reference, or turn of phrase. Sometimes, you have to accept that it just doesn't work and move on. The gimmick or technique or whatever you want to call it should be in service to the information. The second it starts to obfuscate the story, you've got to give it up.
Be as funny or lighthearted or sarcastic as you can get away with, but not a touch more.
CNF: What role does social media play in your career as a writer?
BITTEL: More every day. Aside from it being an excellent way to find information, learn about news, and share your own work, social media is the ultimate networking tool. I've found scientists for stories on Twitter, pitched and been pitched stories on Twitter, learned about editors looking for writers on Twitter. It's also where our tribe congregates—which is nice since I work from home and my only co-worker is a one-year-old. It's funny how you get to know people online that you don't really know. But then you meet them at a conference or a press trip and it's like you're old friends. The internet is weird and wonderful.
CNF: How do you handle rejection?
BITTEL: Daily, and with intermittent teenager rage and zen-like whateverness. Ha. I mean, there are some stories or projects I'm really excited about and I get frustrated when other [people] aren't [as excited]. But freelance writing is like fishing. When you go fishing, do you catch all the fish? If you take every rejection personally, you'll have no one to write for and nothing to write about. Writing is a business. If you want it to be your business, just accept that rejection is part of it, and do your best to learn from it. What sorts of stories does an editor say yes to? Could you have presented the idea better? Are you pitching the wrong outlet? Oh, and personal relationships—such as they are on the internet—go a long way. Be nice to people. Don't be a snot. Don't waste people's time. Turn in clean copy, and turn it in on time. Make an editor's job easy for them and they'll remember you for it.
CNF: What's the biggest mistake you made as a writer? If you could go back to the start of your career, what advice would you give yourself?
BITTEL: I feel like the answer to these is the same. "Start sooner." I waited a long time before trying to pitch stories because I felt like I wasn't ready, and ok, maybe I wasn't. But what I wish I'd known then is that it's perfectly ok to pitch and get rejected. In fact, it's the best way to get accepted. Get a good idea and hone it, but don't sit on it for too long. Zero in on the right publication and then the right editor within that publication and make contact. The worst that can happen is they don't like your idea, but at least you'll start building rapport and probably start learning about what kinds of stories they do want. Stop looking at everything with such finality. The journey doesn't end with a no, or even a yes. Because there's always another story.
Shannon Swearingen is a former editorial assistant at Creative Nonfiction. While studying creative writing at the University of Evansville... read more
I've Taught Monsters
I've taught monsters—ancient, ravenous monsters. Scylla and Charybdis, Grendel and his mother, and Polyphemus hurling rocks... read more
Write What You Don't Know
From our very first endeavors in creative writing, we're told to write what we know. As nonfiction writers, we're proud of our... read more
The 2015 Creative Nonfiction Writers' Conference
Three days dedicated to the art and craft of memoir, magazine writing, personal essays & more. The publishing landscape has... read more
Long Form, Always
An interview with Maggie Jones
Maggie Jones is a contributing writer at The New York Times and a National Magazine Award finalist. She writes on a wide range of social... read more
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Pick up the speed
Management/Contact
All Music and Images Copyright 2009-2014. Kurt Reece Music Limited
Keep scrolling down for Kurt's first album "Old Friend"
Let's pick it up! A wild ride of an album! Kurt's newest project is packed with some really great tunes. Picking up the speed is exactly what it does, from start to finish, and is sure to make waves in a sea of musical sound alikes out there. With his own unique voice, style and diversity, Kurt delivers big time on this one. This is your new favorite road trip album. Download it now!
"Old Friend"
Kurt's first album out of the gate with award winning songs and worldwide airplay. Kurt won the listeners poll with his song "Crazy World" sponsored by austinmusiccity.com at SXSW. The album didn't stop there. Soon after, Kurt hit #1 on the Global "Hot Country" Chart for Reverbnation.com. With an incrediblly diverse style and charm, this album has songs for everyone. Enjoy!
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Frazer is a Salesforce Certified Sales Cloud Consultant and Administrator with a passion for creating solutions that save organisations time through automation.
Whenever you hear of 'must have' Salesforce Apps or see a 'top 10 Apps for Salesforce' blogs post, you can almost guarantee that FormAssembly and Conga are in there. These two powerhouse App's have got a name for themselves by being simple to use and automating complex business processes with ease. While being completely different Apps in terms of function, together they can take automation within Salesforce a step further and create truly seamless processes. In this blog post, we present an example of how a not for profit organisation can use Salesforce in conjunction with the Form Assembly and Conga Composer apps to automate a number of highly manual processes and unlock a huge amount of wasted time (based on a true story).
Individually, these 3rd party applications can extend the power of Salesforce without the need for custom coding. But combining them can enable incredibly powerful solutions to be created extremely cost effectively in a short period of time.
Conga Composer is a leading document generation and reporting tool for the Salesforce platform. Conga specialises in retrieving data from Salesforce whether it is held in Standard or Custom Objects, reports or queries and in turn, merging this data into various formats (Word, Excel, Powerpoint. PDF, HTML Email). Workflow is an addon for Composer that automates these processes by using Salesforce Workflows to trigger solutions.
Picture a highly paper based not for profit organisation who run a leadership training Programme whereby a cohort of Participants progress through a year long curriculum.
Gathering Programme feedback involves sending out emails asking Participants to complete a Word document with their thoughts about the Programme. Then monitoring emails as Participants begin to send back completed forms and tracking in Excel.
The aim is to transform this highly manual and time consuming operation to collect Participant feedback into a highly automated activity that is easy to operate. This should include moving feedback forms online, automated email invitations and response tracking, highlighting chasing outstanding forms and storing responses against the Participants' records.
Let's have a look at how this solution is built up..
To understand how this solution hangs together, we need to consider what the Salesforce User sees as well as the participant.
Each quarter, the Programme Manager logs into Salesforce and pulls up a list of Participants using a View. Within a few clicks, they can activate the process of automatically sending each Participant an email inviting them to complete their Quarterly Feedback form. Salesforce can schedule chaser emails if responses haven't been received after a predefined period of time.
Keep track of which Participants have submitted their feedback, and who needs to be chased via a Report.
Click into a Participant's record to see the Feedback records building up over time.
Here's how it looks from a Participant's point of view.
An email arrives with the subject "Leadership Programme feedback request". The Participant simply opens the email, clicks the link and the Feedback Form opens in their browser.
It's a simple matter of completing the questions online, attaching a document or photo if relevant and clicking submit.
A minute or two after submitting feedback, an email acknowledgement arrives with a PDF "receipt" containing the responses submitted.
The PDF document contains a record of the responses submitted in the form.
Saving time and money – by automating labour intensive activities such as sending emails and compiling results, this type of solution can free up huge amounts of time. One organisation was able to save a day a week of administration time within a small team.
See the wood for the trees – Salesforce can present key metrics on Dashboards and in Reports for valuable insights. Another organisation used response data to measure the effectiveness and impact of their Programme which ultimately led to Programme re-designs and greater clarity of job roles within their team.
Instant alerts – Salesforce can be setup to send instant notifications to team members should a Participant submit a low score for immediate action.
Scaleable – This type of solution can handle growth in the organisation so if Participant numbers increase, the solution continues to function in the same way and simply saves even more time!
Rephrase is a Salesforce consultancy that focuses on saving organisations time and money by streamlining and automating routine processes that drive meaningful insights, centralising information into a common database and creating systems tailored to the needs of each client.
I believe I can answer this on behalf of Frazer. There is actually a couple things going on here, the first is that the user enters the information in on the Form Assembly survey. Form Assembly then updates the mapped fields from the form into Salesforce, this in turn kicks off a Salesforce workflow that triggers Conga Workflow which uses the fields which were filled in to send a merged PDF to the user.
Thank you very much for your answer! I guess we could imagine only attaching the pdf on the record in Salesforce rather than shooting it back to the user… Therefore, if we're not talking about delivering the data to the user but just merge it locally, do you think we could use a simple workflow or do we absolutely need to use Conga workflow?
PS: Very useful website; congrats and keep up the excellent work !!
Conga Workflow is actually the part that automatically merges it into PDF format. You could get away with not using Conga workflow, but this would require you to manually click a button in order to merge the PDF which would obviously be more time consuming. Good luck with your solution!
I can recommend uCalc plugin https://ucalc.pro/en for making great lead forms. I have already installed lead forms I created there to all my websites. A number of orders from clients increased right away.


You pull yourself up and not die.
Move forward, no matter how much the long winding road take us to.
We're almost there. Good or bad. No one says it is going to be smooth and easy.
Early morning, breezy weather. I love waking up to this misty clouds. I had a hard time dragging myself for a quick breakfast. I hate to leave you this kinda-for-me-still-early , dear Kundasang.
Oh this fresh feeling I wish you were always near.
From the Ranau road to Tambunan, off for a pit-stop to have breakfast at my favourite place.
You would see this familiar Mat Salleh warrior statue every time you are in Tambunan small town. What to eat here? I always go for 'Mihun Soup' with mix ingredients that goes well with traditional local delicacy, 'tuhau'. That if I'm not having my Chinese mix rice.
After Tambunan, we headed to long smooth road of the now more developed town of Keningau. I didn't took any picture but we hang out to check their only mall for a bit. Not bad at all. I think I could live here. Heehee.
And later on, we proceeded to the Crocker Range route . Another misty clouds on the way down Kimanis road. It was so green there, I love the view!
It drizzled and then it rained heavily on the way home.
Awesome trip, I want to get away again!
Labels: Food, Travel/Trip, What's Love?
My Saturday at work was cut short with a much needed road trip in the afternoon. With having brunch at Tamparuli, and hours later I found myself admiring this view from up hill in Kundasang.
I wouldn't really recommend this place called Wind Paradise.
Not worth it. But it's somehow a good experience to sleep under the roof of a Mongolian hut like.
Late afternoon at Desa Cattle Farm, weather's looking mighty fine.
Milks and grass, Cows and Goats feeding time.
Crowded farm didn't make it the least favourite visit. I was more distracted by those cloudy skies and rainbow from afar. Double rainbow to be exact. Feeling so ever colourful that day. There's nothing like having popcorn and fresh milk for the carton on a slightly cold weekend.
It's an awesome feeling to be back here again. Went and check out some quite new places to stay.
Capture some spectacular scenery hopefully we could treasure for a long time. We already have the next resort we planning to stay in our next visit. It was fun going around just chilling.
Her love for musicians, singer-songwriter she wished she could be. If only she knows how to. A hard rock fan has turned into a melting pot over slow jam acoustic songs It would be fun to have your favourite singer-songwriter jam with you while you are singing along to happy tunes, no?
You are a stunner of mighty tall and proud.
Back home sweet home to the comfort of red Strawberry pillow of mine.
Road trips like this never failed to amused me.
Scones and cups of tea, on the white table cloths, balloons up on the hills of Tagaytay , over looking the majestic view of Lake Taal. Rainbows, those of great colours. Clear skies. Fluffy clouds imagining vanilla ice cream. Bed of roses. Garden of variety of the same kind wouldn't hurt. Pastel or vibrant, it does not matter.
Hold on to those future dreams while she still could.
Just a little bit of her wants....no longer a secret location of that 'happy moments'.
It almost felt like I was at Sunway Lagoon for the night.
The Shout Awards updates flood my Twitter timeline and Instagram filled with pictures.. I was looking for this award because most of my favourite people were up for nomination. Although not physically not there but I was in my heart. It was happening if I was there to party, but this will do.
Front row seat and no ticket's required.
Mr. Postman came with a surprise today.
I thought they say it's in a week's time?
and Thailand's Thaitanium Dandee on tv yeah!
Imran, Ryan and Jeremy doing acoustic session.
Clad in a white 'barong' you were in while I in white dress.
I thought you were going to sing but I saw us both were serenade.
pumpkin turning into a lovely carriage, why must it be a dream?
Just when I could catch those voice of yours, full of soul, song of love.
The call this afternoon, vanishes my Monday blues away. I always find myself extra cheerful when it comes to some KL loving. I wonder why I don't quite find it here? I've been anticipating but didn't expect that much. It's not a big deal, at least, but it's makes my day. I had to tell you, the soulful stranger.
Sun's up, I'm glad it's not raining.
Short dress of pinkish flowers on a dark blue.
And white ribbon hair band on my head.
While he walked down on the long red carpet.
Labels: Inspired By, What's Love?
Help me for this has not yet done.
Will add some re-touching when I have the time.
Especially for their first ever radio interview on HitzdotfmKK Borneo English Top 10.
A vitamin per day, keep the doctor away!
Rusty hands trying her best on the sketch pad.
Whilst these fingers are getting dirty and messy, multi-tasker me on the phone caught by the conversation of how far music, technology and media has come. And it gets hilarious with the talks of who were our celebrity crush was. I had a hard time not to laugh about this topic.
Closer to death. Running out the breath of life. This cellphone battery of mine.
Perfect timing to doze off. About 3a.m, the tears are pouring. The rain I meant.
Understood me, you did. Speaks gently through words. Were you even talking to me? Was it just me? Sentimental sounds of your voices goes through my heart. It was speeding. I felt like there was a car crashed to it. When I first heard you, those lyrics got me speechless. It's not even familiar. Singing to those foreign language seems easier. Have I mentioned enough by saying that you understand me way better? Damn baby, to my ears, these songs are sexier!
Sunday for me always meant to be spend with the family. So matter how busy we are, always make a point that weekend are meant for them and nothing else. This morning, after church we headed down to Gaya Street where Bella Italia Pizzeria Ristorante, Hotel Jesselton were located.
After breakfast, we went for a short walk to see what's happening at Gaya Street.
Met 'Seven-Up', the most stylish dog in town.
Rockzone passes for yours truly and my bestie by my babe, Cheryl Q for the night.
The crowd was awesome that night!
Ordered my usual while chilling with my best friend.


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Former Hoosier OC Kalen DeBoer announced as Washington head coach
Grant Bricker | 1 year ago
After Jimmy Lake was let go earlier in the year, the Washington Huskies have found their next head coach. They didn't have to even leave the West coast to find him.
Kalen DeBoer is the new head coach of the Huskies. The news was announced on Monday evening via Twitter by Washington's football account. Here's what DeBoer had to say about his new head coaching job via press release:
"My family and I are so grateful for the opportunity to lead such a storied program and be part of this prestigious institution," said DeBoer. "The tough, hard-nosed tradition of Washington football speaks for itself, and it was obvious throughout this process that UW is committed to competing at the highest level. This is a perfect fit for me and I would like to thank Jen Cohen and President Cauce for their trust. We could not be more excited to get to Seattle and get to work."
Husky Nation, @KalenDeBoer is the new head coach of Washington football! pic.twitter.com/GieBF7eCQ1
— Washington Football (@UW_Football) November 29, 2021
A new era of Washington football.
Welcome to Seattle, @KalenDeBoer!
» https://t.co/WUqr1WD7Em pic.twitter.com/P6OUBK3dSY
DeBoer was most recently the head coach at Fresno State from 2020 to 2021, where he had a 12-6 record. The Bulldogs finished 2nd in the MWC West with a 9-3 record this season. DeBoer was also the head coach at Sioux Falls from 2004 to 2009.
Other stops in his coaching career include Southern Illinois from 2010 to 2013 as OC, Eastern Michigan from 2014 to 2016 in a similar role, Fresno State's OC from 2017 to 2018, and lastly with Indiana in 2019. The Hoosiers offense under DeBoer averaged 443 yards per game in 2019.
A new era of Huskies football is underway. How will DeBoer do?
Grant Bricker
Grant Bricker covers the B1G for Saturday Tradition. His previous stops include the Williamson Homepage and Nashville Post. Follow on Twitter.


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text:
Foxconn admits to child labour infringements
MCV Staff 18th October 2012	Publishing
Chinese technology manufacturer Foxconn has admitted hiring children as young as 14 to work in its factories.
Reuters reports that Foxconn has admitted to the discovery some interns" at its Yantai plant who were aged between 14-16. Said the company: "This is not only a violation of China's labor law, it is also a violation of Foxconn policy and immediate steps have been taken to return the interns in question to their educational institutions."
Reports from Chinese media suggest that as many as 56 children have been identified and are due to return to school.
The focus now shifts to Foxconn's major partners. If the manufacturer is unable to get its house in order then the burden of decency falls upon its partners.
Apple's is Foxconn's biggest contractor, though other partners include Dell, Sony Corp and Nintendo, for which the firm is currently building Wii U units.
"Nintendo is in communication with Foxconn and is investigating the matter," a statement released to IGN reads. We take our responsibilities as a global company very seriously and are committed to an ethical policy on sourcing, manufacture and labour. In order to ensure the continued fulfilment of our social responsibility throughout our supply chain, we established the Nintendo CSR Procurement Guidelines in July 2008.
We require that all production partners, including Foxconn, comply with these Guidelines, which are based on relevant laws, international standards and guidelines. If we were to find that any of our production partners did not meet our guidelines, we would require them to modify their practices according to Nintendo's policy."
Tags apple ben-parfitt foxconn iphone 5 labour sony wii u
Previous GREE debuts Unity and HTML5 toolset
Next Games Media Awards 2012 Liveblog
PS4 Pro and most PS4 models have been discontinued – PS5 launches in India
PS5 looks to struggle in Japan – is an increasingly globalised strategy the problem?
65% of North Americans now play mobile games – up 12% in a year
Average number of hours played and revenues also well up


"Demo in Austin 2018 1"
Back to my usual mode of teaching. This is my first demonstration on my Austin workshop. Low key, and bright center of focus. You have seen too many of my demos like this. Please be patient with me. Life is keep on going.
"Copper Kettle and Green Apple"
I am happy to see my color scheme change in paintings. I use to use value dominantly to create the drama for my art. Now I tend to establish dominant color tones for my paintings. I get more chances using higher chroma colors in large areas. I am in the transition from a tonalist to a colorist. Can you believe I did not use ultramarine blue in this painting?
This one is harmonized to yellow.
This one I harmonize the color to blue.
The reason I painted this one is that I want to explore the world of color in a sense of design. I deliberately deviated from the color accuracy of realistic landscape. I want to compose the colors of this painting as a piece of music. The painting has a strong dominated color tone, which is green. All the colors are far away from real scene. All the colors on the painting are artificial. But I kept the color relationships. By varying the temperature of all the greens, I presented the depth and local colors of the trees, houses, and hills. We all know green is a difficult color to use. My old trick was to indicate greens without using green. However this time I deliberately using a lot of pure green, but I don't want the greens look garish. I hope to create a strong sense of color harmony.
I sent this painting to this year's Oil Painters of America National Exhibition. I am very happy to know that this painting has been sold on the show. Since my nowadays major art activity is teaching workshops, I have not spent enough time and effort in improving my own art. So please be patient with me. I feel this kind of situation will still last for a few more years. I will try my best to bring my best work to the shows, but you may not see much of progress. I can only grow in baby steps.
I am very happy to announce another invited artist workshop. In early December, Hsin-Yao Tseng will come to Austin and teach a 3-Day portrait painting workshop. Hsin-Yao and I met in the summer of 2012 in San Francisco. At that time, he had just graduated from the Academy of Art University. In these a few years, this young man has been a rising star in the world of representational art. He has shows and in magazines all over the places. I am very happy he will come to Austin to shows his techniques in portrait painting. You may check: Hsin-Yao Tseng's workshop in Austin for more information, and sign up.


Anvil Rock (GPS: 33.595487°S 150.339451°E) is an often overlooked attraction of the Blue Mountains. To get there, follow the mostly-gravel Hat Hill road from Blackheath. Any 2WD vehicle can traverse the road. On arriving at a fork, take the left turnoff to Anvil Rock. The right turnoff leads to Perrys Lookdown. The road continues for a further 500 metres to a small carpark. To the right, a sign marks the start of a short 0.5 km, 5 minutes moderate walk to the Anvil Rock overlooking the Grose Valley. Along this Anvil Rock Trail, you will come across a rustic seat in memory of a lady called Joyce Brister (1916 -2010). The plaque reads: "At home in the bush".
The rock has been carved by the elements over millions of years into the rough-shape of a blacksmith's anvil. Hence, Blackheath Council named this rock formation the Anvil Rock in 1938. In 1940, Bradford Kendall, who operated a foundry business, presented the Council with a 305 kg steel anvil, which was cemented to the top of the rock. On top of the anvil sits a direction plate showing various locations with respect to the Anvil Rock Lookout.
In the 1970s, the steel anvil suddenly vanished. Judging from scratch marks on the cliff face, National Park rangers realized that vandals had managed to wrench it from the rock and push it over the cliff 300 metres deep into the valley. The difficult terrain and the problem of retrieving something so heavy prevented National Park staff from carrying out a search, and the missing anvil became part of Blackheath folklore.
On 26 February 2005, the Police Rescue squad were forced into searching the valley below Anvil Rock by foot. It was a sad business as they were trying to find and recover the body of a suicide victim. The body was found, and also the missing anvil! It was lying completely intact at the base of a tree, which had broken its fall. Afterwards, approaches were made to the National Park people who agreed to try and haul it out by helicopter. This was eventually done and the iconic anvil has since been cemented securely back in place.
The view atop the Anvil Rock is worth the 15-metre climb via carved rock steps and rail, some with very high, steep steps. This lookout gives visitors an almost 360 degrees magnificent view over the Grose Valley to Mount Banks and Mount Hay, from the spectacular escarpments above the tree canopy to the flashes of water from the snaking Grose River far below.
As the sun dances across the weathered sandstone rock formations, the landscape transforms into a variety of colours and shades. Cloud and fog occasionally engulfs the valley below, creating a blanket look. Looking across the Grose Valley, you will see the straight edge cliffs with shear sides, yet fault lines can be seen as blocks.
The best time to visit is on a clear autumn or spring day, preferably mid week. Odds are you will be alone except for scurrying lizards, bees sipping nectar from the flowering banksias and birds. King parrots, kookaburras and cockatoos soar across the valley with raucous calls but the most magical sound is that of distant bellbirds. Hundreds of them feed in the foliage of gums; their tinkling notes create a chorus that lifts the heart.


text:
Q: How do I get a json and save it to a mongodb subdocument? I'm getting a json with this structure:
"quality": [
                {
                    "cod": "000000",
                    "month": "09/2021",
                    "average": [
                        {
                            "status": "0",
                            "type": "....",
                        },
                        {
                            "status": "0",
                            "type": "....",
                        },
                    ]
                },
                {
                    "cod": "0000123",
                    "month": "10/2021",
                    "average": [
                        {
                            "status: "0",
                            "type": "....",
                        },
                        {
                            "status: "0",
                            "type": "....",
                        },
                    ]
                },

I can access this array with this line of code:

response.data.data[0].quality[0].average

I'm declaring the model like this:
var averageSchema = new mongoose.Schema({
  status: String,
  type: String,

});
.
.
average: [{averageSchema}],

I can manipulate and access each one and save, but I can't all. I can save separately like this:
const Datas = db.dados_produtivos;
.
.

status = response.data.data[0].quality[0].average[0].status
type = response.data.data[0].quality[0].average[0].type

const data = new Data({
    .
    .
    quality: [{
        "cod": cod,
        "month": month,
        average: [{
            status: status,
            type: type,
        }],
    }],

.
.
.
    await data.save();

How can I save everything at once?
I tried to loop to save the data, but I couldn't manipulate it.
I followed this link to make the loop, but to no avail:
I appreciate if anyone can help me analyze.

A: you can construct an average array by mapping response data to averageSchema data, then set it as stored value
const Datas = db.dados_produtivos;
.
.
averages = response.data.data[0].quality[0].average.map(a => ({ status: a.status, type: a.type }))

const data = new Data({
    .
    .
    quality: [{
        "cod": cod,
        "month": month,
        average: averages,
    }],

.
.
.
    await data.save();

redpajama_set_name: RedPajamaStackExchange


Corpus Christi Parish was established in 1916 in what is now the Warwood section of Wheeling to serve the growing number of Catholics that had settled north of the city. Prior to this time, the Catholics of Warwood attended Mass at Sacred Heart Church in North Wheeling. Street Car service every hour on Sunday provided the chief means of transportation. Rev. Patrick Gilsenan (Pastor from 1916 – 1921) was sent by Bishop Patrick Donahue to organize the parish and he was appointed as the first pastor on June 16, 1916. A home was rented which was located behind the present rectory. It was here that Church services were conducted for the new parish, while the combination Church/ School building was erected where the completed school now stands. The cornerstone for this structure was laid on September 24, 1916 in a ceremony presided over by Bishop Donahue. The original part of the present school consisted of four classrooms and a basement. Folding doors on the first floor when opened provided space for Church services. The school building served the parish also as a Church until 1924.
The Sisters of St. Joseph of Wheeling staffed Corpus Christi School until it was transferred to lay leadership during the late part of the 20th century. To our own Diocesan Congregation of the Sisters of St. Joseph, the parish owes a debt of gratitude too important to be fully acknowledged at this time. From the very beginning of the parish and even before — the Catholic children of this section of Wheeling were educated by the Sisters of St. Joseph.
Rev. Edward Galway (Pastor from 1921-1928) became our Parish's 2nd Pastor.
On August 19, 1923, then Bishop Swint laid the cornerstone of the present Church.
The Church was dedicated formally with a Solemn High Mass on May 11, 1924. The architect of our present Lombard-style church was Edward Weber who also designed St. Joseph Cathedral. A newspaper report of this cornerstone laying stated that fully 5,000 people attended the ceremony presided over by Bishop Donahue who also delivered the address. The account also stated that a great Parade marched from 3rd to 26th Street, and then back to the school, and about 1,500 took part in this parade. The school building served the parish also as a Church until 1924.
An interesting account and description of the new Church is found in the "Wheeling Register"- May 11, 1924.
"The simple beauty of the Church exterior is achieved by strict adherence to the old Lombardic type of architecture. It is constructed of cream grey rough texture brick. There is a great arch over the opening of the porch and the tympanum is filled with brick and stucco ornaments. Over the porch, the gable wall of the structure is occupied by a coupled arched window seen from the interior above the organ. A fine bell cote rises 75 feet from the sidewalk.
"This beautiful structure is formed on Basilica type, with clear-story and four stone pillars on each side of the nave carrying round arches. The nave ceiling is barrel-vaulted, the windows of the clear-story penetrating it. The side aisles have lean-to roofs plastered on the underside of the rafters.
"On the front-the narthex runs across it entirely with stairs to the organ tribune on the epistle side. The main entrance on Warwood Avenue is in the center of the narthex, and at the gospel side is a door leading to the side street. The sanctuary has a square end: the priests' sacristy is on the epistle side due to the proximity of this side to the rectory. The boys' sacristy is on the opposite side with boiler room below and storage room above,the boiler room has a separate outside entrance.
"The sanctuary floor is composed of grey Tennessee marble borders, steps and inserts: there is Westfield green risers with vari-colored tiles for the field. In the aisles and narthex the floor covering is of red quarry tile with cement borders and base.
"Artistic features of the interior are found in the painted glass windows – the work of George W. Sotter of Philadelphia – in the hand-wrought chandeliers by Cox, Nostrand and Gunnison of Brooklyn: in the woodwork which is white oak stained in mission color and which predominates in the altars, Communion rail, Baptismal font, sedelia, pews and other woodwork throughout, being the handicraft of the American Seating Company. All these features were designed by the Architect. Over the sanctuary is a huge crucifix which is truly a magnificent piece of work. The pipe organ installed by the Estey Company, is an instrument of the highest order of excellence. The paintings on the side altars were done in oil by Mr. McQuaide. The Stations are in the usual French and Munich finish. The seating capacity, without the organ tribune is 550. The Architect was Edward Weber of Pittsburgh, the same architect who designed the magnificent Wheeling Cathedral.
Rev. Arthur D. McSwiggan(Pastor from 1928 – 1934) became our Parish's 3rd Pastor.
Rev. William J. Lee (Pastor 1934-1955) became our Parish's 4th Pastor. Rev. John S. Kelly was an Administrator from Jan. 30, 1934 – May, 1934.
An addition to the school was completed.
The Convent (present Parish Office) was purchased.
Rev. Msgr. Edmund J. Yahn (Pastor 1955- 1972) became our Parish's 5th Pastor.
An addition to the Rectory was completed.
Rev. Daniel Kirwin (Pastor 1972-1976) became our Parish's 6th Pastor. Prior to Corpus Christi, Rev. Daniel Kirwin and Archbishop Swint established the The Diocesan Scholarship Association (1961) which encourages students from our diocese to attend Wheeling College, now known as Wheeling Jesuit University. Since its inception, the DSA has assisted hundreds of students who chose to attend Wheeling Jesuit University where they received an excellent education at West Virginia's only Catholic institution of higher education.
Rev. John J. O'Connell (Pastor 1976-1979) became our Parish's 7th Pastor.
Rev. A. James Myles (Pastor 1979-1998) became our Parish's 8th Pastor.
Corpus Christi is proud to have had one of its own become the seventh Bishop of the Diocese — Bishop Bernard W. Schmitt.
A community center was added to the parish in 1992.
Capital Campaign – Thankful for the Past – Preparing for the Future – Throughout nearly a century, the people of Corpus Christi generously gave of themselves and their resources to build not only buildings but a vibrant faith community. Here, thousands have been baptized, received First Communion and Confirmation, were married and had their funeral rites celebrated. The school that began in 1916 continues to promote academic excellence and a solid Catholic formation.
Parish Renovations – The Parish Community came together during the capital campaign to complete much needed repairs and updates to our Church. The interior and exterior of our Church was focused on including our stained glass windows, roof repair, plaster repair, carpeting, and restoring original artwork painted inside.


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Accuracy of given product informations is not guaranteed and are subject to be changed without notice.


text:
Пісе́нний ко́нкурс Євробачення 2009 — 54-ий пісенний конкурс Євробачення, який відбувся в спорткомплексі «Олімпійський», що у Москві (Росія).

Росія уперше за 13 років участі здобула право приймати Пісенний конкурс Євробачення, завдяки Дімі Білану, що переміг у 2008-му році у Белграді з піснею «Believe».

Україну у цьому році представляла Світлана Лобода з піснею «Be my Valentine» (Будь моїм «коханим»). Вона була обрана на національному відбірковому конкурсі, проведеному Першим Національним, отримала беззаперечну перемогу: 14 балів від глядачів та 14 балів від журі.

Перемогу здобув білорус за національністю з Норвегії Олександр Рибак з піснею Fairytale ().

Росія, як господарка конкурсу, вчинила тиск на EBU, з метою не допустити до виступу грузинську групу Stephane & 3G через їхню ледь замасковану насмішку над російським президентом Путіним за його агресію в Грузії та окупацію Південної Осетії. Як відзначає британська The Guardian, ритмічну пісню грузинів зі словами «Don't wanna put in, the negative move, it's killing the groove.» за першу добу після виходу в ефір на каналі Ютюб переглянули 400 тис. глядачів, а заборона лише підігріла інтерес до їхнього нездійсненого виступу.

Формат конкурсу

Вже вдруге Євробачення проходитиме за новими правилами, тобто у фінал потрапляють автоматично лише країна переможець та країни «Великої четвірки» (країни, що найбільше підтримують конкурс фінансово) — Велика Британія, Франція, Німеччина та Іспанія. Всі інші змагаються за проходження у фінал через 2 півфінали. Вперше за цією системою змагалися у 2008 році.

Щоб уникнути географічно-політичної заангажованості, яка зазвичай присутня під час телефонного голосування, коли голоси сусідніх країн та масове голосування емігрантів спотворювали об'єктивне волевиявлення глядачів, було вирішено ввести систему, де 50 % балів від кожної країни даватимуть глядачі, а ще 50 % — журі, яке у кожній країні буде своє.

У червні 2008 року в Афінах, Греція, пройшла зустріч членів Європейського Телерадіомовного Союзу. На цій зустрічі обговорювалось питання щодо позбавлення права «Великої четвірки» автоматично виступати у фіналі (в основному через низьку якість пісень, які вони виставляють на конкурс). На сьогодні, допоки рішення щодо цих країн не прийнято, залишається формат Євробачення 2008.

У Москві 16 травня перемогу здобув білорус, що представляв Норвегію, Олександр Рибак, набравши рекордну кількість балів — 387.

Представниця України Світлана Лобода посіла 12 місце.

Учасники

 01 Іспанія
 02 Бельгія
 03 Білорусь
 04 Мальта
 05 Німеччина
 06 Чехія
 07 Швеція
 08 Ісландія
 09 Франція
 10 Ізраїль
 11 Росія
 12 Латвія
 13 Чорногорія
 14 Андорра
 15 Фінляндія
 16 Швейцарія
 17 Болгарія
 18 Литва
 19 Велика Британія
 20 Македонія
 21 Словаччина
 22 Греція
 23 Боснія і Герцеговина
 24 Україна
 25 Туреччина
 26 Албанія
 27 Сербія
 28 Кіпр
 29 Польща
 30 Нідерланди
 31 Естонія
 32 Хорватія
 33 Португалія
 34 Румунія
 35 Ірландія
 36 Данія
 37 Молдова
 38 Словенія
<li> 39 Вірменія
<li> 40 Угорщина
<li> 41 Азербайджан
<li> 42 Норвегія

Перший півфінал
У першому півфіналі голосували всі країни-учасниці цього півфіналу, а також: , .

У фінал вийшли країни, виділені блакитним кольором. Темно-блакитним виділена країна яку вибрали журі до фіналу.

Другий півфінал
У другому півфіналі голосували всі країни-учасниці цього півфіналу, а також: , , . Півфінал Євробачення в Іспанії вийшов в ефір пізно, тому телеглядачі не змогли проголосувати, замість них врахували голосування журі.

У фінал вийшли країни, виділені блакитним кольором. Темно-блакитним виділена країна яку вибрали журі до фіналу.

Фінал
Перемогу здобув білорус, що представляв Норвегію, Олександр Рибак. Набравши найбільшу, рекордну кількість балів — 387. Представниця України Світлана Лобода посіла 12 місце.

Роздільні результати голосування телеглядачі/журі<ref>[http://www.eurovision.tv/page/news?id=3503#Final Exclusive: Split jury/televoting results out!]{{ref-en}}</ref>

Голосування у фіналі за країною

Країни, що не брали участь
  — RTL підтвердив, що телекомпанія більше не зацікавлена у проведенні даного конкурсу.
  — Грузія мала взяти участь і представила гурт «Stephane і 3G» з піснею «We Don't Wanna Put In». Але вони офіційно заявили, що пісня має політичний характер. Через небажання міняти пісню Європейська мовна спілка дискваліфікувала, вперше за політичною причиною.
  Туніс — уряд країни заявив, що Туніс не братиме участі у конкурсі у найближчому майбутньому.
 — не взяла участь через фінансові причини

Цензура на Євробаченні

Пісню «We Don't Wanna Put In» представників Грузії, гурту «Stephane & 3G», не дозволили співати у Москві. Таким чином вперше за 54-роки існування пісенного конкурсу пісня не була допущена з політичних причин..

Див. також
 Дитячий конкурс Євробачення 2009

Примітки

Посилання
 Офіційний сайт Євробачення
 Україна на Євробаченні 2009

Євробачення

Травень 2009
2009 у телебаченні
2009 у Москві
Музика Москви

redpajama_set_name: RedPajamaWikipedia


text:
Royal Conservatory of Music Certification
By Kevin Ott B.A. in Music Composition
The Royal Conservatory of Music, founded in 1896 in Toronto, Canada, has become known as a superb music institution with world class teaching pedigree and alumni. Some of its graduates include legendary pianist and songwriter Glenn Gould, pianist Oscar Peterson, popular recording artist Sarah McLachlan, and jazz great Diana Krall, just to name a few. The conservatory has also added robust online schooling capabilities.
Campus and Distance Education Program
RCM has both a traditional on campus program and a distance element. Essentially, you can receive RCM-approved certificates via two primary paths.
Piano Teacher Jobs
Music Teaching Jobs
TobyMac Biography
You can study in-person at the original Royal Conservatory in Toronto where you can enroll and attend classes in a traditional academic setting with faculty, administration, and a college campus and concert hall.
Thanks to the school's College of Examiners that maintains a standard of teaching for distance education, students can take lessons from an RCM-approved music teacher who lives near them. You can find these teachers in over 300 communities in North America (including many in the United States). RCM's learning page has a search tool that allows you to enter your zip code and see nearby teacher. These teachers follow the RCM certification path and prepare for the same exams a student would take at the school in Toronto (except you will take them at an approved Examination Center near where you live).
Certifications for Instrument and Vocal Students
The Royal Conservatory Certificate Program offers certificates in both vocal and instrumental performance that include a long list of disciplines as follows:
Speech arts and drama
The RCM Certificate Program uses a sequenced program of study and assessment with stages of progress that have certifications available for each stage you pass. It is divided into three parts:
Levels 1 through 10
Diploma level
One thing to keep in mind: the Royal Conservatory is not just a school building and concert hall in Toronto. It's a national (and even international) body that sets a standard for tests in Canada and around the world. So the entire system is less like a traditional university and more like the SAT exams in America.
In other words, the exams are what matter, as Piano TV explains. It's not whether you participated in a required number of course units to earn a degree like the way it works in American colleges. If you pay to take an exam for a level and you pass it, you get that level's certificate. However, when you get to the higher levels, there are some occasional prerequisites required before you can take an exam.
Preparatory Levels
In the preparatory levels, students work on rudimentary performance skills and basic music theory lessons that prepare them for the more rigorous levels 1 through 10. The instructor in Piano TV describes these levels as an equivalent to kindergarten. They're getting you ready for the real thing.
These levels are the heart of the program. The exam for each level is meant to be the culmination of one year of intensive study. At each of the ten levels, you can earn a Certificate of Achievement if you successfully pass a practical examination for that level. "Practical" means you show up in-person and perform certain pieces of music and skill exercises at an exam center.
Levels 1 through 4 are basic, and there is not necessarily a prerequisite requirement or corequisite theory exam a student must have completed before they can take one of these exams. However, the RCM certificate program is renowned for its carefully planned, logical sequence of development from level to level, and most students will want to work through the syllabus and take the exams in order at each level to receive the full benefit of the RCM approach.
Levels 5 through 10 become more advanced, and the higher levels require you to pass a corequisite (or even prerequisite) music theory exam before you can test at the higher level.
Note: If you're wondering about what the exams are like, this page of tips for Royal Conservatory of Music exams paints a vivid picture.
Associate Diploma (ARCT)
The ARCT is the crown achievement of the RCM student, and it represents the highest level of excellence and skill the Royal Conservatory offers in its training. It is a prestigious diploma respected by professional music communities worldwide. Students will be playing highly technical, advanced music ranging from the most demanding classical to the most intricate jazz. Students will also have a deep knowledge of theory and music history.
Licenciate Diploma
This diploma is the equivalent of an ARCT diploma, but it is designed exclusively for piano students to best fit the needs and requirements of that instrument. For those students wanting to reach the highest professional level of piano performance, this diploma will take them there.
Pros and Cons of the Royal Conservatory Certificate Program
RCM's approach is quite different from the traditional university model that requires a minimum number of courses, units, and grades in each course to pass. As stated above, with RCM it's all about the exams. There are pros and cons to this approach, depending on what you're looking for.
Although you won't have to deal with wracking up a large amount of units (and hours and hours of attending lectures) as you would at, say, a four-year college in the United States, RCM is a big commitment. They design their levels to be intense. Each exam is meant to be the culmination of one year of study. In other words, to get from Preparatory to Level 10, it will take 11 years of your life. If you desperately want to get through the whole program, but you don't have the patience to take years doing it, RCM might not be the best fit.
While the above cons might sound intimidating, many of the early levels are covering basics. In fact, many children will start the program at around age 7 (or earlier) and get to Level 10 by age 17, after which they might embark on a professional career or use their RCM certification to get into a prestigious four-year university. Many adults take levels 1 through 10 at their leisure (or at an accelerated pace) as a passion project or a hobby. In other words, you can come and go into the program as you wish and take each exam for each level when you're ready. It is intense, yes, but it is flexible and meant for all ages and skill levels.
The conservatory cost centers around a charge-per-examination system as you work through the programs. When LoveToKnow reached out to the Royal Conservatory about their costs, the conservatory provided a summary page on their website. As the page shows, the price per examination ranges from about $59 to $875 depending on which program and examination. Some things to keep in mind:
The model will depend on whether you're enrolled as a student attending their physical school in Toronto or you're following their distance education and studying for exams through a certified teacher in your area. For this reason, costs could vary widely per student. Any numbers provided are only general estimates.
Besides exam fees, the cost of books is always an important factor. Even at your average American community college, books can cost a few hundred dollars per semester. Even though it is based in Canada, RCM is no different. Expect to pay a similar range for books for each level of study at RCM. (Their bookstore, which has a link on RCM's site, confirms this.)
In addition, if you study with an RCM teacher or enroll in a course, there are fees for term of instruction, which can also be a few hundred dollars per teaching term depending on the situation.
Although it's difficult to arrive at a specific number because there are so many variables involved, each year of study could potentially cost a few thousand dollars depending on which exams, course materials, tutoring, digital courses, or in-person classes you take.
The certificates of the Royal Conservatory of Music prepare musicians for professional performance in orchestra, jazz, and popular music settings. Alumni include famous classical conductors and popular music icons such as Sarah McLachlan and Diana Krall. In addition, its teaching certificates train students to become superb private music teachers.
Considering that the Royal Conservatory of Music has had its doors open for 131 years, it comes with an automatic pedigree. It's not an online music business started in someone's garage in '90s, in other words. It's a cultural center and historical institution with some of the greatest names in modern music affiliated with it.
That being said, even world class institutions go through phases of ups and downs and in some seasons, its effectiveness might be better than others. Here are a few glimpses of how the public is rating the Royal Conservatory's services in the present day:
The Conservatory's Facebook business page shows a customer rating of 4.6 stars out of 5 stars out of about 115 reviews.
The Better Business Bureau has given the conservatory a passing grade.
Users on Yelp give the conservatory 4.5 stars out of 5. (However, few reviews have been posted.)
Its positive ratings come especially from the conservatory's extraordinary facilities, quality of teaching, and innovative use of online learning.
A Mix of Innovation and Legacy
If you become a student at Royal Conservatory of Music, odds are good you will have an excellent experience and develop highly refined skills in music performance, theory, and education. If you're not able to attend the school in-person, it offers a wide variety of online programs for both music performance and education. Whether you're aspiring to be a teacher or to perform as a professional musician, the Royal Conservatory of Music offers a rare mix of historical legacy and modern innovation.
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