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Robert Rose on Content Marketing
Today, my guest is a legitimate expert on Content Marketing who has worked with some of the world's most recognizable brands. He agreed to sit down with me and discuss content marketing related to small businesses' realities and challenges.
Robert Rose is an executive at the Content Marketing Institute and an author of three books on Content marketing.
On top of one of the most inspirational stories about a small business succeeding with content marketing, we'll discuss how to make the process sustainable and less stressful for everyone.
Cale Guin: I'll just explain real quick what I know about content marketing which isn't much. As I mentioned, I come from a long time ago. Before there was even a Google, to be honest with you, I was marketing. When Google came about it changed a lot of things but in 2011 to say 2015 or so, they really changed the game. That seems to me to be that era when content marketing started because it had to if you wanted to keep up with search engine rankings and stuff like that. Is that accurate or what is the history of content marketing?
Robert Rose: I think it's a process that's been around for hundreds of years. Where pre-digital, let's call it that, you have brands who created content usually in the form of a magazine because we were talking then print, radio or TV being the only mediums available and print was really the most affordable medium for most companies. They would create a company magazine or we're all familiar with the classic airline magazine where you have an airline funding a magazine that had articles about travel to extensively make their customers feel better about traveling.
That's the general birth of it, if you will, is the idea that these businesses could create content that is outside their product and service and create value for their customers that made them feel better about doing business with a particular organization. I think to your point, I would argue that it was actually search and we can call Google or you can call it AltaVista or Yahoo or Ask Jeeves or whichever your favorite birth of the search engine was that really fundamentally changed the equation because for so many of us who come from a classic marketing education background our goal in the print, radio, billboard, and television world was to chase audiences where they were aggregating.
They were watching TV, they were listening to radio, they were reading magazines. If we wanted to get them aware of our business, well, we would put our content there and sometimes we would call it an ad and sometimes we would call it an advertorial if we wrote an article or if we were lucky enough to get our PR firm to get us covered in one of those magazines, we called it PR.
What search changed the game was it made content a two-way street. In other words, I no longer needed to watch a network for three hours to get to the show that I wanted. I no longer needed to thumb through an entire magazine to get to the article that I wanted. What I could do is I could go search for a particular topic and get content on my own terms. The opportunity that that started to provide for brands was we no longer needed to chase those audiences. We could become the media that they were looking for, the article that they were looking for, the research they were looking for, the help, the inspiration, or the entertainment that they were looking for.
That really changed the game and to your excellent point, I think it probably took us about 10 years to really catch up with that idea. It wasn't really until call it 2010, 2011, 2012 coming out of the financial crisis of 2008 and 2009, that we really started to realize that all these distribution methods through social media and through search and through our websites and through blogs could really create value for the business by becoming the media. By becoming as I like to call it an interesting thing for our customers to look at. More than just our brand it became, we could become interesting.
Cale Guin: This is the problem with trying to contain you and I having this conversation to half an hour because in your response there are probably about 300 points that I would like to expand on. Let me just say that as a person who was very into digital marketing, actually since 2002 I had a digital marketing firm. What had happened was Google really changed the game and to your point that 2011 era. It was right after the Recession. They changed the game in saying that we are going to rank websites based on the amount and the quality and the contextual nature of their content and a buzz was going to be a thing. How many links are there coming back to you?
All of these things culminated into this thing which for a while was the scourge of the internet where people were just creating crap, just to create crap and to create backlinks and all these things. What you see now though, is this genuine, amazing quality of content, and the way it's transforming some of these businesses, I think is certainly worth noting, but I think that you can't ignore content marketing.
One other point that you made that I'm this advocate against, using all the wrong terms, and we do it all the time. Our industry uses marketing for everything. We say it's content marketing, it's social marketing, and it's all these things and you made the great point of we now have these distribution channels. That's what they really are. They're the TV and the radio of today. They're these great tools that we have; channels to present our message. Can you talk to me a little bit about the creation of content and what we do with it, and hopefully, that ties back into these channels that we have now?
Robert Rose: Yes, I think the fundamental change was the democratization of information retrieval. That's what Google brought us. The good and the bad of it was that when we were buying ads in newspapers, and we were buying ads in magazines, and on the radio, part of the reason was because we wanted to get in front of their audience. The other reason was because we wanted to be part of their brand.
In other words, I would pay a premium to be in the New York Times, or The Wall Street Journal, or the LA Times, or whatever local newspaper I had because if it appeared there, people could trust it. It's because it had created this sense of authority, that this is where you got information that was important. When I put an ad in my local newspaper and people saw that ad, I would get to draft a little bit with the newspaper's brand. What Google did, for better and worse, is democratize the distribution of that information and education. Now, as a small business, I can be just as informative, just as helpful, just as valuable to an information searcher as the New York Times.
Now, you may trust the New York Times a little more than you trust me. Ultimately, here we are in 2021, and the trust in mainstream media is at an all-time low, and trust in business is quite frankly, much higher, you may end up trusting me a lot more than the New York Times. The opportunity in the way that it provides me as a business owner to create interesting trusted things is there's nothing standing in my way. Not only is there nothing standing in my way between that relationship between me and a customer, but it's probably opportunistic because, quite frankly, I'm probably more trusted than a lot of the places where I would put an ad, and it's less expensive.
Cale Guin: Right. Okay. To that point,two things, when you say that you're likely more trusted, right off the bat you might be more trusted because of trusting so low elsewhere.
Robert Rose: Right, exactly. It's a low bar these days, no doubt about it.
Cale Guin: You make a great point. I try to preach all the time, authenticity, authenticity, authenticity. When your brand doesn't match the experience people have when they do business with you, that's where a lot of trouble starts. That's where bad reviews start. That's where this lack of trust begins. Talk to me about how you put content together, and how does everybody dream up enough content to keep this ball rolling and this thing going. How can I think of all the content I need in order to really move the needle?
Then let's talk about quality in that sense, in the sense of how real it is, how helpful. I think that's one of the things I read about you that I really connected with was being useful to your customer. I always say the more helpful you are, the better and you can't create bad content if you're just trying to be helpful to your customer.
Robert Rose: That's right, and what it is, is you're as I like to call it, you're teaching your customers either how to be customers or how to be better customers. By doing that, you're either optimizing more customers coming to you because you're differentiating by being helpful to teach them why they should use this widget or why your service is valuable or how they can really take advantage of this kind of product or service.
Then in the flip side, you're teaching your customers how to be better customers, you're giving them how to use your product better, how to do other things with it to actually utilize it to its full potential, and you're actually teaching them to be loyal and to be up-sold, and to be cross-sold. I'll give you a perfect example of this is, we did a little bit of work with a guy, small business, he's a general contractor, and his whole job is basically run around and do home improvements and he's got a little company that does all of that.
What he did was he would simply go around to all of his job sites and instead of emailing his clients a report like, well, today we put in a wall and today we built in the skylights, he would take a video of himself, and he'd make a little show out of it. He would be like one of those little home shows, and he would say, "Hi, welcome to Wednesday. We're here, and this is what we've done," and he took a video of this thing, and he'd be like, "By the way, if we were to put in a skylight here, it would be really awesome and blah, blah, blah," and he would give them the little home show tour of his progress that his crew made on that particular day.
Then he started chopping those things up and using them as videos on his little– he created a blog. He was not only repurposing it for a very functional thing, which was basically instead of writing a report every day that he would send his clients, he would basically just pull out his iPhone and make a video, but then he was also using it for marketing because what he was showing was, he was teaching them, "Hey, if you sign up with me as a general contractor, you're going to get all this amazing experience for teaching you how I'm building your house."
Cale Guin: That is so fantastic. Can I just ask, who came up with that idea? You said you were with him; he came up with that?
Robert Rose: He did, yes, and the reason he came up with it was not because he was told to or he thought it would be some smart marketing thing. He actually was like, "I don't feel like writing a big email. It's much easier for me to just walk around with my iPhone and show you rather than write up a big report."
Cale Guin: That is brilliant on so many levels because that speaks a little bit to how small business people who are least wearing multiple hats, if not running the show and they may or may not be marketers, and what have you.
Robert Rose: Oh, yes, most small business owners the last thing they want to do is marketing. Every small business owner I've ever known, marketing for them was the thing they do with a beer, or a glass of wine after they've been running their business all day and it's the last thing they want to be doing at 7:00 at night.
Cale Guin: Okay, he puts it out on his blog and that's it. At least in his local area, I'm sure it does well. He can say, "Hey, just go to my website, you can see the work I'm doing." I get that but for people who need to move the needle on a larger scale, or maybe not necessarily just in their hometown, where should this content live, and let's talk about the realities of distribution. There's a billion channels out there right now, and that is a kale of exaggeration if you will, but there's a lot and not every channel, and this is something I argue with people all the time, not every channel is going to work for every business.
Robert Rose: No, and nor do you need to be on every channel.
Cale Guin: Right and it does largely matter where your audience is, but it also matters what kind of content you have.
Robert Rose: Here's what I'll say to that, yes and no. At the top of the show, we talked about this idea of the fundamental shift that digital brought, whether it's 20 years ago, or 10 years ago, or sometime in between. One other thing that it really changed was the fundamental nature of whether we should be chasing audiences to different channels. What I mean by that is when all of your audiences can choose between local print, local TV, local radio, or local billboards, it's really easy to chase your audiences, but when your local audience can be on Facebook, Tik-Tok, Twitter clubhouse, Instagram, Pinterest, Google search, landing pages, webinars, all of those things, you simply can't chase them.
The opportunity then is to start attracting them. Start attracting them to one thing that you can be excellent at. Maybe it's a blog. Maybe it's your website, and it's a resource center. Maybe you build an online video class. Maybe you build a printed book. Maybe you put out a printed magazine. Finding the right channel for you to deliver the helpful, entertaining, inspirational content that you want to create is the key, then using that platform, and promoting it. What I mean by that is, treat your content platform just like this contractor did with his videos, like you would a product.
In other words, it's another product in your portfolio that you're building value for customers with. Ultimately, you're going to promote it like you would any other product. That's where you use Facebook or Twitter or TikTok or whatever, is to start promoting those audiences that are gathering in all those different places to come and engage with you on your terms, in your house, on your platform. When they subscribe or they're starting to talk with you, you're actually having a much better sense of control of the conversation.
What that is for anybody, it's really so different. These days, it could be an email program. It could be a blog. It could be your website. It could be a print magazine. It can be so many different things. Just like my friend, the contractor who chose video, and ultimately YouTube to put it on, you choose, you make the decision about where you think would be the best place for your customers to experience it.
Cale Guin: If you're not creating content on your own, and you don't have time to sit around and look for interesting things, let's talk about the economics of content marketing. Let's talk about it. Some of the things that I did catch of yours were fantastic in the sense that it showed a cost comparison if you did this versus if you did this. Then also the measuring stick for I'm spending this money, I'm doing these things, I can see that there are people watching it, but where does it really come down to? Viewers likes and all of those things, don't pay the bills. How do you equate directly, this is the content I put out there and then this is what I ended up getting out of it?
Robert Rose: It's something that marketers have always sucked at, just to be clear, is putting some scientific algorithm behind, do this, get that. Marketing has always and will always be as much art as it is science. When you put effort into it, the economics for me, and for most marketers that I see that are successful, has to be it goes down to the fundamental idea of marketing, which is, how do I reach the right person and the right people in the shortest amount of time with the least amount of effort that will do something in my favor? It might be visit my website, it might be fill out a form and subscribe to my email newsletter, or it might be buy my widget.
All of those things are good things and all of them fit into an overall marketing strategy. For most small businesses, quite frankly, that line is pretty short. In other words, there's not a lot of, unless you're in a really small business that has a really long sales cycle and you're selling big generators or something where there's a big committee involved, and where there's a long marketing, touch nurtured processor; for most small businesses it's like, "See ad, click now, buy now."
What I want to do as a marketer is to shorten that equation as much as possible and that goes for me too. I sell consulting for a living. I sell consulting projects to other businesses, and my job is to create enough value as soon as I possibly can so that my customer goes, or my potential customer goes, "I need that." The goal then becomes where do I spend my time, and where is my time most valuable? Now as we talked about, for most business owners, marketing is the last thing they do over a glass of wine or a beer at 7:00 at night when they're trying to get their kids fed, and they spent all day running the business.
The question is, as you start thinking about marketing, you start thinking about the activities of what you're doing, and reaching those audiences and having them do things, are you creating some sort of value? Ask yourself, one, how can I create the most value in the shortest amount of time? In other words, what can I give away, knowledge, how-to's, education? What can I do that really shortens that process for that person to go, "I need that now."
The second thing is if you don't have the time, and you don't have the bandwidth, the only three things you can play with are money, time, and resources, human capital. Usually, one of those, or multiples of those, are in short supply. Maybe sometimes all three of them are in short supply, but in order to do something, you have to prioritize it. If you're going to prioritize it, how do you– maybe you outsource it to a kid. Maybe you outsource it to the smartest person you know. Maybe you pay an agency. Maybe somebody else does something else in the business so that you can do this.
I go back to my friend the contractor who created his videos. His was, he was spending so much time doing the e-mailing of what happened on job sites every day. He said, "I can save some time and create some content, and create some value with this video series. He killed two birds with one stone there.
Cale Guin: That might be one of the best story-telling moments so far. It's so perfect because it is a small business. It literally was just, "How do I solve a problem?" and became a thing that he could use for marketing. It's just brilliant.
Robert Rose: It was the way he could add the most value in the shortest amount of time.
Cale Guin: Sure, and he had to do the stupid write-up every day, right? You know what that's like, reporting back to your customer, and you've got to do the write-up. There's a report. It would be way more fun to do a video, or even do something like this. That does bring me to a point, though. Sometimes I've heard marketers say this, and I really am on the fence a little bit. Let's talk about quality. Now, I know with small businesses, a lot of them aren't going to have brand guides and tone and messaging, and all of these things. Sometimes you do need to up the quality to a certain standard. Is there a difference between, and what is it? How can you measure the difference between a good quality piece of content and just content for content's sake?
Robert Rose: The way I look at it is, would I be interested in it? In other words, if I'm creating something that either I'm bored with, or I'm not terribly interested in but it's easy for me to create, then I know it's not worth creating. I know someone else can do it, and probably already has. If it's something that's challenging for me, or that I would be interested in– and quite honestly, that's what makes it fun and interesting to do. Which is, if I'm the person who can make this, because I'm an authority on the topic, or because I know how to do it, and I would be interested in this if I were consuming it, then I know that it's worth doing. Because even if it does already exist out there, I know I can bring something special to it.
My friend and colleague, Joe Pulizzi, who wrote a couple of books with me, calls this your content tilt. Which is, as you start thinking about content, there's what you're good at, what you're an authority at, and what you can explain or do that no one else can. The middle of that is where is your content tilt, which is finding that uniqueness that's basically something only you can be able to provide.
I'll give you another good example of this; another small business, they're a financial services company, there's seven people. They work with wealth advisors, teaching them about economic forecasts, and stock portfolios, and what they should be investing in. They're like a consulting firm. It would be easy for them to create a piece of content, a magazine, or a PDF, or an email that basically says, "Here's the latest economic conditions and you should buy low here." Basically, the thing that they're getting from everybody else.
Instead, they went, you know what they're not getting is, these are people, these wealthy advisors, their audience; these are people who aren't getting much information on what books they should be reading, what movies are good, what TV shows they might want to watch with their families. They created this book club, which was basically a thing that they could send to their prospective customers and existing customers and say, "This is the thing you're going to get from us, which is, we're in a business just like you. We're just like you and here's what we're watching. Here's what we're reading. Here's what gets us excited." That became the number two reason that these guys started to close clients.
The number one was of course the great advice they got, but the number two was this silly little book club that they created, but it was just this high-quality thing that only they could deliver to their audience.
Cale Guin: What a connector. Talk about that.
Robert Rose: Yes, great connector.
Cale Guin: Yes, it's just a great way to build a relationship right there. Everybody's in on it. Like, oh, did you read the book and that's great.
Robert Rose: That's right.
Cale Guin: That's one of the things that I like as well is that I did a podcast not long ago and we like to take questions from people. When we do that, I like to let the people who ask the question, know that we answer your question in this podcast, and I love that. Then they're just all jacked up about, Oh my God, that's my question and I just love it. It's a really fun way to bring people in.
Robert Rose: It's just adding value to their experience, right?
Cale Guin: It really is.
Robert Rose: When you add value to their experience, by default, you become differentiated in their mind and you develop deeper trust.
Cale Guin: This is the rudimentary conversation. Would it be okay for us to reach out to you again and get a little deeper into content marketing? Do some conceptual type things, and have those conversations. Would you be open to that?
Robert Rose: Of course, absolutely. As you can tell, it's a topic that I love to talk about. Yes, anytime.
Cale Guin: This is a thing and maybe on a final note here, you put out a lot of content and I know you do. I've seen plenty of it. Some of it lands with a thud. Some of it is surprisingly awesome. I did a thing once where we were giving away $100 worth of groceries. It did better than giving away a car and it was just one of those things. I don't know why it happened that way, I really don't, but talk to me about that a little bit. Have you gotten to the point and what can one look for those little hotspots and the thuds?
Robert Rose: Here's the most unsatisfying answer that you will ever hear, which is, you never know. I have put days, months of work into a blog post and it's the most, well-researched, I'm passionate about it, I'm so proud of the way that I turned the phrase and used a cool pun. I couldn't be more proud of it but I hit publish and it's like, you can hear the crickets, and then other times when I'm on deadline and I just go, ah, screw it.
Cale Guin: Yes.
Robert Rose: I'm going to throw something together here. Like it tears the roof off, right?
Cale Guin: Isn't that something?
Robert Rose: You just don't know and the only thing I've learned over the last 20 years as I've been doing this is all you can do is your best and as long as you do your best, some of it will hit and some of it won't, and you'll never know which it's going to be.
Cale Guin: A bonafide expert in content marketing and, thank you for your time, your expertise. If there's anything ever we can do for you, I would be happy to help out with anything and we would like to be able to reach out to you again for future shows and more information if that is okay with you.
Robert Rose: Absolutely, happy to do it, Cale.
Cale Guin: All right. Thank You very much, Robert. Have a great day and we will definitely be talking to you.
Robert Rose: That sounds great.
Cale Guin: All right. Bye-bye.
Robert Rose: All right. Cheers.
[00:29:17] [END OF AUDIO]
Expert: Robert Rose
For more than 25 years, Robert has helped marketing leaders balance the art and science of marketing, and tell their story more effectively. Over the last ten years, Robert and his firm The Content Advisory have worked with more than 500 companies, including 15 of the Fortune 100.
Robert has served as the Chief Strategy Advisor of The Content Marketing Institute since its launch in 2010 and helping guide it to be the leading global content marketing education and training organization. Robert was CMO of CrownPeak – leading the marketing and product development of one of the world's first enterprise Software-as-a-Service web content solutions.
Robert is the author of three best-selling books on marketing and content strategy, and the co-host of the popular marketing podcast PNR's This Old Marketing, which has been downloaded more than two million times in 150 countries.
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Green Is The New Black & Costa Rica Is Evergreen
March 13, 2019 April 10, 2019 / Crist Inman
Costa Rican wildlife was the theme of reception in February to formally introduce the government's decarbonization strategy.
Somini Sengupta and her colleague Alexander Villegas published a story yesterday that resonates with the explanations Amie and I gave friends and family about our original decision to live in Costa Rica. It also resonates with the decision we made recently to return. In 2010 when we moved to Kerala it was not clear when, or even if, we would be back here. But our work in India was intertwined with Costa Rica's evergreen pioneering role in the global conversation about conservation. So we are back. And the evergreen is appreciated, especially in the way Costa Rica's president and his wife tell the story within a story.
A diesel commuter train in San José. The government plans to replace older trains with electric models.
Despite it's diminutive size, Costa Rica been at the forefront of the climate change conversation. While the country has only about 0.25% of the world's landmass, it contains almost 5% of the world's biodiversity. These statistics give both an added incentive to focus energies on shifting the juggernaut of climate change and the ecological soapbox from which to be heard.
Costa Rica has an infrastructural uphill climb, most specifically with transportation as is illustrated below, but the country has stood its ground successfully in the past. When we think of the country's road network in the mid-1990s relative to the roads today, it gives one of many reasons to be optimistic:
Tiny Costa Rica Has a Green New Deal, Too. It Matters for the Whole Planet.
SAN JOSÉ, Costa Rica — It's a green big deal for a tiny sliver of a country. Costa Rica, population 5 million, wants to wean itself from fossil fuels by 2050, and the chief evangelist of the idea is a 38-year-old urban planner named Claudia Dobles who also happens to be the first lady.
Every country will have to aspire to something similar, scientists say, if the world is to avert the most dire consequences of global warming. And while Costa Rica's carbon footprint is tiny compared to other countries, Ms. Dobles has a higher goal in mind: Getting rid of fossil fuels would show the world that a small country can be a leader on an awesome problem and improve the health and well-being of its citizens in the bargain.
It would, she said, combat a "sense of negativity and chaos" in the face of global warming. "We need to start providing answers."Costa Rica's green bid, though fraught with challenges, has a head start. Electricity comes largely from renewable sources already — chiefly hydropower, but also wind, solar and geothermal energy. The country has doubled its forest cover in the last 30 years, after decades of deforestation, so that half of its land surface is now covered with trees. That's a huge carbon sink and a huge draw for tourists. Also, climate change is not a divisive political issue.
Now, if its decarbonization strategy succeeds, it could provide a road map to others, especially developing countries, showing how democratically elected leaders can grow their economies without relying on polluting sources of energy. But if it doesn't work, in a country so small and politically stable, it would have equally profound consequences.
"If we can't pull it off by 2050, it's likely no other country can pull it off," said Francisco Alpízar, an economist at the Tropical Agriculture Research and Higher Education Center in Turrialba, Costa Rica and a climate adviser to the government. "That would be really bad."
Claudia Dobles said her first priority was to overhaul transportation, which accounts for most of Costa Rica's greenhouse gas emissions. It is the largest single source of Costa Rica's greenhouse gas emissions. The number of cars and motorcycles on the roads is growing fast, according to a survey by a nongovernmental group called State of the Nation. The average car in the country is 17 years old. Congestion is a huge problem; morning traffic in the San José metropolitan area moves at an average of less than 10 miles per hour. Afternoons are worse.
The National Decarbonization Plan, as it's called, envisions electric passenger and freight trains in service by 2022, which is when Ms. Dobles's husband, President Carlos Alvarado, finishes his term. Under the plan, nearly a third of all buses would be electric by 2035, dozens of charging stations would be built, and nearly all cars and buses on the roads would be electric by 2050. Unlike many other countries, Costa Rica does not rely on coal to produce its electricity.
Revamping transportation is expensive and so it will require tackling things that have little direct connection to climate change — fixing the country's fiscal health, for one, to be able to secure big foreign loans to fund such an ambitious project, and lowering unemployment, which is a pressing political demand. It also means addressing the aspirations of its upwardly mobile people.
Stephanie Abarca is one of them. Purse and lunch bag in hand, on her way to work one morning, the 32-year-old Ms. Abarca was 100 percent behind the first lady's green targets. Of course, Ms. Abarca said, Costa Rica should be a green "pioneer."
But she faces more immediate problems. For her, getting to work means waking up at 4 a.m. to shower and dress, ride the bus for an hour, walk a few blocks (or run, if the bus is late), and board a slow-chugging, horn-blaring diesel train for another 20 minutes to finally get to her office. Most weeks, after a nearly two-hour commute each way, she is too exhausted for the 6 p.m. yoga class that her employer offers to relieve stress. By Fridays, she is running on fumes.
Her goal: She is saving up to buy a secondhand car, a subcompact Suzuki Swift. It would improve her commute, she said, knowing full well that it would also inject more carbon into the atmosphere. "Everybody wants to have a car," said Ms. Abarca, a manager at a furniture company. "That doesn't help."
After transportation, agriculture and garbage account for the largest share of Costa Rica's emissions. To curb emissions from landfills, the plan proposes new waste treatment plants, as well as recycling and composting systems, which are now virtually nonexistent. The country's pineapple and banana growers would have to reduce emissions. So, too, its cattle ranchers, which could mean using less land. Costa Ricans, including the ones in the first family, are fond of meat.
The president laughed when I asked him about going vegan. "I don't think that will happen," he said…
…Mr. Alvarado, 39, who wrote a historical novel before he became president last year, is fond of invoking the past. Leaders before him did improbable things too, he pointed out, like abolishing the army in the 1940s. He has called climate change "the greatest task of our generation." He said he saw no point in waiting for bigger, more powerful countries to act first. By 2050, he pointed out, the couple's son will be 37, the same age he was when he ran for the presidency.
On the last Sunday of February, on a stage erected behind the National Museum, his administration sought to rally the country to the decarbonization plan. Guests filed in. The dress code was tropical casual: florals, linens, Panama hats. Sounds of the rain forest echoed through the space. Performers dressed as animals moved through the crowd. A jaguar slunk along the floor, occasionally rubbing against the pant legs of a politician, a macaw on stilts fussed with a well-dressed woman's hair, a frog photo-bombed bystanders.
"Green is the New Black," read the slogan on the first lady's T-shirt…
Read the whole article here.
Carbon, Climate Change, Collaboration, Community, Conservation, Consumer Behavior, Costa Rica, Ecoefficiency, Economics, Leadership, Personal Statement, Public Policy, Transportation, Urban
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Q: ReactJS dashboard using dc.JS and nivo charts I was working on a reactJS dashboard PoC, with data filtering/slicing capability across charts.
Zeroed on dcjs and nivo charts for their capabilities.
I would like to understand whether nivo charts can be used in conjunction with dc.js.
As nivo charts are build on top of d3.js, thought it should be straight forward.
It looks like the registration of nivo charts with dc.js is not possible.
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SD

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Following an important debate on Wednesday 13th October on the EU budget, I must make clear how encouraging it is to know that there are so many sound Eurorealist MPs on Conservative benches. All of them who spoke, including myself argued that they wanted a reduction in the budget – and of course a cut in the EU functions i.e. repatriation. This is about parliamentary sovereignty.
In response to the assertions of the irresponsible European Parliament over the 2011 Budget, my amendment was unanimously accepted by the UK Parliament (not just the Government). As Chairman of the European Scrutiny Committee, I also announced an inquiry of the Committee into the whole issue of the compatibility of the European Union's assertions of their alleged superior jurisdiction over the Constitution of the United Kingdom and other Member States. It is vitally important because this is a new era – the Labour Party having held the Chairmanship of the European Scrutiny Committee since 1979. This is the first time the tide has turned against the integrationist assumptions, on which the Committee has been appointed consistently by Governments of all descriptions since 1972.
As I have consistently argued, we must deal with the functions of the EU and the Budget with it – but in order to achieve this, the first step is to confirm and reassert parliamentary sovereignty in line with a Sovereignty Bill. The Government has now conceded the principle of asserting sovereignty and I insisted on this vital issue in the debate – so that the British judiciary must be obliged to override European legislation where the Westminster Parliament insists in statute.


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History
While not being urged to avoid competition, women had few opportunities to compete in sport in Australia until the 1880s.  After that date, new sporting facilities were being built around the country and many new sport clubs were created. During the 1890s, cricket and rowing two of the most popular competitive sports for women in Australia. A sculling race was held between two women from Victoria and New South Wales at the Albert Park Lake in Melbourne in 1901, during a regatta organised to celebrate a royal visit. The first recorded women's rowing club was the Albert Park Ladies' Rowing Club, formed in 1907 and based at Albert Park, with similar clubs formed in Brisbane in 1908 (the Brisbane LRC), Sydney in 1909 (the Western Suburbs LRC), and Tasmania in 1912 (the Buckingham LRC and the Sandy Bay LRC). During that time period, rowing was considered an acceptable sport for women to participate in, and was one of the first sports in which women were required to practise daily in order to excel at it. Interstate competition commenced in 1912, when the Brisbane club travelled to Melbourne to race the Albert Park crew. A return race was held the following year in Queensland, but no more interstate events were held until after the conclusion of World War I, when a Victorian crew lost to a South Australian crew in Adelaide. The Women's Four-Oared Championship of Australia was first contested in 1920, in conjunction with the men's King's Cup, and was won by South Australia, who were to win seven of the first eight tournaments.

In 1934, the Victorian Women's Centennial Sports Carnival was held.  The event was organised by the Victorian Women's Amateur Sports Council and held at the Melbourne Cricket Grounds. The purpose was to increase women's interest in sport by providing them opportunities to play.  Sports that were included on the programme included cricket, field hockey, women's basketball, bowls, rowing, swimming, athletics, rifle shooting, baseball, golf, tennis and badminton.  There were over 1,000 bowlers involved over the course a week.  Cricket featured a match versus a visiting English side.  Women's basketball featured a Victorian side playing against a representative all Australian side.  There was a day for watersports such as swimming and rowing.  A tennis tournament was held. A field hockey tournament featuring Australian, Kiwi and Fijian teams was played.

Governing and interstate competitions
The first national championship for women's rowing in Australia took place in 1920.  The national championship was for four women boats, Also in 1920, the first national women's rowing sporting body was created. It was called the Australian Women's Rowing Council. The rules of rowing changed, and starting in 1934, the national championship also had a competition for eight women boats. In 1939, the national championships were canceled.  This was being the men's only Victorian Rowing Council prevented the competition from happening by citing an obscure rule in their organisational rulebook that forbid men and women from rowing together on the same programme.

In 1933, the New South Wales Amateur Women's Sport Council was created by Gwendolen Game.  The organisation brought together all the women's sporting bodies on the state level.  Sports represented included New South Wales's women's field hockey, cricket, women's basketball, baseball, rowing and vigoro.  A similar organisation covering similar sports had been created in Victoria in 1931.

Schools
In 1922, a committee in Australia investigated the benefits of physical education for girls.  They came up with several recommendations regarding what sports were and were not appropriate for girls to play based on the level of fitness required.  It was determined that for some individual girls that for medical reasons, the girls should probably not be allowed to participate in tennis, netball, lacrosse, golf, hockey, and cricket.  Soccer was completely medically inappropriate for girls to play.  It was medically appropriate for all girls to be able to participate in, so long as they were not done in an overly competitive manner, swimming, rowing, cycling and horseback riding.

Participation
In 1940, a study of 314 women in New Zealand and Australia was done. Most of the women in the study were middle class, conservative, Protestant and white. The study found that 183 participated in sport.  The nineteenth most popular sport that these women participated in was rowing, with 2 having played the sport.  The sport was tied with cricket, mountaineering, rowing, and surfing. In 1984, there were 1250 women who were a member of the Australian Rowing Council.

International competitions
Women's rowing was included on the Olympic programme for the first time at the 1976 Summer Olympics.  Because of internal conflicts, no Australian women competed in the event until the 1984 Summer Olympicss.  At that games, the four-person boat took home a bronze medal.

The first Australian female coxless pair to win a medal at a major international event outside the Olympics were Kate Slatter and Megan Still, who won a gold medal in 1995 in Finland at the World Championships.

See also

 Netball in Australia
 Women's association football in Australia
 Women's field hockey in Australia
 Women's rowing

References

Bibliography

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Sandra McDonald, Contributor
The New Jet Lag: Transition, Age And Time
08/08/2016 11:25 am ET Updated Aug 09, 2017
Studio photograph of elderly woman's hand beside a younger woman's hand.
Many of us have had the unsettling experience of alighting from a jet into a faraway destination after zipping through several time zones. Despite its familiarity, the resulting feeling can be hard to describe. For me, it's an odd sense of not fitting in, even though things are normal on the surface, with cues for the local time (sunlight, clocks) being seemingly aligned for others but not for me. I guess that's why it's called jet "lag" -- the person is time-displaced from their environment and definitely feels it -- even though others wouldn't know from a cursory glance that they are a traveler from another time zone.
Since doing my male-to-female gender reassignment 12 years ago, I've realized that this process might involve something analogous to jet lag -- though it seems to be not often discussed. If my experience is any guide, the similarities have big implications as to the nature of gender transition, and how we experience it and help others through it. As explained further on, the gender transition process can involve a time warp, especially regarding age and our placement within life's chronology.
Like most people, I am sometimes asked my age on official documents and application forms. My biological birth year puts me squarely in middle age, yet even as I dutifully provide the relevant birth date, I feel a sense of disconnect -- of not legitimately feeling part of that age group. For me, it's not the stereotypical mid-life denial; something much more fundamental causes my "age citizenship" to be on shaky ground. Some time ago, it dawned on me why: a large part of our feeling a certain age, and presenting as such, is our historical sense of having lived that many years in our identity. In other words, a 20-year-old woman feels that age because she has experienced exactly that many years living as herself, including the childhood and adolescent milestones expected as part of her identity as a woman. A similar truth holds for a 40-year-old, or 60-year-old, or a man or woman of any other age.
But a gender transitioner begins anew, right when they are nominally in life's midcourse. Their true identities and new lives have not yet interfaced with society to any great extent, and they miss years or decades that would otherwise help build an age-matched sense of self in their new gender. This is time zone travel in a very big way. Mid-life transitioners might be expected to feel this effect more strongly than people who articulate and live their gender identity much earlier. Similarly, those whose new life (appearance, career, social ties) differs markedly with their pre-transition self probably also feel the effect more than those with smaller life changes.
But the analogy doesn't quite end there. Science tells us that jet lag is worse when flying in an eastbound direction -- "catching up" to a time zone ahead of us -- than when "falling back" westbound to a time zone behind us. Similarly, transition involves its own catching up process, into a world that cisgender people of the same nominal age have already had years to integrate their identities with, and adjust to. Little wonder that time seems to be pulled and stretched like a rubber band when I ponder virtually any aspect of my pre-transition self. It seems almost like centuries ago, in a different life from which my current one represents a reincarnation of sorts. Of course, it feels that way because, in fact, it really was a different life.
The good news is that despite the challenges, all of this was doable! But since I hadn't really considered the time issue in advance, it still took me by surprise, and involved some dazed, emotional groping in my new obscure environment. This lasted until my jet-lagged self could adjust to the odd reality of needing to live in the middle age time zone, while also being -- in a way -- just a child of sorts, starting a new life.
Leaping into an adult womanhood without a girl childhood or adolescence to back it up is undeniably challenging -- but it is a unique perspective, and offers some happy opportunities too. Though my gender citizenship is secure and content, I've realized that it will be harder to feel my chronological age; perhaps the required catching up process is too much of an adjustment to ever do in full. And ultimately, maybe that's a good thing. I've grown enough by now that I can always be a mature, competent, and sensitive adult woman, but because of my gender "jet lag" I will always be close to the child in me too. That girl child, after all, didn't get a normal growing up process, but she is no less real and no less in need of a voice now. That could be a great thing, since the world in general would probably be a better, kinder place if we were all more in touch with our child selves.
For this reason I think it is a good idea for adult gender transitioners to sometimes give themselves parts of childhood that they may have missed. But how this plays out will be highly dependent on the person. Perhaps it's an occasional doll or toy that is bought and enjoyed as an adult. Maybe it's the ballet, music, ice skating or other lessons that would have been done as a child, and now the adult self can enjoy just as much. Or it could simply be having a sense of wonder and adventure as one goes through life.
To loved ones and friends of those undergoing transition who might be reading this... please always remember the time aspects of their process and recognize that their transition is partly a leap-forward adjustment to a chronological age that their new self needs to catch up to emotionally. Business travelers are routinely advised to delay making any important decisions, if they have flown in from three or more time zone hours away. Yet those in transition have jumped across years and perhaps decades by landing into and forging their new lives. So they will need much support and understanding as they adjust to their status as -- among other things -- the ultimate time zone travelers.
This post is part of HuffPost's Journey Beyond the Binary blog series, an editorial effort to bring diverse trans and gender non-conforming voices to the HuffPost Blog during and after Pride month. As the LGBTQIA community celebrates great strides forward this June, it's important to acknowledge the struggles still pertinent to trans and gender variant members of the community. Please email any pitches to beyondbinary@huffingtonpost.com
Queer Life Age Life Stages


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Commemorating WWI in Minnesota: Duluth's Soldiers and Sailors Monument
Posted on August 13, 2012 September 6, 2012 by Chris Gehrz
I'm still half a year away from taking a group of Bethel University students to Europe for a three-week course on the history of World War I, but while I've still got some time before our fall semester starts up, I thought I'd revive an earlier series on how the war was commemorated.
My earlier posts focused on commemoration in Europe; today I'll start looking at how that same process took place closer to home, here in Minnesota. I'll discuss the Twin Cities of Minneapolis and St. Paul in a later post or two, but let me start 150 miles to the north, in the port city of Duluth.
Somewhat on the spur of the moment, yesterday my wife and I decided to take advantage of a rare summer day when weather in Duluth was supposed to be warmer and sunnier than in the Twin Cities and drive north to show our children a few sites in Minnesota's fourth-largest city. Of course, me being me, I insisted that we make a couple of very minor side trips once we got there, to see a memorial and museum with WWI connections.
(This is nothing new. On our honeymoon in Nova Scotia, we decided to eat lunch in the small town of Antigonish. As we drove into the center of town, my eyes got huge, an incomprehensible cry of delight escaped my throat, and I swerved our rented PT Cruiser into a parking lot. I grabbed my camera and darted from the car… to take a picture of the obelisk that serves as the town's World War memorial. It got worse: I also insisted that we roam the nearby campus of St. Francis Xavier University until I could find a statue of its namesake, to take a picture for a lecture I give on the Catholic Reformation. Remarkably, we're still married, six years later. But perhaps I digress…)
The Soldiers and Sailors Monument – Duluth, Minnesota
Duluth's Soldiers and Sailors Monument is actually a very fancy flagpole, though it's accompanied by a statue (designed by a different artist) that makes it seem more monumental. As we'll see as I get into the memorial in a moment, there's none of the muted triumph, angst, or abstract grandeur that you find with European memorials. No, Duluth's memorial is nakedly patriotic, and a prime example of how Americans responded to the commemorative impulse that quickly followed from the end of what they then called the Great War.
First, some background, courtesy of Barry Schwartz's entry on "Memorials, War" in The Oxford Companion to American Military History. He points out that Americans did surprisingly little commemoration of their wars until the country's second century. Most of the local monuments erected in the wake of the Revolutionary War were "obscure" and even the grandest example "was meagerly ornamented and conveyed no sense of the cause it symbolized." Schwartz concludes that this "commemorative restraint" stemmed from a republican anti-authoritarianism that shunned monuments as befitting European militarism and monarchism. (a theme I encountered in an earlier post on the history of presidential memorials) At first the Civil War also inspired relatively little commemoration (partly, in the South, for economic reasons — there wasn't much money for such luxuries), but things started to change in the late nineteenth century, as the war generation began to die off and new monuments celebrated a growing sense of "regional reconciliation." He cites Gettysburg's National Military Park as exemplary of the trend, which continued into the early 20th century — the time when more grandiose Revolutionary monuments came into being.
Then Schwartz comes to the (first) World War, which the United States entered in April 1917, with American forces not seeing significant action until May-June 1918:
World War I cost the United States less in life and treasure than did the Civil War, but its proclaimed achievement, saving the world for democracy, was greater, and so was its monument production. Massive numbers of monuments emerged right after the armistice, ranging all the way from plaques to statues of "doughboys" (common soldiers) at city halls and town squares to massive commemorative centers. America's fatalities — 117,000 — were relatively light, but its monuments were grand and somber. (Oxford Companion to American Military History, p. 430)
Erected three years after the war's end, the Duluth monument fits the Schwartz's description perfectly. Indeed, it even illustrates the connection he draws between the Civil War and World War I. While clearly influenced (and occasioned) by America's participation in WWI, the soldiers and sailors named are actually veterans of the war of 1861-1865, and the monument was commissioned by the local post of the Grand Army of the Republic — the still-influential fraternal organization uniting Civil War veterans — and not by the new American Legion, whose founding convention had drawn Great War veterans to Minneapolis just two years before. (As far as I know there aren't actually any WWI dead listed — though I'd welcome clarification to the contrary.)
The monument is actually composed of two works by two relatively famous artists. (The picture to the left gives you glimpses of each.)
The flagpole rises from a memorial designed by Cass Gilbert, better known in Minnesota for the state's rather impressive capitol building, and nationally for the underwhelming U.S. Supreme Court building in Washington, DC. An eagle looks out from each corner and the final two lines of "The Star-Spangled Banner" wrap around the top of the memorial.
Paul Wayland Bartlett, "Patriotism Guards the Flag," Duluth Soldiers and Sailors Monument
In any event, the flagpole and memorial proper are protected by the statue of a knight, with the caption "Patriotism Guards the Flag." It was the work of the sculptor Paul Wayland Bartlett, also better known for a work often seen on visits to Washington, DC: the pediment of the House of Representatives at the U.S. Capitol.
I'm sure they exist, but I can't recall seeing a single WWI memorial in Europe that featured a statue of "Patriotism," let alone a design that drew the eye to the national symbol, national flag, and words of the national anthem and away from the names being memorialized.
It certainly speaks to the massive disconnect between the European and American experiences of the war. As they struggled to commemorate a dubious triumph that killed hundreds of thousands of their people, there was no question of America's erstwhile allies (well, "associates") Britain and France wrapping their memorials in the Union Jack or Tricouleur. Meanwhile, the Grand Army of the Republic responded to Armistice with nationalistic fervor, sponsoring a work that implicitly linked the actions of the USA in 1917-1918 with the justice of the Union cause in 1861-1865.
Schwartz points out that WWI commemoration in America also happened to coincide with an architectural movement that fit well with the celebratory, self-righteous, unproblematically patriotic mood that inspired works like Gilbert's memorial and Bartlett's statue:
Early twentieth-century monument production in America was accelerated by a City Beautiful movement that used the Industrial Revolution's wealth to clear away its debris. Of the many objects chosen to beautify the city, war memorials were best suited because they symbolized the expanding power and reach of the state and the great wave of "Americanism" that inundated the society during the first quarter of the twentieth century. (Oxford Companion to American Military History, p. 430)
He cites Newark's Wars of America sculptures as best exemplifying "this confluence of statism and democratization," but Duluth's monument also fits the bill. If you look back at the first picture I embedded, you'll see that the Soldiers and Sailors Monument stands in front of a set of classical columns. They belong to the St. Louis County Courthouse, whose architect, Daniel Burnham, had helped launch the City Beautiful movement with his work on the 1893 Columbian Exposition in Chicago. And there's more than a faint echo of that "White City" in the design of a courthouse that was meant to match Duluth's turn-of-the-century ambitions to become an international center (it even bid for the 1932 Winter Olympics) but now hosts the legal business of a sprawling county that has fewer people than it did in 1920.
The courthouse and monument are just part of Duluth's Civic Center district, which architectural historian David Gebhard calls "one of the most impressive Classical civic centers in the country," and — with the state capitol building in St. Paul — "[presenting] the fullest realization of the turn-of-the-century City Beautiful movement in Minnesota" (Guide to the Architecture of Minnesota, p. 187). It's also worth noting that City Beautiful drew heavily from the French Beaux-Arts school, which strongly influenced Paul Bartlett, the sculptor of the "Patriotism" figure guarding Duluth's memorial flag pole.
Originally, Burnham's county courthouse included another memorial for the members of the Grand Army of the Republic, a "Soldiers' Memorial Room" that came to be known as Memorial Hall. As the final veterans of the Civil War died off, the Hall passed briefly into the hands of a Spanish-American War veterans' group, and then into disuse in the 1960s.
But the Memorial Hall started a second life when it moved down the hill from the courthouse to Duluth's Union Depot. Now a cultural center, the former railroad station is home to a train museum that thrilled my two year old son and scared his twin sister to death, as well as a children's museum, a theater, and the St. Louis County Historical Society. The historical society partners with area veterans to administer a new "Veterans' Memorial Hall" as a small but well-designed museum just off the Great Hall of the Depot, showcasing pieces from what it trumpets as "one of the largest collections of military items and veterans' stories in the state of Minnesota." Here are some of its WWI artifacts:
An American helmet painted with a map of the Western Front – Veterans' Memorial Hall, Duluth, MN
German and French helmets, and a light machine gun from a German airplane – Veterans' Memorial Hall, Duluth, MN
Read the next post in this series>>
Posted in Art, History, MuseumsTagged Architecture, Cass Gilbert, Commemoration, Daniel Burnham, Duluth, Minnesota History, Paul Wayland Bartlett, U.S. History, World War I
Reflections on Lauren Winner's Still: Friendship
8 thoughts on "Commemorating WWI in Minnesota: Duluth's Soldiers and Sailors Monument"
Mark Bruce says:
Hey Chris: Something else you might want to take a look at is the olf Upper Post of Fort Snelling. Most of the current remains (those boarded-up buildings by the airport) are of WWI vintage, and the building that's now the Boy Scout camp is the old hippodrome where they trained artillery horses. Also, tucked back in the brush and seriously decaying, are the remains of the reconstruction-era hospital where many Minnesota vets were treated late in the war and later. It's worth walking around.
BTW,if you stop by the Fort Snelling history center on your way in, you can probably get someone to tell you exactly where everything is.
Chris Gehrz says:
Thanks, Mark! I'd been planning to visit the fort later this week — now I know where to look and what to ask for!
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My organization is exploring a possible grant for repair and maintenance of the solders' and sailors' monument. Would you be willing to share where you found the the information about the monument? Source?
Hmm… It's been a while since I wrote this, and I'm not sure I have all those notes. But one online source I know I checked was the site for Veterans' Memorial Hall: http://www.vets-hall.org/about-museum. I think I also found a public domain source that had been digitized on Google Books; you could try searching there.
I will take a look and see what I find. Thank you for your help!
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Seaweed salad, sea salt ice cream, algae cheese - all this can be discovered and tasted when you come to the southwest coast of Ireland!
This is the signature dish served by Kierans Kitchen in the Roadside Tavern pub next to the Burren Smokehouse. Traditional colcannon would be a accompanied by meat, but we are putting a healthy and very tasty twist on this dish which is one of the bestsellers on the menu!


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Co-op hails performance in face of summer flooding
Speaking to Insurance Age, managing director of general insurance, David Neave, said the provider had not been knocked off course by the summer flooding.
It comes after the insurer's post-tax profits soared to £20m, replacing the £2.4m loss posted for the same period last year.
"Over the first half of 2012 the level of claims has not been out of line with our expectations," said Mr Neave. "We would have preferred not to have had these [summer flooding claims] but they have not had a massive


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Q: age calculation in vb.net coding net coding and i am really stuck in this basic age calculation. I have created a form field and in a groupbox it should display the age of a person. The biggest problem i am facing with the code is factoring in the month. I have tried all types such as using DateInterval.Month but still no luck. Here MyEntPatient.DOB is the DOB of patient
Dim Years As Integer
Dim BDAY As New DateTime(Now.Year)
BDAY = MyEntPatient.DOB
If (BDAY > Now) Then
    Years = DateDiff(DateInterval.Year, MyEntPatient.DOB, Now) - 1
Else
    Years = DateDiff(DateInterval.Year, MyEntPatient.DOB, Now)
End If

Me.gpxPatientDetails.Text = " Age:" + Years.ToString()

A: I think you want to have the difference of the date, I think this example help you:
Dim birthday As New DateTime(12, 12, 2012)
Dim difference As DateTime = DateTime.Now - birthday
Dim years As Integer = difference.Years

A: If you have problem with bigger/smaller age, because someone doesn't have a birthday this year (born in December for example), you can try this:
Dim bday As New DateTime(2010, 1, 25)
Dim months As Integer = DateDiff(DateInterval.Month, bday, Now)
Dim years As Integer = months / 12

A: Function AgeCalculator(ByVal FromDate As String, Optional flgyearOnly As Boolean = False) As String '23/11/2017
    If Not IsDate(FromDate) Then Return ""
    Dim tmpYear As String = "", tmpMonth As String = "", tmpdiff As Integer = 0
        Dim tmpAge As String = ""
        tmpdiff = DateDiff(DateInterval.Day, CDate(Format2DateMMM(FromDate)), Now)
        If tmpdiff <= 0 Then Return ""
        If tmpdiff > 0 And tmpdiff <= 29 Then
            Return tmpdiff & " Days"
        End If
        If tmpdiff = 30 Then
            Return " 1 Month"
        End If

        tmpYear = tmpdiff / 365
        If InStr(tmpYear, ".") > 0 Then
            tmpYear = Microsoft.VisualBasic.Left(tmpYear, InStr(tmpYear, ".") - 1)
        End If

        If Val(tmpYear) = 0 Then tmpYear = ""
    If Val(tmpYear) > 0 Then
        tmpAge = tmpYear & " years"
        If flgyearOnly Then Return tmpAge
    End If

    tmpdiff = (tmpdiff - (Val(tmpYear) * 365))

        tmpMonth = tmpdiff / 30
        If InStr(tmpMonth, ".") > 0 Then
            tmpMonth = Microsoft.VisualBasic.Left(tmpMonth, InStr(tmpMonth, ".") - 1)
        End If

        If Val(tmpMonth) = 0 Then tmpMonth = ""

        If tmpMonth > 0 Then
        tmpAge &= "  " & tmpMonth & " Months"
    End If

        tmpdiff = (tmpdiff - (Val(tmpMonth) * 30))
        If Val(tmpdiff) > 0 Then
            tmpAge &= "  " & tmpdiff & " Days"
        End If
        Return tmpAge: End Function

A: A bit old posting, but the question is not!
Typically the 'age' is the whole years completed:
Dim DOB As Date = DateValue("1970-10-28")
Dim Tday As Date = DateValue("2022-02-21")
Console.WriteLine(
       Int((CInt(Tday.ToString("yyyyMMdd")) - CInt(DOB.ToString("yyyyMMdd"))) / 10000)
       )


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The Jumo 222 was a German high-power multiple-bank in-line piston aircraft engine  from Junkers, designed under the management of Ferdinand Brandner of the Junkers Motorenwerke.

Such was the projected performance of the engine compared to contemporary designs that many developments of wartime Luftwaffe piston-engined aircraft designs were based on it, at least as an option. These included the entire Bomber B program, which looked to replace all existing Luftwaffe bombers with a new twin-engine design that was larger, faster and more heavily armed than any aircraft in their inventory.

The design failed to mature even after years of intensive development and several major design changes. The Bomber B program failed along with it, leaving the Luftwaffe with hopelessly outdated designs during the second half of the war. Only a small number of 222s were built, less than 300. They never left the prototype phase, but the design nevertheless continued appearing on proposals for new Luftwaffe multi-engined designs long after most had given up hope it would ever work.

Design and development
Design work on the Jumo 222 started in 1937. The engine was configured with six inline cylinder banks spaced at equal angles around the crankcase, each bank having four cylinders. The engine looked like a radial due to the arrangement — this was evident from a cross-sectional drawing of the original version, using a master connecting rod with five additional connecting rods pivoted from the master rod's crankpin end casting, as with a single-row radial. But the internal workings were designed to operate more like a V engine with each adjacent pair of cylinder banks, each with a crossflow head, and it was liquid-cooled like most inlines.

Looking at a complete Jumo 222 from a "nose-on" view, the half-dozen cylinder banks were arranged at 60° equal angles from each other, such that neighbouring banks had their exhaust ports (at the "60°, 180° & 300°" spaces) and intake ports (at the "0°, 120° & 240°" spaces) facing each other, resulting in simpler "plumbing" from the rear-mounted supercharger and resulting in only three sets of exhaust headers. The trio of exhaust header sets would have been most likely present at the bottom of an engine nacelle, and on the upper quarters to either side (appearing like the exhausts for many Allied "upright" V-style aviation engines) for the shortest possible exhaust outlet routing.

The four-cylinder-long multibank design resulted in a shorter engine than the Jumo 211, by roughly , but larger cross-section nacelle design. Like the Ju 88, it could use an annular radiator to cool the 222's cylinders and motor oil. The Junkers Ju 288 intended to hide the radiators behind hollow ducted spinners with each of its four-blade propellers.

Each cylinder had two intake valves and a single sodium-cooled exhaust valve — a triple-valve configuration inherited from the first Jumo-series inverted V12 aviation engine, the Junkers Jumo 210 — a high-pressure fuel injector between the intakes, and two spark plugs. With a bore and stroke of , the original Jumo 222A/B engine design had a displacement of 46.4 L (2,831.5 in³), in the same general displacement class as the Double Wasp American eighteen cylinder air-cooled radial of 1937–1940 origin. The 222A/B model was forced to run at a fairly low 6.5:1 compression ratio, the same ratio as used by the volume-produced Jumo 211C inverted-V12 from their firm. Such comparatively low compression ratios were the best possible ones given the low-octane fuels available in Germany, but by increasing the speed of the engine to 3,200 rpm, the 222 delivered  at takeoff. The only disappointing feature was the simple, single-stage two-speed supercharger, but even with this limitation, the engine still generated  at . The dry weight was , only some  heavier than the air-cooled Double Wasp.

Compared with the contemporary BMW 801 and Daimler-Benz DB 605, the 222 was a huge leap in performance. It had only slightly larger displacement than the 801's 41.8 L (2,550.8 in³), and about 25% more than the 605's 35.7 L (2,178.5 in³), but delivered considerably more power,  compared to  in the 801 and  in the 605. That represents 40 kW/L for the 222, while only 29 kW/L for the 801, and 31 kW/L for the 605. The power-to-weight ratio was 1.7 kW/kg (1.04 hp/lb) for the 222, whereas the 605 delivered 1.4 kW/kg (0.88 hp/lb), and the 801 1 kW/kg (0.60 hp/lb). The 222 also had similar exterior dimensions as these smaller engines,  across compared to  for the 801, and  long compared to  for the 605.

The comparison was even more favourable against other high-power engines under development. The cumbersome DB 606, the first-ever "high-output" powerplant developed in Germany, consisted of two DB 601's mounted to a single reduction gear case on their front ends, that delivered  with a weight of , and was ft) in size. Their troubled use and deficient installation design in the He 177A, Germany's only heavy bomber aircraft to see production and front-line service, prompted Reichsmarschall Hermann Göring to derisively label them in the late summer of 1942 as "welded-together engines". Conversely, the RLM was excited by the possibilities of the much more compact Jumo 222's design features, and the X engine configuration, 24 cylinder DB 604, of similar weight and displacement to the 222A but with somewhat lower specific power output. The RLM based their entire Bomber B program on pairs of these engines, which would deliver a bomber with the warload of the He 177 and even better speed than the Ju 88, a truly universal design.

The first prototype engine ran on 24 April 1939, and was later air-tested on the nose-engine mount of a Ju 52. Production called for two primary models, the 222A and 222B, which differed only in the direction that they spun, intended to be used for left-hand (portside wing) and right-hand (starboard wing) engines on twin-engine designs. However, continued testing went poorly, and Junkers eventually decided it was best to stop development of these "Series I" engines and move onto a modified "Series II". The new 222A-2 and B-2 ran at a slightly slower rpm but had slightly larger cylinders of  bore (49.88 litres, 3043.86 in³) for the same net performance, while the A-3 and B-3 used a different supercharger for better performance at higher altitudes. One A-3 and B-3 powerplant each were allegedly fitted to the ninth Junkers Ju 288 prototype airframe  for flight tests. Both "uprated" models of the Jumo 222A/B versions continued to prove unreliable, and were fitted only experimentally.

By late 1941, Junkers decided the best course of action was to make more radical changes to the design, and introduced the 222C and 222D models. With a new bore and stroke of , the engine displacement increased a second time, to 55.5 L (3,386.8 in³), just very slightly larger than the contemporary Wright Duplex Cyclone American 18-cylinder air-cooled radial engine, which at the time was having its own significant problems ironed out, partially from the use of combustible  magnesium-alloy metal for its crankcase. Back at the original 3,200 rpm, the Jumo 222 C/D models could deliver just under  when they started running in the summer of 1942. However, the problems were not cured, and only a handful were built. The RLM had been waiting for three years at this point, and eventually gave up and had all designs based on it look for alternate engines. Later that year, they gave up on that as well, and cancelled the entire Bomber B program outright.

Junkers still did not give up. Using the original 46.4 litre displacement A/B design, they added a new two-stage supercharger including a trio of aftercoolers, one per pair of neighboring cylinder banks for high-altitude use, producing the 222E and F-series. Although sea-level performance was unchanged, the engine was able to produce  at . By this point it appeared that the problems were finally being worked out, but bombing of the Junkers Motorenwerke's headquarters factories in Dessau made production almost impossible. A final attempt for even higher altitude performance resulted in the turbocharged 222G and H, built only to the extent of a few testbed prototypes.

The Jumo 222 was a massive and very costly failure. 289 examples of the Jumo 222's were built in total, none of which saw active service. It also served to seriously hamper Luftwaffe piston-engined designs from 1940 to 1942, while many personnel within the Luftwaffe's government-operated technology development offices (like Oberst Edgar Petersen's chain of several Erprobungsstelle installations) and German military aviation corporate engineering departments waited for the Jumo 222 to finally start working. Meanwhile, all calls for four-engine adaptations in place of twin-engine Jumo 222 powered designs were rejected because it was felt it would place too much strain on the German engine industry. In the end there was nothing to show for it, and late in the war the Luftwaffe was flying barely updated versions of their original pre-war designs.

Variants
None of the JuMo 222 variants achieved operational service.
Jumo 222 A / B-1: first version bore x stroke (135 × 135) = 46,380 cm³,  at 3200 min -1, single-stage two-speed centrifugal supercharger, "service-test" A-0/B-0 series, flight tested
Jumo 222 A / B-2: enlarged variant larger valve cross sections bore x stroke(140 × 135) = 49880 cm³, 2500 hp at 2900 min -1, single-stage two-speed centrifugal supercharger, zero series, flight tested
Jumo 222 A / B-3: as A / B-2, but improved centrifugal supercharger, full pressure altitude: 6000 m, pilot series, flight-tested
Jumo 222C / D: further enlarged variant bore x stroke (145 × 140) = 55,480 cm³, 3000 hp at 3200 min -1, full pressure altitude: 10.000 m, by designed V-series experimental models in the assembly
Jumo 222 E / F:, like A / B-1, with two-stage two-speed centrifugal supercharger and trio of aftercoolers, full pressure altitude: 9400 m, pilot series, flight-tested
Jumo 222 turbo:, like A / B-3, with turbocharger and intercooling, full pressure altitude: 12,300 m, 2400 hp at 3200 min -1, only test bench
Jumo 222 G / 225:, projected, lengthened version with 6 × 6 = 36 cylinder bore x stroke (135 × 135) = 69570 cm³, 3500 hp at 3000 min -1, and speed charging increasable
The direction of rotation of the propeller shaft was indicated by the letter - A, C and E turned to the left while B, D and F turned to the right. The crankshaft, however, always ran uniformly to the right; the propeller running direction was varied only by different gears.

Since the Junkers Jumo 222 has six cylinder banks, it is one of the so-called Hexagon engines. Other examples of hexagon engines are rare - for example, the 24-cylinder water-cooled Dobrynin VD-4K and the 12-cylinder air-cooled Curtiss H-1640 Chieftain. Analogously, there were also octagon engines such as the Bristol Hydra with eight cylinder banks.

Applications
Aircraft designs intended to be powered by the Jumo 222:

Dornier Do 435 (when no jet engine replaced the rear piston engine)
Focke-Wulf Fw 300
Heinkel He 219B & -C
Heinkel He 277 (as a later Amerikabomber-related alternative to fitting six BMW 801 radials, late July 1943 development proposal only)
Hütter Hü 211
Junkers Ju 288

Prototype proposals designed to use Jumo 222 engine power:

 Arado E.340 (twin 222s, a Bomber B competitor)
 Focke-Wulf Fw P.195 (six/eight Jumo 222s, very large transport aircraft)

Specifications (Jumo 222A/B)

See also

References

Bibliography

External links

 Junkers Engines - Jumo 222
 EngineHistory.org's British wartime report on the Jumo 222
 enginehistory.org CAD-based animation of Jumo 222's valvetrain

Junkers aircraft engines
1930s aircraft piston engines
Inline radial engines


In one of the first numbers in Violet, a young woman boards a bus carrying a battered old suitcase. "I'm on my way…" she sings.
Fewer than a dozen chairs onstage and the audience's imagination transport us onto the Greyhound bus that takes Violet (Christie Jackson) from her home in Spruce Pine, North Carolina, through Nashville, Memphis, and finally to Tulsa. Imagination also is how the audience sees the deep scar that disfigures Violet's face, the result of an accident with a flying ax blade when she was thirteen. Violet, now in her twenties, is heading to see a televangelist she believes can heal her scar and make her motion-picture beautiful. But it is, of course, the journey that changes her profoundly.
Rich Mason's marvelous set serves as bus station, bus, diner, hotel, church, and other locales. Musical director Kim Fox assembled a tight five-piece band that backs up a stellar group of actor-singers.
Director Chase Kniffen once again assembled a talented cast and let them shine. Jackson appears both wholesome and tormented, and possesses a voice that ranges from tender to powerful. The scar we can't see becomes real in the reactions of the bus driver and those she encounters, who recoil in shock. Jackson's emotional intensity glows as she experiences shame, self-loathing, and fear that her deformity might subject her to a life alone – while hoping that a miracle will allow her to lead the life she dreams of.
Violet's trip to Tulsa is often interrupted by painful childhood memories, which blend in with the present-day action. Sophia Bunnell, who plays Young Violet, is outstanding, with a beautiful voice and commanding stage presence. Much of Violet's story unfolds as seen through the eyes of the teenager coming to grips with her mangled appearance. Joe Pabst plays her father, trying to protect and empower his daughter while dealing with his own guilt and her anger.
The show's core, though, is Violet's time on the bus and on the road, where she meets two young soldiers, the handsome charmer Monty (Matt Polson) and his easygoing African American friend Flick (Josh Marin). Integration is still a new concept in 1964, especially in the South, and Flick, like Violet, is used to being seen as an outsider, a bond he shares with her. Both Monty and Flick are drawn to her, and she to them for different reasons.
Violet has many musical highlights, including the peppy "On My Way" to start the trip and the haunting "Lay Down Your Head" after a bittersweet night in Memphis. A real showstopper is the joyous "Raise Me Up," featuring the powerhouse vocals of Karla Brown, which heralds Violet's arrival in Tulsa and attempt to meet the televangelist (Eric Williams). In a cozy theater like Virginia Repertory Center's Theatre Gym, this taletned cast probably didn't need to be mic'd.
Again, Cadence Theatre Company proves that it's doing some of Richmond's best theater work. Violet is definitely worth a look for teens and their parents. Parenting note: some of the show's themes, language and actions are best suited for age thirteen and up.
Violet runs through March 11 at the Theatre Gym at the Virginia Repertory Center. Visit Virginia Rep for showtimes and tickets.


I have noted in the past the trade in blades within the Sahel, the great trade routes that bore them on their long journey over the desert sands, but I have written little about the other key element of warfare in these cultures. As much a part of the panoply of war as the spear and the sword.
The horse. This might sound a little anticlimactic but maintaining stables in the Sahel was no mean feat. The climate was not always well suited and the danger of the tsetse fly limited the range in which they could be used. But for the great kingdoms of Hausa land, Bornu, Kanem and Sudan the horse was the greatest mount one could achieve. Even today the emirs of Hausaland can be seen riding great white horses in Durbars, an integral part of their cultural history. Central stables were often maintained and horses were a prized sign of wealth and an integral part of war and the commerce of slaving.
The origins of the war horse in the Sahel lie with Kanem, who in turn have the Mamluks of Egypt to thank, as with so much of the Sahel cavalry model. The horses were the great Barb of the North African coast. Renowned for their stamina, the breed adapted well to the Sahel, although stocks needed to be refreshed due to the still harsh conditions.
The Sahel was a band of land the horse could function in, to the north the camel was supreme in the harsh desert, to the south the forests prohibited their spread. But in the Sahel they were a treasure.
A Hausa rider in finery.
Often they were fitted with the same quilted armor or Yan Lifida as the riders and often had a brass or metal head guard as well. Taking care of the royal stables for an emir was an official post of prestige and well respected.
While the art of mounting blades, forging spears and many other crafts of the past have faded breeding and displaying horses remains an integral part of society and culture in many areas of the Sahel to this day and gives a delightful window into the military history of these areas and the path these horse breeds took to reach the interior of Africa.


Hey I can enjoy a good chick-flick every now and again. And I surprisingly enjoyed this very feminine-centric one.
Andrea Sachs (Hathaway) is our designated plucky protagonist. She's a lovely and down-to-earth aspiring journalist who's looking into an open secondary assistant position at Runway magazine under the most high-powered and icy fashion editor in the history of cinema, Miranda Priestly (Streep). Andrea is a casual dresser, and modern fashion isn't really her forte, and it all leads to an unpleasant baptism by fire under the tyrannical yet reserved Miranda. While working as a secretary and lap-dog isn't exactly working toward becoming the new Eric Harrison, well we all have to start somewhere.
I think what I like about Streep's Miranda is that she's more than just one-dimensional bully boss. She may seem shallow and short with people, but there's a real character and person behind it. Streep makes sure not to overdo it and chew any scenery. She keeps it emotional and understated but is there. I think ultimately you see how living the life that she does galvanizes you and how it changes you.
It changes Andrea as well, even though it doesn't always outwardly seem that way in her attitude. But she's willing to jeopardize her integrity and beliefs in order to serve the whims of her boss. My mentor taught us that the top priority was to never, ever lose our integrity. And that's really Andrea's main dilemma. How can she remain herself if she keeps changing herself and her life in order to serve the superficial, image-obsessed world of fashion?
The movie does take a few cheap short-cuts I didn't care for, specifically Simon Baker returning as a hunky potential love interest and perhaps even an ideal match for the nu-Andrea. There's the pre-makeover scene which was so blatant you could see the lightbulb over Hathaway's noggin, followed by the typical nu-protagonist showing off her nu-her montage. If you've seen one, you've 'em all.
There aren't enough chick-flicks as tolerable as this one is. It's a step in the right direction, but when Hollywood does that, it's usually after taking several steps backward.


text:
Erika Fasana
FebruaryFeb 17, 1996
Como, Italy
FebruaryFeb 17, 1996 (age 24)
Born in Como, Italy#5
24 Year Old Gymnast#22
Gymnast Born in Italy#4
Aquarius Gymnast#26
Aquarius Named Erika#4
Italian gymnast who is known for her work within the Women's Artistic Gymnastics category. She has competed in several Olympic Games and has also represented Italy in several European National Gymnastics Championships. She shares additional photos from her gymnastic career through Instagram for her over 90,000 followers.
She started her juniors career in 2010 when she competed in her first European Championship in Birmingham, United Kingdom. She started her senior career in 2012 when she competed in the London Prepares Series. Her Olympic debut came in 2012 when she competed in the Summer Olympics in London.
She is known for having won the Bronze medal in the team event representing Italy at the 2012 European Championships in Brussels.
She was born and raised in Como, Italy and shared a photo with her son and daughter to Instagram in March of 2019.
She is the second Italian gymnast to accomplish the Silivas or double double, H move after fellow gymnast Vanessa Ferrari.
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